OffBeat Magazine March 2010

PRESERVATION HALL FOBURG DALE HAWKINS LES BLANK BOUNCE ANDREW DUHON CULTUR E—M ARC H 2010 LOU ISIA NA MUS IC, FOO D AND

STRANGE FRUIT

MyNameIsJohnMichael is waiting to get picked

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

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Features

Departments

14 Spelling Counts

Abby Lunetta finds that no matter how you write “Foburg,” it remains an important effort for the city’s indie rock community.

18 The A List

Alex Rawls looks at the relationship between the Preservation Hall Jazz Band and the guest artists on its new album.

6 Letter 8 Mojo Mouth 10 Fresh 16 Obituary: Dale Hawkins 40 OffBeat Eats

20 A Lucky Bounce

John Swenson tracks the resurgence in bounce, the hip-hop subgenre that’s suddenly hot.

26 Music Without Bars

Young entrepreneurs tell Tom Macom about their efforts to make live music something special.

32 What’s in a Name?

Rosalie Cohn finds out who MyNameIsJohnMichael is/are.

38 In the Kitchen with Andrew

Elsa Hahne discovers blues singer Andrew Duhon’s habañero heart.

Peter Thriffley and Rene Louapre review Crescent Pie & Sausage Co., and Chip Wilson is in The Spot at Elizabeth’s.

42 Reviews 50 Club Listings, and Plan A: Spoon 61 Backtalk with Les Blank

Alex Rawls talks to the documentary filmmaker about his efforts to film Louisiana’s folk music. “Dewey Balfa invited me backstage after their show and he had a gallon of moonshine,” Blank says. “We sat around, sipped moonshine and h said, ‘You come to Louisiana we’ll help you make a film.’”

MARC H 2010

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Letters

“I’m still in a New Orleans state of mind, reading New Orleans, Mon Amour, wearing fleur-de-lis cufflinks.”— Ira S. Leibin, Oakland, CA

Louisiana Music & Culture

March 2010 Volume 23, Number 3 Publisher and Editor-in-Chief Jan V. Ramsey, janramsey@offbeat.com Managing Editor Joseph L. Irrera, josephirrera@offbeat.com

MAKING A DIFFERENCE My wife and I would like to thank y’all for an absolutely amazing time at the Best of the Beat Awards.

Took us a few years to make it and man what a year to finally do so. We both are quite proud to count ourselves as members of the Threadheads and to be able to be there and to even get up on the stage when the Heartbeat Award was given was an experience we and I’m sure all the THs that were there will never forget.

The food was fantastic, the music amazing. Shamarr Allen and the Underdawgs absolutely killed. He got us all up and jumping and really had us all ready for the Saints to whip some purple butt.

Can’t imagine why he wasn’t on the main stage instead of the Parish.

Galactic just shined, having the extra two horns really rounds out their sound, Anders is playing like he can and should all the time, and them Bones—what can we say about them? Rocked the house ’till closing, man what a grin on our faces when we finally left. A night of music, friends and food we won’t soon forget.

The THs love for everything New Orleans drives us to try and make a difference. From the humble beginnings of The Patry turning into a charity event to benefit the New Orleans Musicians Clinic to volunteering hundreds and hundreds of man/woman hours to the Zulu Diamondcutters to man their beer tent at Fest, to donating money and construction equipment to the Arabi Wrecking Krewe, to donating money and instruments to the Silence is Violence Kids Music Clinic, to starting Fest4Kidz to help send local students to the Fest to two collaborative cookbooks to raise monies for charity. There’s more I’m sure I’m forgetting to mention, but you get the idea. The Threadheads love New Orleans and all that comes with it, and we won’t stop trying to help make a difference.

—Barry and Nancy Birnbaum, New York, NY

WHO DAT I’m an OffBeat lifetime subscriber, living in London, now retired, have visited Nawlins ten times between ’92 and ’04, nine of those occasions being Jazz Fest.

I just have to say well done to the Saints! At last! And didn’t they win in a manner befitting the city—with style, color and character!

—Patrick Stroudley, London, UK DEBUT TRIP I made my debut trip to New Orleans this Christmas—loved it. I stayed at the Monteleone and used your Web site as a guide. Went to d.b.a. and caught Kermit Ruffins at House of Blues holiday benefit.

I’m still in a New Orleans state of mind, reading New Orleans, Mon Amour, wearing fleur-de-lis cufflinks, and rooting for the Saints and the city and people of New Orleans.

—Ira S. Leibin, Oakland, CA SECOND LINE As I read your story about “Second Line” (the song) I figured you as the media’s voice of New Orleans music should know, the original traditional piece is called “Joe Avery’s Blues” but most importantly, Stop Inc. was not from Baton Rouge! The group was formed in the 7th Ward by Cyrille Salvant on cornet, Richard Carter on alto sax and myself on guitar in 1968. The other founding fathers were Bruce Derbigny, piano, Bobby Jordan, drums, Freddie Charbonet, tenor sax, Donald Mack, bass and Juanita Davis, vocal. Kenneth Scott was added on trumpet and Don Matthews became manager. As we graduated from our respective high schools, personnel changed one by one until no original members were left. Under the leadership of Brian and Clyde Toval the recording was made. A retraction is not necessary, just FYI. —Carl Le Blanc, New Orleans, LA

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

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Associate Editor Alex Rawls, alexrawls@offbeat.com Consulting Editor John Swenson Listings Editor Craig Guillot, craigguillot@offbeat.com Contributors Ben Berman, Rory Callais, Rosalie Cohn, Elsa Hahne, Jeff Hannusch, David Kunian, Aaron LaFont, Madison LaGrone, Rene Louapre, Abby Lunetta, Tom Macom, Lauren Noel, Caitlyn Ridenour, John Swenson, Peter Thriffiley, Dan Willging, Zachary Young Cover Elsa Hahne Design/Art Direction Elsa Hahne, elsahahne@offbeat.com Advertising Sales Ben Berman, benberman@offbeat.com Casey Boudreaux, caseyboudreaux@offbeat.com Margaret Walker, margaretwalker@offbeat.com Advertising Design PressWorks, 504-944-4300 Business Manager Joseph L. Irrera Interns Remy Carras, Rosalie Cohn, Sarah Franz, Madison LaGrone, Abby Lunetta, Tom Macom, Kathleen McCann, Lauren Noel, Kyle Petrozza, Caitlyn Ridenour, Cait Smith, Courtney Young, Zachary Young Distribution Patti Carrigan, Doug Jackson, Shea MacKinnon 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 Copyright © 2009, 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 at $39 per year ($45 Canada, $90 foreign airmail). Back issues available for $6, except the May issue for $10 (for foreign delivery add $2).

Submission of photos and articles on Louisiana artists are welcome, but unfortunately material cannot be returned.

MOJO MOUTH

Reviving Music in the Quarter

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’m sitting here in my Frenchmen Street perch on a cloudy Sunday afternoon, working on this March issue. Frenchmen Street has calmed down a lot since yesterday, when there was a lot of traffic as we forever buried the ’Aints.

Frenchmen Street is quiet at this hour of the day, but there’s a huge sound outside of a metal band cranked up really loud at Checkpoint Charlie. They’ve been on one break, but they’re back now at 2:30 in the afternoon, raising all kinds of hell. Metal isn’t my bag (never has been), but there are a lot of people who still love it, and god bless ’em. I’ve already heard some neighborhood people (loudly) asking them to keep it down.

I certainly believe in music and everyone’s right to make it, but I have a pretty good idea why people who live in neighborhoods with music clubs complain about the noise. If you don’t like the music, then it’s really going to annoy you, particularly when it’s loud. That’s the problem with bars and clubs in local

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neighborhoods. In case you haven’t noticed, there’s a bar and a church on almost every corner of New Orleans’ streets.

I’ve been an advocate of allowing music clubs to open on North Rampart Street, and through the Quarter, but it’s prohibited, and of course, music that isn’t the preference of local neighbors is the reason why. There has to be a solution to the problem, though. Is it possible for the city to allow music of certain types only? Maybe the solution should be that the music played has to be acoustic and not require sound amplification, except maybe for a microphone. Jazz should be allowed throughout the French Quarter and on North Rampart Street. This is where people expect to hear jazz. And right now, it’s not available. It’s really too bad that city officials have bowed down to the least common denominator of bar owners in the Quarter who insist on hosting overamplified cover bands and who allow loud, non-live music to pour out into the street. But they

have no reason to care about the quality of entertainment. They just want to sell as much liquor and beer as possible. Most of the patrons on Bourbon Street are either tourists or kids who don’t give a damn about hearing original music performed by local musicians.

So the city has sold out its cultural soul to a few people who are only in it for the money.

Now, I’m not saying that every bar in the Quarter is a sell-out. They’re not (see Fritzel’s, Maison Bourbon, Irvin Mayfield’s Jazz Playhouse, the Funky Pirate, the Kerry, Donna’s, etc). But for the most part, the music in the Quarter sucks. It’s too loud, it’s crappy, and it sure doesn’t portray New Orleans as the Birthplace of Jazz by any means. Why can’t we change that perception somehow? Let’s begin again and really plan what the city of New Orleans could and should be, which isn’t necessarily defined by a skanky district. At one time, the Quarter was a place to hear some great music. Can’t we get that back?—Jan Ramsey

www.OFFBEAT.com

FRESH

LA at SXSW

Generationals

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ffBeat cover subject MyNameIsJohnMichael will be part of the contingent from Louisiana going to Austin, Texas for South by Southwest, the annual music festival and conference. This year, more than 20 acts will play official or unofficial showcases over the long weekend from March 17-20. One of this year’s highlights will take place Saturday night at Submerged, where there will be a bounce night with DJ Jubilee, Partners N Crime, Magnolia Shorty, Big Freedia, Ms Tee, Katey Red, Big Al, Vockah Redu & the Cru and host Wild Wayne.

Bounce will also figure prominently in the “Only in Louisiana”party thrown Thursday at Brush Square Park near the Convention Center by the office of Louisiana Economic Development. The office will also have a booth at the trade show for the music, film and interactive components of SXSW to let people know about business opportunities in the state, and Big Sam’s Funky Nation will lead a second line to its party from noon to 3 p.m. It will feature Big Sam, DJ Jubilee, Partners N Crime, New Orleans Block Party Collaboration and more.

Other artists performing include a mix of indie rock, hiphop, folk, rock and funk with Shreveport’s Dylan LeBlanc, DJ Pasta, Giant Cloud, Blair, Generationals, Truth Universal, the Givers from Lafayette and Dash Rip Rock. On March 17 and 18 local Chckn & Egg Productions will present a showcase of local bands at the Agave Bar, including MyNameIsJohnMichael, Dirty Bourbon River Show, The Revivalists, Andrew Duhon and more.

There are also a number of unofficial events including “Carnival on Congress,” Friday afternoon party at the Continental Club sponsored by Gankendorff & Provosty, L.L.C., Blue Moon, Bug Music, True North, the Lafayette Convention and Visitors Commission and Festival International de Louisiane. It will feature Sam Rey, the new project by the Bluerunners’ Mark Meaux, and Lynn Miles, Cory Branan, Catherine Maclellan, Randy Weeks, the Givers, and more. Heavy rock band Suplecs has signed with Small Stone Records and will play its party at 5:30 p.m. Thursday afternoon at Encore on Red River, and Park the Van Records and Defend New Orleans are throwing a party Friday afternoon.

For a detailed schedule of Louisiana’s SXSW events, go to OffBeat.com.

—Alex Rawls

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The Circus is in Town W

hen most New Orleans musicians think of a carnival, the brass and second lines of Mardi Gras come to mind. However, the sounds employed by the Dirty Bourbon River Show are more like those typically associated with the circus. According to front man and songwriter Noah Adams, his affection for the genre is deep-seeded, having grown up listening to the music. “When I was a kid my mom gave me this (film composer) Nino Rota CD with all these great circus tunes,” Adams says. “I love circus music. It’s festive and spirited, but sometimes it’s creepy and has a lot of uncertainty.”

Not only does Dirty Bourbon River Show utilize the sounds of the circus on its debut album, Volume One, but it also takes that mentality into live performances as well. “I love to bring five incredible music freaks on stage and go crazy,” says Adams. “Even the most straightlaced people like to be opened up in that weird way.”

Dirty Bourbon River Show is more than just flash and spectacle, as proven by the autobiographical and open songwriting of Adams. “I dropped out of high school and traveled for six years writing songs, but I’ve stayed in New Orleans longer than anywhere. Finally sitting still has given me some insight into all of the wild running around I’ve done, which makes sense in the music,” he says.

Just as the Ringling Brothers’ circus has evolved into Cirque du Soleil, Dirty Bourbon River Show is in musical flux. “We’re getting more into funk and folk styles, as well as some Latin beats, Cajun reggae, and Italian hip-hop,” says Adams. “It’s important for us to be constantly exploring and spreading musical styles around.”

—Rory Callais www.OFFBEAT.com

FRESH

Ten Years After F

ounding member of the Rhapsodizers Clark Vreeland returns to Snug Harbor March 13 to play in New Orleans after a decadelong hiatus. He’s bringing with him his latest project, Spanky and the Love Handles, but he promises a retrospective show that will include some of the musicians he used to perform with, including David Torkanowsky, Ed Volker and Spencer Bohren.

A stripped-down blues band made up of Vreeland, his wife Beth, Bob Rice, and Sidney Cox, Spanky and the Love Handles is Vreeland’s return to center stage after years of producing and playing with other bands. “I had been traveling around the East Coast with this group called Code Blue for about 15 years. [After] the other writer in that group died about three years ago, I started working with my wife, Beth, and we put this together, and it took off.” The band has also recorded a new album, Hot Glazed Funky Dunk.

Vreeland began adding different elements, but kept taking them away again, instead preferring simple beats and instrumentation to the big group sound of his previous bands.

“We picked up a trumpet player from Miami, but we really just had a bass, drums, and a guitar,” he says. “When we would try and add something else it would get too busy.”

A current resident of Georgia right outside Atlanta, he never stops thinking about coming back home to play.

“I always think about coming home and playing at places, but I lose track of what places to play. The last place I played was House of Blues, and that was probably at least 10 years ago, maybe 12 years ago. I got burnt on trying to figure out the bars.”

The exodus of many of his friends to the outskirts of the city also affected his visits.

“It makes it difficult for me,” he says. “Last time I was in, I couldn’t divide myself between being in town and going back over to Covington.”

Demonstrating the typical New Orleans musician’s appetite for experimentation, Vreeland has jumped from band to band between taking time to focus on his visual art, which is displayed in galleries and private collections around New Orleans and Atlanta. Toss in a side of foot-in-mouth syndrome, and Vreeland has understandably been absent from the New Orleans music scene.

“I’m not that great at the business,” he says.

“I have a really bad habit of saying the wrong things to club owners, agents. I’m not trying to be rude; I just don’t say the right things.”

—Lauren Noel

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Changes at the Ogden T

he Ogden Museum of Southern Art has been adjusting to several significant changes since the start of the year. Following the retirement of Museum Director of 10 years J. Richard Gruber in December, two staffers have begun to share co-directing duties at the Ogden. While splitting museum-directing responsibilities may seem unusual, institutions in New York and Atlanta have recently begun to realize the benefits of co-directors.

“Administration and curatorial offices often need two different sets of skills with different background and training,” explains Public Relations Director Sue Strachan. The shift in management aims to streamline administrative duties. The museum’s Chief Operating Officer and Chief Financial Officer Lisa McCaffety will run the financial arm of the Ogden, while day-to-day building operations and curatorial duties will be managed by current Chief Curator, David Houston. Overlapping issues will be solved jointly.

The hiring of Curator of Film Madeleine Molyneux was made possible when grant money was provided to the Ogden specifically for film programming outside of regular museum exhibits. As of February, all film programming has been sold out, demonstrating the marked popularity the Ogden’s supplementary offerings have already garnered. Much like Ogden After Hours, the successful Thursday night music series, Molyneux’s programming is expected to become a mainstay at the museum. The Ogden hopes to continue increasing after-hour events for New Orleans residents and tourists alike.

—Madison LaGrone

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IN MEMORIAM

Dale Hawkins 2

010 isn’t turning out to be a very good year for legendary Louisiana rock ’n’ rollers.

Just last month we reported on the passing of Bobby Charles. Sadly, this month we must pass on the news of Dale Hawkins’ death on February 13. Hawkins died at a hospice facility in his adopted hometown of Little Rock, Arkansas, after losing a prolonged battle with colon cancer.

He was 73. A semi-frequent visitor to New Orleans, Hawkins was a regular participant at the Ponderosa Stomp.

Ironically, Hawkins and Charles’ early careers had many similarities.

Both had identifiable hits during the early days of rock ’n’ roll, and they both recorded for the same Chicago record company, Chess.

They were also prolific songwriters.

In Hawkins’ case, his defining recording was “Suzie Q” in 1957, a recording about which author Colin Escott stated, “Never had a white person sound so crazed on a record before.” It also made the Rock and Roll Hall Fame’s list of 500 songs that changed rock and roll.

Born Delmar Hawkins August 22, 1936 in Gold Mine, Louisiana, he was the cousin of another rockabilly legend, Ronnie Hawkins. His family eventually moved to Bossier City which is located across the river from Shreveport. The proximity of the Louisiana Hayride made country and western music accessible, but Hawkins also had an uncanny ear for blues and R&B music.

“I got a job working at Stan’s Record Shop (mid-1950s) when it was still a little-bitty place,” recalled Hawkins in 1989. “I got to listen to all the new blues records because that’s all Stan sold. It got to the point where people would come in the shop and hum a few bars of a song and I knew what record they wanted.”

By night, Hawkins had a rockabilly band that found ample club work on the notorious Bossier-

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Photo: jacob blickenstaff

1936-2010

Shreveport highway strip. Hawkins recruited a talented 14-year-old guitarist, James Burton, who often had to sneak into clubs because he was under-aged. With the help of his boss Stan Lewis, Hawkins landed a deal with the Checker label.

“My first record was ‘See You Soon Baboon,’” Hawkins said. “At the time Bobby Charles had a record out, ‘Later Alligator.’ My song wasn’t in the same league as Bobby’s, but we hoped it might get some attention.

We recorded it at (Shreveport’s) KWKW studio and Stan sent a dub to Leonard Chess. He put it out and then came down to meet me.”

Hawkins second record, “Suzie Q,” was also recorded at KWKH and would change his life.

“I wrote that song around the guitar lick,” said Hawkins. “We were playing it in the clubs for a long time and the song gradually developed.

We added a cowbell and drums on the intro. After the solo, we went to the four rather than the two which

was unusual. James was really a country picker, but I made him listen to blues records. That’s how he got that bluesy sound on ‘Suzie Q.’” As the record soared in the charts, Hawkins hit the road working a series of one-nighters and appeared on American Bandstand. He continued to record for Checker until 1961, but couldn’t repeat the success of “Suzie Q” despite some good attempts.

In the early 1960s, he hosted a variety TV show in Philadelphia and hopped from label-to-label without much success. By the mid1960s, Hawkins and his pregnant wife moved back to Shreveport where he was reunited with his old boss Stan Lewis. Lewis had started up Jewel and Paula Records, and hired Hawkins as a producer and promotions man. While in Shreveport, Hawkins was responsible for signing John Fred as well as producing hits for the Uniques.

By 1968, Hawkins had moved to Dallas, where he produced Bruce

Channel and the Five Americans for Abnak Records (There is a riotous section in Don Nix’s book Road Stories and Recipes, concerning this period of Hawkins’ life.). Ironically, 1968 was also the year Credence Clearwater Revival had a hit with their cover of “Suzie Q.” The following year, he cut an album for Bell titled LA, Memphis and Tyler, Texas.

After battling an addiction to prescription drugs for decades, Hawkins settled in Little Rock to be near family and a rehab center. He overcame his addiction and became a councilor at that rehab center. He also opened his own studio in Little Rock in the mid-1990s initially to record other artists. In1999, he recorded the highly acclaimed Wildcat Tamer CD which appeared on Mystic Music.

During the last decade Hawkins continued to make festival dates here and abroad, even after being diagnosed with cancer.

He was buried in Little Rock.

—Jeff Hannusch www.OFFBEAT.com

FOBURG

Spelling Doesn’t Matter No matter how you write “Foburg,” the festival remains a big step forward for New Orleans indie scene.

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he New Orleans Indie Rock Collective, more commonly known as NOIR Collective, has been cultivating and supporting local indie rock for the past two years. They’ve created sampler CDs and organized mini-music fests, but most importantly, they’ve been knitting together the seemingly disparate indie scenes throughout the city—Tulane, Loyola, Marigny, Mid-City—and they’re about to unveil a beautiful patchwork of their efforts. It is Foburg, a 3-day indie music fest that will take place the weekend of March 12-14.

Mark Heck, co-founder of NOIR, says the idea to create Foburg came about organically. While they were putting together a smaller music fest in 2009 which only showcased local bands such as MyNameIsJohnMichael and Rotary Downs, NOIR started getting contacted by bands traveling to South by Southwest. “While we were in the midst of trying to plan out this little festival, we started getting emails like crazy from all these out-oftown bands saying hey, we’re coming to South By, can we get a show?”

Heck says. “At that point we couldn’t help anybody. So that’s when the idea hit us—next year, let’s try to plan a bigger festival for the spring right around South By where we bring in these other bands, but also do a showcase of not just local bands, but as many as we can possibly fit.”

From there, the idea snowballed into a reality. “We put another sampler out in the fall, did another mini-fest, and then a couple months ago we started hitting this thing really hard,” Heck says. “We decided to do it on Frenchmen Street because Frenchmen is one of the music meccas of New Orleans.” The festival will be contained on the first two blocks of Frenchmen. The venues will be the Apple Barrel, Dragon’s Den, Checkpoint Charlie’s, Maison, Blue Nile, d.b.a., and R Bar. “Our

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The Givers center is going to be the d.b.a. side of the area, so we’re going to make this whole party stretch out across three or four blocks,” Heck says. “In the future, we want to get money together for a permit to block off the street, but for now everything is going to be contained in the venues.

It’s going to have that traditional Frenchmen vibe, but with a lot of different music in its place.”

There are 100 bands in the lineup; three to five bands will be on each individual showcase with six to 10 showcases each night. “We’re hoping people come out and bounce around the streets. Go to a show, watch half a set, go across the street, see another band and watch half of their set,” Heck says. “The whole point of this is that we want people to see as much music as possible, not just that one band you’re familiar with.”

Rachel Puckett, co-founder of NOIR, says, “This is pretty much our way of doing SXSW as best we could. This has been a huge

By Abby Lunetta

learning experience. There is just so much involved with putting on a big festival like this. It’s unbelievable.”

Both Puckett and Heck expressed sincere disappointment at the process of deciding who made the lineup and who didn’t. Puckett says, “It’s been awesome to discover all these bands and become friends with many of them, but it’s also bittersweet. It’s hard to tell people they made [it on] a sampler CD, but not the lineup.”

Heck explained the selection process: “We pulled together over 150 submissions and let the programming partners pick the lineup.” Partners include Static TV, Humid Beings, WTUL and Antigravity among others.

“We tried to stay as neutral as we could, so some of the bands that we felt really strongly about or had close connections to are just going to be people attending the festival, not playing. It’s been the hardest thing for me to swallow so far.”

Personal issues aside, the bands that were selected make for one

stellar weekend of live music in the heart of NOLA. “I’m really proud of the lineups,” Puckett says. “That’s one thing about the festival that we did do right. Our programming partners chose very well. The quality of the music is impeccable.” There will be local favorites Silent Cinema, Giant Cloud, A Living Soundtrack, and Lafayette’s the Givers; in addition to this, touring national bands such as the Show is Rainbow, Hope for Agoldensummer, the Pharmacy, and the Bears of Blue River. The ratio of local to national bands will be 70-30, so the emphasis will be on showcasing the NOLA indie scene while incorporating a healthy serving of national sound.

For years, New Orleans has had a bad reputation as a rock 'n' roll city, and major indie touring bands stop in Baton Rouge instead of the Crescent City. With any luck, the NOIR Collective and the coalitionbuilding efforts of Foburg will help change that.

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PRESERVATION

The A List

ince Preservation Hall opened in 1961, it has been the great name in traditional jazz. The venue continues to let the music speak without amplification, and the Preservation Hall Jazz Band has been iconic, representing the city and music despite the inevitable lineup changes over the years. It's the band that everybody knows in concept, but not in detail.

"I’d been to Preservation Hall to see their performances there," Jason Isbell says. Isbell is just one of the guests on Preservation, the new album by the Preservation Hall Jazz Band, and his experience with the Hall and the band is more typical than not. He'd come to New Orleans and stopped in the hall as part of a trip. His awareness of it increased as he toured New Orleans with the Drive-By Truckers and his own 400 Unit. But, he admits, "I never knew much about the Preservation Hall.

Once I got caught up on the history, I got more interested in it."

Isbell, like guests including Paulo Nutini, Andrew Bird, Ani DiFranco, Tom Waits, Dr. John, Pete Seeger, Buddy Miller, Steve Earle and Amy LaVere came to Preservation Hall and cut a track live with the Preservation Hall Jazz Band. It wasn't Isbell's first time cutting a track live, but it wasn't common for him either. "You’ve got to have good musicians or it can take a really long time," he says.

For Del McCoury, this was a significant change. "He goes back and plugs in all of his vocal tracks," Hall director and tuba player Ben Jaffe says. "So for him to come into a room with seven musicians you’ve never met before and sing live over a jazz band, it’s intimidating. I was blown away with how he came in there and just did it."

Since Jaffe took over as artistic director for Preservation Hall in 1993, the hall and the band have been modernized. Preservation continues in that vein, matching

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what he would do. Pete Seeger is a wonderful man. You feel good just being in his company. He was a soft-spoken man."

My Morning Jacket's Jim James embraced the project. "He came into the hall the night before," Jaffe says. "I took him through the hall and it was his first time there.

We went upstairs above the hall and we were walking through one of the old rooms upstairs and he saw an old amp in the corner with a microphone and he asked me about it. I told him that was Sweet Emma (Barrett)’s amplifier.

She used to drag that around Pete Seeger on banjo with Ben Jaffe on sousaphone (top), New Orleans and that’s what she Richie Havens on guitar with Charlie Gabriel on clarinet (bottom). sang out of." The next day, James showed up in a suit and sang through her megaphone and amp.

"It was very surreal," James says via email, "because I had a dream the night before we did the session where a spirit was breathed into my mouth through a hole in the floor.

I carried the spirit for awhile, then when I put my lips to the bullhorn, I felt I was breathing that spirit back out into this world from the dream world and into Preservation Hall. I felt Sweet Emma's ghost howling through my heart."

Preservation has already produced a number of small victories. The band got to work with member Clint Maedgen's musical into traditional jazz music, which is the band with guest artists and a good intake. You’re incorporating hero, Tom Waits, and My Morning broadening the repertoire to introduce more people to the band. bluegrass into jazz music, which is a Jacket is taking the Preservation Hall Jazz Band on tour with it this spring. good thing."

Not surprisingly, not everybody Musically, the interaction between "I think it will give the audience a shares Jaffe's vision equally. deeper insight into where a lot of Preservation includes folk, blues and the guests and the hall band seems the music we enjoy comes from." surprisingly easy on the album. In Western Swing, and their distance Jason Isbell learned to play his song person, it added a dimension to from Preservation Hall's bread correctly—"there was one chord I the project. "I don’t think they had and butter concerned 78-year-old was playing as a major 7th and it’s any idea (who I was)," Isbell says. "I clarinetist Charlie Gabriel a little. a minor 7th"—but he also learned thought Walter (Payton) was asleep "We’re not doing the music the something from the band. "It’s such until we counted off and started way the old musicians did it," he a part of their life to create music playing. He’d come to life at the last says. "I think we might stray a little that it wasn’t anything extraordinary second." bit too far away from the source.

"Richie Havens was a very soulful for them, and I like that a lot. I think But this is a good project; it’s geared music should be like that sometimes individual," Gabriel says. "He just to the education of the kids. It’s without bells and whistles." sit right down, and started doing incorporating other folks’ music O

By Alex Rawls

www.OFFBEAT.com

PhotoS: Shannon Brinkman (top) and Erika goldring (Bottom)

S

For its new album, the Preservation Hall Jazz Band made some high-profile friends, but who learned from who?

BOUNCE

A Lucky Bounce L

ate last year, six people were arrested in New Orleans for tagging the graffiti message “Free Lil Wayne” in the French Quarter. It was an odd message of support given that Lil Wayne hasn’t lived in New Orleans since well before Katrina and had yet to start serving his sentence in New York City, where he was convicted of possessing an unlicensed gun.

Why the concern for Lil Wayne?

He doesn’t live in New Orleans and didn’t even root for the Saints in the NFC Championship game (he’s a Brett Favre fan). Probably because in New Orleans the ties that bind only tighten with age.

New Orleans hip-hop is a great signifier of those bonds. The plight of the city’s brass band and Mardi Gras Indian culture has been well documented, but the destruction of New Orleans’ poorest neighborhoods after the federal flood may have impacted the hiphop scene most of all.

“Like all other kinds of street music, a lot of the communities are gone and a lot of artists are not back yet,” says New Orleans journalist Alison Fensterstock, who has written extensively about local hip-hop, especially the subgenre of bounce. “The one thing it did for bounce was it had a kind of Johnny Appleseed effect, like in Houston they had bounce nights at clubs and people were coming out to them in large numbers.”

It took a while for the New Orleans hip-hop scene to get its legs back after the flood, as many of the biggest names in the mix left town or languished in prison, and DJs were devastated by material losses of record collections and hardware, hardships well documented in the excellent documentary Ya Heard Me. Ya Heard Me focused on bounce, a form of hip-hop

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Time” with DJ Mannie Fresh, who would go on to create the Cash Money beats, taking cues from what the Rebirth Brass Band was doing with its reinvention of brass band music as a hip-hop hybrid.

“Here we go with a brand new style,” raps Gregory D, who goes on to quote “Hey Pocky Way,” give shout-outs to various New Orleans locations, and tap the ubiquitous audience participation chant, “Wave your hands in the air like you just don’t care.” Gregory D went in a different direction after that, but bounce was on the map, even though it still existed more in the streets than the marketplace. The first all-bounce album, It’s Jimi by DJ Jimi, didn’t come out until 1992.

There is a widespread misconception that all New Orleans hip-hop is bounce, and though many of the best known New Orleans rappers started in bounce, they eventually dropped the Cheeky Blakk and her son, Lil Pimp form in order to appeal to a national audience.

Juvenile contributed extensively to the DJ Jimi material, Ogden Museum of Southern Art peculiar to the city, and one that but by the time he signed to Cash in New Orleans (Aubrey Edwards’ people feared would die after photos come from this show). She Money records and became part Katrina along with other street of one of that label’s signature calls attention to a music whose traditions. But bounce has made groups, the Hot Boys, along with a comeback, particularly in what’s practitioners are not well known Lil Wayne, B.G. and Young Turk, outside of New Orleans. come to be known as “sissy he was already moving away from Hip-hop has been undercovered bounce,” with its flamboyantly the simple chants, dance cues and gay and cross-dressing performers. by the chroniclers of New Orleans neighborhood shout-outs that popular music, perhaps because Fensterstock has organized a characterize bounce.

New Orleans didn’t really develop showcase of bounce artists for That connection to the a distinctive hip-hop scene until the this year’s SXSW and “Where neighborhoods, and to a past latter part of the 1980s and the They At,” a multimedia archive that is part of a cyclical timeline development of bounce. In 1987, of bounce at the Abrons Arts that is always renewing itself Gregory D recorded “Buck Jump Center in New York City and the

By John Swenson

www.OFFBEAT.com

Photo: Aubrey Edwards

Hip-hop genres flare up and become passé in the blink of an eye, but no style ever truly dies in New Orleans.

BOU NCE

Shrewd observers have been pointing out for years that New Orleans musicians have been doing something rap-like at least as far back as Louis Armstrong.

Who got that fire right ‘cross the tracks in the wild Desire…

SXSW is a particularly good place to showcase bounce because New Orleans hip-hop has had strong historical connections to Texas.

“New Orleans bounce influenced the Houston scene even before Katrina,” says Fensterstock. “It’s the New Orleans curse. It’s been happening in all the music that I’ve ever studied. New Orleans artists put out their music on these little local labels that don’t get good distribution and they have bad contracts and they don’t tour. It’s that way with hip-hop.

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A lot of New Orleans bounce has influenced other southern rap. The Ying Yang Twins had hits with the ‘Shake It Like a Salt Shaker’ chant and that’s DJ Jimi.

Rihanna has a new song where at the end they’re going ‘Where they at, where they at, where they at,’ which is DJ Jimi.”

The seven acts in the showcase represent a diverse cross section of the past, present and future of New Orleans bounce.

“Bounce King” DJ Jubilee has the most recognizable signature.

So recognizable, in fact, that Juvenile’s hit “Back That Azz Up” is a straight cop of Jubilee’s “Back That Ass Up.” The call-andresponse chants of “Get Ready, Ready” characterize Jubilee’s style. Each verse introduces a new element as Jubilee builds the tension, counting down dance calls as a chorus cues the crowd with answer lines:

Photo: Aubrey Edwards

and is often confused with the New Orleans nostalgia music played for tourists, explains why so much New Orleans music links back to common sources.

Shrewd observers have been pointing out for years that New Orleans musicians have been doing something rap-like at least as far back as Louis Armstrong.

Bounce emerged out of the same elements that inspire all New Orleans street music--Mardi Gras Indian chants and second line marching rhythms.

K.C. Redd’s “Hot Girlz on Fire” quotes “Iko Iko,” making a direct connection to the classic New Orleans R&B that shares so many characteristics with bounce— nonsense lyrics, nursery rhymes, local dialect, explicit sex themes, catalogs of dances and a goofy sense of humor. Ricky B used a sousaphone on the rhythm track for his early bounce release “Y’all Holla,” which includes brass band chants along with neighborhood tags like this tribute to the 9th Ward’s Desire project:

Where ya headed?

Uptown I’m from Uptown We got a touchdown...

What’s the name of your school...

Do the Wiggy Do the Belly Hop Do the Pork Chop...

Partners-N-Crime, the duo of Kango Slim and Mista Meana, cut one of the genre’s more popular tracks, “Pump tha Party,” and adapt elements of reggae and soul into their style.

Their new release with 5th Ward Weebie, We Are Legends, trends toward a more national style. Ms Tee, a female rapper who used to sing the hooks on the Cash Money records mixes her bounce with a more straightforward contemporary R&B style. Magnolia Shorty offers

Partners N Crime a good example of how bounce combines the eccentric New Orleans elements of sexuality, comedy and hard edged dance rhythms on the thumping “Monkey On the Dick.”

The super-theatrical Vockah Redu says he’s straight but crossdresses as a performance strategy, and he has been representing the new style of bounce, a more electronic sound with much faster beats than the traditional Showboys’ “Triggerman” samples that have always given it a hyperactive feel. The other two

bounce artists in the showcase, Katey Red and Big Freedia, are the iconic figures of the hottest aspect of this music, sissy bounce.

Both came out of Walter L. Cohen High School, where they participated in the school parade band, which also included Vockah Redu, who was already marching in drag as part of the baton twirling team.

Katey Red was a pioneer of New Orleans gay bounce, dating back to her first release, Melpomene Block Party in 1999.

Hip-hop, and southern rap in www.OFFBEAT.com

BOU NCE

particular, is an unapologetically homophobic culture, so it took real guts for Katey Red to flash her boygal style before the turn of the century. But New Orleans has a history of gay and crossdressing performers going at least as far back as the Dew Drop Inn, where Patsy Vidalia and Bobby Marchan put on their legendary drag performances.

And Katey Red was true to the spirit of bounce as a music for and about the audience rather than the performer. The sheer joy of her call-and-response with the female chorus in “Melpomene Block Party,” where Katey shouts the first half of a Muses street name and the answering chorus finishes it, is pure electricity.

Katey Red inspired other MCs to come out, creating a small but thriving bounce subculture in the early part of the ‘00s. When the city’s population was scattered after the flood, it was gay bounce artists like Big Freedia and Sissy Nobby who kept the faith, playing private parties and school functions along with gay clubs and strip joints. Big Freedia worked hard, holding down a day job as an event production designer and playing three club gigs a night.

Two years ago Fensterstock wrote about the phenomenon and inadvertently coined the term “sissy bounce.” A prairie fire of acceptance by young clubgoers suddenly turned sissy bounce into the face of New Orleans hip-hop, so much so that a lot of people are under the impression that the entire New Orleans bounce scene is gay.

“This sissy bounce thing is one of the great accidents of music history,” says Fensterstock. “I never heard the term before I wrote that piece. It’s not like it’s the best or most original or most significant hip-hop coming out of New Orleans. There are cases for

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Big Freedia

other artists that aren’t into gay orientations, but for whatever reason there’s been this perfect storm of sissiness. People wanted to call it something.”

It’s also significant that the sissy bounce vocalists appeal to hiphop fans at black clubs as well as alternative downriver crowds at the Hi-Ho Lounge, rock clubs like One Eyed Jacks and dance clubs for young white suburbanites like the Hookah, where Rusty Lazer DJs regular bounce nights.

On Valentine’s Day, the all-star bounce bash headlined by Katey Red and Big Freedia was non-stop excitement. Katey Red, an imposing figure in her black ‘do and tank top, paced the stage aggressively and never stopped blurting one line call-and-response prompts, moving the nearly all-white crowd to shout back the responses like the peers she was making them. Whenever a

performance can bring the audience to such a peak of physical and emotional involvement, you have sheer pop culture magic at work, a spirit movement that rivals any religious gathering.

Hip-hop is notorious for being a music of the moment, and today’s flash is tomorrow’s old school. In most hip-hop communities, bounce would have run its course long ago, but not in New Orleans. In New Orleans, music isn’t just fashion or entertainment; it’s a way of life, and when the general populace accepts sounds or styles as part of that life they never give them up.

That’s why Lil Wayne, even after he left town and was no longer the street presence he once was, remained a powerful symbolic force in the culture. If he had been from New York or L.A. and moved to Miami to do his thing, he would

have been shunned as a traitor. In the mythology of New Orleans hiphop it’s far better for a Magnolia Projects soulja (Lil Wayne was from Hollygrove but became part of the Magnolia-based Cash Money gang) to move to Miami than to record for a rival neighborhood gang like the Calliope-based No Limit crew.

It’s a measure of how deep that mythology is entrenched that both of those projects no longer exist, yet the allegiance perseveres like some ghetto Camelot.

So you have to think of a track like Lil Wayne’s “Drop It While It’s Hot” or Jubilee/Juvenile’s “Back That Ass(zz) Up” as folk music to get why it’s still part of the dayto-day lexicon of New Orleans music. We’ll be hearing those chants decades from now, just as we continue to hear “Tipitina” or “Carnival Time” half a century (and more) after they were made. O www.OFFBEAT.com

Photo: Aubrey Edwards

“There are cases for other artists that aren’t into gay orientations, but for whatever reason there’s been this perfect storm of sissiness.”

ALT. VENUES

Music Without Bars PhotoS: TOM MACOM

Young entrepreneurs are finding ways to set music free; getting it out of the clubs is the first step.

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t was the most safe I ever felt in a pitch-black abandoned warehouse out by the train tracks. All I could see were silhouettes out the door against the foggy outline of the Crescent City Connection. All I could hear were the murmurs of the crowd and the occasional train horn.

Suddenly, the puttering of the diesel generator resolved into the steady purr of flowing electricity.

The lights flickered on again, accompanied by the cheers of the crowd. The touring hardcore band picked up their instruments and tore into another song as the crowd converged on them at the front of warehouse again, shouting and slam dancing.

It’s not your ordinary show; it’s not even the most inventive live show you’ve seen at the most hip venue in town. Beyond the traditional bars and clubs, there are a slew of young entrepreneurs honing their visions for the live show. Through the use of guerilla organizing and marketing reminiscent of the early UK rave scene, these entrepreneurs are making their mark on New Orleans by bringing shows to public parks and other unused spaces in order to “get music out of its hole in the Bywater,” as one organizer put it.

Towering court trumpeters, flittering golden angels, and one particularly creepy goblin kept watch over Giant Octopus’ first event in Mid City last December.

The arts and music show, aptly titled “Beer—Music—Art,” took over Studio 3 on Toulouse Street, a crafts warehouse filled to the brim with carnival sculpture.

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The show was the first in an array of planned happenings from the young creative team of locals Ingrid Anderson, 23, and Devin Morgan, 21. Under

By Tom Macom

the production name “Giant Octopus,” the duo has been planning one-night arts events in anticipation of opening their own venue and arts space.

Morgan once managed his own venue in St. Bernard Parish in 2005 called the Goondocks, but it was washed away along with the rest of the parish during Katrina. In recent www.OFFBEAT.com

years, he has worked at Tipitina’s and the House of Blues in sound and promotion and as a stagehand.

Anderson studied art at Loyola University, has a degree in advertising and says that the small crowd in New Orleans lends itself to easy networking. She also interned at Berning Marketing, a Metairie marketing firm, and has been DJing regularly at Café Prytania.

When I met with the two over pizza Uptown, Morgan rolled in on his motorcycle, his sleeves high enough on his arms to reveal his “Where the Wild Things Are” tattoo, while Anderson biked to the meeting, her dreadlocks perhaps a little heavy to exactly blow in the wind.

Giant Octopus’ “Beer— Music—Art” was a success, drawing a crowd of 75 paying guests on a glacial December night. Patrons were greeted by Studio 3 proprietor Jonathan Bertuccelli’s larger-than-life statuary, several art exhibits, allyou-can-drink beer, and a full night of music and DJs.

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Photo: TOM MACOM

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Local visual artists displayed painting, photography, installation art, and mechanical art in the gallery area near the entrance, and bands played in front of a giant carnival mask backed up by an elaborate lighting setup. Featured musicians included Maddie Ruthless, Toast Beards, Booty Trove Brass Band, and Caddywhompus.

With the exception of Luling-based Toast Beards, most musicians came out of the music scene at Loyola University, of which Anderson is an alumna and Morgan is a student.

“I think anyone who showed up was really impressed with the space. They weren’t expecting it,” Morgan says.

While the team ended up losing $27 on the show, they consider it a strong start, and have started working on their next events. On the table right now are a March show at the Candle Factory in the Bywater and a tattoo-themed show in May at One Eyed Jacks.

“I think it’s better to have shows in studios and places that

don’t already have a name for themselves,” Anderson says.

“Otherwise people will think it’s just another show,” Morgan agreed.

The team’s real goal is to open up their own space, a so-called “artists community center.” Morgan likened the concept to the Zeitgeist MultiDisciplinary Arts Center and the Big Top, except even more inviting and open to the community. Anderson drew parallels between their venue and the NOLA Art House, an embattled arts and events space and residence on Esplanade Avenue with a backyard known for its elaborate tree house. In recent months, the Tree House has become mythic among the university and young professional crowd across South Louisiana.

“It’s the most creativity and art I’ve seen anywhere. You’re not just going to an art gallery or a music show; it’s a place like you’ve never seen before. I think what they’re doing is great,” Anderson says.

The team acknowledges the difficulties in setting up such a

business. The biggest issue right now is funding. The two are looking into loans and Anderson is seeking grant money for women entrepreneurs.

“We’re not businesspeople,” Morgan says. “We’re not trying to get rich, we’re just trying to support the artist community and make a living. We have lots of good ideas, lots of love, and I think people will respond well,” Morgan says.

“I see bar shows as going to a store, while going to a generator show is like going with your friends to a picnic,” said Jackson Blalock, 24, local musician and show organizer.

The so-called “generator show” takes its name from the diesel generator that is used to power the event. Once liberated from the power grid, an entire show complete with PA system, amps, lighting, and more, can travel to the most exotic locales, offering audiences a unique experience for each show.

Although generator shows have been occurring in music scenes for years, Blalock has found that the www.OFFBEAT.com

natural and industrial topography of New Orleans offers some stunning atmospheres.

I spoke with Blalock, with his mop of ungovernable red hair, at the Mid-City squat that he and his roommates are fixing up. He runs an independent cassette label and distribution service called Wealth and Physical Stamina, but he got his start in organizing shows as a result of his career in New Orleans bands over the past two years. His bands favored playing house shows because of both the freedom and intimacy they offer, but such gigs are rare.

“There aren’t house show spaces, but there are a lot of other spaces around town that aren’t being used. Abandoned industrial sites and public spaces,” Blalock says. “Generator shows are a way of activating those dead spaces.”

Venues for such concerts have included old warehouses, the roofs of flooded-out buildings, and tucked-away corners of public parks. Last summer, a number of

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local and touring bands played in what appeared to be an old Spanish mission town out West. In reality, it was an abandoned movie set in the middle of City Park.

The environment, with glowing candles, strings of Christmas lights, and a working bell tower provided a slightly surreal and definitely compelling backdrop for the show.

“Everybody who has been involved has been aware of their surroundings and likes to know the different aspects of the city,” Blalock says. “It’s like, ‘Hmm, what can we do with this spot?’”

The nontraditional venues for the shows bring challenges. There is a balance to maintain between drawing a crowd and respecting the show space and its neighbors.

Cops have shown up to shows, but once things have been explained to them, there usually is no further problem. None of the shows with which Blalock has been involved have drawn any further scrutiny from officials.

“You gotta have respect,” Blalock says.

Generator shows in New Orleans draw crowds in the dozens, sometimes upwards of 75 to 100 people for larger ones.

Blalock sees why some people may have trepidation over coming out to a show, but he does not necessarily see it as a problem.

“A plus is that generator shows are outside of some people’s comfort zones, and it actually pushes people,” Blalock says.

It’s not only the location, but also the means of advertising that stop some from attending. Shows are often advertised not with a physical location but with a phone number to call for the location.

This is for practical reasons as much as for secrecy. It gives organizers the time they need to scope out several spots, and the opportunity to change the location suddenly if anything falls through.

“An element of a generator show is its secrecy,” Blalock says.

Because extra effort and trust are required on the part of the audience, the crowd that does show up is usually very enthusiastic. For shows in which Blalock is personally involved, locations are rarely repeated, so it’s always a new experience. It’s also music for the sake of the music and the community.

“It’s music outside of the capitalist context,” Blalock says.

“One of our main goals is to not have anything to do with money.

It’s a good time anyone can come to whether they have the $5 cover or not.”

Dan Helfers has been booking shows for seven years, and he’s only 23. Recently, he seems to have struck gold with his Electronic Takeover shows, just one branch of an intricate tree of music business projects in which he is involved.

Helfers, who has a degree in business administration with an www.OFFBEAT.com

ALT. VENUES emphasis on music business from Loyola University, has his own recipe for success: strong, targeted marketing and managing, combined with killer shows. It’s working.

“I just graduated, and I chose not to apply for jobs,” Helfers says.

Instead, he has been busy forming his media marketing company, managing burgeoning local acts, covering and promoting the scene with his “DeftJams” blog, and producing parties. His mission is to nourish the electronic music scene in New Orleans.

His biggest success to date is his electro party Electronic Takeover, which he produces with Max Braun and Chris Rengel, who DJ the party under the name Swiss Chriss. The show, which is presented at the The Maison on Frenchmen Street, garnered 240 guests for its last iteration in 2009, and 350 guests for its first show of 2010.

The show takes over the loft at the Maison. Helfers likens the environment to a house show, as the loft is essentially a threebedroom apartment. One room features DJs and an elaborate lighting show, while a “chill room” offers couches and a giant projector screen. A recent show featured scenes from BBC/ Discovery Channel’s Planet Earth while DJs were spinning in the adjacent room. There is always a new aspect to every show.

Helfers is extremely aware of the balance required between his show and the way he markets it.

“We literally sit together all day and brainstorm on how to make this the best electro party New Orleans has ever seen—or will ever see,” Helfers says. “We have to make sure each event is going to be better than the last event, fresher than the last event. And there’s no exceptions.”

To this end, Helfers uses his Future Vice marketing business, which he runs with Braun, to promote shows and manage talent. His DeftJams blog covers the aftermath with photography, track samples, and show updates. Helfers and Braun also personally manage Swiss Chriss and DS@STR, who perform at Electronic Takeover. It’s a finely tuned, vertically integrated music business plan. www.OFFBEAT.com

Helfers looks to successful local venue proprietors for inspiration and calls Robert LeBlanc “one of the best people in NOLA.” LeBlanc is founder and CEO of Lifestyle Revolution Group, which owns Republic. Helfers credits his nightlife entrepreneurialism and risk-taking as “something we really need” in New Orleans.

Helfers is enjoying the success of his projects and hopes to develop DeftJams into a

nationally known music blog.

It all hinges on the synergy between good talent and good business.

“I just want it to be fresh. If we can build something more sustainable, and the kids trust us, and we know we’re putting on good shows, that’s where I want to be,” Helfers says.

Community is at the core of every success story in New

Orleans. Our young music entrepreneurs and aficionados have seen this and tailored business plans to also be community plans. When the lights go out—and they will sometimes—the show may be delayed, but that’s not the only reason we’re here. It’s about the event. It’s about the community.

And we’ll have a lot more to talk about tomorrow than just the music.

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What’s in a The marquee reads MyNameIsJohnMichael, but John Michael Rouchell

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t all started with a bet.

John Michael Rouchell was having lunch with a friend who, midconversation, told him that he was the laziest songwriter he’d ever met and bet Rouchell that he could not write a song a day for an entire year. “You know, you’re probably right,” Rouchell said, “but I could probably write a song a week.” And that’s exactly what he set out to do.

On January 1, 2008, Rouchell embarked on a yearlong journey of writing, recording and releasing 52 songs in 52 weeks under the moniker MyNameIsJohnMichael (MNIJM).

Although he did not know it at the time, this ambitious project would evolve into the explosive indie-pop band of the same name.

“What I started to formulate in my own head was that in the music industry today, anyone can make a record. If you’ve got a laptop and instruments, you can make a record. It’s that easy.” With this in mind, Rouchell knew that his challenge would be to create something that would make him stand out from the crowd.

He began thinking about how to give himself a competitive advantage—“not necessarily competitive advantage like, ‘Oh, I’m better than you in this way,’ but something different,” Rouchell explains. “A way of making people stop and think ‘Oh, that’s interesting. That’s not just another kid making another record.’”

Rouchell looked for inspiration wherever he could find it, and began following the careers of Lil Wayne and various hip-hop artists. He was struck by the sheer quantity of songs that these artists were writing and releasing. As the world watched Lil Wayne rise to prominence, Rouchell experienced an ‘ah-ha’ moment. “I was like, wow, this dude

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is from New Orleans, and granted he’s been doing it for a long time, but obviously the thing that made him cut through the masses is the fact that he just works harder than everybody else and puts out more content.”

Drawing inspiration from Lil Wayne’s prolific approach to creating music, Rouchell launched the fan-driven website MyNameIsJohnMichael.com.

“Hi everyone. My name is John Michael.”

These are Rouchell’s first words on his video blog that documented his experience as he created 52 songs in 52 weeks.

“I’m here to do this for you,” he continued.

From the beginning, Rouchell entrusted the success—or potential failure—of the 52 to his fans, allowing them to vote and choose the 12 songs that would become his record at the end of the year.

“Ultimately, there are two sides to the coin,” Rouchell says.

“You’re an artist, but you’re an entertainer, too. I never want people to not be pleased when they leave a show or listen to the record. I want to satisfy people.”

When Rouchell began working on the 52 in 52, he had just returned home to New Orleans after a twoyear stint on the road and was searching for something new. “In a lot of ways, I thought that bands were

inherently a negative situation,” he said. “I thought, ‘I’m never going to be in a band again, I just can’t do it.’ The idealism of the 52 originally was ‘I’m just gonna have a bunch of friends come play on this shit and whatever happens, happens. I don’t care.’”

Rouchell’s ideas of collaboration began to change when drummer Eric

www.OFFBEAT.com

COVER STORY

name?

By Rosalie Cohn

Photo: elsa hahne

insists they’re a band.

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Rogers—formerly of Antenna Inn—began sitting in with Rouchell in week three. “With Eric it was like, yeah, come play on this track. And eventually he was playing on a lot of tracks, and we were hanging out and jamming and stuff, having a good time.”

As the sound of the 52 expanded, so did the band. “I thought that my voice and a trumpet would be really interesting together,” Rouchell mused, so he asked multiinstrumentalist Cory Schultz, Rogers’ former bandmate, to come play on the standout track “Every Night of the Year.”

One night at the Saturn Bar in the Bywater, Rouchell and Rogers approached glasses-clad bassist Joe Bourgeois and Big Rock Candy Mountain frontman Michael Girardot and asked, “Do you guys want to start a band out of this?” Thus, the original five-piece MyNameIsJohnMichael was born.

Shortly thereafter, Schultz was bartending when a champagne flute ripped into his thumb. The guys quickly recruited multiinstrumentalist Leo DeJesus, lead singer in City Life at the time, to fill in while Schultz recuperated. “He was a great friend of ours, and we admired his work,” Rouchell explains.

“When Corey came back he was like, ‘Look, we should make this a six-piece band and just do something new and different and reframe it. That’s how it became six of us, and

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Photo: elsa hahne

CO VER STO RY

it’s been like that ever since,” says Rouchell, adding that the band’s newest member, Richard Dubourg (Rhodes, organ, guitar and harmonies) cemented MNIJM’s current composition when he replaced Giradot.

Despite his initial hesitation with forming a band, Rouchell embraced the transformation from experimental project to band. “We ended up putting together what I think is a really great band—of great friends too. I came to learn that the band thing isn’t inherently bad due to it being a band, but it can be bad due to the people. Get-the-right-people-on-thebus-and-the-wrong-people-off sort of thing.”

MNIJM’s first record, The People that Come and Go was released late March 2009. Rogers says that working on the record “was a completely different experience than any other record that I had ever done because we had a year of pre-production on all of the songs that were on it.” The songs on The People that Come and Go are influenced by each of the band members, continues Rogers, “when it came time to really make them the best they could be on the record, it was a very collaborative effort and it was so much fun to work with all these guys.”

In April 2008, less than four months after the birth of MNIJM, the band played their first show at Carrollton Station, opening for Theresa Andersson, but it wasn’t camaraderie alone that created growth for the band. MNIJM is built

on the concept of hard work. “Ever since we all got together, that’s kinda been the thing,” says Rouchell. “I set the standard of being a complete workaholic psychopath. These guys knew what they were getting into when they started playing with me. The thing is, they loved it. And they all still do. We all still do, we love to play music. We love to work on our craft and work on our art.”

The band also gained momentum from their online fan base, maintaining a blog that they update weekly—if not more often— addressing their fans as “lovers” and keeping them informed. Rouchell says that keeping in constant contact with fans is part of what you’re supposed to do as an artist. “I feel like we owe it to them,” he stresses.

In their former projects, each of the band members had filled a leadership void. “We were all leaders in the other projects out of necessity,” DeJesus says. “I don’t think any of us were leaders because of ego or the need to be in charge, or because we were control freaks or anything.

When we come together, we mix pretty well because none of us feel that we always have to be in control.” Rouchell says that their former positions had “an emphasis on pulling, not guiding.” The collaborative process that MNIJM employs today is much more effective.

“By the time we all got together to play, we all looked at each other, and were like, oh www.OFFBEAT.com

wow, if we all put our heads together, we could do something really great. We all have that work ethic that we want to work harder than everybody else,” says Rouchell.

That extends to their live performances, where Rouchell’s tightly constructed pop songs open up and take on a Springsteen-like grandeur. During the set, the band is in constant motion, and at the Best of the Beat this year, they left the stage to perform “The One” in the audience. ”A number of us took musical theater classes or actually performed theater or musical theater in high school and lower grades,” Rogers says. “I think when we got together and decided to perform this stuff live, it wasn’t just going up onstage and playing these songs; it was performing these songs. A lot of bands, not just locally, but worldwide, struggle with having an amazing record but a poor live show, and that was half the battle. Even if you have a great record, you have to sell that onstage. When people see you have an amazing show that has all this blocking and all this dramatic effect that you would see in a musical or a play, that just makes people want to hear you outside of the venue. I think that when we decided to put this band together, creating an amazing live show was first priority. Even before we recorded the record, we had the live show put together.”

Rogers likens MNIJM’s elements of performance to a theatrical production.

“When we tour, we play a pretty similar set every night because it’s like doing a play on tour as a Broadway cast. It’s the same blocking. It’s always really well thought out, but still very spontaneous at the same time.”

Rouchell agrees. “Though we have the mile markers along the way, everybody’s very free physically and showmanship-wise. We trust everybody’s ability to get from point A to point B, ultimately. We’ll change the set a bit

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Photo: KYLE PETROZZA

CO VER STO RY

here and there, but there are certain things that really work well together, things of that nature, and that was something that we really focused on.”

DeJesus continues. “I know when I’m on stage, it’s always sell it—no matter the circumstances. Never let the energy dip or die, always go as hard as you can whether you’re playing to one person or a thousand, it doesn’t matter. We’ve actually gotten compliments from other bands on how it doesn’t matter if we’re in a full room or if we pull up to a town we’ve never been to and the room is relatively empty, we still get compliments on how, even playing to an empty room, we still play 110 percent as if the room were full.”

Rouchell credits their early success and growth as a band to the energy of their live performances. “We try to make things completely blown out, and make it really entertaining. Showmanship and being over the top is fun for us. It is a bit self-indulgent but it’s a good time, so fuck it.” He says that the energy emitted on stage caused people to take notice and created a spur of events. For example, a show at Bonnaroo in the summer of 2009 caught the attention of a writer at Spin Magazine, who later listed MNIJM as one of the top 25 bands to watch at the CMJ Music Marathon in New York City last year.

The band is currently focused on writing songs for the second album. Unlike The People That Come and Go, the album won’t be extensively demoed and the audience won’t

have a say in the tracks. This time, though, the band will. “We’re writing as a band,” Rogers says. “Now it’s a very collaborative effort when it comes to writing.”

Rouchell says that album number two is still in the formative stages. “We’re still figuring out how we want it to sound, the emotions that we want to evoke. What we are really trying to say in the theme of it.” He says that the song “After Ever After” summarizes the idea of the album – the idea of what now.

“After so many of these things happen, and you achieve things, what happens when you’ve completed the plan? You’ve gotten to a point where the timeline’s over. Now what?”

For MNIJM, the answer is “more.”

“A lot of goals for this year involve playing more festivals, getting us in front of large groups of people,” Eric Rogers says.

“We all want to make it to the point where this is our living and we don’t have to work our day jobs,” Leo DeJesus says. “So that’s just playing more, playing in different places and expanding in any way that we can.”

Rouchell pauses to light a cigarette, “Yeah, prolific is our middle name. It’s been the cusp of what we do. Whether it’s the 52 songs in 52 weeks, whether it’s keeping the blog up to date everyday, whether it’s touring as much as we possibly can tour, whether it’s putting on the best show we possibly can every night and doing things above and beyond the call of duty with the show. That’s our core value system. If we’re going to do something, we’re going to try to do it as well as we possibly can.”

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In the Kitchen with Andrew “T his is definitely one of my favorite dishes. I guess I could trace the whole thing back to when my dad and I used to make fajitas. My dad used some store-bought marinade, really close to a salad dressing, and when you’d cook it, it’d reduce to almost a paste and it’d latch on to the beef or the chicken strips. But you’d have to cook it so long the meat got tough, so I switched to the way I’m cooking it. Cutting the breast into tenderloins, throwing that on the grill, getting a nice charred smoke-thing going on, and then cutting it so you have a tender inside. My dad always did the grated cheese, which I do as well. That’s not very authentic to the Mexican thing, but more of the fajita thing. You won’t see fajitas on the menu at the authentic Mexican spots.

You’ll see burritos and tacos. My dad would do sour cream, diced fresh tomatoes, and that was about it, some store-bought salsa as well.

The other reason I like making fajitas is that it incorporates a New Orleans characteristic, in my mind, where you can pile on hot things until you can’t take it anymore.

Jalapeños, and you can add Creole hot sauce to the salsa or the guacamole. I almost like to hurt myself with hot sauce sometimes.

My parents went to Peru and brought back this pepper tree. It was like a pepper chandelier, and for a month or two I was picking peppers off and trying them on different things. I should have studied up a bit because I found out later that I was messing with the habañero, and just scorching myself.

If I go all out and make the salsa and the guacamole, it’s quite a bit of slicing and dicing, which I find therapeutic. For my dad, this was one of those easy meals that were quick and tasty. I don’t think his interest in the dish is quite the same as mine. It was more of a utility and a taste thing.

I’ve tried to get really good at, to master this dish because I’ve had it

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that for the longest time. Writing a song, ‘I have all this I want to say,’ but you can shorten the spectrum into this language that still contains the spectrum, but so subtly and eloquently that you no longer have a hundred ingredient salsa, you just have pico, and it’s freaking awesome.

Andrew’s Fajitas 2 pounds chicken breast, cut into thick strips 1 package soft flour tortillas 8 oz grated cheese (Monterey Jack or similar) Marinade: 2 teaspoons salt 2 teaspoons black pepper 1 teaspoon garlic powder 1 teaspoon onion powder 1 teaspoon thyme 1 teaspoon cumin 4 tablespoons olive oil 1 tablespoons water juice of 1 large lime (or 2 small limes)

for a long time, in several different forms, and it keeps popping up in different places in my life journey.

My dad gave me this grill. He had cooked on it for the longest time and it was in his shop and the grill grate broke. I knew how much he liked it, so I called the company up and asked if they could send a replacement. It wasn’t even twenty bucks. After that, my dad got a bigger grill and sent me on my way with this one. When I was working on my last record [Songs I Wrote Before I Knew You], I ate more bar mixed nuts than fajitas, especially when I was writing the sad bastard songs. Lyrically, that’s how it happens for me. It’s about the story, the words. Poetry is amazing to me.

The melody comes out of the lyrics, out of the feeling.

By Elsa Hahne

Fajitas help with a state of mind that I find healing and therapeutic.

My music is subtle and mellow, but I think there’s something very real about the human condition that I’m trying to get across. Just by speaking simply about what I see or what I do, or maybe making up a story about familiar images. But I think subtlety along with real freshness have to do with both fajitas and what I like about songwriting. It’s a little lame, but there is a comparison to be made. Ladies don’t mind it either when you can cook. This is one of those second or third date things. Cook them fajitas and they’ll love you forever.

My passion for cooking has taught me the value of subtlety.

Subtlety is key, and I didn’t realize

Mix marinade together. Soak raw meat in marinade for at least two hours. Grill meat to your liking, then cut into cubes and serve on a flour tortilla with grated cheese, guacamole and pico de gallo.

Guacamole: 1 avocado, mashed with a fork ¼ white onion, diced 1 small tomato, diced 10 pickled jalapeño slices, diced 2 teaspoons vinegar from the pickled jalapeño jar 1 handful cilantro leaves, chopped juice of ½ lime salt and pepper to taste Pico de gallo: 1 large tomato, diced ½ white onion, diced 1 small fresh jalapeño, diced 1 handful cilantro leaves, chopped juice of ½ lime ½ teaspoon garlic powder salt and pepper to taste O www.OFFBEAT.com

Photo: ELSA HAHNE

Singer songwriter Andrew Duhon has a heart of habañero.

EATS

AMERICAN Hard Rock Café: 418 N. Peters St., 529-5617.

O’Henry’s Food & Spirits: 634 S. Carrollton Ave., 866-9741; 8859 Veterans Blvd., 461-9840; 710 Terry Pkwy., 433-4111.

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

St. Charles Tavern: 1433 St. Charles Ave., 523-9823.

BARBECUE The Joint: 801 Poland Ave., 949-3232.

Squeal Bar-B-Q: 8400 Oak St., 302-7370.

BREAKFAST Daisy Dukes: 121 Chartres St., 561-5171.

Lil’ Dizzy’s Café: 1500 Esplanade Ave., 569-8997.

Mena’s Place: 200 Chartres St., 525-0217.

New Orleans Cake Cafe & Bakery: 2440 Chartres St., 943-0010.

COFFEE HOUSE Café du Monde: 800 Decatur St., 525-4544.

Café Rose Nicaud: 634 Frenchmen St., 949-2292.

Dee’s Coffee, Cake and Copy: 401 Baronne St., 596-2012.

CREOLE/CAJUN Atchafalaya Restaurant: 901 Louisiana Ave., 891-9626.

Clancy’s: 6100 Annunciation, 895-1111.

Cochon: 930 Tchoupitoulas St., 588-2123.

Dick & Jenny’s: 4501 Tchoupitoulas, 894-9880.

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.

Olivier’s Creole Restaurant: 204 Decatur St., 525-7734.

DELI Mardi Gras Zone: 2706 Royal St., 947-8787.

Stein’s Market and Deli: 2207 Magazine St., 527-0771.

Verti Marte: 1201 Royal St., 525-4767.

FINE DINING Antoine’s: 701 St. Louis St., 581-4422.

Bombay Club: 830 Conti St., 586-0972.

Broussard’s: 819 Conti St., 581-3866.

Commander’s Palace: 1403 Washington Ave., 899-8221.

Emeril’s: 800 Tchoupitoulas, 528-9393.

Iris Restaurant: 321 N Peters St., 299-3944.

Lüke: 333 St. Charles Ave., 378-2840.

Maison Dupuy Hotel: 1001 Toulouse St., 586-8000.

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Mat and Naddie’s: 937 Leonidas St., 861-9600.

Mr. B’s Bistro: 201 Royal St. 523-2078.

Restaurant Cuvée: 322 Magazine St., 587-9001.

7 on Fulton: 701 Convention Center Blvd., 525-7555.

Stella!: 1032 Chartres St., 587-0091.

Tujague’s: 823 Decatur St., 525-8676.

FRENCH Café Degas: 3127 Esplanade Ave., 945-5635.

Delachaise: 3442 St. Charles Ave., 895-0858.

Flaming Torch Restaurant: 737 Octavia St., 895-0900.

La Crepe Nanou: 1410 Robert St., 899-2670.

Crepes à la Cart: 1039 Broadway St., 866-2362.

Restaurant August: 301 Tchoupitoulas St., 299-9777 ICE CREAM/GELATO Creole Creamery: 4924 Prytania St., 894-8680.

La Divina Gelateria: 3005 Magazine St., 342-2634; 621 St. Peter St., 302-2692.

Sucré: 3025 Magazine St., 520-8311.

INDIAN Nirvana: 4308 Magazine St., 894-9797.

ITALIAN Domenica: 123 Baronne St., 648-1200.

Eleven 79: 1179 Annunciation St., 299-1179.

Irene’s Cuisine: 539 St. Philip St., 529-8811.

Maximo’s: 1117 Decatur St., 586-8883.

Tommy’s: 746 Tchoupitoulas St., 581-1103.

JAPANESE/KOREAN/SUSHI Gimchi: 3322 Turnbull Dr., Metairie 454-6426.

Kyoto: 4920 Prytania St., 891-3644.

Mikimoto: 3301 S. Carrollton Ave., 488-1881.

Miyako Japanese Seafood & Steak House: 1403 St. Charles Ave., 410-9997.

Wasabi: 900 Frenchmen St., 943-9433.

MEDITERRANEAN Byblos: 3218 Magazine St., 894-1233.

Fellini’s: 900 N Carrollton Ave., 488-2155.

Jamila’s Café: 7808 Maple St., 866-4366.

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

MEXICAN/CARIBBEAN/SPANISH Juan’s Flying Burrito: 2018 Magazine St., 569-0000.

El Gato Negro: 81 French Market Place, 525-9846.

Nacho Mama’s: 3240 Magazine St., 899-0031.

RioMar: 800 S. Peters St., 525-3474.

Tomatillo’s: 437 Esplanade Ave., 945-9997.

MUSIC ON THE MENU Carrollton Station Bar and Grill: 140 Willow St., 865-9190.

Chickie Wah Wah: 2828 Canal St., 304-4714.

House of Blues: 225 Decatur St., 412-8068.

Le Bon Temps Roule: 4801 Magazine St., 895-8117.

NEIGHBORHOOD JOINTS Amy’s Vietnamese Café: French Market Flea Market, 352-9345.

Café Reconcile: 1631 Oretha Castle Haley Blvd., 568-1157.

Camellia Grill: 626 S. Carrollton Ave., 309-2676.

Crabby Jacks: 428 Jefferson Hwy., 833-2722.

Sammy’s Food Services: 3000 Elysian Fields Ave., 948-7361.

Slim Goodies: 3322 Magazine St., 891-3447.

Ye Olde College Inn: 3000 S. Carrollton Ave., 866-3683.

PIZZA Fresco Café & Pizzeria: 7625 Maple St., 862-6363.

French Quarter Pizzeria: 201 Decatur St., 948-3287.

Slice Pizzeria: 1513 St. Charles Ave., 525-7437.

Theo’s Neighborhood Pizza: 4218 Magazine St., 894-8554.

Turtle Bay: 1119 Decatur St., 586-0563.

PO-BOYS / SANDWICHES Mahony’s Po-Boy Shop: 3454 Magazine St., 899-3374

Parkway Bakery and Tavern: 538 Hagan Ave., 482-3047.

SEAFOOD Acme Oyster & Seafood House: 724 Iberville, 522-5973.

Bourbon House: 144 Bourbon St., 274-1831.

Casamento’s Restaurant: 4330 Magazine St. 895-9761.

Crazy Lobster Bar & Grill: 1 Poydras St. 569-3380.

Drago’s Restaurant: 2 Poydras St. (Hilton Hotel), 584-3911; 3232 N. Arnoult St., Metairie, 888-9254.

Felix’s Restaurant & Oyster Bar: 739 Iberville St. 522-4440.

SOUL Dunbar’s: 501 Pine St., 861-5451.

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

Willie Mae’s Scotch House: 2401 St. Ann St., 822-9503.

THAI Sukho Thai: 1913 Royal St., 948-9309.

WEE HOURS Clover Grill: 900 Bourbon St., 523-0904.

Mimi’s in the Marigny: 2601 Royal St., 872-9868.

Molly’s At The Market: 1107 Decatur St., 525-5169.

St. Charles Tavern: 1433 St. Charles Ave., 523-9823.

Chip Wilson hits the How did you first come across Elizabeth’s?

I live a few blocks down at the Musicians’ Village and I went out looking for restaurants nearby. I found the place when the original owner, Elizabeth, had first opened.

Photo: CAITLYN RIDENOUR

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

What are you ordering today?

The country breakfast comes with grits, poached eggs, smoked pork loin covered in gravy.

Elizabeth’s Restaurant 601 Gallier St. (504) 944-9272

OffBeat

Mid City Lanes Rock ‘N’ Bowl: 4133 S. Carrollton Ave., 482-3133.

Palm Court Jazz Café: 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.

Do you always order the same thing?

I usually try to get something different whenever I come; they have great dinner specials with a large choice of sides. I tend to go for the fish specials, because it’s always cooked perfectly.

Then, I usually choose some greens, like mustard greens or collard greens. (Puts Crystal hot sauce all over the meal.)

I see you haven’t finished your plate. Are you done already?

Oh yeah, they always give such large portions of food, I never finish the whole dish.—Caitlyn Ridenour www.OFFBEAT.com

DINING OUT Crescent Pie & Sausage Co. There is a saying about mice, men and their plans. We are not really sure what it means, but Bart Bell and Jeff Baron most certainly do.

The duo had originally planned on opening Crescent Pie & Sausage Co. in a former TV/ VCR repair shop on Banks Street, but that building collapsed during Hurricane Gustav.

So they decided to go next door and open Huevos, a now popular Mid-City breakfast spot, while constructing the new Crescent building themselves from the ground up.

The name of the restaurant is indicative of their respective passions. Baron spent many a night baking pizza at the Dough Bowl on Zimple, while Bell has charcuterie experience stretching from his southwest Louisiana heritage through most recently the kitchen at Cuvee.

Their talents mesh well with pizzas, especially the Mediterranean Pie, which combines Baron’s hand-tossed and crispy crust, Bell’s merguez sausage filled with lamb, and cooling goat cheese crema. The BLT features thick slices of

www.OFFBEAT.com

bacon and spinach pesto, while the Chicken Marsala has a sweet sauce and dollops of smooth, housemade ricotta.

Long before opening in November, Bell worked for months and months on the dough for Crescent’s most popular appetizer, the meat pies.

“Finally, I went with a simple ratio-based recipe, and the results are great.” Fillings for the pies are seasonal, but the best is undoubtedly a mixture of succulent duck confit, sautéed leeks and ricotta cheese.

Bratwurst and hot sausage are served in sandwich form alongside a pile of freshly fried dill chips. Pecan-smoked brisket is sliced thick and piled high on ciabatta slathered with roasted red pepper aioli. Side dishes include onion rings, roasted root vegetables, and “pan fried” mac ‘n’ cheese made with thin, flat noodles and melted muenster.

Photo: caitlyn ridenour

EATS

The dining environment is as eclectic as the menu. None of the silver and glassware match (we hear that Bell and Baron are avid attendees of garage sales) and the walls are covered with featured works from local artists.

There may be a few bottles of wine behind the bar, but there is always NOLA Blonde on tap. What else would you drink with pizza and sausage other than beer? 4400 Banks Street. 482-2426. Wed-Sat 11:30 a.m.-2:30 p.m., 6-10:30 p.m., Sun-Mon 6-9:30 p.m.

—Rene Louapre and Peter Thriffiley

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REVIEWS

Reviews

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

CDs reviewed are available now at In the French Quarter 210 Decatur Street 504-586-1094 or online at LouisianaMusicFactory.com

Between Then and Now

Preservation Hall Jazz Band Preservation (Preservation Hall) By now, it should be obvious that this is not your father’s Preservation Hall Jazz Band. Under Ben Jaffe’s leadership, it has become something more post-modern and conceptual. The name’s the thing, even if the cast of players changes from session to session and track to track. It celebrates New Orleans and traditional jazz, but it does so broadly, reaching beyond the obvious canon for lesser known songs or modern songs that owe the city’s musical past a debt. The implication is that the band and the songs have something to say today, even if it takes a King Britt remix or two to make that point obvious.

Preservation continues in that vein, this time with guest artists singing with the Hall Band. It’s easy to imagine Tom Waits, Del McCoury, Andrew Bird and Richie Havens forcing the band to a subordinate position by the strength of their musical personalities, but like Galactic’s last two albums, the sound and concept of the Preservation Hall Jazz Band dominate, and the guests come off as exactly that. The interplay, though, highlights the rightness of Jaffe’s central premise. The sound of the band with the rotating roster of

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singers gives the album a theatrical dimension as they step up one-byone and enter a musical context that feels staged somewhere between antiquity and modernity.

Those who look to the Hall Band for great ensemble playing will find hot moments—the break in “Freight Train,” sung by an almost unrecognizable Ani DiFranco comes to mind—but for the most part, Preservation presents the band as an inventive group that swings like mad while pulling folk, blues, Western Swing and 20th Century popular song into a New Orleans idiom. They get rowdy in sympathy when Tom Waits sings Danny Barker’s “Tootie Ma Was a Big Fine Thing” and add bounce to Brandi Carlile’s mid-tempo take on “The Old Rugged Cross.” In one of the album’s most powerful performances, they quietly clear space for Havens’ soulful “Trouble in Mind.”

It’s a tribute to the Hall band that they and the singers mesh, regardless of age or aesthetic backgrounds. You’d expect them to be simpatico with the Blind Boys of Alabama and Merle Haggard (who grew up idolizing Western Swing king Bob Wills), but they sound just as natural behind Paulo Nutini and My Morning Jacket’s Jim James/Yim Yames (his solo artist name, I gather).

James offers up the most stylized performance, masking his voice by singing through a megaphone. It works, though, as it mimics the mute Mark Braud uses on his trumpet and makes the track sound like a lightly worn 78. The effect gives his version of “St. James Infirmary” a ghostly quality—a thought underscored by his muted howls—and perhaps because of it, the band doesn’t entirely respect his vocal space, playing as if he’s there but not.

Ultimately, those dynamics between the artists and the band

give a new generation a way to appreciate the Preservation Hall Jazz Band. Whether they recognize or value ensemble playing or not, they hear a band performing with life, imagination, energy and taste regardless of who’s singing, and Preservation is ultimately their album. After all, as big as the guests are, the Preservation Hall Jazz Band is a name known worldwide and across generations.

It’s bigger. With Preservation, they give another generation or two a reason to pay attention to them as music, not just as an institution.

—Alex Rawls

Rotary Downs Crooked Maps and Blue Reports (Rookery) From the opening slow rising track through the march-like rhythms and resigned vocals that close this compact disc, Rotary Downs’ new Crooked Maps and Blue Reports hits on all cylinders. Over the last couple of years, Rotary Downs as a live band has grown more confident and assertive onstage, and this is reflected in this record. There is a certain muscle and authority in these songs, whether it is in the crispness of Zack Smith’s drums or the tightness in songs such as “Montrez-Vous” or “Wild Pink in Super 8.” However, James Marler’s light, almost-speaking style of singing mixes with the halfwhispers of background vocalist Tiffany Lamson to give a balancing, feminine energy to the intricate guitars and gunshot drums.

At times, this recording sounds like it comes out of late 1970s/ early 1980s downtown New York or post-punk England. Tunes like “Bullet on a String” have the dirty

low notes and chiming high notes that mark Tom Verlaine and Richard Lloyd’s interplay on Television’s Marquee Moon even though Rotary Downs’ songs never veer into the celestial improvisations of Television.

Many of the songs on this record seem so tightly constructed that there is tension and anticipation that suggests the music will fly apart in wild chaos like the vibe of some of the early Talking Heads records.

Similar to the way New York punk rockers developed the doowop and psychedelic nuggets of the 1960s, Rotary Downs has a ’60s-style rave-up to make sure no one falls asleep or loses interest in the middle of the record. Said tune, “Black Ops,” has great opening lyrics of “Crash rocket demons / selling black market semen / to an epileptic Persian / on a leash / Bizarre acting dreamer / feature fire-breathers / high on hashish.” The simple sound of those words together leading into crashing drums and whirling organ is a potent combination.

However, this is not solely a retread from the past. Sonically, this sounds like a 2010 record of indie rock played with energy and enthusiasm, a welcome trait of the recent rock ’n’ roll coming out of the Crescent City.

Rotary Downs has a CD-release party at One Eyed Jacks on Mar. 5.

—David Kunian www.OFFBEAT.com

REVIEWS

Dwayne Dopsie and the Zydeco Hellraisers Up In Flames (Sound of New Orleans) Unlike his contemporaries Keith Frank, Chris Ardoin and Curley Taylor, whose fathers also played professionally, Dwayne Dopsie leans more towards the older, bluesier variety of his father, the legendary Rockin’ Dopsie, Sr., than the mainstream courtings of his peers. Granted his tempos are usually amped up and turbocharged on this all-original affair, but they’re not that much faster than some of the catch-yourbreath numbers that Dopsie, Sr. and zydeco’s founding patriarch Clifton Chenier played in their day.

Just as it was for zydeco’s first generation practitioners, the focus here is on accordion virtuosity, meaning that this Dopsie has few peers who can crank out the blindingly-quick runs in effortless succession. Towards the end on several tracks, he goes on a rampage, playing in impressive rhythmic unison with rubboardist Alex MacDonald for a metal-onmetal assault. In keeping with tradition, he’s also one of the few that still features a saxophonist (Carl Landry) in the line-up as well as a guitar man (Shelton Sonnier) who’s allowed to tear it up with feisty fretwork.

Occasionally, Dopsie switches gears with something his father could conceivably have played such as the bluesy romp “Start All Over Again” and the Sly and the Family Stone inspired-three-part vocals on “Just Come Back Home,” which literally sound like a mumbling séance.

—Dan Willging

Gov’t Majik Party Favors (Future Family) With a name derived from the lyrics of the great Fela Kuti, New Orleans’ Gov’t Majik seeks to infuse the spirit and rhythms of Afrobeat with the ethos of Crescent City funk and jazz. At its core, Gov’t Majik is comprised of four principal members—bassist www.OFFBEAT.com

Bru Bruser, guitarist David Hyman, keyboardist Eduardo Tozzatto, and drummer Kyle Sharamitaro—but the ensemble can grow to include a revolving cast of eleven. Dubbed the AfroTech Institute of Technology, the dynamic collaboration is rooted in its own unique culture. Their mission is simple: groove. Yet, their motivation, like that of the late Kuti, runs much deeper: hope.

On their latest album, Party Favors, the band takes on a more progressive sound, one that doesn’t sacrifice their roots in Afrobeat and urban funk but pushes to incorporate elements of rock, hiphop, electronica, and psychedelia into their dance-oriented disposition. The mostly instrumental album plays out like a stream-ofconsciousness space-trance that blends in snippets of the Red Hot Chili Peppers, Blackalicious, George Clinton, the Future Sounds of London, and Prince. The world-beat fusion can be found in the sci-fi synths, syncopated clicks and clacks, percolating bass, trumpet shrieks, and call-and-response chants of “Wait,” while the socio-political message comes through in the title track, a funk-rock circus that calls out corruption and hypocrisy. Things get rambunctious on the postrock party anthem “Make Them Watch Us,” and the late-night soul rave “Ripchord” certainly spices up the par-tay. Through all the cascading cosmic collisions, liquid funk freakouts, and sonic surges, the album aims to ascend to a state where sense and sensation coalesce.

The words “Where thought goes, energy flows” pulsate through the slow-motion daze of “Mind Power.” The message is clear: The booty, much like the mind, is a terrible thing to waste.

—Aaron LaFont MA RC H 2 010

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Jack Brass Band Fourth Movement (Independent) It’s hard to pin down the Jack Brass Band. Their 2007 album, Traditionally Speaking, was a fairly traditional New Orleans affair. The Minneapolis group’s new record, Fourth Movement, has them sounding at times more like a salsa combo. They strut through an unlikely song set, including covers of Michael Jackson, Rick James, and Bill Withers.

This is a genre in which it’s easy to repeat yourself. Many bands use half-hearted arrangements in which the instruments mostly just play in parallel, with very little differentiation of parts to create interest. Fourth Movement mostly avoids these pitfalls. There’s usually a lot going on, and Jack Brass Band shakes up its style impressively over the course of the record. The soloists, aside from the occasional off-note, are solid.

The Jacks are not afraid to venture into mellower territory, as they do beautifully in a luscious arrangement of the Temptations’ “Just My Imagination.” Other high points include Sean Kingston’s “Beautiful Girls” and an energetic rendition of Billy Preston’s “Nothing From Nothing.” The group has a knack for making their song selections fit neatly into the brass band idiom, and just when you think they’ve made up their minds, stylistically speaking, they close the album with a sultry, sax-heavy “Let’s Get It On.” George Porter Jr. contributes effusive liner notes, and he’s not the only local luminary lending praise to the Jacks. Their long involvement with New Orleans and its music is readily apparent on this record. Brass band lovers looking for something fresh will not be disappointed.

—Zachary Young

Maryland Jazz Band of Cologne featuring Lillian Boutte Let’s All Go Down To New Orleans Live At the Palm Court Jazz Café (GHB) Singer Lillian Boutté is well known for her work bringing New Orleans jazz to an international audience,

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so it’s fitting that her newest record finds her accompanied by the Maryland Jazz Band of Cologne, Germany. The ensemble serves up a classy set of standards in various instrumental combinations.

Boutté is, of course, a versatile musician. She sounds right at home gliding breathily between registers in a low-key, sultry rendition of “When It’s Sleepy Time Down South,” but no less so in the fired up “I Still Get Jealous,” in which she whips out a convincing bluesy growl.

This is a live recording (recorded at the Palm Court Jazz Café), and unfortunately, many musicians get lost in the mix at one point or another. On most tracks, though, the sound is clear and there’s little to gripe about (so long as you don’t mind the syrupy between-song banter). The Maryland Jazz Band has an excellent command of this style. When three or four of them start soloing on top of one another (something many traditional bands are unfortunately reluctant to allow), it’s something to hear.

—Zachary Young

J. the Savage Songs from the Tree of Life (Independent) Singer songwriter Jamie Bernstein has been around the music scene in New Orleans for several years working with the Crescent City AllStars and fronting his own band J. the Savage. He was born in West Virginia, went to school in Florida and has been in New Orleans since.

Songs from the Tree of Life, his first release as J. the Savage, is well produced with interesting and well written songs. His style is hard to pin down, ranging from his Appalachian influences to New Orleans R&B and funk. If you strip away these orchestrated influences, what you get is folk music, New Orleans stories, anti-war anthems and subtle political commentary.

The highlights include “Cajun Boy” who will be fighting the oil war to save his daddy’s farm and “Sorry to Say” with its unmistakable New Orleans sound paying tribute to New Orleans musicians Danny Barker, James Booker, Tuba Fats and

musical heritage, but you have to like your blues funky to care.

—Jeff Hannusch

Mark Weliky Trio Mark Weliky Trio (Independent)

others. “Saint Anna’s Wall” talks about the church on Esplanade Avenue where people write the names of those murdered in New Orleans. It’s a moving and emotional song which Bernstein personalizes by suggesting one of the names is a friend with the lyrics “They wrote your name in the sunlight.” “They wrote your name on Saint Anna’s Wall.” It’s an excellent collection of songs that only could have been written in New Orleans.

—Joseph Irrera

Various Artists A Light on the South Side (Numero Group) I won’t say who thought this looked like a pretty interesting Chicago blues anthology, but it’s pretty obvious they were wrong.

Despite its south side origins, this is only marginally blues. Several song titles date this one—“I’m a Streaker,” “Women’s Lib,” “California Girl”—just as much as the overuse of wah-wah pedals, fuzz tones and distorted guitars do. Bobby Rush is the best known name here, but “Bowlegged Woman, Knock Kneed Man” is frankly mindless.

Since many of these tracks first saw the light of day on Little Mac Simmons’ P. M. label, his harmonica is heard on several tracks. Mac’s playing is rather one-dimensional and is best listened to in small doses.

When it’s heard back to back to back, as it is here, it has the same affect as a baby in the pew behind you crying through the entire sermon at Mass. Hubert Sumlin is on a track or two, but as good a blues guitarist as he is, he’s out of his element trying to wear a funk hat.

You can’t say this one doesn’t cover a specific genre of Chicago’s

You can’t judge an album by its artwork. Such holds true for the Mark Weliky Trio’s self-titled debut.

In stark contrast from what you’d expect from the carefree, selfassured lads who grace the rather garish cover, the young jazz outfit comprised of guitarist Weliky, bassist Martin Masakowski, and drummer Paul Thibodeaux (classmates at UNO) plays with poise, command, and a deep sense of awareness for the forms and figures they explore.

Bandleader Weliky composed 10 of this disc’s 12 tracks. The familiar Henry Mancini classic “The Days of Wine and Roses” opens the disc. A surprising choice, the trio transforms the grand serenade into an intimate swing with Weliky’s effusive lead dancing about Masakowski’s strolling bass and Thibodeaux’s syncopated pitter-patter. A talented composer and a passionate and versatile guitarist, Weliky’s impressionistic compositions, much like his agile solos, swoop and soar keenly and cunningly, with precision and finesse.

Though refined and wellrehearsed, early on the youthful trio seems a bit hesitant, their playing more complimentary than adventurous. Yet, all the while, they remain acutely aware of dynamics and texture, establishing a lively, melodic air as they ease into the nimble and exuberant excursion “Butterfly Kisses.” Here they begin to spread their wings, swirling around the beat, each player engaging the space around him. This leads into the album’s centerpiece, “Dragon Dance,” a simmering modal suite which finds the trio exploring a serpentine labyrinth.

Mysterious and majestic, the threepart showcase makes for the album’s most intricate and intoxicating foray.

A second cover, Jaco Pastorius’ “Three Views of a Secret,” rounds out the set. Vigorously performed, this bold move leaves a lasting imprint.

A tad green, and despite a tendency www.OFFBEAT.com

REVIEWS

to play things a bit too straight, the Mark Weliky Trio displays remarkable intra-band unity and a rare knack for turning simple note clusters into lithesome cascades.

—Aaron LaFont

The Way Half Awake (Independent) Imagine stumbling into a 4 a.m. jam session between cult icons Captain Beefheart and the B-52s.

Preposterous, right? Well, that’s exactly what you’ll get out of New Orleans new wavers the Way’s bizarrely contagious, unsettling romp, Half Awake. It begins with “Big Red Rubber Ball,” a twisted organ boogie that finds leader Benjamin Arthur Ellis spouting outlandish quips like, “I don’t chase women / I let them come after me.” Later, the slinky, sleazeball strut “Warm” paves the way (pun intended) for the quirky, lofi ramshackle of “Make Me Cry” and more zany verses such as, “I take my baby to a restaurant to get a burger / I take my baby to scary movie about a murder.”

But there’s a bit more to the Way’s kooky frenzy than a bunch of cockamamie come-ons. Without a guitar presence, this four-piece rumbles along with two keyboards.

Throughout Half Awake, the incessant clamor of the Rhodes and crazed synth undulations propel the party to the brink of lunacy. Case in point, the insanely infectious jangle “Rigmarole” captures underground buffoonery at its finest. Not surprisingly, the Way can’t resist indulging their fanciful imaginations. The haunting, tongue-in-cheek narrative “The Wizard” plays like a lost episode of H.R. Pufnstuf, ceding its sinister www.OFFBEAT.com

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REVIEWS undercurrent to the climactic instrumental “Continuum.”

The second half of Half Awake features a handful of instrumental reveries, none better than the spacey, psychedelic title track.

Still, Ellis manages to work in a few more inane innuendos.

Under the sweeping pastel drift of Helen Gillet’s cello in “Baby I Love You,” he muses candidly and with unequivocal eccentricity, “Maybe it was your dress / maybe it was your breasts.” Call it blissful belligerence;

call it oddball ingenuity; Half Awake will leave you reveling in a glorious (and oblivious) stupor. What else can you say about a group that’ll send you off with a cheery singalong entitled “Hopeless Opus”!

—Aaron LaFont

Dirty Bourbon River Show Volume One (Independent) Generally speaking, most recording artists fall into one of two

categories: recording act or live act.

Obviously, most working musicians make records and perform live, but the difference is most are in their element either in the studio or on stage. Young local vaudevillian rock act Dirty Bourbon River Show’s Volume One shows their identity as a live act with a record that offers a taste of their live performance.

Aside from the crisp performances and ample, open-ended jamming found on the disc, the main argument for this is that Dirty

A Couple of Quickies Gypsyphonic Disko Nola-Phonic, Volume One (mixtape) The talk of the town this last month has been unity. The overarching narrative of the Saints saga has been the way in which this Super Bowl season has brought New Orleanians (wherever they are) together across all lines and boundaries, whether economic, geographic, generational, or racial. Even more than during Mardi Gras, the Who Dat Nation found a strong, common bond with which to relate to one another in the tribulations and successes of the Saints.

That sublime harmony must have rubbed off strongly on Ben Ellman, Galactic’s saxophonist and multi-instrumentalist by day, Gypsyphonic Disko producer by night. At the beginning of January, he and Katrina-displaced DJ Quickie Mart released the first Gypsyphonic Disko mixtape, Nola-Phonic, Volume One, a near-perfect melding of hip-hop a cappella tracks mixed with Eastern European and Central American beats. Most of the vocals come courtesy of New Orleans artists, from sissy bounce rappers Big Freedia, Sissy Nobby and Katey Red to local pioneers DJ Jimi and the Big Tymers, Mannie Fresh and Birdman.

The culmination of the recent unity in New Orleans was the election of Mitch Landrieu as Mayor, winning a resounding victory in all neighborhoods, white and black. This would have made

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a perfect campaign soundtrack as African-American meets Caucasian (geographically, even) and Latin on this mixtape, and it all comes together to produce a sound that is ideally New Orleanian. This is simply fun dance music, and smart too.

Ellman and Quickie Mart found the universal bond between the music of our streets and those across the Atlantic and south of the Gulf of Mexico. The American, European and Latin elements here all come from folk music as party music, and this mixtape shows us all getting down to the same beat.

To download it free, go to http:// gypsyphonicdisko.blogspot.com.

—Ben Berman

DJ Quickie Mart Brain Salad Surgery (mixtape) Brain Salad Surgery is DJ Quickie Mart’s answer to Girl Talk, and at one level it’s a winner and at another, it’s a swing and a miss. Like Gregg Gillis—Girl Talk’s real name—Quickie Mart melds hundreds of uncleared rock, pop, soul and hip-hop samples into an entertaining mix, mashing up and building new songs out of wellknown pieces. It’s the pop process at its most literal (Green Day’s “21 Guns,” for example, is Billie Joe Armstrong’s words over “San Francisco” in the verse and “All the Young Dudes” in the chorus).

Periodically, Quickie Mart hits on something brilliant, merging

M.I.A.’s “Paper Planes” and Edie Brickell and the New Bohemians’ “What I Am,” and moments later, the Smiths’ “How Soon is Now” backs Jay-Z’s “99 Problems.”

Still, Brain Salad Surgery is a bit of a so-what. Night Ripper and Feed the Animals are giddier, partially because they rock harder.

Girl Talk’s beats aren’t as varied or as well constructed as Quickie Mart’s, but their near-punk immediacy revs up a room almost automatically. More significantly, though, Girl Talk’s about pop music, while Brain Salad Surgery’s about DJ skills. Gillis recreates classic pop into a 21st Century incarnation without any undue reverence or any casual slags. He lets songs speak across genre and time to each other, while Quickie Mart makes very cool mash-ups.

Girl Talk has made it clear that he doesn’t consider himself a DJ, and his musical background is in avant-garde music, not hip-hop or DJ culture. For that reason, Quickie Mart’s decision to take him on on terms Girl Talk never claimed to speak is a bit puzzling. Fortunately, Brain Salad Surgery’s good fun, but it’s not more than that.

—Alex Rawls www.OFFBEAT.com

REVIEWS Bourbon River Show—living up to its name—lays out as if it were a dark, twisted variety show. The album’s opener, “Anything Goes Tonight,” announces the beginning of the show with the lines “Don’t look ahead, just go / to the Dirty Bourbon River Show,” with the track’s circus-like barrage of sound serving as entrance music for the band’s magical mystery tour of whiskeysoaked French Quarter back alleys.

“Anything Goes Tonight,” like the opening of any good show, also gives the audience an idea of what’s in store for them, showing the disparate genres at play by jumping from Gogol Bordello-style punk polka to psychedelia to jazz and back again.

The album-as-variety-show format allows DBRS to get away with such genre-jumping, especially with the prominent Eastern European circus music influence giving an impression of a traveling gypsy troupe rather than a young rock band. The album’s final song, “Chromatic Circus Fantasy,” even quotes Julius Fucik’s “Grande Marche Chromatique,” a

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piece of music typically associated with circus music. The drifting band proves DBRS to be a live act in the carnival sense, with the impression that the tents are rolled up and shipped to the next stop not long after the final notes ring out. Given Volume One’s fresh sound and heartfelt performances, it will be a welcome sight when Dirty Bourbon River Show’s circus returns.

—Rory Callais

Lil Wayne and Same Ol Two Step Gotta Be Me (Shrimpo Music) As Chris Ardoin, J. Paul and Curley Taylor keep pushing zydeco to its progressive left; Lil Wayne and Same Ol Two Step keep it firmly staked close to where it once sprouted. The third CD from Same Ol Two is its most consistent yet and more traditionally bedrocked in the Opelousas-Lawtell school of zydeco than its previous two offerings. Every song is uptempo, performed with

an exuberance that gives the sense of being there. Additionally, there is a great deal of conviction in Wayne Singleton’s vocals, which is always a good sign since it means he believes in what he sings about. Along the way, he reveals autobiographical snippets about his life, what annoys him in the clubs (“Don’t Park Your Body”) and honors one of his mentors, Roy Carrier, by emulating his free-wheeling style on “Roy!” Though it’s a satisfying, feet-happy dance record, it’s also one that can be easily listened to, especially given the subtle finishing touches, like the cool, descending guitar chords and gliding keys. A band that has finally found its course, Same Ol Two Step is hardly same ol’.

—Dan Willging

Krewe of Eris The Feasts of the Appetite of Eris (Domino Sound) Krewe of Eris is an annual Mardi Gras marching parade, a swarm of costumed miscreants who

meet in the Bywater and meander through the Upper Ninth Ward and the French Quarter. More than 60 strong, they parade putting a premium on spirit over technique, warbling and screeching, squirming and flailing. Their cares are few, their delights plentiful. A boom mike hovers above their heads, illuminated cupcakes in their midst.

They celebrate the Greek goddess of strife (Discordia in Latin), and they pass apples to stunned tourists still hazy after Bacchanalian feasts.

The bravest of the recipients join the ranks while others flee behind sirens and screams. If there is one

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REVIEWS constant throughout the night, it is howls and yelps. And drums—many drums. These are not cries of anger or mockery—just pure jubilation.

They dance, sometimes alone, sometimes together, a rag-tag bunch. When the time comes they join together and sing. No words, just a repeated syllable that spreads along the streets like the happiest of plagues.

Chaos is their appeal, but the disorder has been captured. Sixty-two percussion and horn players and one big second line were recorded the Sunday night before last year’s Fat Tuesday by Mid-City’s Domino Sound Record Shack owner Matt Knowles, and he released it on his own Domino Sound record label. And despite (or because of) all the mischief, it is Mardi Gras music at its most honest.

—Ben Berman

Dennis Paul Williams Morning Light (Way Down in Louisiana) Dennis Paul Williams has always had a unique voice as a zydeco guitarist, practically playing the role of jazz shaman in his brother Nathan’s Zydeco Cha Chas and nephew Lil’ Nathan and the Zydeco Big Timers.

To say that his own solo recording is long overdue is like saying Mardi Gras is as a good place as any to get your drink on. Still, Williams’ debut solo offering comes as a surprise. Instead of being electric like he’s heard in his two family bands, it’s an allacoustic, original affair with minimal overdubbing. Each composition was inspired by an artistic creation of the same name—Williams’ day job is as a mixed-media visual artist—so the end result is a sonic, impressionistic

Keep on Smilin’ Smiley Lewis Smiley Rocks (Bear Family) If they ever need another name for classic New Orleans rhythm and blues, they might consider calling it Smiley Lewis music. Overton Lemons, a.k.a. Smiley Lewis, belongs on the same pedestal with Fess, Fats, Slim and Bartholomew, but unfortunately, his career was dogged by buzzard luck. His best songs were often covered and sanitized by white artists, and he died before the Jazz Fest generation could discover his music. Plus, the fact he sang about getting his head bad, hard work, womanizing, going to jail for hitting his wife and cheating on his wife kept his singles out of the mainstream and the charts.

Nevertheless, as this spectacular, 36-track collection confirms, this is the holy grail as far as the genre is concerned. Under the direction of Dave Bartholomew, all the studio gods are here—Earl Palmer, Lee Allen, Tuts Washington, Edward Frank, Frank Fields, Herb Hardesty, Ernest McLean. Lewis had a voice that could shatter a shot glass from 20 paces,

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but he also sang from the heart as songs such as “Blue Monday,” (covered by Fats) “Lilly Mae,” “The Bells Are Ringing” and “One Night” (covered by Elvis) confirm. Smiley does rock here, especially on “Go on Fool,” “Bumpity Bump,” “Real Gone Lover” and “Shame, Shame, Shame,” where Earl Palmer sets an especially torrid tempo and Lee Allen takes a sax solo for the ages.

While there’s honestly not a bad track here, it’s curious that the storming “Tee Nah Nah,” and the ultimate rhythm and booze classic “Lost Weekend” were omitted in place of “Little Liza Jane,” and a second version of “Shame.”

The liner notes correct the year of Lewis’ birth—1918—but there are a couple photos in the booklet with mistaken captions. Nevertheless, this is a most worthy collection of truly classic R&B from an oftenoverlooked hero. I’ll be stunned if a better reissue comes out in 2010.

—Jeff Hannusch www.OFFBEAT.com

REVIEWS interpretation of a visual expression.

Like the artwork, every song is deeply rooted in symbolism and highly spiritual in nature. Williams’ nimble fretwork is like finger gymnastics—beautiful melodic passages played in the upper registers, only to be answered by bass notes in the lower wards that serve as a bassline. Some songs are nurturing (“Mother Song”); others offer reassurance (“Morning Light”); a few feel breezy and Brazilian (“Middle Balance”). Unlike many acoustic guitar albums, there are virtually no sounds of fingers sliding across the frets before plucking the next note. What’s even more amazing is how each tune leads to meditation and reflection without any obvious nudging.

—Dan Willging

Larry Ankrum Without Limits (Forasound) In 2008, saxophonist Larry Ankrum felt the urge to record again. It had been 16 years since the release of his debut album, It Cannot Be Exhausted by Use, and over six since collaborating with New Orleans trombonist Jeff Albert in the AlbertAnkrum Project. The seasoned musician and world traveler also felt compelled to return to the Crescent City. In May of 2008, with songs already composed, Ankrum called upon longtime friends pianist Joe Ashlar, bassist David Pulphus, and drummer Kevin O’Day, to join him for a one-day session at Piety Street Recording. The eight tracks captured during this session comprise Ankrum’s latest offering, Without Limits, a bouncy be-bop affair with a distinct New Orleans flavor.

It begins with “The Bywater,” a sweet, sunlit stroll down to the bohemian neighborhood where Ankrum once resided. With bright, playful flourishes, Ankrum’s soproano sax dances about the beat as Ashlar’s chords sink into sumptuous melody.

Then, seamlessly and subtly, Ashlar ascends to the top of the nimble groove, his keys merrily prancing alongside the agile pulse. This is a formula that, throughout, the group executes to perfection. Credit www.OFFBEAT.com

Ankrum’s superb arrangements and the musicians’ strength as an ensemble, their ability to absorb themselves into the material and to move through each tune with patience, passion, and precision.

Their emphasis on tone, texture, space, and nuance is best illustrated on the title track, a regal, reflective ballad where Ashlar’s sentimental swells soothe Ankrum’s wistful wanderings, and again on the effervescent reverie “Three Wishes,” where the spirited interplay between Pulphus and O’Day illuminates their counterparts’ melodic swoops.

While expertly performed, there are a few moments on Without Limits which feel a bit too polished. Still, the album remains lush and vibrant, never transparent or monotonous. Like the springy, second line snare roll on the sweeping frolic “Rakin’ the Yard,” Without Limits’ pleasures lie in the simple expressiveness of a poignant swing.

—Aaron LaFont

Sean Costello A Memorial Retrospective (Landslide) The blues world was much disturbed when they heard of last year’s passing of Atlanta guitarist extraordinaire Sean Costello, who, a day shy of his 29th birthday, was clearly one of the young lions of the genre. But like Magic Sam, Hollywood Fats, and to a lesser extent, Stevie Ray Vaughan, we are left to wonder, “What if?” The material here comes from three Landslide studio albums dating from 1996, 2000, and 2001, as well as several live dates. The set opener, “Take Me Back,” is a scorching shuffle in the tradition of Gatemouth Brown. However, Costello’s overriding

influence is Otis Rush, as he covers a couple of his songs here and his originals are often Rush-like. This is a blend of originals and covers, with the songbooks of the first Sonny Boy Williamson, J.B. Lenoir and Johnny “Guitar” Watson, among others, being sampled. There are a couple of guest vocalists here, but I prefer Costello’s at times tortured singing as his voice was just as powerful as his guitar playing. Twenty tracks, and every one has something to offer. This is a highly recommended tribute CD, but it does unfortunately lead one to wonder, “What if?”

—Jeff Hannusch

Eddie C. Campbell Tear This World Up (Delmark) “The King of the Jungle” is back and as always, Eddie C. Campbell delivers the goods. This one is a real finger popper from beginning to end. Like most of the better known blues guitarists from the west side of Chicago—Magic Sam and Otis Rush come to mind—Campbell’s got a sound all his own. (The west side’s Magic Slim doesn’t make the list because he can sound like anybody.)

Campbell plays a busy but melodic style on a vintage Fender Jazzmaster, and he keeps the reverb setting on his amp permanently on 10.

Tear This World Up is evenly divided between wry originals and clever covers. Of the former, “Tie Your Time Up” jumps out (“Have you ever had a date / and you knew you were a day late?”). Another witty original from Campbell’s pen is “Care,” with its boogaloo arrangement. Campbell also lays down a sassy instrumental, “It’s So Easy,” which sounds like a Booker T and the MGs number from 1965.

Campbell covers Howlin’ Wolf, Little Walter and even Gershwin here, but he puts his own stamp on the songs.

On all of Campbell’s previous albums, he’s done one Magic Sam cover. This album has two: “Easy Baby” and “Love Me With a Feeling.” This album will surely be under consideration by the Blues Foundation as Album of the Year. If I had a vote, it would get mine.

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When you’re out, text the word ‘offbeat’ to 33669 for daily listings. For complete listings, go to www.offbeat.com

Listings EXPRESS

Here are OffBeat’s highlights of music and entertainment in New Orleans and the surrounding area for the current month. Each day’s events are listed in alphabetical order by club or venue. Listings are compiled based on information provided by clubs, bands and promoters up to our deadlines. Unfortunately, some information was not available at press time and listings are subject to change.

Special events, concerts, festivals and theater listings follow the daily listings. For up-to-theminute, complete music listings, check OffBeat’s web page at www.offbeat.com. For more details on a show, call the club directly. Phone numbers of clubs are shown in this section and/or at www.offbeat.com.

To include your date or event, please email information to our listings editor, Craig Guillot at craigguillot@offbeat.com or call 504-944-4300.

Mr. Guillot can also provide listing deadlines for upcoming issues.

AC AU BL BU BB SH KJ KS CL CO CW DN FE FK GS IR IN MJ TJ JV LT ME PK PP RG RH RB RR SI SW TC VO ZY

A Cappella Acoustic Blues Bluegrass Brass Band Cabaret/Show Cajun Christian Classical Comedy Country Dance Folk Funk Gospel Indie Rock International/World Jazz, Contemporary Jazz, Trad Jazz, Variety Latin Metal Piano/Keyboards Pop/Top 40/Covers Reggae Rap/Hip Hop Rhythm & Blues Rock Swing/Gypsy Spoken Word Techno/Dance/Electronica Vocals Zydeco

SMOKE-FREE SHOW

MONDAY MARCH 1

Apple Barrel: Doc Ottis (BL) 10:30p Chickie Wah Wah: Sasha and Steve Masakowski (JV) 7p Circle Bar: Missy Meatlocker (RR) 5p, Royal Chord (RR) 10p Columns: David Doucet (JV) 8p d.b.a.: Glen David Andrews (JV) 9p Donna’s: Les Getrex & the Blues All-Star Band (BL) 9p Dragon’s Den: Noxious Noize (RR) 10p

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Funky Pirate: Mark Penton (PP) 4p, Willie Locket & All Purpose Blues Band (PP) 8p Hi Ho Lounge: Bluegrass Pickin’ Party (BU) 8p Irvin Mayfield’s Jazz Playhouse (Royal Sonesta): Bob French & the Original Tuxedo Jazz Band (JV) 8p Kerry Irish Pub: Kim Carson (BL) 9p Maple Leaf: Papa Grows Funk (FK) 10p Old Point Bar: Brent Walsh Jazz Trio (JV) 8p Preservation Hall: Preservation Hall Jazz Band feat. Mark Braud (JV) 8p Snug Harbor: Charmaine Neville (MJ) 8p 10p Tropical Isle Bourbon: Can’t Hardly Playboys (PP) 9p

TUESDAY MARCH 2

Apple Barrel: Kenny Claiborne (BL) 7p, Kenny Swartz & the Palace of Sin (BL) 10:30p Blue Nile: CJ Boyd Sextet (OR) 10p Carrollton Station: acoustic open mic feat.

Jimmy Sidewall (AU) 9p Chickie Wah Wah: Anders Osborne, John Fohl, Johnny Sansone (VR) 8p Circle Bar: the Tom Paines (RR) 6p Columns: John Rankin (JV) 8p d.b.a.: New Orleans Cottonmouth Kings (JV) 9p Dos Jefes: Tom Hook (JV BL) 9:30p Dragon’s Den: Handsome Beast (RR) 10p Funky Pirate: Big Al Carson & the Blues Masters (BL) 8p Hi Ho Lounge: Fat Sweat Open Jam (VR) 9p Irvin Mayfield’s Jazz Playhouse (Royal Sonesta): Neal Cane (JV) 8p Kerry Irish Pub: Denise Marie and Marcel Koster (BL) 9p Maple Leaf: Rebirth Brass Band (BB) 10p Mimi’s in the Marigny: Linnzi Zaorski (JV) 9p Old Point Bar: the Westbank Mike Show (BL) 7:30p Preservation Hall: Shannon Powell & the Preservation Hall-stars (JV) 8p Prytania Music & Spirits: comedy night (CO) 10p Snug Harbor: Thelonious Monk Institute Ensemble (MJ) 8p 10p Spotted Cat: Jerry Jumonville & the Jump City Band (BL) 6p Tipitina’s: Southern Culture on the Skids feat.

Mad Tea Party (RR) 10p Tropical Isle Bourbon: Jason Bishop (PP) 9p

WEDNESDAY MARCH 3

Apple Barrel: Wendy Darling (BL) 8p, Johnny J. & Benny Maygarden (BL) 10:30p Blue Nile: United Postal Project (FK MJ) 8p, Khris Royal and Dark Matter (FK MJ) 10p Carrollton Station: Stand-up Comedy Open Mic (CO) 9p Chickie Wah Wah: Todd Duke Trio feat.

Germaine Bazzle (JV) 7p Circle Bar: Jim O. & the No Shows feat. Mama Go-Go (RR) 6p, Dirt Daubers feat. Steve Eck and the Midnight Still (RR) 10p Columns: Ricardo Crespo (JV) 8p Coyoacan: Café Con Leche (LT) 10p d.b.a.: the Tin Men (JV) 7p, Walter “Wolfman” Washington & the Roadmasters (JV) 10p

Dos Jefes: Bob Andrews (JV BL) 9:30p Dragon’s Den: Dancehall Classics feat. DJ T-Roy (RG) 10p Funky Pirate: Big Al Carson & the Blues Masters (BL) 8p House of Blues (the Parish): Mayday Parade, There for Tomorrow, Herrington 7p House of Blues: Dark Star Orchestra 8p Irvin Mayfield’s Jazz Playhouse (Royal Sonesta): Play Hour feat. Sasha Masakowski (JV) 5p, Irvin Mayfield’s NOJO Jam Session (JV) 8p Kerry Irish Pub: Chip Wilson (BL) 9p Maple Leaf: Mia Borders (FK) 10p Old Point Bar: Michael Burkhart (JV) 8p Palm Court: Palm Court Jazz Band feat. Lars Edegran and Topsy Chapman (JV) 7p Preservation Hall: Preservation Hall Jazz Band feat. Mark Braud (JV) 8p Rock ’n’ Bowl: Joe Krown (SI) 8:30p Sandbar (UNO): Jazz at the Sandbar feat.

Wendell Brunious (JV) 7:30p Snug Harbor: James Westfall (MJ) 8p 10p Tropical Isle Bourbon: Jason Bishop & the Garlic Truck Band (PP) 9p

THURSDAY MARCH 4

Apple Barrel: Dave Gregg & the Odd Man Band (BL) 8p, Washboard Chaz Blues Trio (BL) 10:30p Blue Nile: Bayou International Reggae Night feat. DJ T-Roy (RG) 10p Circle Bar: Sam and Boone (RR) 6p, Porno Galactica, Ixnay (RR) 10p Columns: Fredy Omar (JV) 8p d.b.a.: Jon Cleary (JV) 7p Donna’s: Walter “Wolfman” Washington & the Roadmasters (FK RB) 9p Dos Jefes: Courtyard Kings (JV BL) 9:30p Dragon’s Den: Bassbin Safari feat. DJ Proppa Bear and Simian, DJ Frenzi and DJ Daniel Steele (RH) 10p Funky Pirate: Mark Penton (PP) 4p, Big Al Carson & the Blues Masters (BL) 8p Harrah’s: Gina Brown (OR) 6p Hi Ho Lounge: Stooges Brass Band (BB) 9:30p House of Blues: Brandi Carlile the Give Up the Ghosts Traveling Show, Gill Landry 8p Howlin’ Wolf: Eve Ensler’s the Vagina Monologues (SH) 10p Irvin Mayfield’s Jazz Playhouse (Royal Sonesta): Play Hour feat. Roman Skakun (JV) 5p, Johnaye Kendrick (JV) 8p Jeremy Davenport Lounge (Ritz-Carlton): Jeremy Davenport (JV) 5:30p Le Bon Temps Roule: Soul Rebels Thursday Night House Party (BB) 11p Maple Leaf: the Trio feat. Johnny Vidacovich and guests (FK) 10p Ogden Museum: Ogden After Hours feat. Jon Dee Graham (OR) 6p Old Point Bar: Marc Stone & the Levee Creepers feat. Andy J. Forest and Keith Vinet (BL) 6p, Kim Carson (BL) 9p One Eyed Jacks: Fast Times ‘80s Night (PP) 10p

Palm Court: Crescent City Joymakers feat.

Leroy Jones and Katja Toivola (JV) 7p Preservation Hall: Brass Band Thursday feat.

New Birth Brass Band (BB) 8p Prytania Music & Spirits: the Blue Party (RR) 10p Rock ’n’ Bowl: Lil Nathan & the Zydeco Big Tymers (ZY) 8:30p Snug Harbor: Jason Moran & Herlin Riley (MJ) 8p, 10p Spotted Cat: New Orleans Moonshiners (JV) 10p Tropical Isle Beach Club: Waylon Thibodeaux (PP) 5p Tropical Isle Bourbon: Jason Bishop (PP) 4p, Debi & the Deacons (PP) 9p Vaughan’s: Kermit Ruffins & the Barbecue Swingers (MJ) 8:30p

FRIDAY MARCH 5

Apple Barrel: Kenny Holladay and Rick Westin (BL) 8p, the Hip Shakers (BL) 11p Blue Nile: Mykia Jovan and Jason Butler (FK) 7p, Flow Tribe, the Local Skank (RR) 10p Carrollton Station: Susan Cowsill Band Covered in Vinyl Series (RR) 10p Chickie Wah Wah: Bill De Turk’s 10th Annual Birthday Bash feat. Egg Yolk Jubilee (RR) 8p Circle Bar: Jim O. & the Sporadic Fanatics (RR) 6p, ActionActionReaction Indie Dance Party (RR) 10p Columns: Alex Bachari Trio (JV) 5p d.b.a.: Hot Club of New Orleans (JV) 6p, Groovesect (FK) 10p Donna’s: t.b.a. (BB) 9p Dragon’s Den: Shanghai Night, Mic Phedusia, Justin Peake’s Beautiful Bells (VR JV) 10p Funky Pirate: Mark Penton (PP) 4p, Big Al Carson & the Blues Masters (BL) 8p Hi Ho Lounge: City Park Skate Benefit feat.

Clockwork Elvis (RR) 9p House of Blues: Robert Earl Keen, Sons of Bill 8p Howlin’ Wolf NorthShore (Mandeville): Saturate, Falls from Grace (RR) 10p Howlin’ Wolf: Eve Ensler’s the Vagina Monologues (SH) 10p Irvin Mayfield’s Jazz Playhouse (Royal Sonesta): Professor Jazz Piano Series feat. Joe Krown (JV) 5p, Leon “Kid Chocolate” Brown Midnight Burlesque Ballroom feat. Trixie Minx (JV) 8p Jeremy Davenport Lounge (Ritz-Carlton): Jeremy Davenport (JV) 9p Kerry Irish Pub: Foot & Friends (BL) 9p Le Bon Temps Roule: CR Gruver (PK) 7p, J Monque’D Blues Band (BL) 11p Maple Leaf: Papa Grows Funk (FK) 10p Old Point Bar: Ace Boone (BL) 9:30p One Eyed Jacks: Rotary Downs CD-release party (RR) 9p Palm Court: Palm Court Jazz Band feat. Lucien Barbarin (JV) 7p Preservation Hall: Leroy Jones & the Preservation Hall Jazz Masters (JV) 8p Prytania Music & Spirits: the Incredible Sandwich and Handsome Beast (RR) 10p Republic New Orleans: Dee-1, 2nd Story (OR) 11p Rock ’n’ Bowl: Kermit Ruffins & the Barbecue Swingers (SI) 9p

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LIVE LOCAL MUSIC Snug Harbor: Ellis Marsalis Trio (MJ) 8p 10p Southport Hall: the Scorseses (RR) 10p Tipitina’s: Indigo Girls, A Fragile Tomorrow (RR) 10p Tropical Isle Beach Club: Waylon Thibodeaux (PP) 5p, Willie Locket (PP) 9p Tropical Isle Bourbon: Debi & the Deacons (PP) 9p

SATURDAY MARCH 6

Apple Barrel: Maxwell Eaton (BL) 4p, Sneaky Pete (BL) 8p, the Hip Shakers (BL) 11p Blue Nile: Washboard Chaz Blues Trio (BL) 7p, Vivaz (LT) 10:30p Carrollton Station: Courtland Burke Band, Thinkenstein (RR) 10p Circle Bar: the Jazzholes (JV) 6p d.b.a.: John Boutte (JV) 7p, Little Freddie King (BL) 11p Donna’s: Leroy Jones Jazz Quintet (TJ) 9p Dragon’s Den: STS9 After Pary feat. DJ Alex B, Truth Universal presents Grass Roots (VR RH) 10p Funky Pirate: Mark Penton (PP) 4p, Big Al Carson & the Blues Masters (PP) 8p Harrah’s: Jodi Borrello (CO) 8p Hi Ho Lounge: Raise the Dead Fest (RR ME) 9p House of Blues: BG (RH) 9p Howlin’ Wolf NorthShore (Mandeville): the Shiz, Jesse Brooks (RR) 10p Howlin’ Wolf: Roots of Music Fundraiser: Rebirth Brass Band, Free Agents Brass Band, Stooges Music Group (BB VR) 10p Irvin Mayfield’s Jazz Playhouse (Royal Sonesta): Shannon Powell (JV) 8p, Free Agents Brass Band (JV) 12a Jeremy Davenport Lounge (Ritz-Carlton): Jeremy Davenport (JV) 9p Kerry Irish Pub: Buddy Francioni and Home Grown (BL) 5p, Hurricane Refugees (BL) 9p Le Bon Temps Roule: Bourbon Cowboys (RR) 11p Louisiana Music Factory: New Orleans Moonshiners (JV) 3p Maple Leaf: Gravy and Easy Company (FK) 10p Old Point Bar: All-Purpose Blues Band (BL) 9:30p One Eyed Jacks: Bionica CD-release party (VR) 9p Palm Court: Palm Court Jazz Band feat. Lionel Ferbos (JV) 7p Prytania Music & Spirits: African Music Night “The Big Get Down” (RG) 10p Rock ’n’ Bowl: Tab Benoit, Anders Osborne (BL) 9:30p Snug Harbor: Astral Project (MJ) 8p 10p Southport Hall: Bricks in the Wall (RR) 10p Tipitina’s: State Radio, American Fangs (RR) 10p Tropical Isle Beach Club: Waylon Thibodeaux (PP) 5p, Willie Locket (PP) 9p Tropical Isle Bourbon: Debi & the Deacons (BL) 9p UNO Lakefront Arena: Eric Clapton (RR) 7p

SUNDAY MARCH 7

Apple Barrel: Kenny Claiborne (BL) 4p, Rollin’ Hills (BL) 8p, the Electrokings (BL) 10:30p Columns: Chip Wilson (JV) 11a d.b.a.: Palmetto Bug Stompers (JV) 6p, Coot (JV) 10p Donna’s: Jesse McBride & the Next Generation (MJ) 9p Dragon’s Den: Wativ (JV) 8p, Roky Moon & Bolt, Blackie, High Priest (RR) 10p Funky Pirate: Mark Penton (PP) 4p House of Blues: Sunday Gospel Brunch (GS) 10a, STS9, Big Gigantic (RR) 9p Irvin Mayfield’s Jazz Playhouse (Royal Sonesta): Mason’s VIP Lounge Revisited feat.

Germaine Bazzle and guests (JV) 8p Kerry Irish Pub: Steve Keith (BL) 9p Mahalia Jackson: Imagination Movers (PP) 1:30p Maple Leaf: Joe Krown Trio feat. Walter “Wolfman” Washington & Russell Batiste (FK) 10p

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Old Point Bar: All-day block party feat. Outlaw Jim & the Whiskey Benders, Chicken on the Bone, Rick Trolsen & the Po-boys, Dana Abbott (VR) 11:30a One Eyed Jacks: Fleur de Tease (SH) 8p Palm Court: Sunday Night Swingsters feat.

Mark Braud and Lucien Barbarin (JV) 7p Preservation Hall: St. Peter All-stars feat. Lars Edegran (JV) 8p Snug Harbor: Charles Moore (MJ) 8p 10p Spotted Cat: Rites of Swing (JV) 3p St. Charles Tavern: Maryflynn’s Prohibition (JV) 10a Tipitina’s: Cajun Fais do do feat. Bruce Daigrepont (KJ) 5:30p Tropical Isle Beach Club: Waylon Thibodeaux (PP) 5p Tropical Isle Bourbon: Debi & the Deacons (PP) 9p

MONDAY MARCH 8

Apple Barrel: Sam Cammarata and Dominick Grillo (BL) 8p, Ready Teddy (BL) 10:30p Chickie Wah Wah: Sasha and Steve Masakowski (JV) 7p Circle Bar: Missy Meatlocker (RR) 5p Columns: David Doucet (JV) 8p d.b.a.: Glen David Andrews (JV) 9p Donna’s: Les Getrex & the Blues All-Star Band (BL) 9p Dragon’s Den: Noxious Noize (RR) 10p Funky Pirate: Mark Penton (PP) 4p, Willie Locket & All Purpose Blues Band (PP) 8p Hi Ho Lounge: Bluegrass Pickin’ Party (BU) 8p Irvin Mayfield’s Jazz Playhouse (Royal Sonesta): Bob French & the Original Tuxedo Jazz Band (JV) 8p Kerry Irish Pub: Kim Carson (BL) 9p Maple Leaf: Papa Grows Funk (FK) 10p Old Point Bar: Brent Walsh Jazz Trio (JV) 8p Preservation Hall: Preservation Hall Jazz Band feat. Mark Braud (JV) 8p Snug Harbor: Charmaine Neville (MJ) 8p 10p Tropical Isle Bourbon: Can’t Hardly Playboys (PP) 9p

TUESDAY MARCH 9

Apple Barrel: Kenny Claiborne (BL) 7p, Kenny Swartz & the Palace of Sin (BL) 10:30p Blue Nile: Ryan Lemoine (OR) 10p Carrollton Station: acoustic open mic feat. Ron Hotstream (AU) 10p Chickie Wah Wah: Anders Osborne, John Fohl, Johnny Sansone (VR) 8p Circle Bar: the Tom Paines (RR) 6p, Giant Cloud (RR) 10p Columns: John Rankin (JV) 8p d.b.a.: New Orleans Cottonmouth Kings (JV) 9p Dragon’s Den: Loup Garoux (RR) 10p Funky Pirate: Big Al Carson & the Blues Masters (BL) 8p Hi Ho Lounge: Fat Sweat Open Jam (OR) 9p Irvin Mayfield’s Jazz Playhouse (Royal Sonesta): Ed “Sweetbread” Petersen (JV) 8p Kerry Irish Pub: Honky Tonk Tuesday feat.

Jason Bishop (CW) 9p Maple Leaf: Rebirth Brass Band (BB) 10p Mimi’s in the Marigny: Linnzi Zaorski (JV) 9p Old Point Bar: the Westbank Mike Show (BL) 7:30p Preservation Hall: Shannon Powell & the Preservation Hall-stars (JV) 8p Snug Harbor: Thelonious Monk Institute Ensemble (MJ) 8p 10p Spotted Cat: Jerry Jumonville & the Jump City Band (BL) 6p Tropical Isle Bourbon: Jason Bishop (PP) 9p

WEDNESDAY MARCH 10

Apple Barrel: Wendy Darling (BL) 8p, 19th St. Red (BL) 10:30p MA RC H 2 010

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LIVE LOCAL MUSIC Blue Nile: United Postal Project (FK) 8p, Khris Royal and Dark Matter (OR) 10p Carrollton Station: Stand-up Comedy Open Mic (CO) 9p Chickie Wah Wah: Todd Duke Trio feat.

Germaine Bazzle (JV) 7p Circle Bar: Jim O. & the No Shows feat. Mama Go-Go (RR) 6p, Birdfight (RR) 10p Columns: Ricardo Crespo (JV) 8p d.b.a.: Tin Men (JV) 7p, Walter “Wolfman” Washington & the Roadmasters (BL) 10p Dragon’s Den: Dancehall Classics feat. DJ T-Roy (RG) 10p Funky Pirate: Big Al Carson & the Blues Masters (BL) 8p Gennaro’s Bar: Funagles (RR PP) 8p Irvin Mayfield’s Jazz Playhouse (Royal Sonesta): Play Hour Sasha Masakowski (JV) 5p, Johnaye Kendrick (JV) 8p Kerry Irish Pub: Chip Wilson (BL) 9p Maple Leaf: Mia Borders (FK) 10p Old Point Bar: open mic nite (SS OR) 6:30p Palm Court: Palm Court Jazz Band feat. Topsy Chapman and Lars Edegran (JV) 7p Preservation Hall: Preservation Hall Jazz Band feat. Mark Braud (JV) 8p Rock ’n’ Bowl: Swing-a-Roux (SI) 8:30p Sandbar (UNO): Jazz at the Sandbar feat.

James Singleton (JV) 7:30p Snug Harbor: Loren Pickford Quartet (MJ) 8p 10p Tropical Isle Bourbon: Jason Bishop & the Garlic Truck Band (PP) 9p

THURSDAY MARCH 11

Apple Barrel: Dave Gregg & the Odd Man Band (BL) 8p, Mike Darby & the House of Cards (BL) 10:30p Blue Nile: Bayou International Reggae Night feat. DJ T-Roy (RG) 10p Circle Bar: Sam and Boone (RR) 6p, Awesome Color, Tyvek (RR) 10p Columns: Fredy Omar (JV) 8p d.b.a.: Luke Winslow-King, Hurray for the Riff Raff (RR) 10p Donna’s: Tom McDermott and Meschiya Lake (TJ) 9p Dragon’s Den: Bassbin Safari feat. DJ Proppa Bear and Simian, DJ Frenzi and DJ Daniel Steele (RH) 10p Funky Pirate: Mark Penton (PP) 4p, Big Al Carson & the Blues Masters (BL) 8p Gennaro’s Bar: Harvey Jesus & Fire (PP DN) 8p Harrah’s: Michael Ward (OR) 6p Hi Ho Lounge: Stooges Brass Band (BB) 9:30p House of Blues: Tower of Power (PP) 8p Irvin Mayfield’s Jazz Playhouse (Royal Sonesta): Play Hour Roman Skakun (JV) 5p, Johnaye Kendrick (JV) 8p Jeremy Davenport Lounge (Ritz-Carlton): Jeremy Davenport (JV) 5:30p Kerry Irish Pub: Tobin-Specht Trio (BL) 9p Le Bon Temps Roule: Thursday Night House Party feat. LC Smoove (VR) 11p Maple Leaf: the Trio feat. Johnny Vidacovich and guests (FK) 10p Ogden Museum: Ogden After Hours feat.

Zachary Richard (OR) 6p Old Point Bar: Marc Stone & the Levee Creepers feat. Andy J. Forest and Keith Vinet (BL) 6p, Josh Garrett & the Bottom Line (VR) 9p One Eyed Jacks: Fast Times ‘80s Night (PP) 10p Palm Court: Crescent City Joymakers feat.

Clive Wilson and Tom Sancton (JV) 7p Preservation Hall: Brass Band Thursday feat.

Paulin Brothers Brass Band (BB) 8p

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MARCH 2010

Prytania Music & Spirits: Flow Tribe, Dirty Bourbon River Show, 27 Lights, New Grass SXSW Fundraiser (RR) 10p Rock ’n’ Bowl: Geno Delafose (ZY) 8:30p Snug Harbor: Phil DeGruy & Cloud Nine (MJ) 8p 10p Spotted Cat: New Orleans Moonshiners (JV) 10p Tipitina’s: Homegrown Night (RR) 8:30p Tropical Isle Beach Club: Waylon Thibodeaux (PP) 5p Tropical Isle Bourbon: Jason Bishop (PP) 4p, Debi & the Deacons (PP) 9p Vaughan’s: Kermit Ruffins & the Barbecue Swingers (MJ) 8:30p

FRIDAY MARCH 12

Apple Barrel: Kenny Holladay and Rick Westin (BL) 8p, the Hip Shakers (BL) 11p Blue Nile: Giver, the Bears of Blue River, One Man Machine, Dirty Bourbon River Show (RR) 10p Carrollton Station: the Nawlins Johnnys, Country Fried (CW) 10p Chickie Wah Wah: Threadhead Fridays feat.

Paul Sanchez & Friends (VR) 8p Circle Bar: Jim O. & the Sporadic Fanatics (RR) 6p, the Green Demons, Sons of Payne, Lawrence Benjamin & the Messengers (RR) 10p Clever Wines: Linnzi Zaorski (JV) 8p Columns: Alex Bachari Trio (JV) 5p d.b.a.: Ingrid Lucia (JV) 6p, Lost Bayou Ramblers (JV) 10p Donna’s: The Original Royal Players Brass Band (BB) 9p Dragon’s Den: Dark Dark Dark, A Million Years, Dinosaur Feathers Man-Miracle, OBE, Gris Gris, Savoy (RR) 10p Funky Pirate: Mark Penton (PP) 4p, Big Al Carson & the Blues Masters (BL) 8p Hi Ho Lounge: Hairy Lamb (RR) 10p House of Blues: Hank III and Assjack, Kyle Turley (RR ME) 8p Howlin’ Wolf: Benjy Davis Project, MyNameisJohnMichael, Todd Carney (RR) 10p Irvin Mayfield’s Jazz Playhouse (Royal Sonesta): Professor Jazz Piano Series feat. Tom McDermott (JV) 5p, Leon “Kid Chocolate” Brown (JV) 8p, Burlesque Ballroom feat. Trixie Minx (SH) 12a Jeremy Davenport Lounge (Ritz-Carlton): Jeremy Davenport (JV) 9p Kerry Irish Pub: Mike Ryan & Friends (BL) 9p Le Bon Temps Roule: Dave Ries (PK) 7p, Soul Project (FK) 11p Maple Leaf: Colonel Bruce Hampton & the Quark Alliance (FK) 10p One Eyed Jacks: Blair CD-release party feat.

The Bellys (VR) 9p Palm Court: Palm Court Jazz Band feat. Lucien Barbarin (JV) 7p Preservation Hall: David Torkanoswky and his Square Root of Awesome Divided by Pi (FK) 8p Prytania Music & Spirits: Best of Both Worlds feat. Handsome Beast, E-Clips and Macrowaves (RR) 10p Republic New Orleans: Throwback feat. Know Your Enemy (RR) 11p Rock ’n’ Bowl: the Topcats (PP) 9:30p Snug Harbor: Ellis Marsalis Trio (MJ) 8p 10p Steamboat Natchez: dinner jazz cruise feat.

Dukes of Dixieland (JV) 7p Tipitina’s: Eric Lindell (RB) 10p Tropical Isle Beach Club: Waylon Thibodeaux (PP) 5p, Willie Locket (PP) 9p Tropical Isle Bourbon: Debi & the Deacons (PP) 9p

SATURDAY MARCH 13

Apple Barrel: Maxwell Eaton (BL) 4p, Sneaky Pete (BL) 8p, the Hip Shakers (BL) 11p Balcony Music Club: New Orleans Moonshiners (JV) 10:30p Blue Nile: the Revivalists CD-release party feat.

Hightide Blues and Flowtribe (RR) 10p Carrollton Station: Cold Shot (RR) 10p Circle Bar: the Jazzholes (JV) 6p, Moto feat.

Missing Monuments, Die Rotzz (RR) 10p d.b.a.: John Boutte (JV) 7p Donna’s: Wild Magnolias (MI) 9p Dragon’s Den: the White Bitch, Ratty Scurvics, the Gills, Mon Khmer, Savoir Adore (RR) 10p Funky Pirate: Mark Penton (PP) 4p, Big Al Carson & the Blues Masters (PP) 8p Harrah’s: the Chi-Lites (OR) 7p 10p Hi Ho Lounge: Velveteen Elvis (RR) 10p House of Blues: Bustout Burlesque (SH) 8p Irvin Mayfield’s Jazz Playhouse (Royal Sonesta): Don Vappie (JV) 8p, Kinfolk Brass Band (BB) 12a Jeremy Davenport Lounge (Ritz-Carlton): Jeremy Davenport (JV) 9p Kerry Irish Pub: Paul Tobin & Steve Keith (BL) 5p, Rites of Passage (BL) 9p Le Bon Temps Roule: Margie Perez Band (JV) 11p Maple Leaf: Good Enough for Good Times feat. Rob Mercurio, Jeff Raines, Simon Lott, Joe Ashlar and more (FK) 10p One Eyed Jacks: Noisician Coalition Cacophony Ball (VR) 9p Palm Court: Palm Court Jazz Band feat. Lionel Ferbos (JV) 7p Preservation Hall: Tommy Sancton New Orleans Jazz Band (JV) 8p Prytania Music & Spirits: Fresh Fest Fundraiser feat. Easy Company (RR) 5p, Casey Robinson Band (OR) 10p Rock ’n’ Bowl: Rockin’ Dopsie, Jr. (ZY) 9:30p Snug Harbor: Clark Vreeland (MJ) 8p 10p Tipitina’s: Rebirth Brass Band (BB) 10p Tropical Isle Beach Club: Waylon Thibodeaux (PP) 5p, Willie Locket (PP) 9p Tropical Isle Bourbon: Debi & the Deacons (BL) 9p

SUNDAY MARCH 14

Apple Barrel: Kenny Claiborne (BL) 4p, Rolllin’ Hills (BL) 8p, Desoto Rust (BL) 10:30p Blue Nile: Peelander-Z, Consortium of Genius, the Local Skank (RR) 10p Circle Bar: Family Portrait, the Lucks, Demon Beat (RR) 10p Columns: Chip Wilson (JV) 11a d.b.a.: Palmetto Bug Stompers (JV) 6p, Debauche (JV) 10p Donna’s: Jesse McBride & the Next Generation (MJ) 9p Dragon’s Den: High in One Eye, Megafauna, Big, Fat & Delicious, Happy Talk Band (RR) 10p Funky Pirate: Mark Penton (PP) 4p House of Blues: Sunday Gospel Brunch (GS) 10a Irvin Mayfield’s Jazz Playhouse (Royal Sonesta): Mason’s VIP Lounge Revisited feat.

Germaine Bazzle and guests (JV) 7p Kerry Irish Pub: Mike Ryan & Friends (BL) 9p Maple Leaf: The Usual Suspects feat. Jake Eckert, Reggie Scanlan, Willie Green and CR Gruver (FK) 10p One Eyed Jacks: Tea Leaf Green (OR) 9p Palm Court: Sunday Night Swingsters feat.

Leon Brown and Tim Laughlin (JV) 7p Preservation Hall: St. Peter All-stars feat. Lars Edegran (JV) 8p Snug Harbor: call club Spotted Cat: Rites of Swing (JV) 3p Tipitina’s: Cajun Fais do do feat. Bruce Daigrepont (KJ) 5:30p

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LIVE LOCAL MUSIC Tropical Isle Beach Club: Waylon Thibodeaux (PP) 5p Tropical Isle Bourbon: Debi & the Deacons (PP) 9p

MONDAY MARCH 15

Chickie Wah Wah: Sasha and Steve Masakowski (JV) 7p Circle Bar: Missy Meatlocker (RR) 5p, Stephanie’s Id, Kelcy Mae (RR) 10p Columns: David Doucet (JV) 8p d.b.a.: Glen David Andrews (JV) 9p Donna’s: Les Getrex & the Blues All-Star Band (BL) 9p Dragon’s Den: Noxious Noize (RR) 10p Funky Pirate: Mark Penton (PP) 4p, Willie Locket & All Purpose Blues Band (PP) 8p Hi Ho Lounge: Bluegrass Pickin’ Party (BU) 8p House of Blues: Mayer Hawthorne, the County, Nikki Jean (RR) 8p Irvin Mayfield’s Jazz Playhouse (Royal Sonesta): Bob French & the Original Tuxedo Jazz Band (JV) 8p Maple Leaf: Papa Grows Funk (FK) 10p Old Point Bar: Brent Walsh Jazz Trio (JV) 8p One Eyed Jacks: Rogue Wave, Avi Buffalo (RR) 9p Preservation Hall: Preservation Hall Jazz Band feat. Mark Braud (JV) 8p Snug Harbor: Betty Shirley & Chuck Chaplin Trio (MJ) 8p 10p Tropical Isle Bourbon: Can’t Hardly Playboys (PP) 9p

TUESDAY MARCH 16

Apple Barrel: Kenny Claiborne (BL) 7p, Kenny Swartz & the Palace of Sin (BL) 10:30p Blue Nile: Ed Barrett Trio (OR) 10p Carrollton Station: acoustic open mic (AU) 9p Chickie Wah Wah: Anders Osborne, John Fohl, Johnny Sansone (VR) 8p Circle Bar: the Tom Paines (RR) 6p, Screens, Aa, Electric Trickle Machine (RR) 10p Columns: John Rankin (JV) 8p d.b.a.: New Orleans Cottonmouth Kings (JV) 9p Dragon’s Den: Smiley with a Knife (RR) 10p Funky Pirate: Big Al Carson & the Blues Masters (BL) 8p Hi Ho Lounge: Fat Sweat Open Jam (OR) 9p House of Blues: RX Bandits, the Builders & the Butchers, Zechs Marquise (RR) 6p Irvin Mayfield’s Jazz Playhouse (Royal Sonesta): Jason Marsalis (MJ) 8p Maple Leaf: Rebirth Brass Band (BB) 10p Mimi’s in the Marigny: Linnzi Zaorski (JV) 9p Old Point Bar: the Westbank Mike Show (BL) 7:30p One Eyed Jacks: Little Dragon (RR) 9p Preservation Hall: Preservation Hall-stars feat.

Shannon Powell (JV) 8p Prytania Music & Spirits: La Strada (OR) 10p Rock ’n’ Bowl: call club Saturn Bar: This Moment in Black History (RR) 9p Snug Harbor: Thelonious Monk Institute Ensemble (MJ) 8p 10p Spotted Cat: Jerry Jumonville & the Jump City Band (BL) 6p Tipitina’s: Citizen Cope (RR) 10p Tropical Isle Bourbon: Jason Bishop (PP) 9p

WEDNESDAY MARCH 17

Apple Barrel: Wendy Darling (BL) 8p, call club for late show (BL) 10:30p Blue Nile: United Postal Project (OR) 8p, Khris Royal and Dark Matter (OR) 10p Carrollton Station: Stand-up Comedy Open Mic (CO) 9p

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Chickie Wah Wah: Todd Duke Trio feat.

Germaine Bazzle (JV) 7p Circle Bar: Jim O. & the No Shows feat. Mama Go-Go (RR) 6p Columns: Ricardo Crespo (JV) 8p d.b.a.: the Tin Men (JV) 7p, Walter “Wolfman” Washington & the Roadmasters (BL) 10p Dragon’s Den: Dancehall Classics feat. DJ T-Roy (RG) 10p Funky Pirate: Big Al Carson & the Blues Masters (BL) 8p Hi Ho Lounge: Maddie Ruthless, Shockwave Sound (RR) 10p Irvin Mayfield’s Jazz Playhouse (Royal Sonesta): Play Hour feat. Sasha Masakowski (MJ) 5p, Irvin Mayfield’s NOJO Jam Session (MJ) 8p Kerry Irish Pub: St. Patrick’s Day feat. Paul Tobin and Steve Keith (BL) 3p, Rites of Passage (BL) 7:30p Maple Leaf: Mia Borders (FK) 10p Palm Court: Palm Court Jazz Band feat. Lars Edegran and Topsy Chapman (JV) 7p Preservation Hall: Preservation Hall Jazz Band feat. Mark Braud (JV) 8p Rock ’n’ Bowl: Joe Krown (SI) 8:30p Sandbar (UNO): Jazz at the Sandbar feat. Badal Roy (JV) 7:30p Snug Harbor: Delfeayo Marsalis & Uptown Jazz Orchestra (MJ) 8p 10p Tropical Isle Bourbon: Jason Bishop & the Garlic Truck Band (PP) 9p

THURSDAY MARCH 18

Apple Barrel: Dave Gregg & the Odd Man Band (BL) 8p, Andy J. Forest (BL) 10:30p Blue Nile: Bayou International Reggae Night feat. DJ T-Roy (RG) 10p Carrollton Station: Nashville Songwriters Night feat. Jim McCormick, Scott Stepakoff, Will Bohen (SS) 10p Circle Bar: Sam and Boone (RR) 6p, Lovehog, Schocholautte (RR) 10p Columns: Fredy Omar (JV) 8p d.b.a.: Jon Cleary (PK) 7p, Alex McMurray (RR) 10p Donna’s: Walter “Wolfman” Washington & the Roadmasters (FK RB) 9p Dragon’s Den: Bassbin Safari feat. DJ Proppa Bear and Simian, DJ Frenzi and DJ Daniel Steele (RH) 10p Funky Pirate: Mark Penton (PP) 4p, Big Al Carson & the Blues Masters (BL) 8p Harrah’s: Erica Falls (OR) 6p Hi Ho Lounge: Stooges Brass Band (BB) 9:30p House of Blues: Chrisette Michele Epiphany Tour 8p Irvin Mayfield’s Jazz Playhouse (Royal Sonesta): Play Hour feat. Roman Skakun (MJ) 5p, Johnaye Kendrick (JV) 8p Jeremy Davenport Lounge (Ritz-Carlton): Jeremy Davenport (JV) 5:30p Le Bon Temps Roule: Soul Rebels Thursday Night House Party (BB) 11p Maple Leaf: the Trio feat. Johnny Vidacovich and guests (FK) 10p Ogden Museum: Ogden After Hours feat. Dr. Jee Yeoun Ko and Dr. Ji Sook Park (OR) 6p Old Point Bar: Marc Stone & the Levee Creepers feat. Andy J. Forest and Keith Vinet (BL) 6p One Eyed Jacks: Fast Times ‘80s Night (PP) 10p Palm Court: Crescent City Joymakers (JV) 7p Preservation Hall: Brass Band Thursday feat.

Tornado Brass Band (BB) 8p Prytania Music & Spirits: Worst Case Scenario (RR) 10p Republic New Orleans: Spoon, Deerhunter, the Strange Boys (VR) 8p Rock ’n’ Bowl: Curley Taylor (ZY) 8:30p Snug Harbor: Tom McDermott and Evan Christopher (MJ) 8p 10p MA RC H 2 010

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LIVE LOCAL MUSIC Spotted Cat: New Orleans Moonshiners (JV) 10p Tropical Isle Beach Club: Waylon Thibodeaux (PP) 5p Tropical Isle Bourbon: Jason Bishop (PP) 4p, Debi & the Deacons (PP) 9p Vaughan’s: Kermit Ruffins & the Barbecue Swingers (MJ) 8:30p

FRIDAY MARCH 19

Apple Barrel: Kenny Holladay and Rick Westin (BL) 8p, the Hip Shakers (BL) 11p Blue Nile: TeTe (OR) 9p, Soul Rebels (BB) 12a Carrollton Station: Todd Greene and Blues Machine (RR) 9p, Life Without Elvis (RR) 10:30p Chickie Wah Wah: Threadhead Fridays feat.

Paul Sanchez & Friends (VR) 8p Circle Bar: Jim O. & the Sporadic Fanatics (RR) 6p Columns: Alex Bachari Trio (JV) 5p d.b.a.: Hot Club of New Orleans (JV) 6p, Good Enough for Good Times (JV) 10p Donna’s: The Pinettes Brass Band (BB) 9p Dragon’s Den: Aiua, Teenage Lobotomy (RR) 10p Funky Pirate: Mark Penton (PP) 4p, Big Al Carson & the Blues Masters (BL) 8p Hi Ho Lounge: Debache Russian Mafia Party (RR) 10p

Historic New Orleans Collection: Panorama Jazz Band (TJ) 6p House of Blues: AFI, the Loved Ones, Scarlet Grey (RR) 6p Howlin’ Wolf NorthShore (Mandeville): Josh Garrett & the Bottom Line (RR) 10p Howlin’ Wolf: Lillian Axe feat. Randy Jackson (RR) 10p Irvin Mayfield’s Jazz Playhouse (Royal Sonesta): Professor Jazz Piano Series feat.

Joe Krown (JV) 5p, Leon “Kid Chocolate” Brown (JV) 8p, Midnight Burlesque Ballroom feat. Trixie Minx (SH) 12a Jeremy Davenport Lounge (Ritz-Carlton): Jeremy Davenport (JV) 9p Kerry Irish Pub: Buddy Francioni and Home Grown (BL) 5p, Foot & Friends (BL) 9p Le Bon Temps Roule: Tom Worrell (PK) 7p, Juice (FK RR) 11p Maple Leaf: Jaz Salsa feat. Bill Summers and Donald Harrison (FK) 10p Old Point Bar: Neslort (BL) 9:30p One Eyed Jacks: Lazer Sword (RR) 9p Palm Court: Palm Court Jazz Band (JV) 7p Preservation Hall: William Smith (JV) 8p Prytania Music & Spirits: Courtland Burke (RR) 10p Republic New Orleans: Throwback feat. M@ People’s Collective (RR) 11p Rock ’n’ Bowl: Bonerama & the Radiators (FK) 9:30p

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PLAN A: Spoon There is a joke: the difference between indie rock and regular rock is that something in an indie rock song always sucks. The singing, the guitar, the recording, some one thing is off in an indie rock tune while the rest of the song rolls along competently.

Austin’s Spoon is the corollary; everything is just right in a Spoon song, in almost clinical balance. Spoon’s indieness is manifested in careful restraint.

Their latest album Transference improves on the pop vs. indie formulae that made Gimme Fiction (2005) and Ga Ga Ga Ga Ga (2007) so immediately appealing. The angularity the band exhibited in their embryonic years informs the near metronomic rhythm section that drives songs like

“The Mystery Zone” and “Written in Reverse.” One is tempted to say of either “This should be a hit!” but in a sense they are already hits in terms of impact. The thing is, there is always that warmth, even when it seems it comes from the song’s internal friction.

Another place Spoon deflates the indie rock joke is onstage; Spoon is a great live act. Britt Daniels is an effortless frontman, a modern Ric Ocasek, pulling the crowd to him and his band by not exactly reaching out but not shying away either. As the group approaches a perfect equillbrium with the songs, the band exhibits and ever-greater command of their staccato street funk and Daniels has honed his neo-Jagger swagger scalpel sharp, excising the surplus, letting the heart of rock ‘n’ roll throb right there out in the open.

Spoon, Deerhunter, and the Strange Boys appear at the Republic, March 18, 8 p.m. Tickets $18 Advance, $20 door.

—Alex V. Cook www.OFFBEAT.com

LIVE LOCAL MUSIC Snug Harbor: Badal Roy & Kenny Wessell Quartet (MJ) 8p 10p Southport Hall: Contraflow (RR) 10p Tipitina’s: Drive-By Truckers (RR) 10p Tropical Isle Beach Club: Waylon Thibodeaux (PP) 5p, Willie Locket (PP) 9p Tropical Isle Bourbon: Debi & the Deacons (PP) 9p

SATURDAY MARCH 20

Apple Barrel: Maxwell Eaton (BL) 4p, Sneaky Pete (BL) 8p, the Hip Shakers (BL) 11p Blue Nile: Washboard Chaz Blues Trio (BL) 7p, Snarky Puppy and the Brian Coogan Band (FK) 10p Carrollton Station: the Tanglers Bluegrass Band (BU) 10p Chickie Wah Wah: Jon Cleary (FK) 9p Circle Bar: the Jazzholes (JV) 6p, Man at Home (RR) 10p d.b.a.: John Boutte (JV) 7p Donna’s: Cindy Scott CD-release party (JV) 9p Funky Pirate: Mark Penton (PP) 4p, Big Al Carson & the Blues Masters (PP) 8p Hi Ho Lounge: Church of Burlesque, Spooky LeStrange’s Billion Dollar Baby Dolls, the Swaggers (RR SH) 10p Howlin’ Wolf NorthShore (Mandeville): Alkatraz Out Patient, Go Get Em Boyz, Phrophet, Red Flannel Pride (RR) 10p Howlin’ Wolf: Sole Pursuit, Pandemic, Luke Starkiller (RR) 10p Irvin Mayfield’s Jazz Playhouse (Royal Sonesta): Badel Roy (JV) 8p, Free Agents Brass Band (BB) 12a Jeremy Davenport Lounge (Ritz-Carlton): Jeremy Davenport (JV) 9p Le Bon Temps Roule: the Iguanas (LT RR) 11p Maple Leaf: Johnny Sketch & the Dirty Notes (FK) 10p Old Point Bar: J. the Savage (BL) 9:30p Palm Court: Palm Court Jazz Band feat. Lionel Ferbos (JV) 7p Preservation Hall: Tommy Sancton New Orleans Jazz Band (JV) 8p Prytania Music & Spirits: Mia Borders (OR) 10p Rock ’n’ Bowl: Sgt. Pepper’s Beatles Tribute Band (RR) 9:30p Snug Harbor: Amina Figarova Sextet (MJ) 8p 10p Steamboat Natchez: dinner jazz cruise feat.

Dukes of Dixieland (JV) 7p Tipitina’s: Drive-By Truckers (RR) 10p Tropical Isle Beach Club: Waylon Thibodeaux (PP) 5p, Willie Locket (PP) 9p Tropical Isle Bourbon: Debi & the Deacons (BL) 9p

SUNDAY MARCH 21

Apple Barrel: Kenny Claiborne (BL) 4p, Rolllin’ Hills (BL) 8p, Johnny J. & Benny Maygarden (BL) 10:30p Circle Bar: Silent Cinema, Royal Bangs, Pariah Beat (RR) 10p Columns: Chip Wilson (JV) 11a d.b.a.: Palmetto Bug Stompers (JV) 6p, Jeff & Vida (JV) 10p Donna’s: Jesse McBride & the Next Generation (MJ) 9p Dragon’s Den: DJ Soul Sister, American Cheeseburger (RR) 10p Funky Pirate: Mark Penton (PP) 4p House of Blues: Sunday Gospel Brunch (GS) 10a, Attack! Attack!, Breathe Carolina, I See Stars, Askin Alexandria, Bury Tomorrow (RR) 5:30p Irvin Mayfield’s Jazz Playhouse (Royal Sonesta): Mason’s VIP Lounge Revisited feat.

Germaine Bazzle and guests (JV) 7p

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Kerry Irish Pub: Schatzy & Associates (BL) 9p Maple Leaf: the Unusual Suspects feat. Jake Eckert, Reggie Scanlan, Willie Green and CR Gruver (FK) 10p Old Point Bar: Jesse Moore (BL) 3p Palm Court: Sunday Night Swingsters feat.

Leon Brown and Tom Fisher (JV) 7p Preservation Hall: St. Peter All-stars feat. Lars Edegran (JV) 8p Snug Harbor: Jason Marsalis Vibes Quartet (MJ) 8p 10p Spotted Cat: Rites of Swing (JV) 3p Tipitina’s: Cajun Fais do do feat. Bruce Daigrepont (KJ) 5:30p Tropical Isle Beach Club: Waylon Thibodeaux (PP) 5p Tropical Isle Bourbon: Debi & the Deacons (PP) 9p

MONDAY MARCH 22

Apple Barrel: Sam Cammarata and Dominick Grillo (BL) 8p, Dave Gregg & the Odd Man Band (BL) 10:30p Chickie Wah Wah: Sasha and Steve Masakowski (JV) 7p Circle Bar: Missy Meatlocker (RR) 5p, the Woes, Jupiter One, Loren Murrell (RR) 10p Columns: David Doucet (JV) 8p d.b.a.: Glen David Andrews (JV) 9p Donna’s: Les Getrex & the Blues All-Star Band (BL) 9p Dragon’s Den: Noxious Noize (RR) 10p Funky Pirate: Mark Penton (PP) 4p, Willie Locket & All Purpose Blues Band (PP) 8p Hi Ho Lounge: Bluegrass Pickin’ Party (BU) 8p Irvin Mayfield’s Jazz Playhouse (Royal Sonesta): Bob French & the Original Tuxedo Jazz Band (JV) 8p Maple Leaf: Papa Grows Funk (FK) 10p Old Point Bar: Brent Walsh Jazz Trio (JV) 8p Preservation Hall: Preservation Hall Jazz Band feat. Mark Braud (JV) 8p Saturn Bar: Nebula (RR) 9p Snug Harbor: Charmaine Neville (MJ) 8p 10p Tropical Isle Bourbon: Can’t Hardly Playboys (PP) 9p Zeitgeist: Gordon Grdina (JV) 8p

TUESDAY MARCH 23

Apple Barrel: Kenny Claiborne (BL) 7p, Kenny Swartz & the Palace of Sin (BL) 10:30p Blue Nile: Gordon Grdina (OR) 10p Carrollton Station: acoustic open mic feat. Ron Hotstream (AU) 9p Chickie Wah Wah: Anders Osborne, John Fohl, Johnny Sansone (VR) 8p Circle Bar: the Tom Paines (RR) 6p, Vivian Girls, Wetdog, Happy Birthday (RR) 10p Columns: John Rankin (JV) 8p d.b.a.: New Orleans Cottonmouth Kings (JV) 9p Dragon’s Den: Strawberry, Vanattica (RR) 10p Funky Pirate: Big Al Carson & the Blues Masters (BL) 8p Hi Ho Lounge: Fat Sweat Open Jam (OR) 9p Irvin Mayfield’s Jazz Playhouse (Royal Sonesta): Jason Marsalis (MH) 8p Kerry Irish Pub: Honky Tonk Tuesday feat.

Jason Bishop (CW) 9p Maple Leaf: Rebirth Brass Band (BB) 10p Mimi’s in the Marigny: Linnzi Zaorski (JV) 9p Old Point Bar: the Westbank Mike Show (BL) 7:30p Preservation Hall: Shannon Powell & the Preservation Hall-stars (JV) 8p Rock ’n’ Bowl: call club Saturn Bar: Digital Leather (RR) 9p Snug Harbor: Thelonious Monk Institute Ensemble (MJ) 8p 10p

Spotted Cat: Jerry Jumonville & the Jump City Band (BL) 6p Tropical Isle Bourbon: Jason Bishop (PP) 9p

WEDNESDAY MARCH 24

Apple Barrel: Wendy Darling (BL) 8p, 19th St. Red (BL) 10:30p Blue Nile: United Postal Project (FK) 8p, Khris Royal and Dark Matter (FK) 10p Carrollton Station: Stand-up Comedy Open Mic (CO) 9p Chickie Wah Wah: Todd Duke Trio feat.

Germaine Bazzle (JV) 7p Circle Bar: Jim O. & the No Shows feat. Mama Go-Go (RR) 6p, Seedy Seeds, Peasant (RR) 10p Columns: Ricardo Crespo (JV) 8p d.b.a.: the Tin Men (JV) 7p, Walter “Wolfman” Washington & the Roadmasters (BL) 10p Dragon’s Den: Dancehall Classics feat. DJ T-Roy (RG) 10p Funky Pirate: Big Al Carson & the Blues Masters (BL) 8p Irvin Mayfield’s Jazz Playhouse (Royal Sonesta): Play Hour feat. Roman Skakun (JV) 5p, Irvin Mayfield’s NOJO Jam Session (MJ) 8p Kerry Irish Pub: Chip Wilson (BL) 9p Maple Leaf: Mia Borders (FK) 10p Old Point Bar: open mic nite (OR) 6:30p Preservation Hall: Preservation Hall Jazz Band Tribute feat. Rickie Monie (JV) 8p Rock ’n’ Bowl: New Orleans Moonshiners (JV) 8:30p Sandbar (UNO): Jazz at the Sandbar feat.

Vadim Neselovskyi (JV) 7:30p Snug Harbor: Delfeayo Marsalis & Uptown Jazz Orchestra (MJ) 8p 10p Tropical Isle Bourbon: Jason Bishop & the Garlic Truck Band (PP) 9p

THURSDAY MARCH 25

Apple Barrel: Dave Gregg & the Odd Man Band (BL) 8p, the Louisiana Hellbenders (BL) 10:30p Blue Nile: Bayou International Reggae Night feat. DJ T-Roy (RG) 10p Chickie Wah Wah: Evan Christopher CDrelease party (JV) 8p Circle Bar: Sam and Boone (RR) 6p Columns: Fredy Omar (JV) 8p d.b.a.: Linnzi Zaorski (SI) 6p, J. the Savage (JV) 10p Donna’s: Tom McDermott and Meschiya Lake (TJ) 9p Dragon’s Den: Bassbin Safari feat. DJ Proppa Bear and Simian, DJ Frenzi and DJ Daniel Steele (RH) 10p Funky Pirate: Mark Penton (PP) 4p, Big Al Carson & the Blues Masters (BL) 8p Harrah’s: Judy Spellman (OR) 6p Hi Ho Lounge: Stooges Brass Band (BB) 9:30p House of Blues: Alkaline Trio, Cursive, the Dear & Departed (RR) 8p Irvin Mayfield’s Jazz Playhouse (Royal Sonesta): Play Hour feat. Roman Skakun (JV) 5p, Johnaye Kendrick (JV) 8p Jeremy Davenport Lounge (Ritz-Carlton): Jeremy Davenport (JV) 5:30p Kerry Irish Pub: Dave James and Tim Robertson (BL) 9p Le Bon Temps Roule: Soul Rebels Thursday Night House Party (BB) 11p Maple Leaf: the Trio feat. Johnny Vidacovich and guests (FK) 10p Ogden Museum: Ogden After Hours feat.

James Low (OR) 6p Old Point Bar: Marc Stone & the Levee Creepers feat. Andy J. Forest and Keith Vinet (BL) 6p, Sammy Nequitar & the Zydeco Whips (ZY) 9p MA RC H 2 010

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LIVE LOCAL MUSIC One Eyed Jacks: Tennessee Williams Fest (VR) 7p, Exodus (ME) 9p, Fast Times ‘80s Night (PP) 10p Palm Court: Crescent City Joymakers feat.

Leon Brown (JV) 7p Preservation Hall: Brass Band Thursday feat.

New Birth Brass Band (BB) 8p Prytania Music & Spirits: Sun Hotel Tour Kick Off (OR) 10p Rock ’n’ Bowl: Same Ol Two Step (ZY) 8:30p Snug Harbor: Vadim Neselovsky Trio (MJ) 8p 10p Spotted Cat: New Orleans Moonshiners (JV) 10p Tropical Isle Beach Club: Waylon Thibodeaux (PP) 5p Tropical Isle Bourbon: Jason Bishop (PP) 4p, Debi & the Deacons (PP) 9p Vaughan’s: Kermit Ruffins & the Barbecue Swingers (MJ) 8:30p

FRIDAY MARCH 26

Apple Barrel: Kenny Holladay and Rick Westin (BL) 8p, the Hip Shakers (BL) 11p Blue Nile: Mykia Jovan and Jason Butler (JV) 7p Chickie Wah Wah: Happy Hour feat. Pfister Sisters (JV) 5p, Threadhead Fridays feat.

Paul Sanchez & Friends (VR) 8p Circle Bar: Jim O. & the Sporadic Fanatics (RR) 6p, Gal Holiday & the Honky Tonk Revue (CW) 10p Clever Wines: Linnzi Zaorski (JV) 8p Columns: Alex Bachari Trio (JV) 5p d.b.a.: Ingrid Lucia (SI) 6p, Joe Krown, Walter “Wolfman” Washington, Russell Batiste (JV) 10p Donna’s: The Original Royal Players Brass Band (BB) 9p Dragon’s Den: Dragon’s Den art party feat.

Sigma (RR LT) 10p Funky Pirate: Mark Penton (PP) 4p, Big Al Carson & the Blues Masters (BL) 8p House of Blues: Pat Green 8p Irvin Mayfield’s Jazz Playhouse (Royal Sonesta): Professor Jazz Piano series feat.

Tom Worrell (JV) 5p, Leon “Kid Chocolate” Brown (JV) 8p, Burlesque Ballroom feat.

Trixie Minx (JV) 12a Jeremy Davenport Lounge (Ritz-Carlton): Jeremy Davenport (JV) 9p Kerry Irish Pub: Hurricane Refugees (BL) 9p Le Bon Temps Roule: Joe Krown (PK) 7p Maple Leaf: Brian Coogan Band (FK) 10p Old Point Bar: the Space Heaters (VR) 9:30p One Eyed Jacks: Tennessee Williams Fest (VR) 7p Palm Court: Palm Court Jazz Band (JV) 7p Preservation Hall: Preservation Hall Jazz Masters feat. William Smith (JV) 8p Prytania Music & Spirits: Smiley with a Knife, Female Demand, the Acropolions (RR) 10p Republic New Orleans: Throwback feat. The Blue Party (RR) 11p Rock ’n’ Bowl: Barbecue Swingers (SI) 8:30p Snug Harbor: Topsy Chapman and Solid Harmony (MJ) 8p 10p Tipitina’s: Musicians Bringing Musicians Home VI (VR) 9p Tropical Isle Beach Club: Waylon Thibodeaux (PP) 5p, Willie Locket (PP) 9p Tropical Isle Bourbon: Debi & the Deacons (PP) 9p

SATURDAY MARCH 27

Apple Barrel: Maxwell Eaton (BL) 4p, Sneaky Pete (BL) 8p, Andre Bouvier & the Royal Bohemians (BL) 11p

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Blue Nile: Washboard Chaz Blues Trio (BL) 7p, Johnny Sketch & the Dirty Notes feat. 500 Miles to Memphis (FK) 10p Circle Bar: the Jazzholes (JV) 6p, White Colla Crimes, the Local Skank (RR CW) 10p Crescent City Brewhouse: New Orleans Streetbeat (JV) 6p d.b.a.: John Boutte (JV) 7p, Suplecs (ME) 11p Donna’s: Wild Magnolias (MI) 9p Dragon’s Den: Alex Emrbace, Thomas Trenton (RR) 10p Funky Pirate: Mark Penton (PP) 4p, Big Al Carson & the Blues Masters (PP) 8p Hi Ho Lounge: Drum & Bass DJ Night (VR) 9p House of Blues (the Parish): Belleville Outfit 9p Howlin’ Wolf NorthShore (Mandeville): Poltern Kinder, Headspill, Falls From Grace, Shattered Display (OR) 10p Howlin’ Wolf: Burlesque to the Future (SH CO VR) 10p Irvin Mayfield’s Jazz Playhouse (Royal Sonesta): Shannon Powell (JV) 8p Jeremy Davenport Lounge (Ritz-Carlton): Jeremy Davenport (JV) 9p Le Bon Temps Roule: Los Po-Boy-Citos (RR) 11p Louisiana Music Factory: Michael Juan Nunez (OR) 3p Maple Leaf: John Gros Saturday Night Special feat. John Gros, George Porter, Jr., Brian S. and Jellybean Alexander (FK) 10p Old Point Bar: the Jesse Moore Band (BL) 9:30p One Eyed Jacks: Honey Island Swamp Band CD-release party (RR) 9p Palm Court: Palm Court Jazz Band feat. Lionel Ferbos (JV) 7p Preservation Hall: Preservation Hall Jazz Band feat. Mark Braud (JV) 8p Rock ’n’ Bowl: Kermit Ruffins (MJ) 9:30p Snug Harbor: Chris Thomas King (BL) 8p 10p Southport Hall: 5 Finger Discount (RR) 10p Tipitina’s: the Cholesterol Ball feat. Bonerama, Dr. Funk (FK) 7p Tropical Isle Beach Club: Waylon Thibodeaux (PP) 5p, Willie Locket (PP) 9p Tropical Isle Bourbon: Debi & the Deacons (BL) 9p

SUNDAY MARCH 28

Apple Barrel: Kenny Claiborne (BL) 4p, Rolllin’ Hills (BL) 8p, Kid Merv (BL) 10:30p Café Beignet: Steamboat Willie Jazz Band (JV) 1p 6p Circle Bar: the Choke (RR) 10p Columns: Chip Wilson (JV) 11a d.b.a.: Palmetto Bug Stompers (JV) 6p, Louisiana Hellbenders (RR) 10p Donna’s: Jesse McBride & the Next Generation (MJ) 9p Funky Pirate: Mark Penton (PP) 4p House of Blues: Sunday Gospel Brunch (GS) 10a, Booker T. Jones (OR) 8p Irvin Mayfield’s Jazz Playhouse (Royal Sonesta): Mason’s VIP Lounge Revisited feat. Germaine Bazzle and guests (JV) 7p Kerry Irish Pub: Irish Session (BL) 5p Maple Leaf: Joe Krown Trio feat. Walter “Wolfman” Washington & Russell Batiste (FK) 10p Old Point Bar: Some Like it Hot (BL) 5p Palm Court: Sunday Night Swingsters feat.

Leon Brown and Tom Fisher (JV) 7p Preservation Hall: St. Peter All-stars feat. Lars Edegran (JV) 8p Snug Harbor: Warren Batiste with Steve Masakowski (MJ) 8p, 10p Spotted Cat: Rites of Swing (JV) 3p Tipitina’s: Cajun Fais do do feat. Bruce Daigrepont (KJ) 5:30p Tropical Isle Beach Club: Waylon Thibodeaux (PP) 5p

Tropical Isle Bourbon: Debi & the Deacons (PP) 9p

MONDAY MARCH 29

Apple Barrel: Sam Cammarata and Dominick Grillo (BL) 8p, Butch Trivette (BL) 10:30p Chickie Wah Wah: Sasha and Steve Masakowski (JV) 7p Circle Bar: Missy Meatlocker (RR) 5p Columns: David Doucet (JV) 8p d.b.a.: Glen David Andrews (JV) 9p Donna’s: Les Getrex & the Blues All-Star Band (BL) 9p Dragon’s Den: Noxious Noize (RR) 10p, the Consulation Wars, the Sound of Wales, Blinded by Bears (RR) 10p Funky Pirate: Mark Penton (PP) 4p, Willie Locket & All Purpose Blues Band (PP) 8p Hi Ho Lounge: Bluegrass Pickin’ Party (BU) 8p Irvin Mayfield’s Jazz Playhouse (Royal Sonesta): Bob French & the Original Tuxedo Jazz Band (JV) 8p Kerry Irish Pub: Kim Carson (BL) 9p Maple Leaf: Papa Grows Funk (FK) 10p Old Point Bar: Brent Walsh Jazz Trio (JV) 8p Preservation Hall: Preservation Hall Jazz Band feat. Mark Braud (JV) 8p Snug Harbor: Charmaine Neville (MJ) 8p 10p Tropical Isle Bourbon: Can’t Hardly Playboys (PP) 9p

TUESDAY MARCH 30

Apple Barrel: Luke (BL) 7p, Shotgun House (BL) 10:30p Blue Nile: Brad Walker (OR) 10p Carrollton Station: acoustic open mic (AU) 9p Chickie Wah Wah: Anders Osborne, John Fohl, Johnny Sansone (VR) 8p Circle Bar: the Tom Paines (RR) 6p Columns: John Rankin (JV) 8p d.b.a.: New Orleans Cottonmouth Kings (JV) 9p Funky Pirate: Big Al Carson & the Blues Masters (BL) 8p Hi Ho Lounge: Fat Sweat Open Jam (OR) 9p Irvin Mayfield’s Jazz Playhouse (Royal Sonesta): Evan Christopher (JV) 8p Kerry Irish Pub: Brooks Hubbert (BL) 9p Maple Leaf: Rebirth Brass Band (BB) 10p Mimi’s in the Marigny: Linnzi Zaorski (JV) 9p Old Point Bar: the Westbank Mike Show (BL) 7:30p Preservation Hall: Shannon Powell & the Preservation Hall-stars (JV) 8p Rock ’n’ Bowl: call club Snug Harbor: Joe Ashlar Trio (MJ) 8p 10p Spotted Cat: Jerry Jumonville & the Jump City Band (BL) 6p Tropical Isle Bourbon: Jason Bishop (PP) 9p

WEDNESDAY MARCH 31

Apple Barrel: Wendy Darling (BL) 8p, Mike Darby & the House of Cards (BL) 10:30p Blue Nile: United Postal Project 8p, Khris Royal and Dark Matter (FK) 10p Chickie Wah Wah: Todd Duke Trio feat.

Germaine Bazzle (JV) 7p Circle Bar: Jim O. & the No Shows feat. Mama Go-Go (RR) 6p Columns: Ricardo Crespo (JV) 8p d.b.a.: the Tin Men (JV) 7p, Walter “Wolfman” Washington & the Roadmasters (BL) 10p Dragon’s Den: Dancehall Classics feat. DJ T-Roy (RG) 10p Funky Pirate: Big Al Carson & the Blues Masters (BL) 8p Irvin Mayfield’s Jazz Playhouse (Royal Sonesta): Play Hour feat. Sasha Masakowski (JV) 5p, Irvin Mayfield’s NOJO Jam Session (JV) 8p

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LIVE LOCAL MUSIC Kerry Irish Pub: Chip Wilson (BL) 9p Maple Leaf: Mia Borders (FK) 10p Old Point Bar: Michael Burkhart (BL) 8p Palm Court: Palm Court Jazz Band feat. Topsy Chapman and Lars Edegran (JV) 7p Preservation Hall: Preservation Hall Jazz Band feat. Mark Braud (JV) 8p Rock ’n’ Bowl: call club Snug Harbor: Delfeayo Marsalis & Uptown Jazz Orchestra (MJ) 8p 10p Tropical Isle Bourbon: Jason Bishop & the Garlic Truck Band (PP) 9p

LOUISIANA MUSIC ON TOUR BEAUSOLEIL AVEC MICHAEL DOUCET Mar 13-21 Tampa FL A Prairie Home Companion Cruise Mar 27 Napa CA Napa Valley Opera House Mar 31 Scottsdale AZ The Rhythm Room TAB BENOIT Mar 21 Topeka KS Uncle Bo’s Mar 19 Kansas City MO Knuckleheads Saloon Mar 20 Wichita KS The Cotillion Mar 23 Evergreen CO Little Bear Saloon Mar 25 Steamboat Springs CO Ghost Ranch Saloon Mar 26 Colorado Springs CO Stargazers Theater Mar 27 Englewood CO Gothic Theater BIG AL & THE HEAVYWEIGHTS Mar 12 Scott LA The Shed Mar 14 Independence LA Sicilian Festival BIG SAM’S FUNKY NATION Mar 5 Miami FL Carnival on the Mile Mar 6 Miami FL Transit Lounge Mar 7 Miami FL Carnival on the Mile Mar 25 San Diego CA Winston’s Mar 26 Los Angeles CA The Mint Mar 27 San Francisco CA The Independent Mar 28 Santa Cruz CA Moe’s Alley BONERAMA Mar 12 Sioux Falls SD Orpheum Theater Center JOHN BOUTTE Mar 5 Calgary AB Dalhousie Community Center JON CLEARY Mar 25 Melbourne AUS Northcotte Social Club Mar 26 Adelaide AUS Jive Mar 29 Sydney AUS Raval Mar 30 Sydney AUS Note’s Mar 31 Newcastle AUS Lizotte’s COWBOY MOUTH Mar 18 Vail CO Golden Peak DIRTY DOZEN BRASS BAND Mar 6 Albany GA Mardi Gras Festival Mar 25 Live Oak FL Suwannee Springfest

HONEY ISLAND SWAMP BAND Mar 2 Tampa FL Skipper’s Smokehouse Mar 3 Boca Raton FL Backroom Mar 4-5 Key West FL Green Parrot Mar 6 Orlando FL Universal Studios Mar 7 Jacksonville FL Jackrabbit’s Mar 9 Charleston SC Pourhouse Mar 11 New York NY Sullivan Hall Mar 12 New York NY B.B. King’s Mar 13 Edgewood MD Club 66 Mar 16 Sellersville PA Sellersville Theater Mar 17 Rochester NY Dinosaur BBQ Mar 18 Syracuse NY Dinosaur BBQ Mar 19 Blawnox PA Moondog’s Mar 20 Edgewood MD Club 66 Mar 21 Roanoka VA Awful Arthur’s Mar 26 Lafayette LA The Shed JOE KROWN TRIO WITH WALTER “WOLFMAN” WASHINGTON & RUSSELL BATISTE, JR. Mar 10 Baltimore MD 8 x 10 Mar 11 New York NY Sullivan Hall Mar 12 Somerville MA Johnny D’s Mar 13 Fall River MA Narrows Center for the Arts Mar 14 Norfolk CT Infinity Music Hall ERIC LINDELL Mar 19 Baton Rouge LA Chelsea’s Mar 20 Gulfport MS Quarter Bar KENNY NEAL Mar 16-19 Bern SWI Marians Jazzroom Mar 22-24 Paris FRA Le Meridien Etoile Mar 26 Vaulx En Velin FRA Festival A Vaulx Jazz Mar 27 Talant FRA Nuit du Blues Mar 29-Apr 3 Paris FRA Le Meridien Hotel CYRIL NEVILLE Mar 2 Santa Cruz CA Moe’s Alley Mar 3 Solana Beach CA Belly Up Mar 4 Los Angeles CA Elray Theater Mar 5-6 San Francisco CA The Fillmore Mar 6 Las Vegas NV Wasted Space Mar 26-29 Osaka JPN Club Quattro IVAN NEVILLE’S DUMPSTAPHUNK Mar 25 Atlanta GA The Loft at Center Stage Mar 27 Asheville NC The Orange Peel Mar 31 Falls Church VA State Theater ANDERS OSBORNE Mar 19 Tampa FL Skipper’s Smokehouse PAPA GROWS FUNK Mar 19-20 Denver CO Owsley’s Golden Road PINE LEAF BOYS Mar 10 Peace River AB Athabasca Hall Mar 11 St. Albert AB Arden Theatre Mar 12 North Vancouver BC Capilano College Mar 13 Harrison Hot Springs BC Harrison Memorial Hall

DR. JOHN Mar 12 Westbury NY Theatre At Westbury Mar 26-28 Sydney AUS The Basement Mar 31 Richmond AUS Corner Hotel

PRESERVATION HALL JAZZ BAND Mar 4 San Diego CA Birch North Park Theater Mar 5 Arroyo Grande CA Clark Center for Performing Arts Mar 18 Saint Cloud MN Paramount Theater Mar 20 Minneapolis MN Orchestra Hall

GALACTIC Mar 2 Santa Cruz CA Moe’s Alley Mar 3 Solana Beach CA Belly Up Tavern Mar 4 Los Angeles EL Rey Mar 5-6 San Francisco CA Fillmore Mar 7 Las Vegas NV Wasted Space Mar 26-29 Osaka JPN Club Quattro

THE RADIATORS Mar 4 Fall River MA Narrows Center for the Arts Mar 5 Westbury NY Capital One Bank Theater Mar 6 Fairfield CT StageOne Mar 7 Londonderry NH Tupelo Music Hall Mar 12 New York NY B.B. King Blues Club Mar 19-20 Fort Lauderdale FL Culture Room

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LIVE LOCAL MUSIC REBIRTH BRASS BAND Mar 19 Orlando FL Ballroom at Church Street May 13 Okoboji IA Lakes Art Center RED STICK RAMBLERS Mar 19 Nelsonville OH Stuart’s Opera House Mar 20 Bradford PA University of Pittsburgh Mar 21 Ithaca NY Castaways PAUL SANCHEZ & JOHN BOUTTE Mar 5 Calgary AB Dalhousie Comm Centre THE SUBDUDES Mar 1 Seattle WA The Triple Door Mar 2 Portland OR Aladdin Theatre Mar 4 Santa Rosa CA Last Day Saloon

Mar 6 Mendocino CA Mendocino Coast Whale Festival Mar 11 Foxboro MA Showcase Live Mar 12 Scarborough ME The Landing at Pine Point Mar 13 Rangeley ME Saddleback Maine Mar 15 Fairfield CT StageOne Mar 16 Mt. Vernon NY The Bayou Mar 18 Buffalo NY The Tralf Mar 19 Cleveland OH Beachland Ballroom Mar 20 Pittsburgh PA Diesel ALLEN TOUSSAINT Mar 3 San Francisco CA Great American Music Hall Mar 5 Santa Cruz CA Kuumbwa Jazz Center Mar 6 Los Angeles CA UCLA Live

Mar 18 Bologna ITL Teatro Arena del Sole Mar 19 Rome ITL Auditorium Il Parco della Musica Mar 23-27 Berne SWI International Jazz Festival TROMBONE SHORTY & ORLEANS AVENUE Mar 5 Hattiesburg MS Camp Shelby Mar 6 Denver CO Ogden Theater Mar 7 Steamboat Springs CO Ghostranch Saloon Mar 8 Breckenridge CO Three 20 South Mar 10 Solana Beach CA Belly Up Mar 11 Los Angeles CA El Rey Theater Mar 12 Santa Cruz CA The Catalyst Mar 13 San Francisco CA The Fillmore

Mar 14 Sacramento CA Harlow’s Mar 16 Sisters OR Sisters High School Auditorium Mar 17 Portland OR Berbati’s Pan Mar 18 Seattle WA Neumos Mar 27 Covington LA Columbia Street Tap Room WALTER “WOLFMAN” WASHINGTON Mar 11 New York NY Sullivan Hall

CLASSICAL MARCH 6 Pan-American Life Fiesta Sinfonica: This one night only performance features nine-time Grammy winner Paquito D’Rivera who will be performing the world premiere of his Latin American Suite.

Mahalia Jackson Theater. 8p. (504) 5236530, LPOMusic.org.

MARCH 7-28 Trinity Artist Series: Albinas Prizgintas presents this eclectic concert series every Sunday throughout March at Trinity Church, 1329 Jackson Ave. Check the OffBeat daily listings for scheduled performances. 5p.

MARCH 25 Louisiana Philharmonic: Antti Siirala appears with the LPO to perform Mendelssohn’s Piano Concerto No. 2 also Brahms’ Fourth Symphony and Stephen Dankner’s Symphony No. 9. First Baptist New Orleans. 7:30p. (504) 523-6530, LPOMusic.org.

MARCH 31 Something Borrowed: Rebecca Miller and Inon Barnatan perform Brahms, Rachmaninov and Mussorgsky. First Baptist Church Kenner.

7:30p. (504) 523-6530, LPOMusic.org.

CONCERTS MARCH 5 George Strait: The legendary country singer plays the New Orleans Arena with Reba McEntire. 7p.

MARCH 5 Switchfoot: The alternative rock band comes to the UNO Lakefront Arena with Ben Kweller. 7p.

MARCH 6 Eric Clapton: The legendary rock artist plays the New Orleans Arena at 7:30p.

MARCH 19 Mo’nique: The famous actress, comedian and talk show host comes to crack some laughs at the UNO Lakefront Arena. 9p.

FESTIVALS THROUGH APRIL 15 French Quarter Wine Festival: Enjoy more than a month of fine wines at the Maison Dupuy for the annual French Quarter Wine Festival.

Visit FrenchQuarterWineFestival.com for a full schedule of events.

MARCH 12-14 Foburg: This new music festival features three nights of music at venues on Frenchmen Street. FoburgNewOrleans.com.

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www.OFFBEAT.com

LIVE LOCAL MUSIC MARCH 13-14 Soul Fest: Celebrate African-American heritage and culture and enjoy soul food, local crafts and live music at the Audubon Zoo. 10a-5p.

AudubonInstitute.org.

MARCH 13-15 Louisiana Sportsmen’s Show & Festival: Take a ride to the Lamar Dixon Expo Center in Gonzales for a festival with hunting a fishing gear, contest, seminars and live music.

LASportsmenShow.com.

SPECIAL EVENTS MARCH 4-25 Ogden After Hours: Visit the Ogden Museum every Thursday evening for live entertainment

by Southern musicians. Check the OffBeat daily listings for a schedule of performances.

6p. OgdenMuseum.org.

MARCH 5 Renaissance Mixed Martial Arts 16: Enjoy 10 bloody battles of mixed martial arts fighting at Harrah’s Theater. 8p. RenaissanceMMA.com

MARCH 19-21 Amite Oyster Festival: Shuck open some of Louisiana’s slimy delicacies and enjoy live entertainment at the Tangipahoa Parish Fairgrounds in Amite. (985) 748-7156, AmiteOysterFestival.org.

MARCH 6-27 Gretna Farmer’s Market: Head to Gretna every Saturday for a farmer’s market featuring food and wine vendors and cooking demonstrations. 8:30a-12:30p. GretnaLa.com.

MARCH 19-21 Audubon Pilgrimage: Spend a weekend in St. Francisville exploring antebellum homes and gardens and witnessing demonstrations of early rural life. (225) 635-6330, AudubonPilgrimage.info.

MARCH 13 Sankofa Marketplace: Held every second Saturday of the month in the Lower 9th Ward, this market features fresh produce, arts and crafts, live music, health screenings, children’s activities and more. SankofaMarketplace.org.

MARCH 20-21 Earth Fest: Enjoy live music and great food while learning about the environment at the Audubon Zoo. AudubonInstitute.org.

MARCH 20 Bywater Art Market: The fun art market features paintings, pottery, glass, furniture and more. 9a-4p. BywaterArtMarket.com. This month will also coincide with the Bywater Bark Market which will feature special products and services for dogs.

MARCH 20-21 Los Islenos Fiesta: Celebrate the heritage of the Canary islands in Chalmette with a festival featuring Canarian food, Islenos music, dancing, crafts, exhibits and demonstrations.

(504) 524-1659, LosIslenos.org.

MARCH 20-21 Bach Around the Clock: Experience more than 24 hours of continuous music, dance and theatrical performances at the Trinity Episcopal Church. (504) 670-2520, TrinityNola.com.

MARCH 20-21 Oak Alley Plantation Spring Arts and Crafts Festival: Head to this historic Baton Rouge plantation for a fun festival featuring live music, arts and crafts, period demonstrations and great food. (225) 265-2151, OakAlleyPlantation.com.

MARCH 24-28 Tennessee Williams/New Orleans Literary Festival: The 19th annual event features literary events, live music, film screenings, walking tours, a book fair and a “Stanley and Stella” shouting contest. (504) 581-1144, TennesseeWilliams.net.

MARCH 26-28 New Orleans Roadfood Festival: This fun festival will feature regional specialties from all across the country and visitors will be able to “eat their way across the USA” with seafood chowder from the Maine Diner, pecan pie from Royer’s Round Top Cafe in Texas and Hot Tamales from the Tucson Tamale Company.

NewOrleansRoadFoodFestival.com.

MARCH 27 Soul Revival 2001: This great music revue features an evening of live gospel, zydeco and R&B music along with mouthwatering soul food. 600 Iona St., Old Metairie. 7p. (504) 558-8900, SoulRevival2010.com.

www.OFFBEAT.com

MARCH 27 Book Signing: Jeffrey H. Jackson, author of Paris Under Water: How the City of Light Survived the Great Flood of 1910, signs his book at the Historic New Orleans Collection at 12p.

THEATER AND DANCE THROUGH MARCH 7 Ameriville: This young group fuses poetry, jazz, hip-hop, politics and down home blues with smoldering Spanish melodies to create an unforgettable theatre experience. Southern Rep Theater. (504) 523-9857, SouthernRep.com.

MARCH 3 Cirque de Dosgris: This New Orleans talking head panel features a few twists along with special guests including Times-Picayune political cartoonist Steve Kelley and singer/ songwriter Phillip Melancon. 8p. Le Chat Noir.

(504) 581-5812, CabaretLeChatNoir.com.

MARCH 5-21 Renew Revue: This original cabaret show features Ricky Graham along with Yvette Hargis, Amanda Zirkenbach, Matthew Mickal and Jefferson Turner. Fri.-Sat. 8p, Sun. 3p. Le Chat Noir. (504) 581-5812, CabaretLeChatNoir.com.

MARCH 8 Crosstown Reading Series: Head to Le Chat Noir for the chance to hear plays read aloud by experienced actors. 7:30p. (504) 581-5812, CabaretLeChatNoir.com.

MARCH 24-APRIL 18 With a Bang: This absurd, terrifyingly comedic tale features a young heroine who finds out that her father has died...again. Southern Rep Theater. (504) 523-9857, SouthernRep.com.

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Les Blank talks back

ocumentary filmmaker Les Blank has spent much of his life in Louisiana, whether attending university here at Tulane, working as second camera shooting Dennis Hopper’s Easy Rider, or capturing communities outside of the American mainstream that had music at their hearts.

He shot a series of films on Cajun, Creole and zydeco including 1973’s Dry Wood on Bois-Sec Ardoin and Canray Fontenot, and Hot Pepper on Clifton Chenier, also from ‘73. He would return throughout his career to Cajun country, and in 1978 he shot Always for Pleasure, a film on New Orleans street music culture.

In his films, he has employed a poet’s sensibility—perhaps a byproduct of his MFA in creative writing, but he says he’s not sure.

Blank lets visual details and the way people speak say what needs to be said, and by turning his camera lens on different American folk music communities, he rescues the music from museums and establishes it as the product of real people.

Blank will be in New Orleans March 20 when the Ogden Museum of Southern Art presents “A Well-Spent Life: An Evening with Les Blank.” He’ll show 1971’s A Well-Spent Life on Texas bluesman Mance Lipscomb, Dry Wood, 1979’s Del Mero Corazon on the love song in the Tex-Mex Ñorteno music tradition, and 1983’s Sprout Wings and Fly on Appalachian fiddler Tommy Jarrell. On March 21, the Ogden will show Always for Pleasure and a new version of Lisa Katzman’s Tootie’s Last Suit about Big Chief Tootie Montana.

I know you went to school at Tulane.

How did you get there?

From ‘54 to ‘60, I attended Tulane. I had worked on tugboats in previous summers.

The summer before my senior year of high school, I worked on one in New Orleans. I got off in New Orleans and was amazed to see that certain parts of the town, the bars never closed and some don’t even own a key to the front door. There’s no need to if they’re opened 24 hours a day. I’d been at an all-boys prep school [in Tampa] with pretty rigid rules; this was a real eye-opener to me. I liked to play football and their football team was part of the Southeastern Conference at that time.

So those things all led me that way.

From my limited point of view, I enjoyed the French Quarter, the bars along Decatur Street,

the oysters, the warmth of the whole area.

Towards the end of my stay there, I learned about the clubs where people like Fats Domino were playing to all-black audiences. In those days there weren’t much mixing in the clubs if any at all. That, to me, was eye-opening—to be in there and be friendly with people who normally are conditioned to think that they don’t get next to or dance with you.

www.OFFBEAT.com

By Alex Rawls

How did you get into filmmaking?

Ever since I was a kid, I was totally blown away by movies. I saw Pinocchio when I was four years old. I couldn’t understand that this was make believe up there on the screen; I thought it was all totally real. We had no TV at the time, so this was my first visual-audio experience. Then the Saturday afternoon matinees always had these cowboy serials that MA RC H 2 010

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He said they had a degree called a Master of Fine Arts in theater with an emphasis on playwriting. I thought, this sounds a lot better than killing people in an airplane.

I liked a lot. When I was in prep school, the head of the art department had a connection with the Brattle Theatre in Cambridge, the only theatre in New England that imported art films from Europe. I think New York was the only place beside Cambridge where these movies could be seen. He brought these films to the campus every Monday or Friday night.

We got to see these beautiful 35 mm prints with these great films. That led me to really like films that had some guts to it, some heart to it, like European films did.

When I got down to Tulane, I was toying between being a surgeon. I liked the idea of brain surgery and being a writer. I flunked chemistry, so that sort of cut off the scientific side of my direction. I thought I’d major in English/literature writing about what other people had done to prepare me to be a writer. By this time there were art films being imported into New Orleans. One of Bergman’s films was shown in a place that showed what they called “nudie films,” the first erotic films, European art films sold on the basis of the nudity of the film. People who flocked to them just to see naked Swedish women swimming around in the river didn’t care about the art, but I did. Well, I liked both actually!

By this time, I went to U.C. Berkley to get a graduate degree in English but it was too academic for me and I dropped out. I was sort of bumming around on the loose, then it really hit home that this was what I wanted to do. In the midst of my ruthlessness, restlessness and depression and anxiety, I dropped into a naval recruiting center for college graduates to have my brain tested because of all the many interviews I’d taken and failed. I thought my lifestyle was maybe affecting my brain cells. They brought me back for a physical, and I passed that, surprisingly enough. Then I passed the interview. When I told them about my police record in New Orleans, for having been arrested for drunkenness, fighting—at one point I jumped in the river to swim across it because I was bored with my friends on the ferry boat—they said they wanted their fighter pilots to be full of piss and vinegar, so they gave me orders to go to flight school in Pensacola. While driving there, I overnighted in New Orleans and called up a friend of mine who had been teaching in the theater department. I told him I wanted

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to make movies. He said they had a degree called a Master of Fine Arts in theater with an emphasis on playwriting. You could write a three-act play as your thesis, take some courses, working with actors and play scripts, and somehow get a footing in the world of movies. I thought, this sounds a lot better than killing people in an airplane.

Did your experience here spark your interest in Cajun music?

When I was there, there was no such thing as Cajun records or Cajun restaurants. You may find a hole in the wall across the river.

On the football team, there was a Cajun guy who had a real different accent and a sense of humor. He told me about this club over in St. Martinville. There was a dancehall down this dirt road; when you walked in, everybody was doing this strong two-step beat where the floors was actually going up and down with the crowd stomping all at the same time as they danced in a circle around the dance floor with their partner. The waiters wore revolvers and people did not speak English at all. I had to use my college French to make myself understood. That convinced me that there was something going on that I liked and wanted to know more about. I didn’t have any more experiences like that until I left school.

I did an industrial film up in Chicago in some ugly factory making something like carbon paper. I noticed the Chicago Folk Festival was happening and I went over there. They had people like Dewey Balfa and John Cohen. Dewey invited me backstage after their show and he had a gallon of moonshine. We sat around, sipped moonshine and talked. He said, “You come to Louisiana, we’ll help you make a film.”

Dry Wood and Hot Pepper started off as one single film. As time went on, I noticed the people around Bois-Sec Ardoin was more of a rural, agrarian community. Everybody worked on farms where they were sharecropping.

People around Clifton (Chenier) were barbers, factory workers—a little more urban, you could say.

How were you able to insinuate yourself into these cultures where you were the outsider?

I’m always careful not to antagonize people.

Some cameramen will just look at, say a family having a picnic, and they just worry about their

focus and exposure and screen movement.

(They) don’t realize these are human beings who have feelings and personal space. You have to sort of float into a situation, not being too pushy. I think a lot of it has to do with how enthusiastic you are about your subject.

If you really love what you’re doing and love the people you’re doing it with, then I think it communicates and loosens up a little bit.

I think most every film I’ve made, I’ve managed to get it back to the community before the subject dies. It’s mostly all worked out real well. I remember tales of Cajuns getting really annoyed of outsiders coming in and making fun of their culture.

What can you tell me about your experiences on Easy Rider?

The crew was selected of friends of Dennis Hopper or friends of friends. It was not your typical Hollywood crew. I guess that’s what Hopper wanted; he wanted as he said to be among friends and for everyone to do their own thing. They rented a big Winnebago in New Orleans, and we all piled in, drove around doing scenes he had in his mind to do to prove to Hollywood that he could take a small group of friends on a low budget and do this movie about the new America.

We got to shoot for a week. We’d be down in the French Quarter outside of Pat O’Brien’s.

Beer cans would be piling up about maybe a foot deep in the street and drunks would be rolling down the street and he’d say, “Quiet everybody! We’re shooting a major motion picture that’s going to change the world and I demand that you all be quiet so we can hear the actors when they speak.” And of course all the drunks would say, “What the fuck is this?” Throwing beer cans at him. He got really riled up started screaming at them till his face got all red.

When the film got edited and shown to the big shots in Hollywood, they said, “Yeah, you’ve got something good, but we can’t give you the money with that rag-tag crew of yours. You’ve got to get a union crew and a good production manager to keep Dennis Hopper more regular, not so rambunctious or explosive.”

For an extended version of this interview, go to OffBeat.com. For more on Les Blank’s films, go to LesBlank.com. www.OFFBEAT.com