OffBeat Magazine March 2011 Issue

NINE LIVES LOCAL LABELS SXSW INDIE KREWES GENERATIONALS BRINT ANDERSON

HAPPY MARDI GRAS!

Rock ‘n’ Roll Hall of Fame Inductee

Dr. John LISTENING GUIDE AND HAT PARADE

LOUISIANA MUSIC, FOOD & CULTURE—MARCH 2011 Free In Metro New Orleans US $5.99 CAN $6.99 £UK 3.50

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Letters

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Mojo Mouth

10 Photo Op with Syndey Byrd

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Talkin’ About My Generationals

Michael Patrick Welch wonders if this indie band is big on the road because it talks about New Orleans—or because it doesn’t.

Lots of Zeros and Ones

Local label owners talk to Chloe Curran about why they stay at it in this business climate.

Mac’s Tracks

Steve Hochman provides a shopping list for a Hall of Famer’s career.

OffBeat Eats

Cliff Hines is in The Spot at Hana Japanese Restaurant, and Rene Louapre and Peter Thriffiley review Sammy’s Deli.

Fresh

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24 26

32 38 40 42

Simply the Best

The winners of this year’s Best of the Beat

A-Krewe-ing Interest

Cooper O’Bryan looks into the new krewes joining Mardi Gras.

A Mac for All Seasons

John Swenson examines the musical cross-pollination that led to Dr. John.

In the Kitchen with Brint

Guitarist Brint Anderson tells Elsa Hahne about the cooking debt he owes his mother.

BLAST FROM THE PAST

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Reviews

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Listings

“An OffBeat Interview: Dr. John Comes Home” by Keith Spera, August 1992

53 Backtalk with North

Mississippi Allstars

Brett Milano talks to Luther Dickinson about the band and the death of his father.

“In the past, I’ve experimented with guitars, had two amps turned up really loud,” Luther says.

“He’d say, ‘Jesus, that’s an ego explosion!’” www.OFFBEAT.com

This month marks Dr. John’s sixth appearance on OffBeat’s cover, the most of any subject. His second cover story came in August 1992, fresh off the release of what was to become one of his most revered albums, Goin’ Back to New Orleans.

The accompanying interview was surprisingly candid: his early days in the industry and his fight in the early ‘60s with heroin and rehab.

To read this article and more from this issue online, go to offbeat.com/1992/08.

MARC H 2011

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Letters

“Too many people locally who make decisions about music know virtually nothing about music and, seemingly, have no interest in learning.”—Tom Jacobsen, New Orleans, LA

PRIDE ON BOURBON

BLUE LU

I have lived in New Orleans for about two years and some of the first gigs I got were on Bourbon Street. At that time, the fare was schlock rock and the goal was to get tips from tourists. Fortunately, after taking a break from Bourbon Street for about a year, I now have a regular gig at Tropical Isle on Orleans Avenue and the goal is to entertain. While we still play covers, we choose what we want to do, (i.e. Meters, Eddie Bo, Toots and the Maytals, Wilco, etc.) and when people pay attention, they appreciate it. The typical Bourbon-goer usually comes and goes.

In order for Bourbon Street to retain its dignity, there needs to be a paradigm shift and the motive for all the clubs to be entertaining, instead of simply turning a maximum profit.

I can’t foresee this happening anytime soon because it is due to the appeal of Bourbon Street to tourists that club owners see dollar signs. In short, there is pride on Bourbon Street; you just have to look for it.

—Graham Robinson, New Orleans, LA

Thanks for the article about Blue Lu Barker. I met Lu and Danny Barker in the 1980s when they were still going out on the town, still loved to perform, and were friendly to everyone who met them, real New Orleans hospitality.

The uncredited photo of them in their living room was taken by Syndey Byrd, wasn’t it? I used to publish Syndey’s photos in my New Orleans Music Calendar that I put out for several years in the ’80s and ’90s. Syndey is one of New Orleans’ greatest music photographers. It would be nice if OffBeat would do a story on Syndey some time.

—B.B. Kamoroff, Willits, CA We are pleased to learn and acknowledge that the photo of Danny and Blue Lu Barker found in our archives without attribution was indeed by Syndey Byrd.—Ed.

UNENLIGHTENED

Just wanted you to know, I had a great time.

Yummy food, great music, lots of familiar faces.

—Dawn Edwards, New Orleans, LA

This is in response to Jan Ramsey’s blog “Brand It, Dammit,” where she criticizes tourism officials for not understanding the importance of music.—Ed. While I have become weary of the word “branding” in our lexicon these days, I quite agree that the importance of music to our city is neglected by our benighted leaders. Our city is recognized throughout the world as the birthplace of jazz, but it has been my experience that more Europeans are aware of that than most Americans (who are largely clueless about the music). Consider for example the number of European jazz bands with “New Orleans” in their names. Remember, too, that the Society of American Travel Writers named New Orleans the country’s top music city in 2009. What did our unenlightened tourism officials—or any other local officials, for that matter—make of that?

Too many people locally who make decisions about music know virtually nothing about music and, seemingly, have no interest in learning.

—Tom Jacobsen, New Orleans, LA

BEST OF THE BEAT The “Best of” was wonderful! Food was off the hook! Could have eaten non-stop and my feet still hurt from dancing. Thanks for making it fun.

—Georgina Moore, New Orleans, LA

EMOTIONAL OUTLET Every artist should be personally thanked for their music contributions to the world community.

I met Chris and Aaron of Honey Island Swamp Band just as they were forming the band and remain a huge fan. Recently, I got to see Honey Island Swamp Band play at the Roots N Blues BBQ fest in Columbia, Missouri. They had played the night before in Arkansas and with no sleep drove to Columbia, walked onstage and delivered an incredible performance. Later in the evening, they brought the house down at the Blue Note. Let’s face it, these guys, like most musicians, don’t own big houses and fancy cars, but they continue to provide the world with an emotional outlet that all of us need, especially in these hard economic times and world affairs. Bottom line: HISB and all the New Orleans musicians are winners. Thank you New Orleans musicians. Thank you for what you do.

—Jason Burks, Venice, CA

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

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Louisiana Music & Culture

March 2011 Volume 24, Number 3 Publisher and Editor-in-Chief Jan V. Ramsey, janramsey@offbeat.com Managing Editor Joseph L. Irrera, josephirrera@offbeat.com Associate Editor Alex Rawls, alexrawls@offbeat.com Consulting Editor John Swenson Listings Editor Craig Guillot, craigguillot@offbeat.com Online Editor Ben Berman, benberman@offbeat.com Contributors Brian Boyles, Syndey Byrd, Hank Cherry, Chloe Curran, Barbie Cure, David Dennis, Elsa Hahne, Jeff Hannusch, Steve Hochman, Thomas Jacobsen, David Kunian, Aaron Lafont, Rene Louapre, Brett Milano, Cooper O’Bryan, Caitlyn Ridenour, Kate Russell, John Swenson, Peter Thriffiley, Michael Patrick Welch, Dan Willging, Zachary Young Cover Elsa Hahne Design/Art Direction Elsa Hahne, elsahahne@offbeat.com Advertising Sales Casey Boudreaux, caseyboudreaux@offbeat.com Melinda Johnson, melindajohnson@offbeat.com Aaron Lafont, aaronlafont@offbeat.com Advertising Design PressWorks, 504-944-4300 Business Manager Joseph L. Irrera Interns Barbie Cure, Chloe Curran, Dominique Minor, Cooper O’Bryan, Kate Russell, Margaret Quilter, Charley Steward, Zachary Young Distribution Patti Carrigan, Doug Jackson OffBeat (ISSN# 1090-0810) is published monthly in New Orleans by OffBeat, Inc., 421 Frenchmen St., Suite 200, New Orleans, LA 70116 (504) 944-4300 • fax (504) 944-4306 e-mail: offbeat@offbeat.com, web site: www.offbeat.com Copyright © 2011, 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

Culture on a Pedestal

W

ent to a nice party last week presented by the Preservation Resource Center to discuss their “Ladies in Red” gala on June 10. I love going to small parties and hanging out with interesting, intelligent people who make me think. Now, you say, everyone likes to do that, but I differ in that opinion. Sometimes you just want to hang, not think, get loose and relax. Being an adrenaline junkie, I prefer people with provocative ideas that turn me on, that put my mind into overdrive.

There’s so much to think about and hopefully put into action!

New Orleans is a great city for ideas. This is one of the richest,

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most creatively fertile places on earth, and what we lack in manufacturing jobs, we make up in artistic endeavor. I bet we have more creative people per square inch in New Orleans than anywhere else in the South. My attitude is that we as a city have the unique opportunity to recreate ourselves as an artistic (musical, of course) Mecca, rather than a playtime city.

At this party, I got to spend some time with one of my favorite folks, George Schmidt, artist, musician, writer, raconteur, historian and true New Orleans character (Schmidt and his band, the New Leviathan Oriental Fox-Trot Orchestra, were the subjects of our cover story in October 2003).

George told me some fantastic stories about Storyville and his extremely plausible theory about why Storyville was closed (has to do with beer and Germans, actually, but that’s an article George should write for OffBeat some day!). George speaks at local schools and noticed that in several local private schools’ advertising pitch, they showed kids as future doctors “in Baltimore” or future actors “on Broadway.” (Guess which gender was which; if you’re a New Orleanian, you know.)

But I digress. George questioned why these wonderful private schools were grooming smart, young, educated people to leave the city, and pitching it to their parents.

Why aren’t we educating our kids on the unique value of the city they live in? Why aren’t we encouraging them to stay in New Orleans to preserve our wonderful little slice of this earth and make it better by putting our entire culture—not just Mardi Gras—on a pedestal?

Yes, we love our Mardi Gras traditions: costuming, music and food, parading, partying with friends and family. But unless we can keep the best and brightest involved in coming up with creative ideas to help New Orleans rise above the “Mardi Gras mentality” we don’t have a lot of hope to bring the city back to the Queen of the South it once was and should be again.—Jan Ramsey

www.OFFBEAT.com

FRESH

B

ig Rock’s Got Game

Indie rockers Big Rock Candy Mountain

scored big this season. The New Orleans outfit’s surging prog-pop single, “Rocketship,” landed on the soundtrack to two of videogame developer 2K Sports’ recent titles: NHL 2K11 and NBA 2K11. To date, the latter title, whose cover features NBA icon Michael Jordan, has sold over 4 million units en route to becoming the company’s best selling game of all time.

The young band’s break came last March during a gutsy, unbilled performance at the annual music industry mecca, South by Southwest. Like many of their cohorts, Big Rock headed to SXSW on their own dime, scoring several unbilled gigs around Austin on as many of the immense festival’s unofficial showcases as would host them. “We ended up playing eight shows in five days,” says frontman Michael Girardot.

The group did land one official SXSW showcase, backing New Orleans bounce crew Partners N’ Crime, but it wasn’t that performance that led to their recent good fortunes. It was their final showing, a frigid outdoor set held by online music promoters Sideways Media, that caught the attention of 2K Sports Brand Manager Ryan Hunt. “Our last show was outside of a really swanky restaurant,” begins Girardot.

“It’s called the Belmont Hotel,” guitarist Andrew Hartsock butts in.

“By the time we went on on Saturday, the temperature had dropped from around 75 degrees to 35 degrees,” Girardot continues. “There were maybe like five people standing outside in the unbearable cold with us.”

In attendance that night was a reviewer from Metromix New York, who later wrote, “Anyone who can complete a 30-minute set in those conditions deserves every single fan they’ve ever garnered.” One fan Big Rock garnered was 2K Sports’ Hunt. “We met this guy, Ryan, who told us he worked for a videogame company, so we gave him some of our stuff,” says Girardot.

Six months later, the band received an email request from Hunt to use “Rocketship,” the opening track off of Big Rock’s debut album Hey Kid (2009), on the soundtrack for 2K Sports’ upcoming hockey title, NHL 2K11. “We thought they must have mistaken us as a band from Canada,” says Girardot. Other bands on the soundtrack include Wolfmother and grunge gods Alice in Chains.

Soon, another request from 2K Sports hit Big Rock’s inbox, this time for “Rocketship” to be included on the basketball game NBA 2K11. Here, not only does the song appear during game play, but gamers also have the option to play as members of the band when challenging NBA All Stars such as LeBron James and the Hornets’ Chris Paul or fellow soundtrack contributors, hip-hop heavyweights Snoop Dogg and Drake. “They rendered us into computer-animated people with really big muscles. Now, we’re able to play basketball better than we’ve ever been able to in real life,” Girardot says.

The band first encountered their digitized selves after their first-ever performance at the Voodoo Experience last October. On their way to the

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Photo: AARON LAFONT

Clockwise from top right: Paul Thibodeaux, Andrew Hartsock, Michael Girardot and Stephen MacDonald

artists’ area backstage, they noticed a copy of NBA 2K11 lying next to a PlayStation game console. “It took a second to register, but we were like, ‘Isn’t that the game we’re supposed to be on?’” Hartsock said. “Once we found ourselves, we went a little crazy. As people passed by, we’d say, ‘Yeah, we’re in this game. You can play us if you like.’” He continues, “Drake’s on the game, and he was at Voodoo Fest too, but he didn’t hang with us.”

So far, a YouTube video of “Rocketship” posted by 2K Sports has received more than 58,000 views and seven pages of comments.

Girardot’s had to explain to his high school sister’s friends that, “He’s in that band from that video game.” The real Big Rock Candy Mountain will play the second annual Foburg Music Festival in New Orleans, March 11-13, and once again canvas countless unofficial SXSW showcases the following week.

—Aaron LaFont www.OFFBEAT.com

FRESH

F

our Colors and a Plan to Take Over the World

Their mission? To “rock the earth to oblivion.” Their handbook? Music for Supervillains. Their favored mode of publishing? Comic books.

When Consortium of Genius (C.O.G.) released its new album, Music for Supervillians, it bypassed the conventional booklet in favor of a bagged, boarded comic book. “Why not a comic book?” asks Lewis D’Aubin—better known as Dr. Milo Thaddeus Pinkerton III. For years, C.O.G. has merged rock ’n’ roll with theater and television; it was inevitable that at some point it would expand its focus to comics. “For a band like this, where the characters and personalities are as important as the music, a comic book makes perfect sense.”

To make the comic book exceptional, the band contacted their favorite artists and asked them each to illustrate one song. There are panels by notorious New Orleans artists like Caesar Meadows and Allen Jaeger, and artists from outside the city like James Tancill.

It has been six years since C.O.G.’s last album, so D’Aubin felt the pressure. “It had to be perfect,” he says. “This one’s got the widest range of styles of any CD that we’ve ever done. We’ve got jazz, pop, death metal, everything under the sun.” The album also includes an array of “extremely eclectic” guest stars, such as Chris Nail from Exhorter, American Idol contestant Misty Marshall and Matthew Brunson from Kingdom of Sorrow. Music for Supervillains and the companion comic book are available at ConsortiumOfGenius. com. Fans can also pick up a copy at local comic shops More Fun Comics and Crescent City Comics to help this group rock the world into submission.

—Barbie Cure

A

Threadhead Mystery

What? Mystery Street Records, the sister label to

Threadhead Records, which on February 1 released its first album, Sounds of New Orleans: Frenchmen Street. Why two labels? “We’ve always been in business to expose more of the music in New Orleans,” president Chris Joseph says. “We’re trying to get more money to the musicians to keep them working and creating.” How is Mystery Street different from Threadhead? Mystery Street doesn’t follow Threadhead’s practice of loaning money to artists. Instead, the label pays artists directly and depends on private investors, grants and a sponsorship from Zatarain’s. Mystery Street’s CDs are released digitally through iTunes and physical CDs are on Amazon and Louisiana Music Factory. “If there’s a person in Europe who sees Matt Perrine and wants to hear more,” says Joseph, “they go on iTunes and find that Matt Perrine has a really cool song on one of our compilations. Our hope is, that person buys that CD and realizes there’s a lot of great songs from other New Orleans artists.”

—Kate Russell

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P

layboy No More

It was a cybershot heard around the Cajun world when an email sent to Steve Riley and the Mamou Playboys’ distribution list in early February announced the retirement of the band’s David Greely. The fiddler’s last Mamou Playboy gig will occur on Mardi Gras Day in Eunice, Louisiana, capping a 23-year-run from when Greely co-founded the group with a then 18-year-old Steve Riley in 1988.

Not exactly perfectly timed news, especially considering that the band’s Herculean effort Grand Isle was released nationally on February 22. Greely has been an integral part of the Playboys since its inception. Besides playing fiddle, saxophone and singing, he co-wrote two originals for Grand Isle and has had a hand in 28 tunes over the course of the band’s 13-disc discography.

“I had my ears checked a couple of summers ago because my ears were ringing a lot,” Greely says. “And they said you really ought to reduce your exposure to loud sound. I just kind of laughed.

What do you mean? That’s my job. You’re telling me to stop playing music. I can’t do that.”

Since then, Greely’s tinnitus got worse. “We were in Sulphur a couple of weeks ago where they play hip-hop on the breaks,” he says. “That stuff is just thunderous. It was three days before my tinnitus came down to a level that I’m used to, so I’ve really got to get control over my sound environment.”

Greely owns two very good violins and if he pulls on one of them really hard, it’ll produce over 100db worth of sound alone. “But when I get onstage in a dancehall, I can’t hear the fiddle without it coming through the monitors,” he explains. “That’s how loud it is. And we’re not a loud band.

In most bands, I wouldn’t last five minutes.”

Though understandably disappointed, Riley has been gracious in announcing Greely’s amicable departure at gigs.

“He’s giving me a good farewell tour,” Greely says. “It’s very nice of him, and I really appreciate it.”

In an email, Riley referred to Greely as the “professor,” saying, “he was the person I leaned on for tough decisions. For the most part, we’ve always been on the same page musically and business-wise during our 23year partnership and that’s why it worked.”

Since he got the news about his hearing, Greely has developed a strong repertoire in Cajun home music, the kind of fiddle tunes that are featured on his 2009 Sud de Sud solo album. Additionally, he is one-half of GreelySavoyDuo with Joel Savoy and one-third of GumboJet with Daniel Gale and Joe Vidrine.

But keen hearing is paramount for a musician’s professional longevity, something Greely is well aware of. “Pay attention to it,” he says. “There’s no drug for it. There’s no surgery for it.

You can’t get an ear transplant.”

—Dan Willging www.OFFBEAT.com

FRESH

R

iff Raff Gets Loose

Hurray for

the Riff Raff will have a busy spring. Apart from appearances at Jazz Fest and South by Southwest, the group will be getting its first international exposure thanks to an upcoming compilation on the UK label Loose Music.

“It’s a compilation of the two records that we’ve done, our favorite tracks,” says Riff Raff leader Alynda Lee Segarra. “It should be coming out at the end of March.”

Known for its spare, plaintive and tuneful amalgamations of Appalachian and Louisiana folk musics, Hurray for the Riff Raff has built a loyal following around New Orleans with two self-released LPs, It Don’t Mean I Don’t Love You and Young Blood Blues.

The Loose Music project began humbly; a friend of the band wrote to Loose Music, thinking the two might be a good fit.

“They listened to it and they liked it and they got in touch with us after that,” says Segarra.

To maintain some consistency with Riff Raff’s current sound, the majority of the Loose Music release will come from their 2010 record, Young Blood Blues. “It’s hard for me not to hear a huge difference in my voice between the first record and the second one,” says Segarra. “I sound so much younger.”

Riff Raff’s plans for 2011 don’t end here. They’re in the early stages of work on a third album. “We’ll get to work after the [Loose Music] release,” says Segarra. “So far it’s just a lot of ideas. We hope to record sometime in the spring, but first we’re working on the songs.”

Riff Raff’s first two records focus on a stripped-down, banjo and accordion-centric sound, but they plan to branch out on the new album. “I have a lot of new songs that really require a full band,” says Segarra. “We’re trying to do a little swamp pop. We’ll have horns sitting in on a few of the songs. There will definitely be more guitar and more fiddle.”

The Loose release’s packaging will include a narrative, photobased collage by Segarra. “I got to make this timeline of the entire Riff Raff lifespan,” she says. “All of our friends that helped us along the way and a lot of old shows.”

Above all, Segarra is glad to have found a label for the group to work with, even if it’s on another continent. “We haven’t really had much luck with American labels,” she says. “So far [Loose] has been really great to work with.”

—Zachary Young

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Photo: Brady Fontenot

Alynda Lee Segarra

L

ouisiana at SXSW

A decade ago, a handful of Louisiana bands were included in South

by Southwest’s music showcases. This year, the annual music conference/ festival/marketplace in Austin, Texas takes place from March 16-20 and includes 16 Louisiana artists, including three acts on Park the Van Records. Generationals, Brass Bed and Giant Cloud will play the Park the Van Showcase Friday, March 18 at Mi Casa Cantina (506 E. 6th St.). At press time, most days and times aren’t available, so check OffBeat.com for updates. Here’s a list of official gigs; watch our website for non-SXSW events, including shows by bands not in the festival.

Arson Anthem at Emo’s Jr. (603 Red River St.); Big Freedia at Windish House @ ND (S IH 35); Brass Bed at Mi Casa Cantina; Empress Hotel at Mi Casa Cantina; eyehategod at Scoot Inn (1308 E. 4th St.); Generationals at Mi Casa Cantina and Cedar Street Courtyard (208 W. 4th St.); Giant Cloud at Mi Casa Cantina; Givers at Emo’s Jr. (603 Red River St.); Hurray for the Riff Raff at Victorian Room at the Driskill (604 Brazos St.); Lost Bayou Ramblers (tba); Preservation Hall Jazz Band at ACL Live at the Moody Theater (310 W. Willie Nelson Blvd.); Quintron and Miss Pussycat at Mohawk Patio (912 Red River St.); Shannon McNally at 18th Floor at Hilton Garden Inn (500 N IH 35); Suplecs at Barbarella (615 Red River St.); Truth Universal at The Marq (422 Congress Ave.); Vockah Redu at Kiss & Fly (404 Colorado St.). www.OFFBEAT.com

PHOTO OP

Photographer: SYNDEY BYRD Super Sunday

I

know how to disappear, that’s the key. You step over a line. I learned that from my mentor, Ernst Haas. I think this photograph of Big Chief Norman Bell of the Wild Tchoupitoulas Mardi Gras Indians is one of my best ones.

I was out to document Super Sunday in 1980, and I didn’t know Norman at the time. A lot of people like this photograph. I love the composition and the setting that it’s in; the element of surprise. All great photography has an element of surprise. In this work, there are actually three persons. Tell me where the third one is.

—Syndey Byrd

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www.OFFBEAT.com

BOB WINNERS

Simply the Best T

his year was Trombone Shorty’s year. He swept this year’s Best of the Beat top awards, being voted

by OffBeat readers Artist of the Year, and his Backatown was voted Album of the Year. Since Backatown’s April 2010 release, it has accumulated multiple awards and both critical and popular acclaim, including a Grammy nomination, so it was no surprise when Trombone Shorty also won Best R&B/ Funk Artist, Best R&B/Funk Album, and Best Trombone Player.

OffBeat presented the 2010 Best of the Beat Awards at Generations Hall on January 28, where guests included Trombone Shorty, Dr. John, Anders Osborne, Kermit Ruffins, Irma Thomas, Big Freedia and much of the cast of Treme. The evening’s entertainment included Deacon John’s tribute to Dave Bartholomew, which included some lesserknown chestnuts as well as classics, a spirited, heartfelt musical tribute to Alex Chilton, and a funky set by Ivan Neville’s Dumpstaphunk that almost didn’t happen because Neville was ill. The night ended with a dance party after the Stooges Brass Band led a second line through Generations Hall and played on the floor with the crowd. At a separate ceremony January 26 at the Ogden Museum of Southern Art’s Taylor Library, OffBeat handed out its Business Awards, recognizing Preservation Hall as Best Music Business of 2010.

Many thanks to the musicians who performed, the music community and its supporters who attended, the restaurants that provided food for both nights, and our sponsors—4WWL, Whole Foods, Bud Light, Glazer’s Family of Companies, New Orleans Jazz & Heritage Foundation Inc., and Bernard Productions Inc. We’re already planning the 2011 Best of the Beat Awards for January 2012, so we hope to see you next time!

Anders Osborne Big Freedia

Music Awards Artist of the Year—Trombone Shorty Album of the Year—Trombone Shorty: Backatown Best Blues Artist—Dr. John Best Blues Album—Dr. John: Tribal

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John Boutte

www.OFFBEAT.com

Photos: earl perry (bottom two) and kim welsh (top)

The winners of this year’s Best of the Beat Awards.

Many thanks to the musicians who performed, the music community and its supporters who attended, the restaurants that provided food for both nights, and our sponsors—4WWL, Whole Foods, Bud Light, Glazer’s Family of Companies, New Orleans Jazz & Heritage Foundation Inc., and Bernard Productions Inc.

Best R&B/Funk Artist—Trombone Shorty Best R&B/Funk Album—Trombone Shorty: Backatown Best Rock Artist—Happy Talk Band Best Rock Album—Rotary Downs: Cracked Maps and Blue Reports Best Roots Rock Artist— Honey Island Swamp Band Best Roots Rock Album—Anders Osborne: American Patchwork Best Rap/Hip-Hop Artist—Big Freedia Best Rap/Hip-Hop Album or Mixtape—Juvenile: Beast Mode Best Traditional Jazz Artist— Kermit Ruffins Best Traditional Jazz Album— Kermit Ruffins: Happy Talk Best Contemporary Jazz Artist— Irvin Mayfield Best Contemporary Jazz Album— Cindy Scott: Let the Devil Take Tomorrow Best Brass Band—Rebirth Brass Band Best Cajun Artist—BeauSoleil Best Cajun Album—Pine Leaf Boys: Back Home Best Zydeco Artist—Buckwheat Zydeco Best Zydeco Album—Chubby Carrier and the Bayou Swamp Band: Zydeco Junkie Best Country/Folk Artist—Gal Holiday and her Honky Tonk Revue Best Country/Folk Album—Gal Holiday and her Honky Tonk Revue: Set Two Best Gospel Artist—McDonogh 35 High School Gospel Choir Best Emerging Artist—Big Freedia Best Cover Band—The Bucktown Allstars Song of the Year—John Boutte: “Treme Song” Songwriter of the Year—Dr. John Best Female Vocalist—Irma Thomas

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Business Awards

Dave Bartholomew Best Male Vocalist—John Boutte Best Bass Player—George Porter, Jr. Best Guitarist—Anders Osborne Best Drummer—Stanton Moore Best Saxophonist—Donald Harrison, Jr. Best Clarinetist—Tim Laughlin Best Trumpeter—Kermit Ruffins Best Trombonist—Trombone Shorty Best Tuba/Sousaphonist—Matt Perrine Best Piano/Keyboardist—John Gros Best Accordionist—Bruce “Sunpie” Barnes

Best Violin/Fiddle Player— Amanda Shaw Best DJ—DJ Soul Sister Best Other Instrument— Washboard Chaz (washboard)

Special Honorees Music Education—Derrick Tabb and the Roots of Music Music Business—Johnny Palazzotto Heartbeat Award—HBO’s Treme Lifetime Achievement in Music— Dave Bartholomew

Music Business of the Year— Preservation Hall Best Music Programming—Ogden Museum of Southern Art for “Ogden After Hours” Best Club—Snug Harbor Best Club Owner or Manger— John Blancher of Rock ‘n’ Bowl Best Concert Promoter—Kerry Brown of the Gretna Heritage Festival Best Radio Station—WTUL Best Festival—French Quarter Festival Best Festival Outside New Orleans—Gretna Heritage Festival Best Neighborhood Festival— Bayou Boogaloo Best Recording Studio—Piety Street Recording Best Studio Sound Engineer—Earl Scioneaux Best Producer—Ben Ellman Best Record Label—Threadhead Records Best Record Store—Louisiana Music Factory Best Instrument Store— International Vintage Guitars Best Booking Agency—White Oak Productions Best Manager—Tony Ciaccio and Hypersoul Best Music Attorney—Ashlye M. Keaton Best Photographer—Erika Goldring Bourbon Street Award—Royal Sonesta Hotel Best Street Promotion—Lawrence Parker (Supreme Street) Musicians Resource Award—New Orleans Musicians’ Clinic Music Awareness Award— Tobacco-Free Living Non-Profit Achievement Award— New Orleans Jazz & Heritage Foundation www.OFFBEAT.com

Photo: kim welsh

BO BW INNE RS

GENERATIONALS

Talkin’ About My Generationals Generationals are modest about their place in the New Orleans community.

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Photo: Brian Baiamonte

T

ed Joyner and Grant Widmer, writing partners and core members of indiepop band Generationals, are not related. But having played music together since freshman year of high school, they now seem, in their late twenties, to in some ways be twins.

“We do the exact same things within the band,” says co-singer/ multi-instrumentalist Widmer. “On tour we drive the same amount. We alternate who gets to soundcheck guitars first. Ted sometimes sings in a little bit of a higher register, but that’s about the only difference.”

The musical result of their symbiosis is a slyly modern take on sunny, nostalgic guitar pop. The modern aspects appear mostly in the deep production, especially on the horn-embellished EP Trust, which came between the band’s first album, Con Law, and its latest, Actor-Caster, due out March 29. “When we made our first record, there were just a lot of unknowns, the most significant being that neither of us had ever really sung much,” recalls Joyner.

“We went into making ActorCaster knowing we could make a good full-length on our own.”

Despite the advances, Actor-Caster features few of Trust’s wilder timbres.

The new batch features more drum machine and synth sounds, but collaborator Tess Brunet of Deadboy and the Elephantmen fame also left to pursue her own project, Au Ras Au Ras. Otherwise, Generationals’ live lineup—which will play five shows at South by Southwest in Austin, Texas this March—has grown.

“We’ve tried dozens of different song arrangements and lineups with this band,” says Joyner. “In making an effort to play these songs in a way that is more faithful to the recordings, we’ve recently brought on a fifth member so we could have two guitars and a few more synths

Grant Widmer and Ted Joyner and even some samples. We’ve even brought on a couple of trumpets for all the shows we’ve played this year.”

It seems as if Generationals have graced Top 10 and “Best Bands in Louisiana” lists since the week of their inception. The band has gone on to live up to the hype, but even the boys seem wary of that initial reception. “There are hundreds of bands in Louisiana that are far better than us—Brass Bed and Giant Cloud for two,” says Widmer. “I always feel a need to apologize for that a little bit. I would attribute [that early wave of positive press] either directly to Park the Van [their label], or also to staffers at magazines who did not have time to get very deep into the research on that.” The band’s good reputation also has much to do with the luck Generationals have had in licensing their songs to products ranging from Bloomingdale’s department stores to Reese’s Peanut Butter Cups.

These days, licensing seems to play more of a role for musicians, even little indie rock bands. For

By Michael Patrick Welch

instance, no one wrote about Joyner and Widmer’s former band, the Eames Era, without mentioning the song they landed on Grey’s Anatomy. “Licensing is the biggest reason why we are able to earn a living as musicians,” says Widmer.

“I think it’s weird to people that Generationals have been licensing music at a level of visibility that really exceeds our status as a live band or as a record-selling band.”

The band’s touring and festival dance cards have remained pretty full too, including shows opening for Broken Social Scene and Apples in Stereo, the Spinto Band tour, Miniature Tigers and a sold out-tour with Two Door Cinema Club. It’s interesting to wonder if Generationals’ success has come because they are that rare New Orleans band not out on the road bringing people a slice of the Crescent City, because musically, Generationals could hail from any of the 50 states.

“I feel like a lot of people are consciously affecting New Orleans

soul or heritage,” says Widmer.

“In our music, I am just being honest about what I like. I grew up in Lakeview watching MTV and listening to tapes and CDs and radio that rarely had any real New Orleans fingerprint. I have seen the Funky Meters probably more than any other band, but I wasn’t taught by a grey-haired bluesman or something. I also think it asks for a certain amount of virtuosity to play traditional New Orleans music, and virtuosity is not something I’m really interested in as a musician.”

“People cheer, though, when we say onstage that we’re from New Orleans,” adds Joyner, “and I’m not sure they would if we said we were from, say, Dallas.”

OffBeat is proud to sponsor Generationals at this year’s SXSW. They’ll play Wednesday, March 16 at 4 p.m. at the Red Eyed Fly; Thursday, March 17 at Cheers; Friday, March 18 at the Cedar Door at 9 p.m., then at 1 a.m. at Mi Casa Cantina, and Saturday, March 19 at the KUT Cactus Café at 12 p.m.

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INDIE KREWES

A-Krewe-ing Interest When it comes to Mardi Gras, everybody wants in on the act.

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float builders dress in formalwear and pull their floats behind them ulu introduced satire to Mardi Gras. By giving its king a lard can when they parade. “It’s a response to these superkrewes that go in crown and a banana stalk scepter as signs of royalty when it first the opposite direction,” Hayes says. “We have shoebox floats and rolled in 1909, it rudely burlesqued the pretensions to actual royalty miniature throws that we make. The bigger krewes are fine—I love of Rex. That mocking spirit—of current events and Mardi Gras itself—is one Muses, I love Mardi Gras in general—and there are a lot of similarities. that finds voice again and again in groups trying to get off the sidewalk and We have a theme (“Too Little, Too Late”), we have be a part of Mardi Gras. The Krewe du Vieux is the bestBy Cooper O’Bryan a king and a queen, but we’re alternative.” known version, a parade that cheerfully Staying true to the ideal of a gives the middle finger to good smaller, more personal Mardi taste as it offers a low-rent, hotGras, the Krewe of ’tit Rex glued parade of political satire and membership does not exceed marching sperm.

60 people, and are devoid of There were insurgent, unofficial exorbitant membership fees parades before KdV first paraded and years-long waiting in 1987, and others have started periods to join. “When since. The Krewe of St. Anne has we started, there were been marching on Fat Tuesday 10 or 12 floats,” Hayes since 1969, and the Krewe of Box says. “We’ve doubled of Wine has been marching in front since then, but we’re of Bacchus since the 1990s. Some trying to keep it small. families and friends participate in Mardi This krewe started with a Gras by reliving yearly rituals; some mask, and group of friends, and friends some form their own homemade krewes in the spirit inviting friends. Artists, teachers, people with regular of Zulu to play in the streets. jobs with artistic qualities.” ’tit Rex starts at Bacchanal in the Bywater on Krewedelusion, for instance, started last year. Its Saturday, February 26 at 5:30 p.m. and ends at debt to Krewe du Vieux is signaled first by its parade Vaughan’s. When it parades, its smallness isn’t just a time—a half-hour after Krewe du Vieux on the same gimmick. According to Hayes, “Our first year, the people there route—its adherence to KdV’s sub-krewe organizational were so surprised, so happy. We brought them something they could structure, and its irreverent spirit. Krewedelusion’s “king-at-large” is see with no ladder, no need to stake out an area and fight with people.” actor Harry Shearer, and its “Declaration of Depends” proclaims that The Krewe of Chewbacchus adheres to similar ideals. At the Mid“krewedelusion operates as a dictablanda that appoints a Beneficent City warehouse that serves as its den, members help each other with Ruler, embraces transparency and has a safeword.” Its mission, it miniature flying saucers, checking the photos stuck to the wall to ensure declares, “is to save the Universe, beginning at its center.” the accuracy of the flagship X-Wing art bike and the six-or-so-foot Bar’tit Rex (pronounced “tee-rex”) started last year as well as a 2D-2. “All of these materials are found or donated or people just bring lighthearted jab to the more popular krewes. Rather than try to be them in,” says Ryan Ballard, or as he will be more colloquially known to big, ’tit Rex went small, and is Carnival’s first micro-krewe. “We got parade-goers, King Chewbaccacabra. Ballard, who is also a member of the idea from the shoebox floats that kids in the area did at school,” Krewe du Vieux, is passionate about things—Chewbacchus, Mardi Gras says Janine Hayes, ’tit Rex treasurer and a founding member. The

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PhotoS: ELSA HAHNE

K D IE IN

ES REW

Ryan Ballard tweaks Chewbacchus’ X-Wing Fighter Bicycle ‘tit Rex members create miniature throws

and science fiction to name a few. “I’ve always been a sci-fi nerd and a hardcore reveler,” he says. “I thought it was time someone brought them together.” His costume is a juxtaposition of everyone’s favorite wookiee and the mythic Chupacabra, complete with homemade goatcarcass camelback filled with wine.

In this, Chewbacchus’ first year parading, the krewe based in the Big Top—like ’tit Rex, art-friendly—heads out Sunday, March 6 at 5 p.m. before Bacchus and parades backwards. “We got permission to go the opposite direction as everyone else down St. Charles,” Ballard says. He utilizes what he learned from Krewe du Vieux and applies it to Chewbacchus. “You’ve got to keep it home-made and hand-built,” he says.

Rex, Bacchus, Muses and Endymion are staples of carnival season, and the crowds and spectacle they create have come to define the parade experience. The smaller rogue krewes offer a more intimate, participatory experience. Stand still at the Krewe du Vieux parade and someone will hand you something to read—likely, something off-color. For the first ’tit Rex parade, a family made a mini-reviewing stand by the side of the street where action figures watched the floats go by.

“We’re out there with the people,” King Chewbaccacabra says. “We keep it street level. I’ll ride right up to people and let them drink out of my goat.” O

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LOCAL LABELS

Lots of Zeroes and Ones Photo: elsa hahne

The Digital Revolution has forced local record labels to rethink their business strategies.

Lawrence Parker

“I

want to be at the forefront, whether it’s art, music, or fashion.

I want to be at the round-table when decisions are made,” Lawrence Parker tells me with a serene smile. He’s leaning against the walls of his newly reopened Traffic Boutique, its stark white walls covered by vivid paintings, its open, modern space sparsely filled with racks of new and vintage street wear. Along with Traffic, the Uptown native also runs Supreme Street, a local hip-hop production company that provides traditional label functions while officially eschewing the “label” label. While

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the New Orleans music scene remains vibrant, local labels still struggle with the technological and economic changes that have been crippling the music industry for the last decade. Parker’s multifaceted creative company is among several local labels that are experimenting with new business strategies to compete in a flailing industry.

The digital revolution has allowed consumers to access music with unprecedented ease, while email and social networking have connected artists, labels and fans with equal ease. Local labels, like labels worldwide, have

By Chloe Curran

simultaneously been helped and harmed by this revolution. From 20042009, global digital sales grew by 940 percent while total music market sales plummeted by 30 percent. But by digitizing music, the music industry has effectively shot itself in the foot.

“The big advantage of digital media is easier to distribute, create, and less expensive. This is also the downside,” says Basin Street Records’ founder Mark Samuels. Basin Street Records, founded in 1997, represents New Orleans artists such as Kermit Ruffins and Theresa Andersson.

The global music industry generally blames digital piracy for declining sales. Since anyone with Internet

access and a little creativity can illegally download music, consumers have less incentive to legally purchase music. Local labels Park the Van Records, Supreme Street and Community Records deal with this issue by choosing to distribute some music, including mixtapes, for free rather than wait for it to be stolen.

“We’ll put a free song on a blog just to get it out there,” Parker says.

“The feedback you can get from that is actually getting to put on a show where you can get paid to perform that one song.” Mark Samuels feels differently. “Streaming of music has certainly changed some people’s attitude towards music, as almost www.OFFBEAT.com

LO CAL LAB ELS

“No artist needs a label, but all artists need the functions a label provides.” a loss leader,” he says. Freebies are also most effective when promoting new or unknown artists, and since Basin Street Records represents more traditional and nationally-known artists, free downloads ae less useful.

As physical sales decrease, labels must look for other sources of income. “Licensing is hugely profitable,” says Park the Van Records President Chris Watson.

Park the Van is New Orleans-based, but has expanded to Philadelphia and California. It represents local artists such as Generationals, Giant Cloud and Empress Hotel.

As a band’s popularity increases, so does the demand to license its work. Right now, Generationals is on television nightly as its music is used in a Reese’s Peanut Butter Cups commercial.

Local labels must successfully market artists outside of New Orleans to benefit from licensing. “There’s a lot of demand for work in music and soundtrack licensing,” Parker says “A lot of my instrumentals have been playing in Germany, like on Snoop Dogg’s show, which isn’t even played in the U.S.” As Kermit Ruffins gained national acclaim from HBO’s Treme, Basin Street made increasingly lucrative licensing agreements for him. Still, Samuels says, “The biggest driver of CD sales and downloads is live performance.”

Because of the Internet, promotion has never been easier or cheaper, but the recession—not the Web—has hurt artists’ fees.

“Money’s not the same as it was,” Parker says. “Rather than charging $7,500 [for a performance], we charge $3,000, and for local artists it’s as low as $1,500. With the recession, locally it’s like payment plans. It’s down to that type of economy.”

Traditionally, labels were responsible for recording, marketing, booking and merchandizing. Now,

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technology enables virtually anyone to perform those functions with minimal cost and manpower. In recent years, several artists have risen to prominence without label backing by doing just that, writing a new script for what musicians need to succeed. Without a label, artists save themselves a sizable cut and retain creative control of their work.

“Artists can do all those things, but I find few of them want to,” says Watson. Samuels agrees: “No artist needs a label, but all artists need the functions a label provides. Most artists prefer to be artists.”

While label backing may continue to be sought by artists, their role is changing. Community Records, which represents indie, ska and punk bands, including Fatter Than Albert, Maddy Ruthless and Caddywhompus, is an example of a uniquely structured label. “We think of ourselves as a collective, not a label,” say presidents Greg Rodrigue and Daniel Ray. Being musicians themselves, they work to provide the connection between local musicians and the resources they need. Community foregoes formal contracts in favor of verbal agreements. “We want to work with people we trust and like, and most of the artists we work with are also friends,” says Rodrigue.

Rabadash Records, which produces artists such as Big Daddy “O”, Lindsay Mendez and Waylon Thibodeaux, is thriving from the rise of digital sales. Previously, Rabadash Records was constrained by the lack of a steady CD distributor. Now MP3 sales allow Rabadash music to reach a wider audience than ever before. John Autin, owner and founder of Rabadash Records, is tickled by changes in the industry.

“Our business model is now the new business model,” Autin says.

“Gig sales, promotional sales and downloads—those are things we’ve been doing for the last 10

years.” Autin eagerly embraces new, Internet-driven business and promotion strategies. “I’m setting up YouTube channels for each of our artists. We’re encouraging them to videoblog and are creating gig videos and sizzle reels.”

Parker’s strategy is to aggressively cross-promote his music, fashion and art endeavors. “Fashion has merged into hip-hop, and hip-hop has merged into fashion,” he says.

“With the music we promote the fashion, and with the fashion we promote the music.” Musicians he works with wear Traffic clothing, Traffic provides free mixtapes with purchase, and clothing racks are rolled away to make room for gallery events. Traffic Boutique recently released its new logo—a star, heart, and dollar sign—to begin branding merchandise.

Parker is personally involved with each step of the creative process.

“If we want to record a song and put it online, we can release it that night. I produce, engineer, mix it, master it, I do all of that myself.”

After a song or album is created, Supreme Street develops album graphics, music video production and cyber promotion.

On the other hand, Domino Sound Record Shack, a local music store and independent label, has avoided digitally brought hardship by simply never going digital. Matt Knowles, owner of Domino Sound, began releasing music in 2007 with Why Are We Building Such a Big Ship?, and has released both local (a live recording of 2009’s Krewe of Eris’ Mardi Gras parade) and international (De Kift, a Dutch classical/punk/rock ensemble) music. Domino Sound solely sells and produces music on cassette and vinyl. “Records aren’t going to die,” says Knowles, confidently. “There are just a select few out of the masses who

really use it as a medium, but I’m alright with that. The people who are into it are usually really passionate about the music. It’s nice.” Domino Sound Record Shack has carved a unique path of success by producing music unavailable anywhere else and selling un-copyable, un-downloadable formats that remain in demand after decades of technological change.

Although challenges facing local labels should not be underestimated, neither should their capacity for change and innovation. While new technology has brought negative change changes, it also brings positive ones. “You can utilize music to cross over into other businesses, and you can have the opportunity to reach and positively influence the world.” Parker says, beaming.

“Everyone has his or her fair share and the same opportunity to do something great and succeed. The playing field is now even. Anyone’s music can now positively effect the world. There are no boundaries.”

“How do you make a million dollars in the music industry?”

Autin jokes. “You start with 10 million.” In the face of national disasters, economic decline and traditional business model meltdowns, Rabadash and Basin Street have proven themselves survivors. But why survive? Why work or start a new business in a chaotic industry for modest and erratic pay? “The music business isn’t all that glamorous. It’s mostly hard work,” Autin says “But there’s this moment when you get the magic take, when the musicians click and it just goes BOOM. That moment is what keeps me going, and I’ll keep going until the day I can’t get out of bed.”

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TRUMPET PLAYERS

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COVER STORY

A Mac for All Seasons Mac Rebennack had already had a career’s worth of adventure before he created Dr. John, the persona that has taken him to the Rock and Roll Hall of Fame.

By John Swenson Photography by Elsa Hahne

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r. John’s induction into the Rock and Roll Hall of Fame shows how far he’s come from the time when manager Albert Grossman threatened to destroy his career, or when another manager tried to feed him to his pet piranhas, two of the many delightful tales from his 1994 no-holds-barred autobiography Under a Hoodoo Moon. Overcoming threats from such powerful forces is the stuff of which legends are made, but Dr. John’s road to the pop pantheon has been a particularly unlikely journey. His selection reflects the Rock Hall’s idiosyncrasies as well as its litany of real and imagined injustices, but the irony of his inclusion is that Malcolm (Mac) Rebennack performed most of his hardcore rock ’n’ roll ministrations well before he took on the alter ego of Dr. John in 1967. Since then, Dr. John has won and been nominated for numerous Grammy awards as a blues and jazz artist and is a perennial nominee for local awards in New Orleans as an R&B and blues artist, but is seldom put into the “rock” category when it comes to such honors. He did win a Grammy along with Stevie Ray Vaughan for Best Rock Instrumental, and has two albums in Rolling Stone’s list of the 500 best albums, honors which obviously qualify him for induction into the Rock Hall, which will take place March 14 at the Waldorf Astoria in New York City, where John Legend will give his induction speech.

But even if his selection stirs up debate about who really belongs, that controversy is the ultimate test of a good Hall of Fame. Who’s in and who’s not should stir healthy debate and a close inspection of the past. The Hall itself pretty much admits that it’s impossible to come up with a complete definition of what constitutes rock ’n’ roll, or even what the first rock ’n’ roll record was. So Mac’s inclusion offers us an opportunity to explore rock’s roots in New Orleans and its connections to blues and jazz. It also focuses attention on the intangibles of a career that is less about the qualities of celebrity and self-promotion common to most rock stars than about the ability to work with an astonishing range of people as a band leader, sideman and songwriter with the overview of a shrewd historian.

Mac began what is shaping up as his Awards Year by attending the Best of the Beat at Generations Hall, where he took away a pair of blues awards, including Best Blues Album for his latest release, Tribal. But his main motivation for attending the event wasn’t his own awards; Mac was eager to see the tribute to an old friend, Dave Bartholomew. www.OFFBEAT.com

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“I was glad to see Dave get honerated,” he says, “and I was very happy for (Trombone) Shorty.

“I learned a lot of shit from Dave just by watching him, the way he handled everything. When I first started working, I worked with Paul Gayten a lot on sessions. But Dave was always the one who had a different way of explaining bidness. He would throw me out of the studio. Me, [James] Booker, anybody else who was hanging around the studio when Dave was cutting, he’d throw us out ’cause it was about bidness with Dave. I always looked up to Dave. I thought he was the greatest blues trumpet player I ever heard, no matter what my father thought. My father was a very opinionated guy about musicians. I think a lot of people from New Orleans were very opinionated about musicians.

“The first recording session I was on when I was a little kid—I don’t remember the song, but I think Earl Palmer was playing drums, Herbert

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Hardesty was playing tenor, Red Tyler was playing baritone. What I mostly remember about the whole session was that Dave Bartholomew, who was producing the session, came into the room with the musicians, and on the last chord he hit a note to fatten the last chord of the song. I was so impressed with that. It was more than his arrangement; it was his production sense to fatten up the last chord of the song. It made a big statement in my head. I listened to records, but I didn’t know about playing music then.”

At the Best of the Beat, a video tribute to Bartholomew included the premise that Fats Domino’s first hit, the Bartholomewproduced “The Fat Man,” could have been the first rock ’n’ roll song. In his capacity as a music historian, Mac is fond of demonstrating how “The Fat Man” is a duplication of the piano structure of Champion Jack Dupree’s “Junker’s Blues.”

He also points out that “Junker’s Blues” was the basis of Lloyd Price’s “Lawdy Miss Clawdy” and Professor Longhair’s “Tipitina.”

Does that mean he thinks Champion Jack Dupree invented rock ’n’ roll?

“You’ve got to give props to Champion Jack Dupree for a lot of things,” says Mac, laughing. “Champion Jack, he’s not the greatest piano player, but he obviously influenced a lot of Ninth Ward people. He was such a char-actor. I was on the road with Champion Jack with Chris Barber and them in Europe a long time ago. Champion Jack used to sell these paintings he did of little stick people for 200 deutschmarks. I loved the guy. When I was a kid, he was on Larry McKinley’s show at WMRY studio on Tulane Avenue; I was so excited, I waited for hours outside the studio until he came out and I said to him something like, ‘I want to be a musician like you.’

“He was so cool. ‘Junker’s Blues’ was always one of my favorites. There was a lot of bits from Champion Jack songs that was ripped from spo-dee-oh-dee bits in the minstrel shows, like ‘Drunk Again,’ that was one of them. ‘That’s My Fault’ was another. ‘She Cooks Me Cabbage.’ He knew how to make them into really good songs; that was his talent. I always thought ‘Good Rockin’ Tonight’ by Roy Brown (1947) was the first rock ’n’ roll song, but who the hell knows. But if you’re going to say Antoine doing ‘The Fat Man’ was where rock ’n’ roll starts, you should give props to Champion Jack.”

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ike so many other New Orleans musicians, the young Rebennack learned about music from his family. His grandfather, who’d been involved with minstrel shows in the early 20th Century, sat with him on the porch and sang songs that Mac later recorded as Dr. John, songs such as “I’ve Been Hoodood” and “Jump Sturdy.” www.OFFBEAT.com

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Fess was a dancer before he was a piano player, and I think dancers make great drummers.

His Aunt Andre taught him how to play “Pinetop’s Boogie Woogie” on the piano. The family had gatherings where his aunts would sing jazz songs from the late 1920s and ’30s, including “Everybody Loves My Baby,” recorded by Louis Armstrong, the Boswell Sisters and others. So Mac listened to early jazz music as a kid along with the boogie woogie pianists his Aunt Andre taught him about, along with the records and musicians he met when he went with his dad to local bars and clubs to fix record players and sound systems. That’s how Mac first met Professor Longhair, who would become a close friend over the years, and Walter “Papoose” Nelson, who played guitar with Fess and with Fats Domino’s band.

“I met Papoose at the Cadillac Club on Poland Avenue out in the Ninth Ward,” Mac recalls. “I first met Fess when my pa was fixing the system at

playing all kinds of music as a guitarist and keyboardist, and producing sessions, including the classic Professor Longhair recording “Mardi Gras in New Orleans,” which they cut under the title “Go to the Mardi Gras.”

“The proudest thing I ever done in my life was produce that record,” says Mac. “Fess just sat down and he said, ‘It goes like this.’

The thing was, he played it like a drummer. All those guys used to do that. Champion Jack used to do that too. Fess was a dancer before he was a piano player, and I think dancers make great drummers. Earl Palmer, who was a dancer, was proof of that to the max.

“It was a big thing. We was working at Lincoln Beach. Fess offered us one gig, which he never did. So while we were rehearsing, we were able to cut the record. He made the new arrangement of ‘Mardi Gras in New

the Pepper Pot on the West Bank. My father would always tell me to wait in the car. I remember seeing him walk out, twisting up a joint, and then the next thing I knew Fess was hanging out, telling me stories. He had a hip name for everything; he talked in his own language. And even though he was the greatest piano player, he lived to play cards. One time he showed me his secret; he had a contraption up his sleeve with cards in it. I said, ‘What happens if they catch you with this?’ He just laughed.”

Papoose became one of Rebennack’s guitar teachers and eventually got him started in the music business when he arranged to have him cover a Paul Gayten session he couldn’t make.

“Papoose was the first guy to send me to sub for him on a session,” he says, “which shows you how little sessions paid back in that day.

Twenty-two, twenty-three dollars or something. Papoose had something going that was paying better, so he’d send me, which pissed Paul Gayten off. He thought I was so influenced by T-Bone Walker, he started callin’ me Li’l Bone, which he called me until the day he died.

“I did love T-Bone. I got to work on T-Bone’s gig out in California. I was playing piano on the gig, but because T-Bone’s ar-thur-itis was hurting so bad, on the last set I would play those big chords and let T-Bone just play the fills.”

Rebennack’s dad was good friends with Cosimo Matassa, who ran J&M Studios, so he got a chance to spend time there even when he wasn’t playing sessions. But it wasn’t long before the precocious teenager was

Orleans’ while we was rehearsing. There weren’t a whole lot of sessions that I remember who was on the date, but I remember that one.

“Some sessions, I had no idea what we did. Guys would come down from Memphis, Nashville. The sessions were always booked. Booker was hanging out before, during and after the sessions. A lot of stuff Booker was playing was killing me. Aunt Andre, who taught me how to play piano, she was very connected to something that the only other persons I ever heard do that style was James Booker and Roy Zimmerman. It was called butterfly stride, and they all knew it by that name. I never knew anybody else that played that style. Booker had an extra trick that he did in that style. ‘Course, he had a trick for everything.”

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ebennack’s early days were a riot of sessions and live gigs around New Orleans and the Southern circuit. He lost his fretting finger to a gunshot wound in a fight, forcing him to play bass in a Dixieland band until James Booker taught him to play Hammond B-3 organ. He partied even harder than he played, and eventually found himself banished from the hometown that nurtured him. After a stint in a Texas prison, Mac relocated to Los Angeles in 1965, where a group of expatriate New Orleans musicians, including the brilliant saxophonist and arranger Harold Battiste, stamped their mark on the local session scene.

They played on many of the city’s highest profile gigs, including tracks www.OFFBEAT.com

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Mac himself thought he might have gone too far. He came up with a brilliant scheme to end the Dr. John phase of his career with a bang.

for Phil Spector, and created the lush harmonies and baroque melodic embellishments of the Sonny and Cher hits.

Rebennack fit right into this scene, playing on sessions as varied as the Monkees and Frank Zappa’s Freak Out. Meanwhile, he partnered up with some of his old running buddies as a production team that could write the songs, play the sessions and hopefully publish and release the music.

“Out in L.A., I hooked up with Jessie Hill, Alvin ‘Shine’ Robinson and Dave Dixon. Me and Jessie had a publishing company together. It had an unfortunate name for a record company; we put out a couple of records on what we called Free Records, which is what we were able to sell them for. We wrote a ton of stuff.”

I’ve only ever seen two front men that I thought did it the best—Joe Tex and Marvin Gaye—and I still say that ’til this day. They represented something different. Ronnie Barron was going to do it, but we had gotten him a management deal with Don Costa and Don Costa said he’d rather see him do something like Curtis Mayfield and the Impressions. But I never got this “like somebody” bidness. The best thing you can do is be “like” yourself.

Didimus, our conga player, encouraged me to go ahead and do it.”

So Mac became “Dr. John,” Jessie Hill became “Dr. Poo Pah Doo,” and the otherwordly exploration of the Night Tripper began in earnest.

“When we had Kalinda as our dancer, we got busted in St. Louis for having a lewd and lascivious performance. When we would go into a place

They also had a very unusual band powered by an amazing conga player called Didimus, an Ethiopian Cuban whose given name was Richard Washington. Mac had always been fascinated with the vodou spiritual tradition brought to New Orleans from Haiti and wanted to write an album dedicated to the vodou spiritual mothers who were leaders of their communities back in New Orleans. Given all the different directions his music had taken and the myriad music business hustles he’d been involved in, it seems like a miracle that Rebennack was able to take his group into the studio and, during unused Sonny and Cher session time, record the superbly focused Gris-Gris, the album that introduced Dr. John. Mac was never the front man on his sessions, and the role of Dr. John was to be performed by the vocalist in Mac’s band, Ronnie Barron. But fate played its hand; no one but Mac Rebennack himself could have assumed the role of Dr. John so completely.

“At the time I was very concerned about a lot of the Reverend Mothers in New Orleans passing away and certain people trying to pull strings to take over,” Mac explains. “In those days, people cared about people. It was a different world. If you look at Frank Lastie, the whole Lastie family, or you look at the Hills, on and on, there was a difference.

“With Gris-Gris, I asked a lot of people in New Orleans what do you think of me doing something like this? I basically got a go-ahead about how to do it without really pissing them off. What I was always angling at was that I would be the producer of it. I never thought about being a front man.

and have the band all painted up with body paint and dancing with the snake, that was our show, but it was also real. When Prince Kiyama came on the road with us, it was biting the heads off of chickens, and throwing it with the black snake into the hat. People saw the chicken disappear and thought it was a show, but that’s what went on for real in Prince Kiyama’s church.”

As improbable as the Dr. John Gris-Gris manifestations might have seemed to the outside world, Mac himself thought he might have gone too far. He came up with a brilliant scheme to end the Dr. John phase of his career with a bang. The follow-up album to Gris-Gris, Babylon, would be about the end of the world.

“I was thinking I could get out of being a front man maybe if I made a record so strange that Atlantic Records might drop me,” he laughs.

But Babylon, a great songwriting and arrangement collaboration between Rebennack and Harold Battiste, became representative of the apocalyptic world view that accompanied the turbulent events of 1968.

“Somebody told me that the song ‘Patriotic Flag Waver’ was played at both the Republican and Democratic conventions in ’68,” says Mac. So Mac Rebennack kept the unlikely mantle of Dr. John, moving through such triumphs as Gumbo and In the Right Place and the string of albums leading up to last year’s Tribal. When it comes to playing rock, jazz, blues or R&B, Dr. John sets a completely unique standard.

As an American musician, he is a Hall-of-Famer for all seasons.

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DR. JOHN ALBUMS

Mac’s Tracks WHERE DO YOU START YOUR DR. JOHN COLLECTION? ANYWHERE.

By Steve Hochman

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t’s pretty simple. The place to start with Dr. John is where he started— before he was Dr. John, before he was the Night Tripper, before he was known as a piano player and singer (and before he even got credited on recordings for which he’d been a key contributor). Of course, if you can find original copies of the singles “Bad Neighborhood” by Ronnie and the Delinquents and “Morgus the Magnificent,” promoting and featuring the titular New Orleans fright-movie TV host, they’ll likely cost you more than it would to buy Mac Rebennack’s entire CD catalog.

So look for some of this early stuff (from the ’50s, when he was a teen regular in Cosimo Matassa’s studio) on various compilations floating around. The best—and certainly most legitimate—is Rhino Records’ 1993 two-CD set Mos’ Scocious: The Dr. John Anthology. It’s a good introduction and overview, touching on the varied musical facets and faces of Mac Rebennack, at least through its 1993 release date. But no New Orleans music collection should be without four or five full Dr. John albums. Or six. Or a dozen. Or, heck, all of them. To that end, let’s break down the Rebennack repertoire into its component styles, periods and personae and offer some help navigating the journey from Morgus to the Hall of Fame.

The feathers on this page were bought by Dr. John at Meyer the Hatter with specific orishas in mind. He took his time picking them out. The yellow feather is for Oshun, the green for Ogun.

The red feather is for Oya, brown for Orunla. The black and red feather with yellow dots is for Elegba, and the grey feathers honor Shango.

Night Trippin’ With drug problems and charges back in New Orleans, Rebennack spent the mid-’60s in Los Angeles working as a session musician. But in exile, pining for home, he crafted the persona of the voodoo-referencing Dr. John—though he intended for New Orleans singer Ronnie Barron to take the role. When Barron declined, Rebennack stepped forward, gathered some fellow Louisianans and other sessioneers in L.A.’s Gold Star Studios (using time actually booked for Sonny and Cher) and as Dr. John, the Night Tripper, made Gris-Gris. The 1968 album made no impact on the market after Atco (reluctantly, it seems) released it, but over time it came to stand as a landmark of spooky, swampy, voodoo grit-funk. Writing (under the alt-alter-ego name Dr. John Creaux) with some collaboration from arranger-producer Harold Battiste and, on “Mama Roux,” Jessie Hill, he evoked a bayou mystique that still captures the dark recesses of the imagination. The clear highlight is the closer, “I Walk on Gilded Splinters,” an extended soul-funk chant that galvanized the Dr. John gestalt.

Right Place For 1972’s Gumbo, our man was now simply Dr. John, and R&B/rock great Jerry Wexler joined Battiste in production. Confident, spirited versions of “Iko Iko,” “Big Chief,” “Junko Partner,” “Tipitina” and others paid homage to such heroes as Huey “Piano” Smith, Earl King and Professor Longhair, but also made it clear that Rebennack belonged in that number himself. 1973’s In the

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Right Place left no doubt.

Allen Toussaint took the production helm and installed the Meters behind Dr. John for some of the tightest second-line funk you’ll find. But it’s the songs that made this the career breakthrough. The nimble stomp of “Right Place Wrong Time” brought Dr. John and his hoodoo-ese to the pop charts, with the larcenous romance of “Such a Night” following right behind. The same embrace of his city’s culture returned most effectively on 1992’s Back to New Orleans.

The title track is a jumpy winner, but the real attraction is the shaggy hound tale “How Come My Dog Don’t Bark When You Come Around?”

2004’s N’Awlinz: Dis Dat or d’Udda dips back into the spirited well once more, with arranger Wardell Quezergue polishing the purple, green and gold of some sharp originals and such standards as “St. James Infirmary” and, yes, “When the Saints Go Marching In.”

Pianissimo After a couple unsatisfying attempts to replicate the success of “Right Place Wrong Time,” he stopped trying and went back to the basics— just the man and a piano on 1981’s Dr. John Plays Mac Rebennack. As the title implies, he put aside all the guises and put his New Orleans heart on his sleeve. Or his fingers. Its mix of standards (“The Nearness of You,” “Wade in the Water”) and originals serves as a loving tribute to the city’s great piano tradition. A follow-up, 1983’s Vol. 2 (The Brightest Smile in Town), is just as delightful and just as essential.

Sentimental Journey Cole Porter, Johnny Mercer, Duke Ellington… there ain’t a New Orleans writer on Dr. John’s 1988 album In a Sentimental Mood.

But his gruff tones adapt very well to crooning (in a manner of speaking), and his piano makes sure there’s a lot of Crescent City in the interpretations. The duet with Rickie Lee Jones on a sassy “Makin’ Whoopee” is a real kick, and earned a Jazz Vocal Performance Grammy. Mac winningly revisited the concept later, focusing on Ellington for 2000’s Duke Elegant and Mercer for 2006’s Mercernary.

After the Flood The water that got through the failed flood walls was still receding when Dr. John turned his fuming anger into cathartically evocative music on 2005’s Sippiana Hericane. The short benefit release is built around the four-part “Wade: Hurricane Suite,” in which he and his Lower 911 band riffs on the spiritual “Wade in the Water,” bubbling with emotions of this and past NOLA strife as murky as the toxic stew that blanketed the city. This quick, scattered response is both an accurate snapshot of the moment and an enduring listen.

The rage got focused for 2008’s The City That Care Forgot, with dissections of the broken “Promises, Promises” and the anthemic parade paean “My People Need a Second Line.” The righteous rage spilled out of the studio and, Hulk-like, Dr. John once again became the Night Tripper for some shows and spiritually, if not nominally, for his latest album, Tribal. Opener “Feel Good Music” gives way to some serious incisiveness (“Only in America”) and even more serious swamp funk, but also some wink-wink fun, notably the rightplace revival “When I’m Right (I’m Wrong)” (next line: “When I’m wrong, I’m wrong”). Oh yeah, and a better song about vegetables than Brian Wilson’s. www.OFFBEAT.com

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In the Kitchen with Brint Brint Anderson knows how to give his food that Laplace touch.

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Mother Kitty’s Curry Glazed Chicken

when we put the swimming pool in, I saved the lumber and built the cooking shed out back. I’m really getting into charcuterie. I want to get better at making pâtés. I want to master pâté en croute, just one time. Just to say I could do it. I’ve smoked meats for years and I’ve made galantines and boulettes, which are almost like a mousseline.

Galantine is where you debone a bird and take the meat and make a stuffing and keep the skin intact, pull it back together, wrap it with bacon and toothpicks and bake it.

I already had a cast-iron smoker that handles 50-60 pounds of meat, and I’ve always cooked barbecue.

Then my brother-in-law gave me a stainless steel propane grill, and I have a crawfish boiling pot that

By Elsa Hahne

can cook a whole sack at a time.

The place where I get my fresh chickens, in Reserve, has all these great outdoor cooking accessories, so that’s where I got the two-top burner. It’s pretty much a complete outdoor kitchen, with all I need. I like to collect my tools. Every since I got into this, I go to restaurant supply places just like I go to music stores. These are my mother’s poultry scissors that she bought in Italy.

I’ve tried not to mess with this recipe too much. It’s basically the same as my mom’s, except for the zest, and the Worchestershire, and the hot sauce, and the horseradish.

I can’t help it; it’s my New Orleans influence. My mom’s recipe says bacon, but I use andouille to give it that Laplace touch.

1 (10.5-oz) can beef consommé 2 1/2 tablespoons flour 1/4 cup orange marmalade 1 onion, finely diced 6 oz andouille, finely diced 1 tablespoon curry powder 2 tablespoons Heinz chili sauce 2 tablespoons lemon juice 1 teaspoon prepared horseradish 1 teaspoon hot sauce 1 teaspoon Worchestershire sauce 1 teaspoon orange and/or lemon zest 2 chickens, quartered, brushed with butter and seasoned with salt and pepper Whisk together consommé and flour. Add remaining ingredients, expect for chicken. Simmer to thicken, about five minutes.

Set aside. Bake chicken at 400 degrees for 20 minutes. Remove juices. Spoon half of the curry glaze over chicken and bake for 20 minutes. Spoon remaining glaze over chicken and bake for another 20 minutes. www.OFFBEAT.com

Photo: ELSA HAHNE

I

was born in Natchez. We always ate well because my mother was a great cook. She was one of the first housewives in Natchez to have Julia Child’s Mastering the Art of French Cooking. In fact, I’ve got it here. I got all her books after she passed away in ‘04. Her name was Katherine, but everybody called her Kitty. Here, I wanted to show you. I saved this old clipping. My mother won a new pair of high heels from Burns shoe store on Main Street in Natchez with her chicken recipe. It was a housewife competition, and this was the ‘60s.

Maybe she adapted duck à l’orange and just added the bacon. As far as I know she invented it. She used to make it around the holidays and it made the house smell great. This was the first time she entered a competition. I was 12.

My mother was a strong, determined person. She’d bring us to New Orleans and take us to Antoine’s and teach us culture. We grew up learning all the ballroom dances. After we’d gone off to college, she started her own travel agency. This was back when travel agents could do pretty well because you didn’t have computers. She traveled the world.

I make her chicken a couple of times a year, but I cook a variety of things. I love French cooking.

To me, if you want to be a good cook, you have to learn some French technique. When I first went to culinary school at Delgado, Mastering the Art of French Cooking was my bible. It really breaks down the basics of stocks and sauces. I made this [turning pages], Lobster Thermidor, on Christmas eve. Only a French chef could come up with this because it’s nothing but butter and cream and reduction sauces involving the fat in the head of the lobsters.

I have an outdoor kitchen. We used to have a small patio and

EATS

AMERICAN Green Goddess: 307 Exchange Pl., 301-3347 Feast: 200 Julia St., 304-6318 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.

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

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

Voodoo BBQ: 1501 St Charles Ave., 5224647.

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

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

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.

CREOLE/CAJUN Le Citron Bistro: 601 Orange St., 566-9051.

Clancy’s: 6100 Annunciation, 895-1111.

Cochon: 930 Tchoupitoulas St., 588-2123.

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

Fiorella’s: 1136 Decatur St., 553-2155.

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.

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

Arnaud’s Remoulade: 309 Bourbon St., 523-0377.

Besh Steakhouse: 8 Canal St., 533-6111.

Bistreaux at Maison Dupuy: 1001 Toulouse St., 586-8000.

Café Adelaide: 300 Poydras St., 595-3305.

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

Emeril’s: 800 Tchoupitoulas, 528-9393.

Galvez Restaurant: 914 N Peters St., 595-3400.

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

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Lüke: 333 St. Charles Ave., 378-2840.

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

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

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

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

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

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

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

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

Martinique Bistro: 5908 Magazine St., 891-8495.

Restaurant August: 301 Tchoupitoulas St., 299-9777 ICE CREAM/GELATO/CANDY Creole Creamery: 4924 Prytania St., 8948680.

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

Sucré: 3025 Magazine St., 520-8311.

Southern Candymakers: 334 Decatur St., 523-5544.

Tee-Eva’s Praline Shop: 4430 Magazine St., 899-8350.

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

CG’s Café at the Nail: 1100 Constance St., 525-5515.

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

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

Sports Vue: 1400 Esplanade Ave., 940-1111.

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

Wit’s Inn: 141 N Carrollton Ave., 486-1600.

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

JAPANESE/KOREAN/SUSHI 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.

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.

Taqueros Coyoacan: 1432 Saint Charles Ave., 267-3028 Tomatillo’s: 437 Esplanade Ave., 945-9997.

Vaso: 500 Frenchman St., 272-0929.

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.

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

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

WINE BAR & BISTRO Orleans Grapevine: 720 Orleans Ave., 523-1930.

Cliff Hines hits the

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.

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

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.

Oceana Grill: 739 Conti St., 525-6002.

What are you ordering today?

The half Rainbow and half Hana roll.

How did you first hear about Hana?

I think I’ve just been eating here forever, growing up uptown.

How did you get into sushi?

My old band Venus Chain would eat sushi before every show for good luck.

Hana Japanese Restaurant 8116 Hampson St. (504) 865-1634

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

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

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

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

Photo: CAITLYN RIDENOUR

OffBeat

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.

Maison: 508 Frenchmen St., 289-5648.

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.

Three Muses: 536 Frenchmen St., 298-8746.

Raw or cooked?

Raw, definitely.

—Caitlyn Ridenour www.OFFBEAT.com

DINING OUT Sammy’s Deli If we could replicate the quintessential neighborhood New Orleans joint, Sammy’s would be our muse. While the interior is postKatrina modern with flat screen TVs and black table tops, the menu and staff epitomize a home cooking mentality that is passed down from generations like a family gumbo recipe.

The lunch line usually stretches clear across the dining room to the front door, but you will reach the order counter more quickly than you anticipate. There, a perky young lass in a ponytail will take your order while her momma yells at her from the kitchen. Fetch your own soft drinks and tea, find a table, and wait to hear your number hollered in a voice that could distract Aeneas.

The menu encompasses familiar favorites from po-boys to plate lunches, with a long list of daily specials that regularly features pork chops, white beans and stuffed bell peppers.

Each hot plate is served with two sides, from which you can choose creamy baked

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macaroni, mustard greens slowcooked with orbs of delicious pork, and cornbread dressing worthy of celebrating Thanksgiving year round.

Chicken and seafood are fried to order and arrive piping hot and utterly greaseless.

Large crooked chicken wings crunch into golden, shattering perfection, a reminder that this is the land of Al Copeland and not Buffalo. The seafood platter includes a dozen small, fried shrimp, a large cornmeal-crusted filet of trout or catfish, and a pair of golf ball-sized butterfly shrimp stuffed with a wet, seafood dressing.

The po-boys at Sammy’s should be the yardstick by which the iconic sandwich is measured. The bread is fresh and crusty, filling your shirt or lap with crumbs, as it should.

All of the stuffings are top notch, from the meatballs to the roast beef. But hands down,

Photo: CAITLYN RIDENOUR

EATS

this is the best hot sausage po-boy in the city.

The spicy puck of pork combines blissfully with a smear of cool mayonnaise bringing one at peace with the world. The Ray-Ray is just pure gluttony: a juicy, fried chicken breast that somehow remains crunchy under an inchthick pile of thinly sliced grilled ham and Swiss cheese. Order the large at your own peril.

Sammy’s Food Service & Deli. 3000 Elysian Fields Ave. 947-0675. Mon-Thurs 7a-5p, Fri 7a-7p, Sat 7a-4p.

—Rene Louapre and Peter Thriffiley

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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

The Days of Our Lives

Various Artists Nine Lives (Mystery Street) Nine Lives is an attempt by Paul Sanchez and screenwriter Colman DeKay to adapt Dan Baum’s account of the lives of nine New Orleanians for a musical. Knowing that doesn’t prepare you for what a musical it is, though. You expect music by an established musician to have some signature, but that’s not the case here.

Though Sanchez is known for his songwriting, his collaboration with DeKay erases most of his fingerprints, and because a sound or style has been associated with each of the characters, there’s little musical to mark Nine Lives as the work of anyone in particular.

That’s not a bad thing; in fact, the absence of artistic signatures makes it easier to focus on the music and the drama it’s telling.

Equally impressive is that more than 100 area musicians were involved in the making of the album, but you can’t tell. Matt Perrine was the principal arranger, and he gives each song a New Orleans voice that the musicians inhabit, which is a testament to their professionalism that they subsumed themselves to the project’s identity. Piety Street Recording’s Mark Bingham helped

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unify the tracks, which include piano ballads, Indian chants, marching band music and baroque chamber music, by playing them back into the main studio, where he re-captured them on a series of mics to simulate the experience of hearing Nine Lives in a theater.

Having read Nine Lives, I had no problem seeing how the songs fit into Baum’s story, but I wonder where I’d be without that knowledge. You can make sense of the incidents dramatized easily enough, but do the songs also advance our understanding of the characters? I’m not sure. Sanchez and DeKay’s take on Dr. Frank Minyard is clear in “Run Against You and Win,” and they capture Wilbert Rawlins, Jr.’s sense of purpose as a high school band director in his songs. On the other hand, they’re not as successful with John—who becomes JoAnn—Guidos. “Now That Kathy’s Gone” is smart and covers a lot of plot, but you don’t get any sense of Guidos from the song. Perhaps that’s understandable; the novelty of dramatizing that story is such that it’s easy to lose sight of what’s important (Guidos’ triumphant self-realization song, similarly, is wittily disco, but it’s also generic disco). This could also be a product of respect. Sanchez and DeKay adhere faithfully to Baum’s writing, borrowing phrases and bits of language from his text. That helps make two discs-worth of songs separate themselves, but taking greater ownership of the story might have made it easier to convey character in song.

The album comes with notes to help address this issue, but Nine Lives also works on its own as a listening experience, albeit a theatrical one. It opens with “Fine in the Lower Nine,” and John Boutte

and Wendell Pierce act their lines as much as sing them, and the album’s vocalists largely follow suit. One of the high points is Irma Thomas’ “It Could Have Been Worse,” whose natural, subtle sense of drama is present in every song she sings, including this one where she plays herself.

Nine Lives closes with “Rebuild Renew,” which typifies everything smart about the project. Considering its theme, it could have easily become another litany of tourist attractions strung together by platitudes, but Sanchez and DeKay resist that temptation. It similarly inches its way toward “We Are the World” territory with a host of voices, including Mayor Mitch Landrieu’s, but it never quite steps in.

That made me wonder if it’s rousing enough to be a closer, but the fact that it’s sung by the character who starts the story looking to be anywhere but New Orleans gives it dramatic and thematic power. And that’s the Nine Lives experience in a nutshell—not entirely satisfying because it’s made with another medium in mind, but impressive and more successful than a project with so many possible distractions promises.

—Alex Rawls

Nicholas Payton Bitches (Mixtape) Those of you expecting Nicholas Payton’s new record to sound like his great records Dear Louis or Doc Cheatham and Nicholas Payton will be very surprised. Bitches takes the sound of his 1970s Miles Davis-esque sleeper record Sonic Trance and pushes it into modern rhythm and blues. With the exception of guest vocals by

Esperanza Spaulding, N’dambi, and Saunders Sermons, Payton plays all the instruments and sings. His voice has a sensual and sensitive feel, more a bedroom caress than an overpowering shout. The instrumentation focuses on drum machine, bass, keyboards and trumpet, all processed to make them sound artificial to different degrees. The songs switch between the minimal funk of “Truth or Dare,” mellow candlelight jazz of “You Are the Spark,” and ballads such as the duet with Cassandra Wilson, “You Take Me Places I’ve Never Been Before.”

Overall the record has the vibe of the first few Prince records, where Prince is playing most of the instruments and showing off his musical and songwriting prowess. Like the Prince records, the display of chops doesn’t detract from the feeling behind the songs.

There is also a 1980s sound to the arrangements, especially in new wave beats, chimes and the synthesizer of “The Second Show (Adam’s Plea).” Between those two themes, the music recalls the last years of Miles Davis before he passed away in 1991. Davis at that point had generally given up on jazz and was trying to make his version of current R&B and instrumental music.

He also had done some sessions with Prince that are only available on bootlegs, and in ways Bitches recalls those Prince sessions and Davis’ Tutu.

Given that Sonic Trance let Payton follow his Miles muse through the 1970s, Bitches shows the Miles influence in the 1980s and ‘90s. This record is very different from Payton’s betterknown jazz work, but it gets better with every listen. The only thing to take issue with is the title. This is not a Death Row Records release www.OFFBEAT.com

REVIEWS in the early 1990s and Payton is not Snoop Dogg. Yes, Miles Davis called his 1969 opus Bitches Brew, but calling an album Bitches Brew then was shocking and radical, as was the music that album contained. Calling something Bitches in 2011—particularly an album with romantic separation as its subject matter—is clichéd and gratuitous, and the music in this record is not clichéd nor gratuitous in the least. Calling the record Bitches sounds less like a statement and more like a complaint.

—David Kunian

Steve Riley and the Mamou Playboys Grand Isle (Independent) It’s always intriguing to see where Steve Riley and the Mamou Playboys will evolve to next.

Over the course of a storied 23-year career, the pendulum has repeatedly swung between traditional and progressive and back again. Now, with the group’s first studio disc in five years, this CC Adcock-produced affair is adventurous, but much more

A Life’s Work Herman Leonard Jazz (Bloomsbury)

bookmark

While a legend before he moved to New Orleans in 1991, the late Herman Leonard (1923-2010) did not achieve that legendary status as a jazz photographer until later in life.

It was not until 1986--we are told in an introduction to this handsome volume by his friend, novelist Reggie Nadelson—that Leonard (then 63) received “the recognition he’d craved for so long.” That was the result of an unbelievably successful exhibition of his jazz photos in London. The show drew 10,000 admirers, an eight-page spread in The Sunday Times and a BBC documentary. With that success “came a new artistic life and…a new life in the city he loved most of all.”

That city was the Crescent City, a place that suited Leonard and his slightly unconventional lifestyle perfectly. “Maybe it was the ease of life there,” he said. “I’ve never in my life felt more comfortable in my own skin than I did in New Orleans.”

And New Orleans loved him back. It was good for him until August, 2005. His Lakeview home was ravaged by the floodwaters, destroying 6,000 of his prints as well as his detailed exposure records. Fortunately, a colleague managed to save his negatives, storing them in a vault in the Odgen Museum. Later, the photographer discovered many previously unpublished images in his archives. They are reproduced here along with his most famous and widely recognized images.

They’re all here, including probably his most famous, the 1948 shot of Dexter Gordon with cigarette in hand and smoke billowing upwards from it—a signature feature of Leonard’s work. The late ‘40s and early ‘50s were his great period, but this volume includes later examples of his work and his New Orleans period as well.

There have been many great jazz photographers—Charles Peterson, Bill Gottlieb and William Claxton come to mind—but they don’t match Herman Leonard. He raised his craft to the level of a true art form, and this splendid volume bears witness to that.

—Thomas Jacobsen

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REVIEWS cohesive than Adcock’s previous co-produced/produced efforts Bayou Ruler and Happy Town.

Diversity and surprises are key here, most notably with “Chatterbox,” a dusty, groovebound Quintron song featuring Mr. Pussycat hammering the keys. Trailing close behind is the funky Caribbean “C’est l’Heure Pour Changer” that’s replete with guest Jon Cleary’s Hammond B3 squelchings and female backup singers sounding like a village chorus. The glowing rendition of French chanteuse Edith Piaf’s “Non, Je Ne Regrette Rien” will likely catch many off guard. Riley not only overcomes an iconic gender issue but also nails its unapologetic, carefree sentiment over a fat bottom end and glistening string section.

Sonically, the multifaceted Playboys roam all over the map.

On “C’est Ennuyant,” Sam Broussard couples slide guitar harmonics with the Clavinetsounding stylophone (a mini stylus-operated synthesizer) for a despairing, haunting effect.

Broussard’s “Pierre” initially resembles a juré but evolves into a near-tribal séance.

Yet, no matter which mode the Playboys elect to work in, the group still crafts smart songs with infectious melodies, like the bouncy title song that laments the BP gulf catastrophe and its devastating destruction. Also interesting are the occasional bilingual lyrics where French is infused with English (and vice versa) depending on which language certain phrases sound better in. Deep stuff, and it’s reassuring to know that after 23 years growth still happens.

—Dan Willging

Panorama Brass Band 17 Days (Panorama) It’s that time of year again, when the parades roll, the beads fly and the Panorama Brass Band emerges from its eleven-month hibernation. This time they’ve brought a CD, cut in February of www.OFFBEAT.com

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last year. The title refers to the time between Krewe du Vieux and Mardi Gras when the Panorama Jazz Band augments its regular lineup with an assortment of musical ex-pats and wades out into the streets.

Panorama is one of the most reliably rousing musical presences during Carnival, and 17 Days reminds us why. We get a traditional hymn, an Eastern European Jewish freylekh, and of course a Serbian cocek. I could

rhapsodize for the umpteenth time about all the different styles in which Panorama trades, but what’s most absorbing about the present record is how smoothly it all goes together. Whatever Panorama plays, they make it sound right. That’s no small task for a second-line group playing an 18th-Century Haydn chorale.

If the studio setting seems too stuffy for a marching group, have no fear. The album closer, “Grazin’ in the Grass,” brings us Panorama in their natural habitat. Recorded last year during the Box of Wine Parade on Fat Sunday, it captures the band belting out a second line standard while enveloped in rollicking street noise. Topping it all off is a cameo by an NOPD siren, rolling gracefully in and then out of earshot.

—Zachary Young

Watercolor Warbling Lucinda Williams Blessed (Lost Highway) As heard here, Lucinda Williams’ voice seems to be losing shape, a battered piano, muddled at some places, strangely fitting at others, wearing out in its own unique way. Matched with pedal-steel guitars as on “Copenhagen,” the voice bleeds like watercolor, threatening to lose form and wear out the paper. At such points, the words matter more than ever. On this release, we get mixed signals.

Williams has always favored parallel structures. On several of these tracks (the noir blues “To Be Loved”), they refuse to pay off, though the title track conjures up her great songwriter’s spirit—direct, nostalgic, Whitmanesque. Elvis Costello offers up some fierce guitar on “Seeing Black,” and with Don Was at the helm, the album maintains the proper contour and shimmer. ”Soldiers Song” is a stark, line-by-line contrast between life on the battlefield and life back home. War is brutish, but such simple treatment feels like short shrift for the subject and the singer. Then again, ”Ugly Truth” catches that wee-hours conversation when it really doesn’t matter what the person does, you simply want them to do something, cursed though you both are.

At a few points on Blessed, you want Williams to dig the knife in further and push herself past foreboding hints. Then, she closes things with “Kiss Like Your Kiss,” a waltz that sums up years of work and reminds that the night has many turns left.

—Brian Boyles

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Various Artists The Ace Story Volumes 1 & 2 (Ace UK)

My Graveyard Jaw Coming Winds (Independent) When we speak of New Orleans bands owing a debt to Tom Waits, more often it’s really to Kurt Weill.

With My Graveyard Jaw, we mean Tom Waits. On much of Coming Winds, Michael James sings with Waits’ hard, phlegmy rasp, which is distracting. If there’s a pledge the city could stand to take, it’s to kill the father and spend a year not invoking Waits because there are so many musical voices here that don’t need to lean on his sound to get by.

The performances on Coming Winds, for example, show a band that is rhythmically assured as Denise Bonis’ fiddle goes in unpredictable directions. Their version of American roots music is engaging and artful from the opener, “Lucy Lu,” when James doesn’t employ the Waitsian voice. The title track is an instrumental that won’t leave bluegrass pros in awe of the technique, but the song has its own integrity and is compelling, even if James is strumming instead of picking his banjo.

Part of the strength of the album comes from the songs themselves, but a lot of credit goes to upright bassist Scott Potts, who produced the album. He gives the guitar and banjo sonic weight and rolls off some of the highs that make acoustic guitars sound scratchy and messy. As a result, there’s an appealing density as Potts chooses a sound that suits the material at the expense of folk piety—an overrated value in my books.

My Graveyard Jaw’s world is one of loneliness and ominous portents, but it’s also involving— more so when James leaves Tom Waits out of it.

—Alex Rawls

While these tracks have been around the block more times than the mailman, it’s great to know they’re available again, conveniently on two discs. Although Ace was based in Jackson, Mississippi, it was a New Orleans label for all intents and purpose, one which, from the mid-1950s to early 1960s, took advantage of the abundance of R&B and rock ’n’ roll talent that this city nurtured. Ran (eventually into the ground) by the gregarious Johnny “Vincent” Imbragulio, he often stumbled blindly into luck in the record business, but he was never afraid to throw the dice, especially in New Orleans.

Volume One contains such timeless hits as Frankie Ford’s “Sea Cruise,” Huey Smith’s “Rockin’ Pneumonia and the Boogie Woogie Flu” and Jimmy Clanton’s “Just a Dream”—songs that are the virtual templates of New Orleans rock ’n’ roll. It also contains Red Tyler’s “Peanut Vendor,” Morgus and the Ghouls’ “Morgus the Magnificent,” Mac Rebennack’s “Storm Warning,” Chuck Carbo’s “Lover of Love” and Earl King’s “Everybody’s Carried Away”—jukebox and sock hop favorites confined to Jefferson, Orleans and St. Bernard parishes.

Of the non-New Orleans tracks, Frankie Lee Sims’ “Hey Little Girl” is an exceptional blues, the Phaetons “I Love My Baby” is rockabilly at its apex, and the Supremes’ (not the Diana Ross group) “Just for You and I” is top-notch doo-wop. This expanded CD set (24 tracks) also contains the bonuses “Alimony”

by Frankie Ford and Huey “Piano” Smith’s “Pop-Eye.” Volume Two relies less on national hits—Clanton’s “Go Jimmy, Go” (recorded in New York and later covered by Bob Marley) is the only one here—but it does rely on outstanding New Orleans rock ’n’ roll. Junior Gordon’s “Blow Wind Blow,” Big Boy Myles’ “New Orleans,” Bobby Marchan’s “Chickee Wah-Wah,” and “Rockin’ Behind the Iron Curtain,” James Booker’s “Teen Age Rock,” Huey’s “Would www.OFFBEAT.com

REVIEWS

Kim Carson

What’s Weed Worth?

Trademark da Skydiver Super Villain Issue 3: Reign Supreme (mixtape)

Curren$y Return to the Winner’s Circle (mixtape) Jay-Z had Memphis Bleek. Nas had QB Finest. Busta Rhymes had Spliff Star. They’re called “weed carriers”—“rappers” that were friends of the actual stars whose loyalty was repaid with undeserving features and, sometimes, fulllength albums. When people hear that Trademark Da Skydiver, one of Curren$y’s friends and members of the JETS movement, is dropping an album, the news is likely to be met with groans from listeners used to sub-par weed carrier projects. But fear not; Trademark’s latest release, Super Villain Issue 3: Reign Supreme, is a strong offering that should erase the stigma that the MC is just a measly sidekick.

The self-proclaimed “Super Villain” doesn’t stray from the JETS topics of choice: weed, sex, Jordans and even more weed. All of these subjects are covered especially well on “Elevated,” where Trademark’s penchant for hook-making is on full display. He’s on his game when he invites his homies to join the weed circle as his more concise 16bar verses hit harder than the songs he has to carry himself. Check his standout verse on “Protocol,” which features fellow local MC Nesby Phips. “Being high’s my everyday disguise / I’m the villain they despise,” Trademark spits. It’s hard to despise a rapper with bars like that.

The JETS leader, though, is still the MVP. This fact is evidenced by his latest mixtape, Return to the Winner’s Circle. Spitta…well…spits ferocious lines over 11 hip-hop standards. Here’s the catch: Curren$y recorded all but one of these songs in just one night. While his work ethic has been a thing of legend, Curren$y’s latest feat only adds to that legacy.

The mixtape is what you would expect from a one-night-stand production: lyrical vomit void of any really well-constructed songs. It’s just a beat and Curren$y rapping, mimicking a long freestyle session. However, Curren$y does take chances with a new double-timed flow on “Frost.”

Spitta even takes on classic tracks that seemed untouchable—including Raekwon and Outkast songs—and manages to sound right at home.

But it’s “Jets at Ya Neck” where Curren$y joins the rest of the crew to show that he’s still improving and his squad is full of potent MCs who are nothing to mess with. “I want it all,” he raps on the track, and projects like Return to the Winner’s Circle show that he’s close to reaching his goal.

—David Dennis You Believe It (I Have a Cold),” Frankie’s “Roberta,“ Joe and Ann’s “Curiosity”—need we say more? It’d be remiss not to mention there are some superior blues tracks here— Sammy Myers’ lethal “Sleeping in the Ground,” Mercy Baby’s wonderful “Silly Dilly Woman,” Lightnin’ Hopkins’ “Bad Boogie” and Charles Brown and Amos Milburn’s swinging “Educated Fool.” Eddie Bo, Jimmy Clanton, Joe Tex and Earl King

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also contribute here, so you know this is a recipe for a tasty collection.

These discs collect outstanding music that helped make New Orleans the absolute center of the music universe, and the packaging is topnotch with informative notes, period photos and illustrations. Thankfully, three more volumes in this series are in the works. Worth pawning your wedding ring to obtain either or both.

—Jeff Hannusch

Classic Twang (Banks Street) Kim Carson has great taste in country music. This much you know just looking at the track listing on her latest release. What you learn upon hearing the fourth track is that Carson also possesses a voice that fits seamlessly in the tradition she celebrates.

The song is “I’m Not Lisa,” by Jessi Colter. But that the world were full of women like Jessi Colter!

Muse and comforter of the Outlaw movement, Colter sounded like she’d been stranded at a truck stop in 1977 after a journey from deepest Appalachia circa 1907. Carson’s rendition of the song is a sincere tribute, and the album unfurls in a similar tone.

An homage this faithful ultimately leads you to re-appreciate the originals more than the update, as the present treatment rarely strays from the script. And while this is worth a spin on tracks like the duet with John Evans playing Conway to Carson’s Loretta, sometimes you lose sight of the interpreter. A few songs are a little too sweet (“Teddy Bear Song”) or so close to their model that you don’t learn anything new about Carson or the songwriter (“You’re Looking at Country,” another Loretta Lynn track).

There’s sufficient love in the effort to make this a great sample of Carson’s skill and the richness of her influences. She closes the album with versions of Roy Clark’s “Thank God & Greyhound” and Kris Kristofferson’s “Why Me.” On an album of good selections, Carson picks the right closers and does them great justice, investing each with all the emotion and wisdom they deserve.

—Brian Boyles

Elespee & Prospek The Trip EP (Guerilla Publishing Co.) On their latest collaboration, rapper Elespee and producer Prospek set off on a hallucinogenic trek through the decadent and depraved streets of New Orleans.

The aptly-titled The Trip EP plays like a hip-hop homage to Hunter S. Thompson’s Fear and Loathing in Las Vegas—a streetwise journey to the heart of the Hip-Hop Dream.

All 10 of The Trip EP’s tracks were the result of a drug-fueled weekend at Prospek’s Inner Recess Studios. “I’m trippin’ balls right now,” Elespee utters as he launches into “How’d You Get Here.” The song tells the tale of the pair dropping acid in the French Quarter, praying at the doors of the House of Blues, and “blending street gumbo” onstage at the Dragon’s Den. Along the way, they coax senior citizens into exposing themselves and give props to Crescent City DJs Tony Skratchere, E.F. Cuttin and Maddie Ruthless.

To preserve the fidelity of Elespee’s warped, subversive vision, none of the tracks received any post-production work. The outcome is like a lost session between the RZA and Andre 3000 recorded in another dimension: Prospek layers hazy, mercurial grooves on top of soulful jazz samples and raw, skeletal beats while Elespee’s swift, perplexing flow laces each cut. “My kingdom for a horse or at least a decent snare / a quick drum I can ride from way out there / to boldly go where no one cares,” he spits, sizing up Shakespeare and Star Trek in the final verse of “Channels of the Mind” before the head-nodding ride devolves into a string of B-movie sound clips.

After the chilled, ambient “Attempt” transcends the grind of the streets, the set standout “Sunrise,” which samples Duke Ellington’s “I Like the Sunrise,” offers a moment of clarity amidst www.OFFBEAT.com

REVIEWS the clamor. Still, it’s the lysergic leanings of “Rabbit Hole Rhyming” that best captures The Trip’s deranged allusions: “The future’s now, stupid, and they say he’s a psychotic / He dropped a killer disc and the loonies ran to cop it.”

—Aaron LaFont

Lauren Polo, golf yellow / awful is my bezel / settle? I ought not to / glass of wine or something for their nostrils / I’m fat boy fresh.”

The new Fiend is jarring at first for those expecting the tank chain-waving wild child, but Jones is an adult now. His new mixtape is a reflection of his maturity and musical growth.

—David Dennis

Various Artists Hear Me Howling!

—Blues, Ballads, and Beyond (Arhoolie)

International Jones TenniShoes & Tuxedos (Mixtape) If you’ve listened to Fiend from his No Limit Days, then this latest mixtape will come as a surprise.

Gone are his youthfully highenergy verses from his guest spots alongside Master P. Instead, we get International Jones, a gravelly-voiced veteran of the game that just wants to be dope and wear his kicks. His mixtape, TennisShoesAndTuxedos, shows a musician who has honed his craft and expanded to add “producer” to his resume.

The beats are a stark contrast to Jones’ booming voice. On “A Day at the Office,” dramatic horns are energized by hardhitting snares and swooping bass lines. “Paradise” is a jazzy, saxed-out ode to the finer things in life. Throughout, Jones’ superb production makes TennisShoesAndTuxedos a cohesive mixtape that can be played from beginning to end.

But all of that would be for naught if not for Jones’ new approach to his rapping. It’s been years since we’ve heard the artist formerly known as Fiend, and his return is very welcome. He’s now created the persona of a world-traveling super-fly boss. He namedrops Oprah, Ruth’s Chris and any assortment of retro Jordans too exclusive for Foot Locker: “Ralph www.OFFBEAT.com

For the last half-century, Arhoolie Records has recorded and released an astounding assortment of folk, blues, Tejano, brass, string band, Cajun, zydeco, sacred steel, and any other type of non-pop music to grateful ears. In honor of the label’s 50th anniversary, head honcho Chris Strachwitz has curated a four-CD set that features his mostly unreleased recordings from the San Francisco Bay area in the 1960s. These recordings are the sound of roots music circa the 1960s in a nutshell.

There are blues from well-known artists such as Lightnin’ Hopkins and more obscure players like Jesse Fuller. There’s folk music from Dylan cohort Bob Neuwirth and Debbie Green, and talking blues from Merritt Herring. Louisiana makes an appearance with cuts from the Hackberry Ramblers, John Simien and Clifton Chenier.

The recording settings vary from sessions in Strachwitz’ living room to coffeehouses to folk festivals, which contributes to what is striking about these tracks: their intimacy. When K.C. Douglas and Clarence Van Hook sing the roughbut-right-on harmonies of “I Know You Didn’t Want Me,” it is easy to hear their surprise at how good it sounds and how much fun they are having. When Skip James, one of the more plaintive and eerie bluesmen, sits down at the funky piano in Strachwitz’ house to sing “Low Down Dirty Shame,” the deep feeling behind his music is inescapable. And in some tracks, such depth hits the musicians as strongly as the listeners. When MA RC H 2 011

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On some songs, the guitars or pianos are not fully tuned and some voices warble in the melodies, but this rawness elevates the music.

In addition, the CDs come with a book of essays about the musicians and their circumstances, illustrated with great candid pictures of the players and the scenes in which they flourished. If you are a fan of this music, these tracks will be a confirmation of these musicians’ greatness. If you’re on the fence, this compilation could be a revelation.

—David Kunian

Michel Navedo Quartet New Orleans on My Mind (Parlour Trick) Michel Navedo might be best remembered, up to now, for

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fronting legendary local noisers, Nipples of Isis. The release of the trumpeter’s recording New Orleans on My Mind should adjust that. The disc features music that Navedo describes as “up close, personal, romantic and sweet.” It’s an apt description. This is cool jazz with a few unseen turns to make it compellingly addictive.

Navedo got his first trumpet as a kid in Algiers, and played in the Jesuit marching band. Later, he studied music at Southwest Texas State, then in Cuba, where he learned under trumpet wizard, Inaudia Paisan Mallet.

Navedo employs a guitarist instead of piano (Jason Goessl, raised in Morgan City), and the interplay between horn and guitar activates an unknown chemical causing the music to expand. Songs melt into each other not because they lack singularity, but because of the unique conversation going on inside of them.

Standouts are the celestial “Hushabye Mountain” from Chitty Chitty Bang Bang and a caressing

take on “It Never Entered My Mind,” a standard Miles Davis famously put his stamp on. The elegantly driven guitar in “Hushabye Mountain” sweeps Navedo’s trumpet skyward, while “It Never Entered My Mind” offers a bass solo so sublime it might break your heart.

Navedo cites Davis, Freddie Hubbard and Booker Little as influences. Equally apparent is the influence of his hometown, bubbling up in song after song. Maybe that’s the chemical reaction.

—Hank Cherry

Roomful of Blues Hook, Line and Sinker (Alligator) Roomful of Blues’ latest continues a string of outstanding albums that stretches back nearly four decades.

The New England-based band’s trademark sound is again evident here—lots of punchy horns and plenty of crisp guitar. Featuring Phil Pemberton on vocals, this one contains a few nods New

Orleans’ way. Not only is the title a Dave Bartholomew-penned classic (originally recorded by our man Smiley Lewis), there are no fewer than three Gatemouth Brown covers here.

Agreeably, Hook, Line and Sinker kicks off with a driving shuffle— ”That’s a Pretty Good Love”—that contains some chicken-pickin’ barnyard guitar courtesy of Chris Vachon, who continues the legacy of tasteful guitarists produced by the group (Vachon also acts as producer here) The album remains in the fast lane with the Gatemouth cover “She Walks Right In,” and the get-ondown-with-it title track. The Don and Dewey catalog gets cherry picked on “Kill Me,” and, not unexpectedly, there’s lament to the bottle on Amos Milburn’s “Juice, Juice, Juice.”

If there’s a criticism here, it’s that there is no new material present, but that’s not the point. This is classic R&B material and it’s played with purpose and passion. If you’re into vintage R&B and racy covers like me, this one’s this one is definitely for us.

—Jeff Hannusch

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REVIEWS creditable job of B.B. King’s “Please Accept My Love,” which listeners on the Gulf Coast will immediately recognize as a swamp pop ballad.

Low Country Blues is the real thing and a wonderful listen from beginning to end.

—Jeff Hannusch

Exploding Star Orchestra Gregg Allman Low Country Blues (Rounder) Appropriately, on Gregg Allman’s first solo outing in over a decade, he’s chosen to record a CD that’s essentially a blues “tribute” album.

To his credit, Allman sounds absolutely miserable here which, if you’re recording blues, is most beneficial. (He’s not the picture of contentment on the cover either.)

Outside of one original, the rest of the material is largely an intriguing mix of largely country and Chicago blues material. Produced by T Bone Burnett, and sporting an all-star studio cast (including Mac Rebennack), “haunting” might be the best way describe the mood here, as many songs are arranged in minor keys. In fact, you can’t get much more haunting than the opener, “Floating Bridge,” Sleepy John Estes’ true tale of falling into a ragging river and being saved from drowning by clinging to a floating bridge. The loss of love and the process of losing it are a constant theme throughout as songs like “Little by Little, “Devil Got My Woman,” “Checkin’ on My Baby” and “Blind Man” exemplify. Interestingly, “Blind Man” is actually a cover of a cover.

Originally recorded by Bobby “Blue” Bland, the version here mirrors the arrangement of Little Milton’s later hit version. Allman takes a more macho turn though on the likes of Muddy’s “Can’t Be Satisfied” and Magic Sam’s “My Love Is Your Love.” The last few years, Sam’s songs have frequently been turning up on new blues CDs and Allman gets on the bandstand too with what might well be the highlight of this disc. Allman also does a very www.OFFBEAT.com

Stars Have Shapes (Delmark) Maverick composer and cornetist Rob Mazurek formed the Exploding Star Orchestra in Chicago in 2005, drawing on some of the city’s most exciting young jazz players.

Mazurek is known for straddling the line separating modern improvised jazz and post-rock; he has released several records on the Thrill Jockey label and was joined on his 2009 record Sound Is by members of Tortoise. On paper, the present ensemble of 14 pieces seems a bit on the small side for an orchestra, but they make a big sound, thanks largely to Mazurek’s liberal application of electronics and prerecorded sound.

Stars Have Shapes is an unusual conception. The bulk of the record is occupied by two dense, 20-minute constructions, less songs than sound environments within which the musicians converse and explore.

Following each is a comparatively brief composition in a more straightahead melodic style. The format gives one a welcome breather in between the longer and more intense tracks.

The album opener, “Ascension Ghost impression #2,” is essentially an extended diminuendo, beginning with deafening sheets of electronic sound through which the musicians fight to be heard and finally settling into a quiet equilibrium some 20 minutes later. The second, much mellower long number, “Three Blocks of Light” places the Orchestra against a shifting backdrop of electronic drones. Some of the sound sources are more distinctive on paper than in practice (“insects at the turn of an eclipse,” “Drones built from electric eels”) but the record remains compelling throughout.

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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

TUESDAY MARCH 1

Apple Barrel: John William (BL) 4p, Luke WinslowKing (BL) 8p, Kenny Swartz & the Palace of Sin (BL) 10:30p Blue Nile: Picas Party featuring Eric Bolivar, John Bagnato, Sam Price, Mathew Shilling, Christina Moralas, and more (FK) 10p; Balcony Room: Helen Gillet (MJ) 10p BMC: Dana Abbott Band (OR) 6p, Royal Rounders (OR) 8:30p, Lagniappe Brass Band (BB) 11p Chickie Wah Wah: New Orleans Nightcrawlers (BB) 8p

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d.b.a.: New Orleans Cottonmouth Kings (JV) 9p Funky Pirate: Al Carson & the Blues Masters (BL) 8p Irvin Mayfield’s Jazz Playhouse (Royal Sonesta): Khris Royal (JV) 8p Kerry Irish Pub: Honky Tonk open mic feat. Jason Bishop (CW) 9p Maple Leaf: Rebirth Brass Band (BB) 10p Margaritaville: call club (RR) 2p, Brint Anderson (BL) 7p Rock ’n’ Bowl: Andrew Duhon (OR) 8:30p Snug Harbor: Thelonious Monk Institute Ensemble (MJ) 8 & 10p Storyville District: Bryan Lee (BL) 8p Tipitina’s: Josh Ritter and the Royal City Band, Joe Pug (RR) 9p

WEDNESDAY MARCH 2

Apple Barrel: Wendy Darling (BL) 8p, call club (BL) 10:30p Blue Nile: United Postal Project (FK) 8p; Panorama Brass Band (BB) 10p BMC: Geb Rault Band (OR) 6p, Lynn Drury (BL) 8:30p, Blues4Sale (BL) 11p d.b.a.: the Tin Men (JV) 7p, Walter “Wolfman” Washington & the Roadmasters (BL) 10p Funky Pirate: Al Carson & the Blues Masters (BL) 8p Irvin Mayfield’s Jazz Playhouse (Royal Sonesta): Kinfolk Brass Band (BB) 5p, Irvin Mayfield’s NOJO Jam feat. the music of Freddie Hubbard (JV) 8p Kerry Irish Pub: Chip Wilson (BL) 9p Maple Leaf: Khris Royal and Dark Matter (FK) 10p Margaritaville: Ched Reeves (RR) 2p, Joe Bennett (RR) 7p Rock ’n’ Bowl: Jerry Embree (SI) 8:30p Snug Harbor: Delfeayo Marsalis (MJ) 8 & 10p Storyville District: Bryan Lee (BL) 8p Three Muses: Steven Walker (JV) 7p

THURSDAY MARCH 3

Apple Barrel: John William (BL) 8p, Andy J. Forest (BL) 10:30p Blue Nile: DJ T-Roy (RG) 10p; Balcony Room: Gravity A w/ special guests (FK) 11p BMC: Kid Red (BL) 6p, Corporate America (BL) 8:30p, the Low-Stress Quintet (OR) 10p Chickie Wah Wah: Tuba Skinny and Erika Lewis (JV) 8p d.b.a.: Rock City Morgue, War Amps (RR) 10p Funky Pirate: Al Carson & the Blues Masters (BL) 8p Howlin’ Wolf (The Den): Comedy Gumbeaux (CO) 8p Howlin’ Wolf: Rebirth Brass Band (BB) 10p Irvin Mayfield’s Jazz Playhouse (Royal Sonesta): Kipori Woods (BL) 5p, Shamarr Allen (JV) 8p Kerry Irish Pub: Foot & Friends (BL) 9p Le Bon Temps Roule: Soul Rebels Brass Band (BB) 11p Maison: Kristina Morales (JV) 7p, Strange Roux (upstairs) (FK) 10p, Caesar Brothers Funk Band (FK) 10p Maple Leaf: the Trio feat. Johnny Vidacovich and guests (FK) 10p Margaritaville: Jimmy James (RR) 2p, Trumn (RR) 7p Rivershack: Home Grown (RR BL) 7p Rock ’n’ Bowl: Rosie Ledet (ZY) 8:30p Snug Harbor: Executive Steel Band (MJ) 8 & 10p Storyville District: Bryan Lee (BL) 8p

Three Muses: Luke Winslow-King (JV) 7p, Washboard Rodeo (JV) 10p Tipitina’s: Radiators, Alvin Youngblood Hart (RR) 10p

FRIDAY MARCH 4

Apple Barrel: John William (BL) 4p, Rick Weston (BL) 8p, Mike Hood (BL) 11p Blue Nile: Mykia Jovan and Jason Butler (FK) 8p, Cyril Neville and Tribe 13 (FK) 11p; Balcony Room: DJ Real and Black Pearl (FK) 12a BMC: Moonshine and Caroline (OR) 7p, Rue Fiya (FK) 10p, One Mind Brass Band (BB) 12:30a Chickie Wah Wah: call club d.b.a.: Hot Club of New Orleans (JV) 6p, the Dead Kenny Gs (RR) 10p Funky Pirate: Mark & the Pentones (BL) 4p, Al Carson & the Blues Masters (BL) 8p Hi Ho Lounge: My Graveyard Jaw (RR) 10p Howlin’ Wolf: Anders Osborne, Kermit Ruffins and the Barbecue Swingers (MJ) 10p Irvin Mayfield’s Jazz Playhouse (Royal Sonesta): Kipori Woods (BL) 5p, Leon “Kid Chocolate” Brown (JV) 8p, Kinfolk Brass Band (BB) 12a Kerry Irish Pub: Steve Keith (BL) 5p, Speed the Mule (BL) 9p Le Bon Temps Roule: Dave Jordan and the Neighborhood Improvement Association (FK) 11p Maison: Some Like it Hot (BB) 7p, Young Pinstripe Brass Band, Lagniappe Brass Band, Mainline (BB) 10p, Dave Nada, Brice Nice, Musa, Beyonda (upstairs) (VR) 10p Maple Leaf: closed for private party Margaritaville: Colin Lake (RR) 2p, Irving Bannister’s All-stars (CW) 7p Rivershack: Coldshot (RR BL) 9p Rock ’n’ Bowl: Joe Krown Trio feat. Walter “Wolfman” Washington, Stanton Moore and Sunpie & the Louisiana Sunspots (FK) 9p Rusty Nail: Cha-Wa Mardi Gras Indian Funk (FK) 10p Snug Harbor: Charmaine Neville (MJ) 8 & 10p Storyville District: Bryan Lee (BL) 8p Three Muses: Aurora Nealand Group (JV) 7p, Monty Banks (JV) 10p Tipitina’s: Old 97s, Those Darlins (RR) 10p

SATURDAY MARCH 5

Apple Barrel: Maxwell (BL) 4p, Sneaky Pete (BL) 8p, the Hip Shakers (BL) 11p Blue Nile: Washboard Chaz Blues Trio (BL) 7p, Kermit Ruffins and the BBQ Swingers (TJ) 11p, DJ Real and Black Pearl (FK) 1a BMC: New Orleans Jazz Series (JV) 3p, Jayna Morgan and the Sazerac Sunrise Jazz Band (JV) 6:30p, Bo Dollis, Jr. and the Wild Magnolias (FK) 9:30p, Ashton & the Big Easy Brawlers Brass Band (BB) 12:30a Chickie Wah Wah: Endymion Party feat. the Clements Brothers (RR) 1p d.b.a.: Bret Mosley (OR) 8p, George Porter, Jr. & the Runnin’ Pardners (FK) 11p Euclid Records: Tax Brandwin (OR) 5p Funky Pirate: Mark & the Pentones (BL) 4p, Al Carson & the Blues Masters (BL) 8p Howlin’ Wolf: Rebirth Brass Band, Papa Grows Funk (BB FK) 10p

Irvin Mayfield’s Jazz Playhouse (Royal Sonesta): call club for early show, Brass Band Jam feat. Brassa-Holics (BB) 12a Kerry Irish Pub: Chip Wilson and Jesse Moore (BL) 5p, Rites of Passage (BL) 9p Le Bon Temps Roule: Rotary Downs, Rok Boms (RR) 11p Maison: Ramblin Letters (FK) 5p, Smoking Time Jazz Club (JV) 7p, the Local Skank (RR) 10p, Professor Naughty (FK) 11:30p, One Mind Brass Band (BB) 1a Maple Leaf: Flow Tribe (FK) 10p Margaritaville: Joe Bennett (BL) 2p, Irving Bannister’s All-stars (RB) 7p Rivershack: Refried Confusion (RR BL) 10p Rock ’n’ Bowl: Eric Lindell (RR) 9:30p Snug Harbor: Topsy Chapman (MJ) 8 & 10p Storyville District: Bryan Lee (BL) 8p Three Muses: Derek “Kabuki” Spodie (JV) 7p, St. Louis Slim Jug Band (JV) 10p Tipitina’s: Galactic, Cyril Neville, Corey Henry, T-Bird & the Breaks (RR) 10p

SUNDAY MARCH 6

Apple Barrel: John William (BL) 4p, Kenny Claiborne (BL) 8p, Andre Bouvier & the Royal Bohemians (BL) 10:30p Blue Nile: Bill Summers’ International Market (IN) 1p, Honey Island Swamp Band (RR) 10p BMC: NOLA Music Series (VR) 1p, Cristina Perez (JV) 6p, Andy J. Forest (BL) 9p, Kid Red (BL) 12a d.b.a.: Palmetto Bug Stompers (JV) 6p, Papa Grows Funk, Big Chief Monk Boudreaux (FK) 10p Funky Pirate: Mark & the Pentones (BL) 4p, Willie Locket & the All Purpose Blues Band (BL) 8p Howlin’ Wolf (The Den): Brass Band Sundays feat. Hot 8 Brass Band (BB) 9p, Ivan Neville’s Dumpstaphunk (FK) 10p Irvin Mayfield’s Jazz Playhouse (Royal Sonesta): Jaz Sawyer (JV) 7p Kerry Irish Pub: Bacchus Mania feat. Lynn Drury Band (BL) 9p Le Bon Temps Roule: Wild Tchoupitoulas Mardi Gras Indians (RR) 3p, Soul Rebels Bacchus Blowout (FK) 11p Maison: E Company (FK) 10p, Booty Trove (FK) 12a, Kings of the Faubourg (FK) 1a Maple Leaf: Joe Krown Trio feat. Russell Batiste and Walter “Wolfman” Washington (FK) 10p Margaritaville: Irving Bannister’s All-stars (RR) 2p, Cindy Chen (RB) 5p Snug Harbor: Johnny Sansone’s Blues Party (MJ) 8 & 10p Three Muses: Jayna Morgan (JV) 8p Tipitina’s: Trombone Shorty’s 5th Annual Bacchus Bash feat. Trombone Shorty & Orleans Ave. (MJ) 10p

MONDAY MARCH 7

Apple Barrel: John William (BL) 4p, Louisiana Hellbenders (BL) 9p, Mike Darby & the House of Cards (BL) 1:30a Blue Nile: Soul Rebels (BB) 10p BMC: Fun in the Pocket feat. Mayumi Shara (BL) 5p, Smoky Greenwell’s Monday Blues Jam (BL) 9:30p, Louisiana Hellbenders (BL) 12:30a Chickie Wah Wah: Purple Party (RR FK) 3p

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LIVE LOCAL MUSIC d.b.a.: Lundi Gras feat. By & By String Band (JV) 6p, Little Freddie King (BL) 10p Funky Pirate: Willie Locket & the All Purpose Blues Band (BL) 8p Howlin’ Wolf: George Porter, Jr. & the Runnin’ Pardners, the Revivalists (FK) 10p Irvin Mayfield’s Jazz Playhouse (Royal Sonesta): Kipori Woods (BL) 5p, Bob French & the Original Tuxedo Jazz Band (JV) 8p Kerry Irish Pub: Lundi Gras feat. Speed the Mule (BL) 4p, Rites of Passage (BL) 9p Le Bon Temps Roule: Cha-Wa Mardi Gras Indians (FK) 11p Maison: Brassaholics (BB) 10p, Bones Dance Party (upstairs) (FK) 10p, Yojimbo (FK) 12a Margaritaville: Truman Holland (RB) 2p, Brint Anderson (RR RB) 7p Palm Court: Palm Court Jazz Band feat. Lars Edegran, Topsy Chapman, Wendell Brunious, Kerry Lewis, Jason Marsalis, Ronell Johnson, Tom Sancton and more (JV) 7p Republic: Juvenile (RH) 9:30p Rusty Nail: Country Fried (CW) 10p Snug Harbor: Charmaine Neville (MJ) 8 & 10p Three Muses: Schatzy (JV) 7p, Pat Casey Group (JV) 10:30p Tipitina’s: Galactic, Cyril Neville, Corey Henry, T-Bird & the Breaks (RR) 10p

MARDI GRAS TUESDAY MARCH 8

Apple Barrel: John William (BL) 4p, Kenny Claiborne (BL) 8p, Kenny Swartz & the Palace of Sin (BL) 10:30p Blue Nile: The Fessters (RB) 5p, Mainline Brass Band (BB) 10p BMC: Charley & the Soulabillysswampboogie (BL) 12p, Royal Rounders (BL) 3p, Cha wa (BL) 7p, Joe Lawler & Friends (OR) 10p d.b.a.: Mardi Gras feat. Nolaphonic All-stars (FK) 3p Funky Pirate: Al Carson & the Blues Masters (BL) 8p Howlin’ Wolf (The Den): Big Busk Burlesque (SH) 9p Irvin Mayfield’s Jazz Playhouse (Royal Sonesta): call club Kerry Irish Pub: Mardi Gras feat. Kim Carson (BL) 7:30p Maison: Meta Space Funk Menagerie (FK) 3p, Ashton Hines and the Big Easy Brawlers (FK) 6p, Earphunk (FK) 10p Maple Leaf: Rebirth Brass Band (BB) 10p Margaritaville: call club (RR) 2p, Brint Anderson (BL) 7p Storyville District: Bryan Lee (BL) 8p Three Muses: call club Tropical Isle Bayou Club: Can’t Hardly Playboys (KJ) 5p, T’Canaille (KJ) 9p Tropical Isle Original: Damien Louviere (OR) 1p, Big Feets (OR) 5p, Rhythm and Rain (OR) 9p Tropical Isle: Butch Fields (OR) 5p, Can’t Hardly Playboys (OR) 9p

WEDNESDAY MARCH 9

Apple Barrel: Wendy Darling (BL) 8p, 19th Street Red (BL) 10:30p Blue Nile: United Postal Project (FK) 8p, the Mumbles (MJ) 10p BMC: Blues4Sale (BL) 11p, Geb Rault Band (OR) 6p, HG Breland Band (OR) 8:30p d.b.a.: Tin Men (JV) 7p, Walter “Wolfman” Washington & the Roadmasters (BL) 10p Funky Pirate: Al Carson & the Blues Masters (BL) 8p Irvin Mayfield’s Jazz Playhouse (Royal Sonesta): Sasha Masakowski (JV) 5p, Irvin Mayfield’s NOJO Jam feat. the music of Clyde Kerr, Jr. (JV) 8p Kerry Irish Pub: Chip Wilson (BL) 9p Maple Leaf: Khris Royal and Dark Matter (FK) 10p Margaritaville: Ched Reeves (RR) 2p, Joe Bennett (RR) 7p

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Rock ’n’ Bowl: Joe Krown (SI) 8:30p Snug Harbor: Delfeayo Marsalis (MJ) 8 & 10p Storyville District: Bryan Lee (BL) 8p

THURSDAY MARCH 10

Apple Barrel: John William (BL) 8p, Margie Perez (BL) 10:30p Blue Nile: DJ T-Roy (RG) 10p, Balcony Room: Gravity A w/ special guests (FK) 11p BMC: Rambling Letters (BL) 6p, Peter Novelli (BL) 8:30p, the Low-Stress Quintet (JV) 11p Chickie Wah Wah: Loose Marbles (JV) 8p d.b.a.: Lynn Drury CD-release (BL) 10p Euclid Records: Whitney Morgan and the 78s (OR) 5p Funky Pirate: Al Carson & the Blues Masters (BL) 8p Howlin’ Wolf (The Den): Comedy Gumbeaux (CO) 8p Irvin Mayfield’s Jazz Playhouse (Royal Sonesta): Roman Skakun (JV) 5p, Shamarr Allen (JV) 8p Kerry Irish Pub: Kelcy Mae Band (KR) 9p Le Bon Temps Roule: Soul Rebels Brass Band (BB) 11p Maison: Natalie Mae (OR) 7p, déjà vu Brass Band (BB) 10p Maple Leaf: the Trio feat. Johnny Vidacovich and guests (FK) 10p Margaritaville: Jimmy James (RR) 2p, Trumn (RR) 7p Ogden Museum: Ogden After Hours feat. Jim McCormick and Kristin Diable (OR) 6p Rivershack: Brent & George (RR BL) 7p Rock ’n’ Bowl: Lil Nathan & the Zydeco Big Tymers (ZY) 8:30p Snug Harbor: Khari Lee & the New Creative Quartet (MJ) 8 & 10p Storyville District: Bryan Lee (BL) 8p Three Muses: Luke Winslow-King (JV) 7p, Voodoo Trio (JV) 10p

FRIDAY MARCH 11

Apple Barrel: John William (BL) 4p, Rick Weston (BL) 8p, Mike Sklar & the Hip Shakers (BL) 11p Blue Nile: Foburg Fest (IR) 10p BMC: Moonshine and Caroline (BL) 7p, Rue Fiya (FK) 10p, One Mind Brass Band (BB) 1a Chickie Wah Wah: call club for early show, NOLA County (CW) 9p d.b.a.: Meschiya Lake & the Little Big Horns (JV) 6p, Good Enough for Good Times (RR) 10p Funky Pirate: Mark & the Pentones (BL) 4p, Al Carson & the Blues Masters (BL) 8p Irvin Mayfield’s Jazz Playhouse (Royal Sonesta): Irvin Mayfield’s Jazz Playhouse (Royal Sonesta): Professor Piano Series feat. Tom McDermott (JV) 5p, Leon “Kid Chocolate” Brown (JV) 8p, Burlesque Ballroom feat. Trixie Minx and Linnzi Zaorski (JV) 12a Kerry Irish Pub: Damien Louviere (BL) 5p, Rites of Passage (BL) 9p Le Bon Temps Roule: Colin Lake Band (FK) 11p Maison: Kristina Morales (JV) 7p, Latin Night (upstairs) (LT) 10p Maple Leaf: Big Sam’s Funky Nation (FK) 10p Margaritaville: Colin Lake (RR) 2p, Irving Bannister’s All-stars (CW) 7p One Eyed Jacks: Ra Ra Riot, Givers (RR) 9p Republic: 8 Bit Anatomy with Billsbury Flowboy (RH) 10p Rivershack: Coldshot (RR BL) 9p Rock ’n’ Bowl: Bonerama (FK) 9:30p Rusty Nail: Kirk Holder (FK) 10p Snug Harbor: Ellis Marsalis Quartet (MJ) 8 & 10p Storyville District: Bryan Lee (BL) 8p Three Muses: Pfister Sisters (JV) 7p, Glen David Andrews (JV) 10p

SATURDAY MARCH 12

Apple Barrel: Maxwell (BL) 4p, Sneaky Pete (BL) 8p, the Hip Shakers (BL) 11p

Blue Nile: Washboard Chaz Blues Trio (BL) 7p, Foburg Fest (IR) 10p BMC: New Orleans Jazz Series (JV) 3p, Jayna Morgan and the Sazerac Sunrise Jazz Band (JV) 6:30p, Mainline (BB) 9:30p, Ashton & the Big Easy Brawlers Brass Band (BB) 12:30a Chickie Wah Wah: Hotels and Highways (RR) 9p d.b.a.: John Boutte (JV) 8p, John Mooney & Bluesiana feat. Chickasaw Mudd Puppies (RR) 10p Euclid Records: Lonely Knights (OR) 5p Funky Pirate: Mark & the Pentones (BL) 4p, Al Carson & the Blues Masters (BL) 8p Howlin’ Wolf (The Den): Soundclash Beat Battle (VR) 10p Howlin’ Wolf Northshore: Northshore Open Mic Super Jam (VR) 9p Irvin Mayfield’s Jazz Playhouse (Royal Sonesta): Don Vappie (JV) 8p, Brass Band Jam feat. Brass-aHolics (BB) 12a Kerry Irish Pub: Bloomin Onions (BL) 5p, Hurricane Refugees (BL) 9p Le Bon Temps Roule: Truman Holland and the Back Porch Review (OR) 11p Louisiana Music Factory: John Sinclair, Kipori Woods, My Graveyard Jaw (RR) 3p Maison: Dave Easley (RR) 5p, Meta Space Funk Menagerie (FK) 7p, Katey Red, Das Racist (RR) 10p, Kings of the Faubourg (JV) 1a Maple Leaf: closed for filming Margaritaville: Joe Bennett (BL) 2p, Irving Bannister’s All-stars (RB) 7p Rivershack: Dash Rip Rock (RR BL) 10p Rock ’n’ Bowl: Eric Lindell (RR) 9:30p Snug Harbor: Astral Project (MJ) 8 & 10p Storyville District: Bryan Lee (BL) 8p Three Muses: Davis Rogan (JV) 7p, St. Louis Slim Jug Band (JV) 10p

SUNDAY MARCH 13

Apple Barrel: John William (BL) 4p, Kenny Claiborne (BL) 8p, Dave Easley (BL) 10:30p Blue Nile: Bill Summers’ International Market (IN) 1p, Foburg Fest (IR) 10p BMC: NOLA Music Series (VR) 1p, Alex Bosworth (JV) 6p, Andy J. Forest (BL) 9p, Kid Red (BL) 12a Checkpoint Charlie: Pallbearers, Dummy Dumpster, the Unnaturals, Terranova and more (RR) 4p d.b.a.: Palmetto Bug Stompers (JV) 6p, Jack Eckert Band (OR) 10p Euclid Records: DJ Small Black (OR) 5p Funky Pirate: Mark & the Pentones (BL) 4p, Willie Locket & the All Purpose Blues Band (BL) 8p Hi Ho Lounge: Fobourg Fest (RR) 10p Howlin’ Wolf (The Den): Hot 8 Brass Band (BB) 9p Irvin Mayfield’s Jazz Playhouse (Royal Sonesta): Tyler’s Revisited feat. Germaine Bazzle and Paul Longstreth (JV) 7p Kerry Irish Pub: Mike Ryan (BL) 8p Le Bon Temps Roule: Brass Band Sunday (BB) 9p Maison: Tuba Skinny (JV) 7p Maple Leaf: Joe Krown Trio feat. Russell Batiste and Walter “Wolfman” Washington (FK) 10p Margaritaville: Irving Bannister’s All-stars (RR) 2p, Cindy Chen (RB) 5p Palm Court: Palm Court Jazz Band feat. Lucien Barbarin and Leon Brown (JV) 7p Snug Harbor: Matt Haimovitz and Uccello (MJ) 8 & 10p Three Muses: Debbie Davis (JV) 7p

MONDAY MARCH 14

Apple Barrel: John William (BL) 4p, Sam Cammarata (BL) 8p, Ready Teddy (BL) 10:30p Blue Nile: Fugitives of Funk with Russell Batiste (FK) 9p BMC: Fun in the Pocket feat. Mayumi Shara (BL) 5p, Smoky Greenwell’s Monday Blues Jam (BL) 9:30p Chickie Wah Wah: Jon Cleary (PK) 8p MA RC H 2 011

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LIVE LOCAL MUSIC d.b.a.: Glen David Andrews (JV) 9p Funky Pirate: Willie Locket & the All Purpose Blues Band (BL) 8p Howlin’ Wolf: Caspian, Moving Mountains, Native, Into It, Over It, Chiaroscuro and more (VR) 10p Irvin Mayfield’s Jazz Playhouse (Royal Sonesta): Bob French & the Original Tuxedo Jazz Band (JV) 8p Kerry Irish Pub: Kim Carson (BL) 9p Margaritaville: Truman Holland (RB) 2p, Brint Anderson (RR RB) 7p Snug Harbor: Charmaine Neville (MJ) 8 & 10p Three Muses: Kristin Diable Songwriters Series (SS) 7p

TUESDAY MARCH 15

Apple Barrel: John William (BL) 4p, Luke WinslowKing (BL) 8p, call club (BL) 10:30p Blue Nile: Balcony Room: redrawblak (Brad Walker w/Simon Lott) (FK) 10p BMC: Dana Abbott Band (BL) 6p, Royal Rounders (BL) 8:30p, Joe Lawler & Friends (OR) 10p, Lagniappe Brass Band (BB) 11p Chickie Wah Wah: New Orleans Nightcrawlers (BB) 8p d.b.a.: New Orleans Cottonmouth Kings (JV) 9p Funky Pirate: Al Carson & the Blues Masters (BL) 8p House of Blues: Sharon Jones and the Dap Kings (VF) 8p Howlin’ Wolf (The Den): Parts & Labor, DOM, Pterodactyl (RR) 10p Irvin Mayfield’s Jazz Playhouse (Royal Sonesta): Victor Atkins presents the music of Ellis Marsalis (JV) 8p Kerry Irish Pub: Crescent City Celtic Band (FE) 8p Maple Leaf: Rebirth Brass Band (BB) 10p Margaritaville: call club (RR) 2p, Brint Anderson (BL) 7p Rock ’n’ Bowl: Brint Anderson’s New Orleans Tribute (FK) 8:30p Snug Harbor: Thelonious Monk Institute Ensemble (MJ) 8 & 10p Storyville District: Bryan Lee (BL) 8p

WEDNESDAY MARCH 16

Apple Barrel: Wendy Darling (BL) 8p, Shotgun House (BL) 10:30p Blue Nile: United Postal Project (FK) 8p, the Mumbles (MJ) 10p BMC: Jameson Family Band (OR) 6p, Lynn Drury (OR) 8:30p, Blues4Sale (BL) 11p Chickie Wah Wah: Happy Hour feat. Packway Handle Band (BU) 5p, Tom McDermott and Meschiya Lake (JV) 8p d.b.a.: Tin Men (JV) 7p, Walter “Wolfman” Washington & the Roadmasters (BL) 10p Funky Pirate: Al Carson & the Blues Masters (BL) 8p Irvin Mayfield’s Jazz Playhouse (Royal Sonesta): Sasha Masakowski (JV) 5p, Irvin Mayfield’s NOJO Jam feat. the music of Donald Byrd (JV) 8p Kerry Irish Pub: Fidgety Rabbit feat. Beth Patterson (FE) 9p Maple Leaf: Khris Royal and Dark Matter (FK) 10p Margaritaville: Ched Reeves (RR) 2p, Joe Bennett (RR) 7p Rock ’n’ Bowl: Swing-a-Roux (SI) 8:30p Snug Harbor: Delfeayo Marsalis (MJ) 8 & 10p Storyville District: Bryan Lee (BL) 8p Three Muses: Frank Oxley Group (JV) 7p

THURSDAY MARCH 17

Apple Barrel: John William (BL) 8p, Mike Darby & the House of Cards (BL) 10:30p Blue Nile: DJ T-Roy (RG) 10p, Balcony Room: Gravity A w/ special guests (FK) 11p BMC: Rambling Letters (BL) 6p, the Coot (BL) 8:30p, the Low-Stress Quintet (JV) 10p Chickie Wah Wah: Loose Marbles (JV) 8p d.b.a.: Louisiana Cane Cutters (JV) 10p

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Funky Pirate: Al Carson & the Blues Masters (BL) 8p Howlin’ Wolf (The Den): Comedy Gumbeaux (CO) 8p Irvin Mayfield’s Jazz Playhouse (Royal Sonesta): Roman Skakun (JV) 5p, Shamarr Allen (JV) 8p Kerry Irish Pub: Speed the Mule (FE) 2p, Rites of Passage (FE) 7p Le Bon Temps Roule: Soul Rebels Brass Band (BB) 11p Maison: Influencia de Jazz (JV) 7p, Magnetic Ear (RR) 10p Maple Leaf: the Trio feat. Johnny Vidacovich and guests (FK) 10p Margaritaville: Jimmy James (RR) 2p, Trumn (RR) 7p Ogden Museum: Ogden After Hours feat. Alex McMurray (OR) 6p Palm Court: Crescent City Joymakers feat. Tim Laughlin and Duke Heitger (JV) 7p Rivershack: Truman Holland (RR BL) 7p Rock ’n’ Bowl: Leon Chavis (ZY) 8:30p Snug Harbor: Hector Gallardo Quartet (MJ) 8 & 10p Storyville District: Bryan Lee (BL) 8p Three Muses: Luke Winslow-King (JV) 7p, Washboard Rodeo (JV) 10p

FRIDAY MARCH 18

Apple Barrel: John William (BL) 4p, Rick Weston (BL) 8p, Mike Sklar & the Hip Shakers (BL) 11p Blue Nile: call club, Upstairs: Bottoms Up Blues Gang (BL) 10p BMC: Moonshine and Caroline (BL) 7p, Rue Fiya (FK) 10p, One Mind Brass Band (BB) 1a Chickie Wah Wah: Pfister Sisters (JV SI) 5:30p, Joan Caddell & the Midnight Choir (RR) 10p d.b.a.: Hot Club of New Orleans (JV) 6p, Johnny Vidacovich Trio feat. Matt Perrine and Keiko Komaki (FK) 10p Funky Pirate: Mark & the Pentones (BL) 4p, Al Carson & the Blues Masters (BL) 8p Howlin’ Wolf: Lords of Acid, Angelspit, Radical G, Chant (DN) 10p Irvin Mayfield’s Jazz Playhouse (Royal Sonesta): Professor Piano Series feat. Tom Worrell (JV) 5p, Leon “Kid Chocolate” Brown (JV) 8p, Burlesque Ballroom feat. Trixie Minx and Linnzi Zaorski (SH) 12a Kerry Irish Pub: Damien Louviere (BL) 5p, Foot & Friends (BL) 9p Le Bon Temps Roule: Soul Project (FK) 11p Maison: Kristina Morales (JV) 7p, Daria and the Hip Drops (JV) 10p, Brassaholics (BB) 1a Maple Leaf: Gravy, 101 Runners (FK) 10p Margaritaville: Colin Lake (RR) 2p, Irving Bannister’s All-stars (CW) 7p Palm Court: Palm Court Jazz Band feat. Clive Wilson (JV) 7p Rivershack: St. Baldrick’s, the Mustard Brothers (RR BL) 9p Rock ’n’ Bowl: Kermit Ruffins & the Barbecue Swingers (SI) 9:30p Rusty Nail: Cary Hudson (OR) 10p Siberia: My Graveyard Jaw (FE) 10p Snug Harbor: Ellis Marsalis Quartet (MJ) 8 & 10p Storyville District: Bryan Lee (BL) 8p Three Muses: Holly Bentsen and Amasa Miller Trio (JV) 7p, Glen David Andrews (JV) 10p Tipitina’s: Drivin’ n Cyrin’ (RR) 10p

SATURDAY MARCH 19

Apple Barrel: Maxwell (BL) 4p, Sneaky Pete (BL) 8p, the Hip Shakers (BL) 11p Blue Nile: Washboard Chaz Blues Trio (BL) 7p, Johnny Sketch and the Dirty Notes (FK) 10p BMC: New Orleans Jazz Series (JV) 3p, Jayna Morgan and the Sazerac Sunrise Jazz Band (JV) 6:30p, Ellen Smith (JV) 9:30p, Ashton & the Big Easy Brawlers Brass Band (BB) 12:30a Chickie Wah Wah: call club d.b.a.: John Boutte (JV) 8p, the Cedric Burnside Project (JV) 11p

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LIVE LOCAL MUSIC Euclid Records: Opposable Thumbs (OR) 5p Funky Pirate: Mark & the Pentones (BL) 4p, Al Carson & the Blues Masters (BL) 8p Irvin Mayfield’s Jazz Playhouse (Royal Sonesta): Bill Summers (JV) 8p, Brass Band Jam feat. Brass-aHolics (BB) 12a Kerry Irish Pub: Lynn Drury & the Honeypots (BL) 9p Le Bon Temps Roule: Ramblin Letters (OR) 11p Louisiana Music Factory: Washboard Chaz Blues Trio, HG Breland, Crowbar (RR ME) 3p Maison: Dave Easley (RR) 5p, Ashton Hines and the Big Easy Brawlers (JV) 10p, Captain Green (JV) 12a

Irvin Mayfield’s Jazz Playhouse (Royal Sonesta): Bob French & the Original Tuxedo Jazz Band (JV) 8p Kerry Irish Pub: Lynn Drury (BL) 9p Louisiana Music Factory: Tyne Darling (VR) 6p Margaritaville: Truman Holland (RB) 2p, Brint Anderson (RR RB) 7p Snug Harbor: Charmaine Neville (MJ) 8 & 10p Three Muses: Mario Abney Trio (JV) 7p

TUESDAY MARCH 22

Maple Leaf: Feed the Kitty feat. James Singleton, Tim Green, Simon Lott, Michael Jenner and more (FK) 10p Margaritaville: Joe Bennett (BL) 2p, Irving Bannister’s All-stars (RB) 7p Palm Court: Palm Court Jazz Band feat. Lionel Ferbos (JV) 7p Rivershack: Rock-n-Soul (RR BL) 10p Rock ’n’ Bowl: Kermit Ruffins & the Barbecue Swingers (SI) 9:30p Rusty Nail: Jenn Howard and Crazy McGee (OR) 10p Snug Harbor: Victor Atkins and Delfeayo Marsalis Quintet (MJ) 8 & 10p Storyville District: Bryan Lee (BL) 8p Three Muses: Miss Sophie Lee (JV) 7p, St. Louis Slim Jug Band (JV) 10p Tipitina’s: North Mississippi All-stars (RR) 10p

Apple Barrel: John William (BL) 4p, Kenny Claiborne (BL) 8p, call club (BL) 10:30p Big Top: Burstness, Xylos, Simon Lott, Justin Peake’s Beautiful Bells (OR) 8p Blue Nile: Balcony Room: Jonathan Freilich & the Peaceful Revolution (MJ) 10p BMC: Dana Abbott Band (BL) 6p, Royal Rounders (BL) 8:30p, Lagniappe Brass Band (BB) 11p Chickie Wah Wah: New Orleans Nightcrawlers (BB) 8p d.b.a.: New Orleans Cottonmouth Kings (JV) 9p Funky Pirate: Al Carson & the Blues Masters (BL) 8p Irvin Mayfield’s Jazz Playhouse (Royal Sonesta): Ed “Sweetbread” Petersen presents the music of Harold Battiste (JV) 8p Kerry Irish Pub: Honky Tonk open mic feat. Jason Bishop (CW) 9p Maple Leaf: Rebirth Brass Band (BB) 10p Margaritaville: Brint Anderson (BL) 7p Rock ’n’ Bowl: LYLA (JV) 8:30p Snug Harbor: Banu Gibson (MJ) 8 & 10p Storyville District: Bryan Lee (BL) 8p Three Muses: call club Tipitina’s: Ryan Bingham & the Dead Horses, Liam Gerner (RR) 9p

SUNDAY MARCH 20

WEDNESDAY MARCH 23

COMPLETE LISTINGS ON THE GO at offbeat.com/mobile.

Check from any cellphone, or add to your iPhone, Android, Blackberry home screen.

Apple Barrel: John William (BL) 4p, Kenny Claiborne (BL) 8p, Johnny J. & Benny Maygarden (BL) 10:30p Blue Nile: Bill Summers’ International Market (IN) 1p, Mainline Brass Band (BB) 10p BMC: NOLA Music Series (VR) 1p, Cristina Perez (JV) 6p, Andy J. Forest (BL) 9p, Kid Red (BL) 12a Chickie Wah Wah: Mark Hummel’s Blues Harmonica Blowout feat. Johnny Sansone and Jason Ricci (BL) 7p d.b.a.: Palmetto Bug Stompers (JV) 6p, Louisiana Hellbenders (BL) 10p Euclid Records: Thou, NOLA DIY Party (OR) 12p Funky Pirate: Mark & the Pentones (BL) 4p, Willie Locket & the All Purpose Blues Band (BL) 8p Howlin’ Wolf (The Den): Hot 8 Brass Band (BB) 9p Irvin Mayfield’s Jazz Playhouse (Royal Sonesta): Tyler’s Revisited feat. Germaine Bazzle and Paul Longstreth (JV) 7p Kerry Irish Pub: Traditional Irish Session (FE) 5p, Schatzy & Associates (FE) 8p Le Bon Temps Roule: Brass Band Sunday (BB) 9p Maison: Larry Scala (JV) 7p, Corporate America (RR) 10p Maple Leaf: Joe Krown Trio feat. Russell Batiste and Walter “Wolfman” Washington (FK) 10p Margaritaville: Irving Bannister’s All-stars (RR) 2p, Cindy Chen (RB) 5p Snug Harbor: Roger Lewis (MJ) 8 & 10p Three Muses: Linnzi Zaorski (JV) 7p

MONDAY MARCH 21

Apple Barrel: John William (BL) 4p, Sam Cammarata (BL) 8p, Shotgun House (BL) 10:30p Blue Nile: Fugitives of Funk with special guest Russell Batiste (FK) 9p BMC: Fun in the Pocket feat. Mayumi Shara (BL) 5p, Smoky Greenwell’s Monday Blues Jam (BL) 9:30p Chickie Wah Wah: Jon Cleary (PK) 8p d.b.a.: Glen David Andrews (JV) 9p Funky Pirate: Willie Locket & the All Purpose Blues Band (BL) 8p

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Apple Barrel: Wendy Darling (BL) 8p, 19th Street Red (BL) 10:30p Blue Nile: United Postal Project (FK) 8p, the Mumbles (MJ) 10p BMC: Jameson Family Band (OR) 6p, Suzaune Yee McKamey (OR) 8:30p, Blues4Sale (BL) 11p Chickie Wah Wah: Sweet Olive String Band (JV) 5p, Tom McDermott and Meschiya Lake (JV) 8p d.b.a.: Tin Men (JV) 7p, Walter “Wolfman” Washington & the Roadmasters (BL) 10p Funky Pirate: Al Carson & the Blues Masters (BL) 8p Irvin Mayfield’s Jazz Playhouse (Royal Sonesta): Sasha Masakowski (JV) 5p, Irvin Mayfield’s NOJO Jam feat. the music of Chick Corea (JV) 8p Kerry Irish Pub: Chip Wilson (BL) 9p Maple Leaf: Khris Royal and Dark Matter (FK) 10p Margaritaville: Ched Reeves (RR) 2p, Joe Bennett (RR) 7p Rock ’n’ Bowl: Johnny Angel & the Swingin’ Demons (JV) 8:30p Snug Harbor: Delfeayo Marsalis (MJ) 8 & 10p Storyville District: Bryan Lee (BL) 8p Three Muses: Mad Dog and the Achievers (JV) 7p

THURSDAY MARCH 24

Apple Barrel: John William (BL) 8p, Andy J. Forest (BL) 10:30p Blue Nile: DJ T-Roy (RG) 10p, Balcony Room: Gravity A w/ special guests (FK) 11p BMC: Rambling Letters (BL) 6p, David Mahoney Quartet (BL) 8:30p, the Low-Stress Quintet (JV) 10p Chickie Wah Wah: Loose Marbles (JV) 8p d.b.a.: call club Funky Pirate: Al Carson & the Blues Masters (BL) 8p Howlin’ Wolf (The Den): Comedy Gumbeaux (CO) 8p Irvin Mayfield’s Jazz Playhouse (Royal Sonesta): Roman Skakun (JV) 5p, Shamarr Allen (JV) 8p MA RC H 2 011

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LIVE LOCAL MUSIC Kerry Irish Pub: Dave James and Tim Robertson (BL) 9p Le Bon Temps Roule: Soul Rebels Brass Band (BB) 11p Maison: Loose Marbles (FK) 7p, Doombalaya (FK) 10p Maple Leaf: the Trio feat. Johnny Vidacovich and guests (FK) 10p Margaritaville: Jimmy James (RR) 2p, Trumn (RR) 7p Ogden Museum: Ogden After Hours feat. Brian Seeger (OR) 6p Palm Court: Crescent City Joymakers feat. Tim Laughlin (JV) 7p Rivershack: Amanda Walker (RR BL) 7p Rock ’n’ Bowl: Geno Delafose (ZY) 8:30p Snug Harbor: Sachal Vasandani (MJ) 8 & 10p Storyville District: Bryan Lee (BL) 8p Three Muses: Luke Winslow-King (JV) 7p

FRIDAY MARCH 25

Apple Barrel: John William (BL) 4p, Rick Weston (BL) 8p, Mike Sklar & the Hip Shakers (BL) 11p Big Top: Friday Night Music Camp feat. Susan Cowsill (VR) 5p, Seguenon Kone & Friends (VR) 9p Blue Nile: Mykia Jovan and Jason Butler (MJ) 8p, Feufollet (KJ) 10p; Upstairs: Bottoms Up Blues Gang (BL) 10p BMC: Moonshine and Caroline (BL) 7p, Rue Fiya (FK) 10p, One Mind Brass Band (BB) 1a Chickie Wah Wah: call club for early show, Paul Sanchez (RR) 8p, Bob Livingston (RR) 10p d.b.a.: Linnzi Zaorski (JV) 6p, Lightning Malcolm Band (BL) 10p Funky Pirate: Mark & the Pentones (BL) 4p, Al Carson & the Blues Masters (BL) 8p Howlin’ Wolf (The Den): Fresh Millions (OR) 10p Irvin Mayfield’s Jazz Playhouse (Royal Sonesta): Professor Piano Series feat. Joe Krown (JV) 5p, Leon “Kid Chocolate” Brown (JV) 8p, Burlesque Ballroom feat. Trixie Minx and Linnzi Zaorski (SH) 12a Kerry Irish Pub: Mike Ryan (BL) 5p, Damien Louviere’s CD-release party (BL) 9p Le Bon Temps Roule: Mike Dillon’s Go-Go Jungle (FK) 11p Maison: Tuba Skinny (FK) 7p, the Honey Pots (FK) 10p, Pinettes Brass Band (BB) 11:30p, Local Skank (RR) 1a Maple Leaf: the Radiators (RR) 10p Margaritaville: Colin Lake (RR) 2p, Irving Bannister’s All-stars (CW) 7p One Eyed Jacks: Meschiya Lake & the Little Big Horns (RR) 9p Palm Court: Palm Court Jazz Band feat. Duke Heitger (JV) 7p Rivershack: Coldshot (RR BL) 9p Rock ’n’ Bowl: the Bluerunners, Creole String Beans (BL) 9p Snug Harbor: Ellis Marsalis Quartet (MJ) 8 & 10p Storyville District: Bryan Lee (BL) 8p Three Muses: Jayna Morgan (JV) 7p, Glen David Andrews (JV) 10p Tipitina’s: Soul Rebels Brass Band, Naughty Professor (BB) 10p

SATURDAY MARCH 26

Apple Barrel: Maxwell (BL) 4p, Sneaky Pete (BL) 8p, Andre Bouvier & the Royal Bohemians (BL) 11p Blue Nile: Washboard Chaz Blues Trio (BL) 7p, Johnny Sketch and the Dirty Notes (FK) 10p; Balcony Room: DJ Real and Black Pearl (FK) 1a BMC: New Orleans Jazz Series (JV) 3p, Jayna Morgan and the Sazerac Sunrise Jazz Band (JV) 6:30p, déjà vu Brass Band (BB) 9:30p, Ashton & the Big Easy Brawlers Brass Band (BB) 12:30a Chickie Wah Wah: WTUL Hootenanny (RR) 8p d.b.a.: John Boutte (JV) 8p, Otra (LT) 11p Euclid Records: Parishioners (OR) 5p Funky Pirate: Mark & the Pentones (BL) 4p, Al Carson & the Blues Masters (BL) 8p

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Howlin’ Wolf Northshore: House of Surf, the Help (VR) 9p Irvin Mayfield’s Jazz Playhouse (Royal Sonesta): Khris Royal (JV) 8p, Brass Band Jam feat. Brassa-Holics (BB) 12a Kerry Irish Pub: Speed the Mule (BL) 5p, Hurricane Refugees (BL) 9p Le Bon Temps Roule: Los Po-boy-citos (FK) 11p Louisiana Music Factory: JC & Company, Davis (VR) 2p Maison: the Ramblin Letters (FK) 7p, Bones Dance Party (upstairs) (OR) 10p, Jeremy Phipps and the Outsiders (OR) 10p, Yojimbo (upstairs) (OR) 12a Maple Leaf: Jake Eckert CD-release (FK) 10p Margaritaville: Joe Bennett (BL) 2p, Irving Bannister’s All-stars (RB) 7p One Eyed Jacks: Dax Riggs (RR) 9p Palm Court: Palm Court Jazz Band feat. Lionel Ferbos (JV) 7p Rivershack: Wattusi Radio (RR BL) 10p Rock ’n’ Bowl: Rockin’ Dopsie, Jr. (ZY) 9:30p Snug Harbor: Deacon John & the Ivories (MJ) 8 & 10p Storyville District: Bryan Lee (BL) 8p Three Muses: Bottoms Up Blues Gang (BL) 7p, St. Louis Slim Jug Band (BL) 10p Tipitina’s: The Real Davis CD-release party feat. DJ Davis Rogan, All That reunion and more (RR) 10p

SUNDAY MARCH 27

Apple Barrel: John William (BL) 4p, Kenny Claiborne (BL) 8p, Blue Maxx (BL) 10:30p Blue Nile: Bill Summers’ International Market (IN) 1p, Mainline Brass Band (BB) 10p BMC: NOLA Music Series (VR) 1p, Alex Bosworth (BL) 6p, Jack Cole Project (BL) 9p, Kid Red (BL) 12a d.b.a.: Palmetto Bug Stompers (JV) 6p, Margie Perez (JV) 10p Funky Pirate: Mark & the Pentones (BL) 4p, Willie Locket & the All Purpose Blues Band (BL) 8p Howlin’ Wolf (The Den): Hot 8 Brass Band (BB) 9p Irvin Mayfield’s Jazz Playhouse (Royal Sonesta): Tyler’s Revisited feat. Germaine Bazzle and Paul Longstreth (JV) 7p Kerry Irish Pub: Steve Keith (BL) 8p Le Bon Temps Roule: Brass Band Sunday (BB) 9p Maison: Christina Perez (JV) 7p, Chegadao (JV) 10p Maple Leaf: Joe Krown Trio feat. Russell Batiste and Walter “Wolfman” Washington (FK) 10p Margaritaville: Irving Bannister’s All-stars (RR) 2p, Cindy Chen (RB) 5p Palm Court: Sunday Night Swingsters feat. Lucien Barbarin (JV) 7p Snug Harbor: James Singleton’s Illuminasti Quartet (MJ) 8 & 10p Three Muses: Linnzi Zaorski (JV) 7p

MONDAY MARCH 28

Apple Barrel: John William (BL) 4p, Sam Cammarata (BL) 8p, Butch Trivette (BL) 10:30p Blue Nile: Fugitives of Funk with special guest Russell Batiste (FK) 9p BMC: Fun in the Pocket feat. Mayumi Shara (BL) 5p, Smoky Greenwell’s Monday Blues Jam (BL) 9:30p Chickie Wah Wah: Jon Cleary (PK) 8p d.b.a.: call club Funky Pirate: Willie Locket & the All Purpose Blues Band (BL) 8p Irvin Mayfield’s Jazz Playhouse (Royal Sonesta): Bob French & the Original Tuxedo Jazz Band (JV) 8p Kerry Irish Pub: Lynn Drury (BL) 9p Margaritaville: Truman Holland (RB) 2p, Brint Anderson (RR RB) 7p Snug Harbor: Charmaine Neville (MJ) 8 & 10p

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LIVE LOCAL MUSIC Three Muses: Kristin Diable Songwriters Series (SS) 7p

TUESDAY MARCH 29

Apple Barrel: John William (BL) 4p, Luke WinslowKing (BL) 8p, Margie Perez (BL) 10:30p Blue Nile: Jeff Albert’s Instigation Quartet (NOLA v.

2.0 w/Brad Walker, Jesse Morrow, and Justin Peake) (MJ) 10p BMC: Dana Abbott Band (BL) 6p, Royal Rounders (BL) 8:30p, Lagniappe Brass Band (BB) 11p Chickie Wah Wah: New Orleans Nightcrawlers (BB) 8p d.b.a.: New Orleans Cottonmouth Kings (JV) 9p Funky Pirate: Al Carson & the Blues Masters (BL) 8p Howlin’ Wolf (The Den): Matthew Mayfield (OR) 10p Irvin Mayfield’s Jazz Playhouse (Royal Sonesta): Steve Masakowski presents the music of James Black (JV) 8p Kerry Irish Pub: Honky Tonk open mic feat. Jason Bishop (CW) 9p Maple Leaf: Rebirth Brass Band (BB) 10p Margaritaville: call club (RR) 2p, Brint Anderson (BL) 7p Rock ’n’ Bowl: Johnny J. & the Hitmen feat. Derek Huston (JV) 8:30p Snug Harbor: Thelonious Monk Institute Ensemble (MJ) 8 & 10p Storyville District: Bryan Lee (BL) 8p

WEDNESDAY MARCH 30

Apple Barrel: Wendy Darling (BL) 8p, Bottoms-up Blues Gang (BL) 10:30p Big Top: Seguenon Kone & Friends (VR) 9p BMC: Jameson Family Band (OR) 6p, Maryflynn & Prohibition Blues (BL) 8:30p, Blues4Sale (BL) 11p Chickie Wah Wah: Sweet Olive String Band (JV) 5p, Tom McDermott and Meschiya Lake (JV) 8p d.b.a.: Tin Men (BL) 7p, Walter “Wolfman” Washington & the Roadmasters (BL) 10p Funky Pirate: Al Carson & the Blues Masters (BL) 8p Irvin Mayfield’s Jazz Playhouse (Royal Sonesta): Sasha Masakowski (JV) 5p, Irvin Mayfield’s NOJO Jam feat. the music of Charlie Parker (JV) 8p Kerry Irish Pub: Chip Wilson (BL) 9p Maple Leaf: Khris Royal and Dark Matter (FK) 10p Margaritaville: Ched Reeves (RR) 2p, Joe Bennett (RR) 7p Rock ’n’ Bowl: Joe Krown (SI) 8:30p Snug Harbor: Delfeayo Marsalis (MJ) 8 & 10p Storyville District: Bryan Lee (BL) 8p Three Muses: Kid Merv (JV) 7p

THURSDAY MARCH 31

Apple Barrel: John William (BL) 8p, Louisiana Hellbenders (BL) 10:30p d.b.a.: Debauche (JV) 10p Funky Pirate: Al Carson & the Blues Masters (BL) 8p Howlin’ Wolf (The Den): Comedy Gumbeaux (CO) 8p Irvin Mayfield’s Jazz Playhouse (Royal Sonesta): Roman Skakun (JV) 5p, Shamarr Allen (JV) 8p Kerry Irish Pub: call club Maple Leaf: the Trio feat. Johnny Vidacovich and guests (FK) 10p Margaritaville: Jimmy James (RR) 2p, Trumn (RR) 7p Ogden Museum: Ogden After Hours feat. Paul Eason (OR) 6p Palm Court: Palm Court Jazz Band feat. Tim Laughlin and Duke Heitger (JV) 7p Rivershack: Mockingbirds (RR BL) 7p Rock ’n’ Bowl: Chris Ardoin (ZY) 8:30p Snug Harbor: Aaron Goldberg Trio (MJ) 8 & 10p Storyville District: Bryan Lee (BL) 8p Three Muses: Mas Mamones (JV) 8p

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LOUISIANA MUSIC ON TOUR Complete listings are available at OffBeat.com.

Weekly listings are available with a free subscription to OffBeat’s Weekly Beat email newsletter.

FESTIVALS MARCH 11-13 Fobourg: This fun music festival features a weekend with dozens of performances at venues on and around Frenchmen Street.

FoburgNewOrleans.com.

MARCH 12-13 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 19-20 Earth Fest: Enjoy live music and great food while learning about the environment at the Audubon Zoo. AudubonInstitute.org.

MARCH 18-19 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 26 Hogs for the Cause: Head to City Park at 11 a.m. for a day of fun to raise money for pediatric brain cancer outreach services. There will be music by Amanda Shaw, Honey Island Swamp Band, Soul Rebels, the Radiators and more.

HogsfortheCause.org.

MARCH 23-27 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.

SPECIAL EVENTS MARCH 3-31 Ogden After Hours: Visit the Ogden Museum every Thursday evening for live entertainment by a variety of local musicians. Check the OffBeat daily listings for a schedule of performances. 6p.

OgdenMuseum.org.

MARCH 4-25 Where Y’art: Visit the New Orleans Museum of Art every Friday from 5-9p for live music, art, exhibitions and film screenings. Noma.org THROUGH MARCH 4 Myth, Mayhem and Majesty: Head to the Historic New Orleans Collection and view a history of Mardi Gras in New Orleans. Hnoc.org.

MARDI GRAS PARADE SCHEDULE

MARCH 5 NOMTOC (West Bank) 10:45a, Iris and Tucks (Uptown) 11a, Endymion (Mid-City) 4:15p, Isis (Metairie) 6:30p MARCH 6 Okeanos, Mid City, Thoth (Uptown) 11a, Bacchus (Uptown) 5:15p, Napoleon (Metairie) 5:30p MARCH 7 Proteus and Orpheus (Uptown) 5:15p, Zeus (Metairie) 6:30p MARCH 8 Zulu, Rex, Elks Orleans, Crescent City (Uptown) 8a, Argus, Jefferson Trucks, Elks Trucks (Metairie), Grela and BES (West Bank) 11a

OTHER MARDI GRAS EVENTS FEBRUARY 26 Krewe of ’tit Rex: The world’s first micro-krewe parades starting at Bacchanal in the Bywater at 5:30 p.m. and ends at Vaughan’s. This year’s theme: “Too Little, Too Late.” TitRexParade.Blogspot.com.

FEBRUARY 27 Krewe of Barkus: New Orleans finest dogs prance and prowl to the theme of “A Broadway Tail” at this fun canine parade. The event starts at 2p in Armstrong Park and takes a 15-block route through the French Quarter. (504) 522-0239, Barkus.org.

MARCH 5 Endymion Extravaganza: The super krewe’s mega party takes place back in the Louisiana Superdome.

As of press time, entertainment has yet to be announced but check www.endymion.org for more information.

MARCH 6 Krewe of Chewbacchus: This science fiction-themed indie krewe makes its debut this year as it jumps on St. Charles Avenue at 6 p.m. before Bacchus arrives.

RazzamatazzProductions.com/Chewbacchus MARCH 5-7 Mardi Gras Mask Market: Head down to the French Market and discover an array of hand crafted masks from local artists. FrenchMarket.org.

MARCH 6 & 8 Courir de Mardi Gras: Leave behind the crowds and glimmering floats of New Orleans for a traditional Cajun Mardi Gras where local men set out on horseback to “raid” local farms and chase chickens. Takes place in various towns including Church Point (3/06) and Mamou (3/08). ChurchPointMardiGras.com.

MARCH 7 Lundi Gras Celebration: Celebrate Lundi Gras with the Krewe of Zulu down near Woldenberg Park and the Riverwalk. There will be concerts, second lines and more along the river from 10a-5:30p. LundiGrasFestival.com.

MARCH 3 Babylon, Muses and Chaos (Uptown), 5:45p

MARCH 7 Orpheuscapade: Welcome Harry Connick Jr.’s mega celebration as they enter the Convention Center at this legendary celebration. This year’s entertainment includes Loverboy, the Radiators and Bucktown All-stars. 7p-2:30a. Call (504) 822-7200 for tickets.

MARCH 4 Hermes, Krewe d’Etat and Morpheus (Uptown) 6p, Selene (Slidell) 6:30p, Orpheus (Mandeville) 7p, Centurions (Metairie) 7

MARCH 8 Bourbon Street Awards: The outrageous costume contest begins outside of Oz nightclub at 800 Bourbon St. 12p.

MARCH 2 Ancient Druids (Uptown) 6:30p

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BACKTALK

North Mississippi Allstars

talk back

T

he music world lost a great maverick when producer Jim Dickinson died two years ago of heart complications, at the age of 67. Originally a session keyboardist who played with Aretha Franklin and the Rolling Stones among many others, Dickinson became a champion of all that was primal and impassioned, be it the Delta blues that he loved or the alt-rock milestones he produced, often with bands nobody else would touch—beginning with one of rock’s ultimate cult classics, the tortured Big Star’s Third and stretching through the Replacements (Pleased to Meet Me). In recent years, Dickinson was one of the few active producers who hated ProTools, preferring to work by feel and sweat.

Dickinson was also a mentor to his two sons, guitarist Luther and drummer Cody, who formed the North Mississippi Allstars a decade ago. And it was the elder Dickinson’s death that spurred his two sons to revive the Allstars after a threeyear hiatus, during which time Luther hit some guitar-hero glories as a member of the Black Crowes. With a credit reading “Produced for Jim Dickinson,” the new Keys to the Kingdom is a different kind of Allstars album, losing the hip-hop and arena rock touches that they took on over the years. The result is the group’s most personal album, and its most classic-sounding— and as Luther Dickinson explains in our phone interview, it was the most intuitive as well.

The loss of your dad was clearly a pivotal event, but one positive outcome was that it got you and your brother playing music together again.

We were going to do that anyway. The band was never in peril or anything; we were always going to play together, but three years ago was a good time to take a break. We’d been touring pretty relentlessly before then. But there was a moment when my dad was sick in the hospital and he told us, “Don’t stop playing music together. You’re better together than you’ll ever be apart.” So when the album happened, the songs pretty much wrote themselves, and we tried to adhere to my dad’s production aesthetic as much as we possibly could.

Chris Chew, Luther Dickinson and Cody Dickinson That was exactly it. You don’t belabor performance in the studio for the expense of feel; if you don’t get it you come back another day. But I was also thinking about the sound of the record. In the past, I’ve experimented with guitars, had two amps turned up really loud, and he’d say, “Jesus, that’s an ego explosion!

The guitar should be a mono signal.” So he liked mono guitars, he liked mono drums, and he liked as few takes as possible. We tried to keep with that. Even as old fashioned as we already are, we tried to keep this as old-fashioned as possible.

What exactly was that aesthetic? If there’s one thing people associate with Jim Dickinson’s production, it’s that he liked to get everything down in one or two takes.

Keys to the Kingdom deals specifically with your dad’s passing, but it sounds like you wanted to avoid making it too downcast.

www.OFFBEAT.com

By Brett Milano

That comes from watching my dad go through that period of time, coming to the end of his earthly cycle. He was so brave and so thankful for this life—and he fought for months until he did not want to hang on. One of the last things he wrote, to be read at his memorial, was, “I refuse to celebrate death.

I’ve given my life to music and it’s given me back a hundredfold.” And man, it was so awesome to see that bravery. That’s the way I felt and that’s the way the songs came out. I wasn’t trying to write songs about my father but they kept coming out so fast. There was a quality that I’d seen from a long time ago—my father and his friends were so spiritual that they weren’t even sad when somebody passed.

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He wasn’t a bad influence on me, just on our instruments.

Was there a moment growing up when you became aware of the kind of music he was involved with?

Man, I don’t ever remember music not being around. My father had a home studio and his friends were the kind of white bohemian kids who were around when the country blues festivals started happening in Mississippi. It was the resurgence of the first generation of bluesmen—Bukka White, Sleepy John Estes. That’s what we grew up around and what we were surrounded by. I remember my father pointing to his record collection and saying, “This is a wealth of knowledge right here.” So that’s how I found Jimi Hendrix and the Allman Brothers, not to mention Charlie Mingus, Professor Longhair and Earl King. As a wanna-be guitar player, I thought it was my duty to soak up as many traditional styles of guitar as I could. It would have been negligent not to. And a lot of it came from Southern roots music, since that was my dad’s bag.

At the same time, he would become associated with alternative rock. I know that the Replacements’ “Shooting Dirty Pool” (from Pleased to Meet Me) was the first track of his that you got to play on, and that’s a pretty raucous place to start.

I remember being around a lot of those sessions when I was 13—Mojo Nixon, Dash Rip Rock, a lot of great bands from that era. But “Shooting Dirty Pool”—that was a tongue-incheek, mock, hard rock song. Westerberg was good at writing those. For whatever reason, my dad hustled me onto that session, and I just made teenaged guitar noises. At one point we all had our hands on the guitar, just making noise.

I’ll tell you the best story about that session: Since I was getting to play, I thought I’d go in wearing my coolest shirt, whatever that was. So I pulled my shirt out of the closet, and it seems I’d worn cologne the last time I had it on. I walked into the studio just reeking, smelling like a pimp, and I was of course unaware of this. So when Paul sings, “You’re the coolest guy that I have ever smelt”—I didn’t know it at the time, but he was making fun of me.

One thing people don’t realize about that album is that Westerberg would never write down any lyrics. Everything on that record came off the top of his head, and my dad would glue

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everything together later. Especially a song like “I Don’t Know.” The lyrics on that come from many different takes that were edited together.

If I had a 13-year-old son, I might be nervous about letting him hang out with Mojo Nixon and Paul Westerberg.

They were great. I remember Mojo coming to dinner one time and we went downstairs to jam.

He sits down at the drums, and breaks the bass drum pedal. Picks up a guitar, breaks a string.

Picks up a bass, breaks a bass string. He wasn’t a bad influence on me, just on our instruments.

I assume Alex Chilton also remained in the picture, since your dad produced Big Star’s Third around the time you were born.

He was a family friend who was around, but that was more the time I was younger. I think I last saw him in a convenience store across the street from Ardent Studios. But I remember when I was real young, finding the tapes of the rough mixes of Like Flies on Sherbert (Chilton’s Dickinson-produced solo album from 1979), playing them over and over and just being fascinated by them.

That album would have scared me as a kid.

It scared Alex! They never rehearsed the songs. My dad just came in with his band, Mudboy and the Neutrons, and they started making this terrible racket. And of course Big Star’s Third was pretty out there too. I think he and my father just pushed each other.

When I saw the Black Crowes last year, you’d taken over a lot of the lead guitar work. You seemed to have a stronger position in the band than any of the other guitarists who’d played alongside Rich Robinson.

That was just the natural evolution of the relationship we had and the respect we have for each other. I’d always been frustrated with the band because the guitar players would always play on top of each other; it was a mess. To hear two people going for it at once—I don’t like that at all.

There are a few songs in their repertoire where you have to do that; it’s part of the arrangement. But even on those occasions I’d listen so closely to Rich that I could avoid stepping on him. I was the first guitar player that was in there because Rich and I were friends. He hired me, and he showed me the respect not to play on top of my lead work. I

enjoyed playing rhythm when he did lead, and that chemistry cemented as the years progressed.

The Black Crowes formally went on hiatus at the end of last year, so I assume that’s off the table for the time being?

Yeah, that’s what they tell me, and I’d known for over a year that it was the plan. They’re in the same situation the North Mississippi Allstars were in, where you need to take a break. But if you look at what was accomplished, it was a really good run—I joined during Warpaint, then we did Before the Frost/Until the Freeze, and I was really proud of the songwriting on that record. Even the final run of shows at the Fillmore was pretty strong. So it was a productive time for the band, and for the time being they’ve closed the book. I was glad to be part of it; I can’t think of another band I would have made such an upheaval in my life for. I had to shut down the family business for it.

So the business is now back open with the Allstars going fulltime?

Yeah, and it’s funny. In the creative process, you have to take a break so you can get your shit together to make more records. In your cycle, there’s always going to be a “road record,” where all the songs on it are about life on the road. Our second record, 51 Phantom, was like that, and when I look at songs I’m writing for the next album, here I am doing it again. There was a time, especially on the third album, when we lost track of what made us unique, especially that regional perspective that we had. This time we’re trying to stay true to what the original spark was. My dad used to say that the blues is mature music, it’s not children’s music like rock ’n’ roll is, and you can grow old gracefully with it. I got my baby girl in my arms right now; she was born right after my dad passed, and your life gets richer as you experience more.

Judging from the new track “New Orleans Walking Dead,” I would guess that you’ve spent a Halloween or two in town.

Not Halloween, but some very late nights.

My wife and I got engaged in New Orleans and we had some very romantic times. I spent a lot of nights at the Maple Leaf playing with Johnny Vidacovich. You definitely see the zombies hanging out there; I think everybody’s seen one from time to time. www.OFFBEAT.com