OffBeat Magazine June 2009 by OffBeat Magazine

JAZZ FEST ‘09 REDUX N N. O. MOONSHINERS N ESSENCE FESTIVAL N MARCUS ROBERTS E 20 JUN

Zen Master Allen Toussaint at peace.

LOUISIANA MUSIC AND CULTURE Free In Metro New Orleans US $3.95 CAN $4.30 £UK 1.95

tip from taco p. 44

Features 16 Shining On

Jackie Borchardt checks out the New Orleans Moonshiners as they inspire dances that have yet to be named.

18 Essence’s Changing of the Guard

Kyle Shepherd talks to Essence Music Festival’s Stephen Rehage about his first year in charge.

20 Six for Switzerland

OffBeat profiles the artists representing New Orleans at Jazz Ascona this year.

22 The Rest of the Fest

OffBeat’s contributors look back at the Jazz Fest that was.

36 Down by the River

Alex Rawls looks inside the making of Allen Toussaint’s new album, The Bright Mississippi.

40 The Gravy: In the Kitchen with Helen

Helen Gillet details the aesthetics of fries to Elsa Hahne.

Departments 6 8 10 41

Letters Mojo Mouth Fresh OffBeat Eats

Rene Louapre and Peter Thriffiley review Ciro’s Côté Sud, Margie Perez “Hits the Spot” at Sound Cafe, and we get “A Good Tip” from Taco at Johnny White’s.

45 Reviews 51 Club Listings 65 Backtalk with Marcus Roberts

John Swenson interviews the pianist about his new album, New Orleans Meets Harlem, Vol. 1. “I think Jelly Roll’s rhythmic approach introduced the whole concept of syncopation in jazz music,” Roberts says.

Online Exclusive School of Jazz: Doug Barry looks at one YMCA’s efforts to spread the gospel of New Orleans music. JUN E 2009

Letters MUSICAL MORONS Wow, I am dismayed to hear that the crowd booed Dr. John. I was not impressed that Bon Jovi was playing and was not interested in seeing him. I come to New Orleans to hear local and regional music, and I was upset that the Hot 8 was not invited because they could not get the money they asked for when there were so many obviously expensive acts. Personally, I felt there were way too many “musical morons” at the fest, which is the reason that I will personally not attend in the future. Something has been lost in the crowd—too bad. It would be so much more enjoyable if the big expensive acts and big crowds were not there. I am a lover of New Orleans who knows it is all about the music. My first Jazz Fest was in 1984; it was small and wonderful. —Laura Lake, Eastsound, WA

MORONS WITH CHAIRS I was trying to exit from the front of the Dr. John audience after his set and was nearly trampled by people trying to get close for Bon Jovi. The problem is not just morons; it’s morons with chairs. There was no place to walk for all the freaking big-ass folding chairs with cup holders, umbrellas, ottomans and baby racks. Next they’ll be slinging portapotties under their seats. Why is it fair for some people to squat out turf and “appropriate” territory when we all pay the same price? If you want to sit, use your arse. If you want on the elevator, you have to let people out first. People do this at Mardi Gras with ladders but it doesn’t bother me because I don’t have to pay $50 to stand on St. Charles Avenue. Perhaps selling more tickets than the venue will accommodate should also be examined. I heard that Saturday was the biggest audience ever. [It wasn’t.—Ed.] I personally had to defuse at least two cursing matches between two sets of Dr. John and Bon Jovi fans. If something isn’t done to solve the problem soon, there will inevitably be a Jazz Fest marred by violence and perhaps even death in the near future.

“Bearing witness to that kind of disrespect directed toward a New Orleans music icon of his stature would have ruined my day.”—Wayne Hearn, Chicago, IL

I have been going to Jazz Fest since it began and have never had such an ugly crowd interaction as I and many other experienced trying to exit the Dr. John gig. That kind of behavior is the antithesis of what Jazz Fest is all about. —Paul Fayard, Crystal Springs, MS

NO-CHAIR ZONE One of the best decisions the producers of Jazz Fest have made in recent years has been the creation of the “no chair zone” in front of the Acura and Gentilly stages, providing people who choose not to have a chair an unobstructed place to stand and maneuver. They should take this one step further and create an open “lane” between the racetrack and the “no chair zone,” particularly at the Acura Stage so that people would not have to climb over chairs and through the “compounds” that have been set up by the folks between the track and the infield. I attend every day of the fest and never bring a chair. At the same time, I don’t begrudge someone who enhances their enjoyment of the fest by parking in one spot. I just wish that Quint Davis et al would provide us mobile festgoers a “fast lane” to travel in so we could take in even more of the great things the fest has to offer. —Mike Corn, New Orleans, LA

BOOING I just read the Weekly Beat and was appalled at your report that Bon Jovi fans booed Dr. John. As a veteran of 27 Jazz Fests, I’ve learned to clear out early from the two main stages where the big, outside acts close because their crowds simply don’t “get it.” That’s why I made the tough decision Saturday to skip Dr. John, and now I’m glad I did, because bearing witness to that kind of disrespect directed toward a New Orleans music icon of his stature would have ruined my day (heck, and maybe landed me in jail). You’re right: if big name acts are necessary to maintain the cash flow to help Jazz Fest thrive, so be it. But please Mr. Davis, let’s exercise some discretion and book those who are at least known for having an intelligent, socially aware fan base (think Springsteen, 2006, as the template). —Wayne Hearn, Chicago, IL

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

June 2009 Volume 22, Number 6 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 Contributors Doug Barry, Ben Berman, Jackie Borchardt, Adrienne Bruno, Rob Cambre, Matthew Gagliano, Bethany Garfield, Brandon Gross, Elsa Hahne, Jeff Hannusch, Bobby Hilliard, Geoffrey Himes, Steve Hochman, David Kunian, Aaron LaFont, Mark LaMaire, Rene Louapre, Kathryn Louis, Brandon Meginley, Cree McCree, Brett Milano, Scott Ross, Kyle Shepherd, Juli Shipley, Richard Skelly, John Swenson, Peter Thriffiley, Michael Tisserand, Dan Willging Cover Elsa Hahne Design/Art Direction Elsa Hahne, elsahahne@offbeat.com Advertising Sales Ben Berman, benberman@offbeat.com Margaret Walker, margaretwalker@offbeat.com James Martin, jamesmartin@offbeat.com Advertising Design PressWorks, 504-944-4300 Business Manager Joseph L. Irrera Interns Doug Barry, Matthew Gagliano, Bethany Garfield, Brandon Gross, Bobby Hilliard, Colin Jones, Lauren Loeb, Kathryn Louis, Brandon Meginley, Scott Ross, Kyle Shepherd, Teresha Ussin Distribution Patti Carrigan, Bruce Goodrich, Doug Jackson, Shea MacKinnon OffBeat (ISSN# 1090-0810) is published monthly in New Orleans by OffBeat, Inc., 421 Frenchmen St., Suite 200, New Orleans, LA 70116 (504) 944-4300 • fax (504) 944-4306 e-mail: offbeat@offbeat.com, web site: www.offbeat.com Copyright © 2009, OffBeat, Inc. No part of this publication may be reproduced without the consent of the publisher. OffBeat is a registered trademark of OffBeat, Inc. First class subscriptions to OffBeat in the U.S. are available at $39 per year ($45 Canada, $90 foreign airmail). Back issues available for $6, except the May issue for $10 (for foreign delivery add $2). Submission of photos and articles on Louisiana artists are welcome, but unfortunately material cannot be returned.

LETTERS

LOCALS NOT WANTED

YA-KA-MEIN

I went to the Superdome box office on February 18th to buy 3 sets of tickets for the first and second weekends of Jazz Fest. It never dawned on me that the tickets I bought would specify a particular date for which each ticket was valid. What idiot thought this up? I and everyone else have always bought tickets for a weekend specifically because we don’t know three months in advance which date we might wish to attend. I might add that the schedules aren’t out then either for us to make such decisions. Also, I might want to use 4 tickets on Friday, 4 on Saturday and 1 on Sunday, mixing them was the whole point. No one said anything about this new policy. No notice was at the Superdome and nothing in the advertisements. Try finding someone to talk to about this! This is outrageous, unfair and has put a real damper on my Jazz Fest plans. Hmmm, that free festival in Lafayette with great food and great music sounds really tempting now! Maybe me and all my local friends that support local music the rest of the year will go there instead. Clearly, locals aren’t wanted at Jazz Fest anymore. —Bob Bolin, New Orleans, LA

I want to thank Rene Louapre so much for the write-up on me. Everyone that read OffBeat came to my booth and told me that it was a beautiful piece. I just want to tell you and the OffBeat family that I love them so much. I am taking a rest from Jazz Fest now, thank you kindly. —Ms. Linda (the second-line Ya-Ka-Mein Lady) Green, New Orleans, LA

GRATITUDE FOR THE JOY I’m a lifetime subscriber from the time it only cost $300. This is ridiculous now. Out of gratitude for the joy, the knowledge and the sheer presence of New Orleans your magazine brings to the outside world each month, I respectfully donate this small contribution. Thanks again and keep on truckin’. —Anton Vandorpe, Kortrijk, Belgium

EDDIE BO I am planning my 28th trip to New Orleans and was looking to see where Eddie Bo was playing. I was truly saddened to hear of his passing on March 17. My friend, Stephanie Karoly, and I always enjoyed listening to Eddie, dancing to his music and talking with him and Veronica during his performances. He will be sorely missed.

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Please convey our sincerest condolences, utmost respect and admiration for a superb musician and a fine human being to Veronica. My visit to New Orleans will not be the same knowing that Eddie will not be playing anywhere there but know he’s playing for his maker. —Tony Vasil, Sayreville, NJ

PLAYING FOR PEANUTS Jim Markway is right about the venues and owners. We have musicians in this town who play for peanuts just to have a gig. For example, [at a local hotel] a duo is playing for $240 for 3 hours. A damn shame! Give it a minute and all the good players will be gone. Bravo Jim! —George French, New Orleans, LA

FRENCHMEN STREET In our May issue, John Swenson reported on changes on Frenchmen Street. Chris Costello, president of the Faubourg Marigny Improvement Association, and Tim Kappel wrote lengthy responses to John’s story. Rather than risk misrepresenting them by cutting their letters down to a fraction of their original lengths to fit in the column, we’ve chosen instead to run their letters in their entirety at OffBeat.com.—Ed.

JUN E 2009

MOJO MOUTH

Big Thanks

ay—post-Jazz Fest—is usually a pretty relaxed month for all of the OffBeat staff. Our biggest issue of the year is done, and we reserve the right to kick back a little after all of our hard work. So this is my opportunity to thank all of our staff—Joseph Irrera, Alex Rawls, Elsa Hahne, Craig Guillot, Ben Berman, Margaret Walker, James Martin, our fantastic writers and photographers, as well as our distribution staff (who work every month, as well as overtime during Jazz Fest) and our loyal cadre of interns who contribute so much to the magazine through their hard work and the fresh ideas they bring to this publication. This is also an opportunity to send out a word of appreciation to the extended staff of Festival Productions and the New Orleans Jazz and Heritage Foundation for the Jazz Fest. Yes, we all bitch and complain about how the festival has changed, but I do believe that they listen and try to make as many positive changes as possible within the constraints of putting on a highly successful multi-million dollar event that started as a little celebration of local music

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and culture 40 years ago. With growth, there are growing pains. Things change. In many ways, the success of the Jazz Fest has had such an impact on New Orleans’ perception worldwide. It’s always been a city that’s had a lot to offer culturally, but the Jazz Fest has exposed millions of people to music that’s not readily available in the rest of the country, let alone the world. This has done nothing but good things for local musicians—and I think you’d be hard pressed to find a musician in New Orleans whose life has not been changed positively by the Jazz Fest and the extended audience it attracts to New Orleans. Another important result of the Jazz Fest is that it’s influenced the formation of many other festivals in the city, including the French Quarter Festival and the Voodoo Music Experience, to say nothing of the Gretna Heritage Fest, the Po-boy Festival, the Creole Tomato Festival, neighborhood events like Bayou Boogaloo and so many more. The fact that the Jazz and Heritage Foundation has

instituted smaller music fests like the Louisiana Cajun and Zydeco Fest in June and the Blues & Barbecue Fest in November proves that local music is a driving force in uniting locals and attracting visitors to the city. New Orleans is definitely the “City of Music” worldwide, and this month the American Marketing Association New Orleans will host a forum with people from other cities (Austin, Seattle, Memphis) who have used their city’s music to market their city. I’ll report on that here, and in the Weekly Beat online (subscribe free at OffBeat.com). One more short word: our website, which is the oldest magazine website in the state of Louisiana, is in the process of being revamped. We have some really good stuff in store for our readers. So keep logging on to OffBeat.com. Last word: thank you to local musicians for what you do, and to OffBeat readers and advertisers for your support of local music and culture. —Jan Ramsey

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FRESH

hought festival season was over? Not so fast. Three staples of Louisiana culture—the Creole tomato, seafood, and Cajun and zydeco music—will come together once again for this year’s Vieux-To-Do. The two-day event will be held on Saturday and Sunday, June 13—14, from 11 a.m. to 7 p.m., and it will bring together three festivals: the French Market Creole Tomato Festival in its 24th year, the Louisiana Cajun-Zydeco Festival, and the Louisiana Seafood Festival. These three distinct festivals became a trinity of Louisiana culture by happenstance only two years ago. “That first year (2007), it was accidental that we were together,” says Scott Aiges, director of programming for the New Orleans Jazz and Heritage Festival and Foundation, which presents the Cajun-Zydeco Festival. That year, the stages and seafood were at the U.S. Mint on Esplanade Avenue, which borders the French Market. “After the event, we realized that not only did we have a hugely successful event, but the tomato festival had also had one of its most successful ever. We resolved that we would take this collaboration and make it purposeful and not accidental,” he says. All events are free and open to the public and will be held exclusively at the French Market. Music stages and seafood booths will no longer be found at the U.S. Mint; instead, they’ll be located at Dumaine Street and Barracks Street on the flea market grounds. The Creole Tomato Festival will be in the Performance Pavilion at Dutch Alley. This synergy of Southern Louisiana food and music brings tourism to the city during summer months not traditionally known for large festivals. It provides an opportunity for consumers from inside the city and out to buy local and support Louisiana’s farmers and fishermen in the process, according to Ewell Smith, executive director of the Louisiana Seafood Marketing and Promotion Board. “Each group by itself would be a lot weaker,” says Smith. Kenneth Ferdinand, executive director of the French Market Corporation, says that Vieux-To-Do will be an opportunity for people to see the French Market completed. After years of renovations, as part of the revitalization of the flea market and farmer’s market, all areas of the market are finally open. This is a highlight of the festival, he says. The music is another. Zydeco music has long been a part of the culture of Southwest Louisiana. Recently, with the institution in 2008 of the Best Zydeco or Cajun Music Album category at the Grammys, more people have taken notice. This year’s Cajun-Zydeco Festival lineup boasts of two Grammy winners, BeauSoleil and Terrance Simien, and three nominees, the Pine Leaf Boys, Steve Riley & the Mamou Playboys, and the Lost Bayou Ramblers. Other performers include Amanda Shaw, Bruce Daigrepont and Donna Angelle. Between sets, Creole tomato dishes will be demonstrated at the Performance Pavilion in Dutch Alley. Chef Jack Martinez of Dickie Brennan’s Steakhouse will kick things off Saturday from 12 until 1 p.m. Chef Nino of Rouse’s will end the festivities on Sunday from 4:30 until 5:30 p.m. Other culinary greats will create unforgettable dishes throughout the weekend with tomatoes from St. Bernard, Plaquemines, and Livingston parishes— tomatoes that, according to Byron Hughey, co-founder of the Creole Tomato Festival, will taste this sweet for two months only. Chef Paul Prudhomme will return to the Seafood Festival this year, where he’ll be joined by chefs from the Redfish Grill, Saltwater Grill, Emeril’s NOLA, the Bourbon House and others.

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Photo: CLAYTON CALL

Tri-Fest-A T

Amanda Shaw The festival has brought people from around the world according to Ewell Smith. Smith says it might be about the size of the French Quarter Festival 25 years ago, but he believes that this is a great start and its future seems secure. Scott Aiges agrees. “There are dozens and dozens of artists that are out there working in the zydeco realm that are definitely worth having on the show,” he says. “I don’t think we’re in any danger at all of running out of fresh talent.” As long as those sweet tomatoes keep growing in the summer, fishermen keep catching their catch and kids continue to pick up that dusty accordion in the garage, a New Orleans Vieux-To-Do will greet us each June for years to come. —Brandon Meginley www.OFFBEAT.com Sign up for the FREE Weekly Beat at offbeat.com

FRESH

Mr. Marsalis Goes to Washington E

O JUNE 2009

The Jazz Class Plays an Encore for New Orleans

he seven members of the first class to graduate from the Thelonious Monk Institute of Jazz since its relocation to Loyola University’s Uptown campus in 2007 convened in the Superdome Saturday, May 9 to receive their degrees and give a farewell performance to the city. Though many of them will scatter across the country, they will be doing so like jazz missionaries, spreading a New Orleans musical tradition that has become inextricably linked to the city’s cultural identity. One of these graduates, Vadim Neselovskyi, describes himself as “a citizen of the world” and fondly designates New Orleans as his adoptive home. “I was raised,” says Neselovskyi, “in Ukraine then moved to Germany with my parents. I’ve been a lot of places but it is most special for me to be considered a New Orleanian.” Neselovskyi has been part of a historic class in the Institute’s 23-year history. The Institute’s 2007 move to Loyola’s campus was part of its philanthropic “Commitment to New Orleans Initiative,” the largest project ever implemented by the program. That initiative included provisions for ongoing school and community jazz programs to bolster the school system and provide steady work for New Orleans musicians. Receiving honorary degrees were arranger Wardell Quezergue, who’ll be honored at Lincoln Center in New York City in July, and Herbie Hancock, the chairman of the Monk Institute. He spoke of its commitment to re-energize the city’s music community. “The program has really helped revitalize the spirit of jazz in New Orleans and that was really our planned directive when we came down here,” Hancock said. “To be part of that effusion of energy.” As for Neselovskyi, he will be relocating to New York to attend the prestigious Manhattan School of Music. “This experience was invaluable,” he says. “We had two years of not paying rent, of not working, of just thinking about what we wanted to do, and when you have that time to focus you come up with something very special.” —Doug Barry www.OFFBEAT.com Sign up for the FREE Weekly Beat at offbeat.com

Photo: HAROLD BAQUET

llis Marsalis will be honored this year at the Fifth Anniversary Duke Ellington Jazz Festival (DEJF) in Washington, D.C. The 10-day music festival, which takes place from June 5-15, will award Marsalis with the 2009 DEJF Lifetime Achievement Award. This year’s festival theme is “Celebrating New Orleans,” and according to DEJF Founder and Executive Producer Charles Fishman, “We’re very proud to pay homage to New Orleans, the ‘birthplace of jazz,’ in our nation’s capital.” With over 100 performers playing in nearly 50 venues, this is Washington, D.C.’s largest music festival, and the last weekend will feature a two-day, free concert series held on the National Mall. Performers include Buckwheat Zydeco, Rebirth Brass Band, Trombone Shorty, Irma Thomas, Little Freddie King, Nicholas Payton and other artists known for their New Orleans sound. The grand finale will be a Sunday evening tribute concert for Marsalis held at the John F. Kennedy Center for the Performing Arts. On stage will be the legendary pianist and composer himself, along with his sons Branford, Wynton, Delfeayo and Jason. Also joining them will be Harry Connick, Jr. and Dr. Billy Taylor. For more information, visit http://www.dejazzfest.org —Bethany Garfield

FRESH

I Love a Parade I

t’s been almost four years since the cynical watchdogs known as the NOLAFugees started lampooning everything governmentally sketchy or socially condemnable in postKatrina New Orleans, and the hits keep coming. Their anthologies Soul is Bulletproof, Year Zero and Life in the Wake collect their blend of fiction and reportage from NOLAFugees. com, and they’re taking a stab at a singular voice in their signature New Orleans style fiction/non-fiction with The Parade Goes on Without You. Written by Andrea Boll, the book contains a series of short vignettes and poems that capture the life and rollercoaster emotions of the second line community. Linear storylines are nowhere to be found, but Boll creates a recognizable universe populated by characters that seem like they’ve been your neighbors for years. The book is explicitly dark, seedy and brutal, something the minds in the NOLAFugees think tank see as their calling card—always keeping it real. “We thought it was authentic, when there are a lot of things people are trying to pass off as authentic, locally,” says Jarret Lofstead, one of the editors behind the Nolafugees. “The book deserved to be put out without tinkering, without how someone else wants the city portrayed,” he says. And this is exactly what they did. It’s as real as New Orleans gets: interracial love, underage sex, dancing, rampant drinking, drugs, murder, suicide and hope and happiness. —Bobby Hilliard

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The Once and Future Studio T

his Jazz Fest, the Charles J. Colton Middle School’s auditorium was host to something far different than the school plays and third period assemblies it held in the past. Bands including Bonerama, Trombone Shorty, Medeski, Martin and Wood, Big Sam’s Funky Nation and the Soul Rebels rocked the 80-year-old auditorium, which not too long ago was dim and dormant. The school, which had about 600 students in its halls prior to Hurricane Katrina, had been forced to close its doors in 2007 due to low enrollment. It remained empty and unused until the Creative Alliance of New Orleans (CANO) saw a chance to make something new out of the dusty classrooms and silent hallways. On November 1, 2008, the Colton Middle School reopened as the Studio at Colton, a place where local artists could create and exhibit their work. Classrooms became studios, stairwells had pianos in them and during Prospect.1, the auditorium became home to a light sculpture titled “Black Fireworks,” by the famed artist Cai Guo-Qiang. Guo-Qiang was just one of the many artists on display in New Orleans during the city-wide Prospect.1 exhibition that began last November, and the event was one of the catalysts for CANO’s co-founder Jeanne Nathan to open the Studio at Colton. “It became clear that most of the artists were from around the world but not from here,” said Nathan. “We felt that it was important for there to be an opportunity to show off local talent.” Luckily, Donna Santiago, executive director of the Backbeat Foundation, attended Prospect.1 at Colton with Hypersoul president Tony Ciaccio. “As we laid in the massage chairs watching the light display, we both had the same light bulb go off: ‘We can do shows here!’” Santiago says. While the space seemed promising, a barrage of concerns about the auditorium’s capability as a Jazz Fest venue followed the initial spark. Sound quality, necessary improvements for the space and the ultimate question: Would the people come? It was a legitimate concern. The Studio at Colton resides on St. Claude Avenue in the Marigny, off the beaten path for most Jazz Fest attendees. Santiago was convinced that the space would work. “It took a few days for taxis to know where people were asking to go,” Santiago says. But, by the second weekend, taxis were lining up outside the school to pick up and drop off audience members. In fact, about 4,400 people attended the shows, which were held nightly during Jazz Fest. With such a successful concert series, many people are wondering if the Studio at Colton will become a replacement for lost venues such as the Saenger Theatre or State Palace. It doesn’t look likely; the Recovery School District recently announced plans to reinstate the space as a middle school. Fortunately, there is talk of gaining another vacant school for CANO’s vision, and that’s a good thing. The Studio at Colton is now home to more than 100 artists of all disciplines, musicians including Charmaine Neville, community education programs, Cajun dance classes and African drum lessons. And if no replacement is found, at least the venue had one good Jazz Fest. —Bethany Garfield www.OFFBEAT.com Sign up for the FREE Weekly Beat at offbeat.com

MOONSHINERS

Shining On O

n the Monday night between Jazz Fest weekends, traditional jazz pours out of Mimi’s in the Marigny. Inside, two jitterbuggers dance the Lindy Hop in between candlelit tables. This Monday happens to be the day Lindy Hop creator Frankie Manning died. The two twentysomethings might know this, but it’s equally possible they’ve never heard of Manning. They don’t pull any over-the-back moves, but there’s enough hip to hip action to show that the music and the moves are as alive now as they were 60 years ago. The couple is dancing to the New Orleans Moonshiners and the band is young enough to plow through four hours of standards including “Royal Garden Blues” and “You Are My Sunshine.” Swing and traditional spirituals including “I’ll Fly Away” make regular appearances, and the second line favorite appears on the band’s self-titled debut album. They’re a trad jazz band with new souls. When they perform the 1950s nightclub hit “Kiss of Fire” the Moonshiners are accompanied by whistles, zings and kiss sounds. During Louis Armstrong’s “Struttin’ with some Barbecue,” each solo bursts through the rhythm but is matched in energy by the next. Who knew music could get so rowdy without electricity? “I like to say I like playing music that people can dance to,” banjo player Chris Edmunds says. And people dance. They Lindy Hop, they swing and they move in ways without names. At a recent gig at Mimi’s, two girls dance the Charleston, which came and went 50 years before they were born. The fringed flapper dresses have been replaced by black pants and cotton T-shirts, but wardrobe aside you’d think you were in a speakeasy. The Moonshiners could only work in New Orleans. Seven young, professionally trained transplants

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band together to explore and spread a love of traditional New Orleans jazz. Edmunds met trombonist Charlie Halloran while playing in the streets and with various bands. The pair decided that they’d had enough of trying to play in other people’s bands and were going to start their own. “We knew we wanted to play traditional jazz, and we knew we wanted to be a young band,” Edmunds says. The pair played the streets in the French Quarter, picking up band members along the way: trumpet, alto saxophone, clarinet, drums and

By Jackie Borchardt

bass. At first sight, you wouldn’t expect them to play traditional jazz. Halloran sports a St. Louis Cardinals cap. Clarinet player Teppei Tada wears a navy track jacket. Drummer Jung Ho Kang keeps his hair long. But the Moonshiners were adopted by the music they play. Edmunds is the native New Orleanian and he moved back to the city last year. The rest of the band has roots in California, Nebraska, St. Louis, Tokyo and Seoul, South Korea. They’re young, with an average age of 27, and educated. Aurora Nealand graduated with a degree in music composition from Oberlin Conservatory of Music.

Halloran earned a master’s degree from the Eastman School of Music. Trumpet player Gordon Au will graduate from the Thelonious Monk Institute of Jazz Performance directed by Terence Blanchard. “New Orleans makes it possible,” Edmunds says. “In most places you couldn’t play this style of music and make a living.” In October they had their first gig at Donna’s Bar and Grill on Rampart Street, later becoming the Monday night regulars there. In the beginning, the band outnumbered the audience, but soon they collected a mixed crowd of regulars and strangers, college kids and middle-aged tourists. Combining youth with time-honored tunes has been key to a steady path of success. “Older people know the songs, and I think younger people see young people playing and get excited,” Edmunds says. They released The New Orleans Moonshiners in February, and they’ve played their way around the city: Frenchmen Street, Tipitina’s, the French Quarter and various festivals. The acoustic act enjoys playing the larger crowds that might be hearing traditional jazz for the first time, but it prefers the intimacy of playing on the street and in small venues. On the night Frankie Manning died, Edmunds greets the five people in the audience, “Welcome to Mimi’s. We’re glad you could find a table.” Despite the turnout, the Moonshiners don’t hold back. By 10:30 p.m. the crowd has doubled, and after the second break the room bustles with people who have made their way upstairs. Solos abound while the others in the band whistle or clap along. On break, the Moonshiners get drinks and mull around the room, talking with old friends and meeting new ones. Au sips water, looks around the room and smiles. “It works because we all love the music,” he says. O www.OFFBEAT.com

Photo: ELSA HAHNE

Young trad jazz band the New Orleans Moonshiners have fans dancing steps that have yet to be named.

ESSENCE

Essence’s Changing of the Guard n early 2008, Stephen Rehage received a surprising message. “I randomly got an email asking if I could go to the Essence offices for a meeting. I did, and that’s where it all started,” says Rehage, the head of concert promotion company Rehage Entertainment. That meeting was where Essence Communications told him of its decision to go in a different direction for their annual flagship event, the Essence Music Festival, which takes place yearly over the July 4 weekend in the Louisiana Superdome. This year’s event starts July 3 with a night that includes Ne-Yo, John Legend and Beyoncé. This announcement caught many New Orleanians off-guard, as Jazz Fest promoters Festival Productions was involved in the creation of the event and had successfully produced it since its inception in 1995. The timing of the announcement was not ideal for anyone involved when it was made January 18, 2008, as it dealt an unexpected blow to one of New Orleans music’s iconic production companies and gave Rehage Entertainment only 5 months to prepare for what has come to be known as “The Party with a Purpose.” However, Rehage Entertainment was not without experience, having founded the Voodoo Music Experience in 1999, and it has steadily grown it into one of the fall’s premier music festivals. Rehage was also no stranger to the Essence festival. “I had known Michelle Ebanks (President of Essence Communications) for a number of years from working with her on various projects and had been to the festival a number of times as a spectator,” he says, but he points out that he had no official involvement prior to 2008. Ebanks told The TimesPicayune in 2008, “This speaks to the opportunity we have to keep the festival fresh and exciting and

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Photo: SKIP BOLEN

This year new promoter Rehage Entertainment will host “the Party with a Purpose.”

Frankie Beverly innovative…. It’s just a reflection of how we want to evolve the festival.” The 2008 event featured few noticeable changes for spectators, the exception being a brand new main stage, and the production team was able to utilize much of the infrastructure put in place from the previous year’s event. This resulted in a fairly seamless transition from Festival Productions and Rehage Entertainment, with little noticeable difference for the attendees. According to Rehage, “The event spoke for itself last year, both in terms of the production values and the fact that we had four months to produce it, broke attendance records, and for the most part had a flawless production.” He downplays his role, though, adding, “It’s really just taking the older festival and adding some bells and whistles.” Those “bells and whistles” could not be fully implemented in 2008 due to the late change in production teams. As a result, both Rehage and Essence Communications targeted 2009 and the Essence Fest’s 15th Anniversary as the time for Rehage

By Kyle Shepherd

Entertainment to make its mark on the fest. “The Road to Essence” was one this year’s additions—a three-pronged tour that goes into many of the major media markets, holding concerts and showcasing New Orleans and what Essence has been doing in the city over the past decade and a half. Rehage Entertainment is also responsible for producing a brand-new Essence Fest-related television show, along with all audio/visual coverage of the events, seminars and concerts. Fans of local artists should not be troubled by these efforts to broaden the Essence festival’s national base. Rehage has no plans to phase out New Orleans music, and a full third of all artists on the bill this year are local, including Irvin Mayfield, Marva Wright, Little Freddie King, Big Sam’s Funky Nation, Trombone Shorty and Orleans Ave. and the Rebirth Brass Band. Also on the bill are some high profile former New Orleanians— Ledisi and the Knux. “It’s a music fest in the greatest musical city in the country, and it’s our heritage; local musicians will always have a

large part to play,” Rehage says. The superlounges provide an intimate atmosphere in which to see the locals, but the only one to play on the main stage is DJ Soul Sister, who’ll spin music between sets every night. The roots of Essence Fest seemed to be threatened on another musical front after the release of the preliminary 2009 schedule—a schedule with perennial Essence closers Maze featuring Frankie Beverly conspicuously absent. Despite rumors to the contrary, “there wasn’t any scandalous drama,” Rehage says. “It’s not like Essence didn’t want him or he didn’t want to play. The Frankie Beverly snag was a matter of them changing the booking agent without informing anybody, and that booking agent telling the Frankie Beverly camp that we were not interested at a certain level.” It took some time and some direct intervention, but the issue was eventually resolved. “I called Frankie directly, and once we got to speak cell phone to cell phone, there was a deal in 15 minutes.” O www.OFFBEAT.com

JAZZ ASCONA

Six for Switzerland he Ascona Festival is about New Orleans,” says Don Vappie. He will be performing alongside a host of international talent at the upcoming New Orleans Jazz Festival in Ascona, Switzerland from June 25 to July 5. The festival celebrates its 25th anniversary this year and pays homage to the city that is synonymous with jazz music. A small municipality located along the shore of Lake Maggiore and skirted by the Alps, Ascona is one of the most beautiful areas in Switzerland, and as such, it has become a popular and exclusive tourist destination. Each year, jazz enthusiasts from around the world descend upon the community to celebrate a shared affection for the music and culture of the Big Easy. This year the festival will feature a tribute to renowned New Orleans jazz icon Danny Barker, this being the 100th anniversary of his birth. Barker’s importance within the New Orleans music scene encompassed not only his own individual ability, one which allowed him to play alongside fellow legend Jelly Roll Morton among others, but also his gifts as a teacher. Led by Vappie, a group featuring such notable local artists as Lillian Boutté and bassist Mark Brooks will perform many of Barker’s original compositions, and will focus on music of an essentially Creole character. This project is of particular significance to Vappie, who says of Barker, “It’s important to remember Danny in a good way. He was an influence for me in many different ways. My style seems different than his to most people, but it’s really the same, the same Caribbean and Creole roots.” Here’s a short guide to the city’s representatives at Jazz Ascona:

Mark Brooks Bassist Mark Brooks has a long list of credentials, having

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Photo: ELSA HAHNE

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New Orleans musicians bring the music to Jazz Ascona that they’ve brought to the world for years.

performed alongside renowned artists including the Neville Brothers and Fats Domino. His career has taken him from sets at the Karachi Hilton with the late Eddie Bo to Hollywood films such as Ray and The Bridges of Madison County. For Brooks, who has performed at Jazz Ascona before, the devotion and enthusiasm of jazz fans abroad never fails to impress. He recalls one set he played during a rain storm in Berlin. Expecting the show to be called on account of weather and anticipating a quiet evening in the hotel, he instead found a sea of 20,000 fans holding umbrellas. The performance went on as scheduled. More recently, Brooks had been looking forward to playing with guitar great Snooks Eaglin at the 2009 Jazz Fest, a performance which never took place due to Eaglin’s death from cancer in February. Brooks is currently in the process of putting together his own record and playing gigs around town in preparation for Ascona. —Scott Ross

Lillian Boutté

Louis Ford

Lillian Boutté was named “New Orleans Musical Ambassador” in 1986 and is a well known member of the 7th Ward’s Boutté family, with 10 brothers and sisters including vocalists John and Tricia. She credits her musical background to having had music programs in her schools and to her brothers and sisters, who were also inclined to play music together. In college she performed with New Orleans’ Xavier University gospel choir. Later she was hired by Allen Toussaint as a backup singer, and in the late 1970s she embarked on a five-year world tour as an actor, singer and dancer in the musical One Mo’ Time. Living out her desire to bring New Orleans music to the world, Boutté has spent a lot of time in Europe. She led 45 New Orleans musicians including Cajun, soul, jazz, gospel and brass band artists on a 22-city trip through Germany in a tour in 1992 that she called the “Spirit of Louisiana.” She followed that the next year with a similar tour taking gospel to Denmark. —Kathryn Louis

Louis Ford, a saxophonist and clarinet player, is the leader of the New Orleans Jazz Flairs and a fourthgeneration New Orleans musician. An Ascona veteran, Ford sees the festival as both an opportunity to play for an enthusiastic audience and a chance to remind people that the music and culture of the Crescent City are alive and well. After Katrina, he recalls, only a handful of the city’s musicians made it to Ascona, leading some to doubt the future of New Orleans music. “They had this perception that there was no more New Orleans culture and not enough New Orleans musicians around anymore,” he says. Getting to reintroduce the city to fans abroad is one of the many perks of the job for Ford, who relishes the opportunity to involve people in New Orleans jazz, whether that means letting Thailand’s ambassador to Taiwan sit in on practice sessions or educating local students in the city’s jazz tradition. Although he’s been impressed by the jazz talent springing up in new places, he recognizes the desire for that authentic New Orleans sound. He

By Matthew Gagliano, Brandon Gross, Kathryn Louis and Scott Ross

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JAZZ ASCONA and his band are only too willing to address that need whenever possible, whether playing shows around the world or attending this summer’s Sun Valley Jazz Jubilee, a festival in Idaho in which they will be the only all-black Louisiana act among a number of bands playing in the New Orleans tradition. Ford has just finished his fourth studio album and is slated to play at several festivals this summer in addition to Jazz Ascona, where he’ll be performing with German trumpeter Norbert Susemihl’s New Orleans All Stars alongside fellow New Orleanian Jason Marsalis. —Scott Ross

Jason Marsalis Jason Marsalis was raised to play jazz, not just because he is a Marsalis but because his father Ellis bought him his first toy set of drums when he was three. At six, not only did he begin playing on a real drum set, but he started taking lessons from famed New Orleans drummer James Black. Marsalis is a product of a New Orleans musical education, learning by playing with his family and in school, and beginning in 1991, at the prestigious New Orleans Center for Creative Arts (NOCCA). He even studied orchestral percussion techniques at the renowned Eastern Music Festival. After Jason graduated from NOCCA he began to tour with his brother Wynton’s former sideman Marcus Roberts. In addition to touring, Marsalis continued his education at Loyola University in New Orleans and at Southeastern University, where he studied composition with Roger Dickerson. When he is not playing, Marsalis has made the natural progression and teaches at his alma mater, NOCCA, working with the drum students. In 2008, Marsalis released Music Update, his first as the leader of a band. The album features his work on the vibraphone, an instrument he picked up 8 years ago. He recently returned from Italy, where he played with his band, the Vibes, and from California, where he played with his old friend Marcus Roberts. —Brandon Gross

Herlin Riley Born in New Orleans, Herlin Riley had the benefit of a musically inclined family that encouraged his gifts. As a result, he began to play the drums when he was only three years old. His musical focus then shifted to the trumpet throughout his high school and early college years, but his passion for the drums later led him back to percussion. His musical development continued during his time with Ahmad Jamal in the mid 1980s, and beginning in 1988, he toured with Wynton Marsalis, solidifying his reputation within the jazz community. The group disbanded in 1994, but he continues his musical relationship with Marsalis as a member of the Jazz at Lincoln Center Orchestra. Having appeared at the New Orleans Jazz and Heritage Festival since the early 1970s, Riley made his debut as the leader of a band under his own name this year. He dedicated his performance to Danny Barker. —Matthew Gagliano

Don Vappie Don Vappie grew up in New Orleans and spent time playing the trumpet and piano before he found the electric bass. He played the hits of the day while in high school, which for Vappie meant funk by the Ohio Players and Earth, Wind & Fire. He found his musical true love working in a music store, where he played around with the banjos while cleaning them. In the banjo, he found a link to his African and Creole heritage—one that many African Americans overlooked. “The banjo’s got such a bad rap,” he says. “People really just prefer something like the trumpet, which is often seen as the ‘leader’ of the band. It really doesn’t get the credit it deserves.” Since adopting the banjo, Vappie has played with the Preservation Hall Jazz Band and as a part of Otis Taylor’s Black Banjo Project. He has earned outstanding reviews for his work with the Corpus Christi Symphony Orchestra, and he has explored Caribbean Creole music. His 1997 release, Creole Blues, was chosen as one of OffBeat’s 100 essential Louisiana CDs of the 20th Century. —Brandon Gross

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JUN E 2009

JAZZ FEST ‘09 REDUX

The Rest of the Fest T

Now that Jazz Fest is over, all we have left are souvenir flip-flops and memories.

he weather cooperated, which almost always goes a long way toward making any Jazz Fest a good one. Only the first Saturday got really hot, and the rain held off until the end of Neil Young’s set near the end of the day on the second Sunday. In between, temperance reigned. For the 40th anniversary, the New Orleans Jazz and Heritage Festival presented by Shell rounded up some of the festival’s faves, but the buzz was all about the final bookings, Neil Young and Bon Jovi. The former was the show people had been waiting for, and the latter was one few long-time festgoers understood. Our writers and some of the musicians that played had a lot to say about Neil, Jon, Pete, Patterson, Sharon and a festival that a few overheated fans declared “the best ever”—one that was certainly a grand anniversary. The contributors: Rob Cambre (RC), Jeff Hannusch (JH), Geoffrey Himes (GH), Steve Hochman (SH), David Kunian (DK), Aaron LaFont (AL), Cree McCree (CM), Brett Milano (BM), Alex Rawls (AR), Richard Skelly (RS), John Swenson (JS) and Michael Tisserand (MT). We’d never recommend hard living as a songwriting tool. But it seems to work fine for Anders Osborne, who unveiled yet another set of unflinching, confessional songs at the Acura Stage. One especially lowdown number alluding to substance abuse and trashed relationships was introduced as “a little thing I wrote over a bowl of breakfast cereal.” (BM)

Lil’ Ed and the Blues Imperials must slam a six pack of Red Bulls right before they take the stage. At one point, Lil’ Ed leapt off the stage— most people wouldn’t attempt this with a parachute— and roamed the audience while a valet spooled out a lengthy guitar cord, a la Guitar Slim. And he really is “Lil’.” (JH) When the Red Hawk Mardi Gras Indians performed, all suits were equally beautiful and equally elaborate. No Wild Man. No Flag Boy. No Second Chief. Just a row of Big Chief costumes. What’s up with that? (AR) Listening to John Boutté sing Steve Goodman’s “City of New Orleans” and Simon and Garfunkel’s “An American Tune,” I thought back to a 1990 interview with the “Doc” Pomus. “The record business doesn’t want great singers like Johnny Adams or Jimmy Scott,” he insisted. “The record business wants disposable singers!” (RS) There was much less cussing from the brass bands this year. Rebirth did not insist that you take your incestuous-union drawers off when singing “Casanova.” The New Birth, when asking the immortal question, “Which individual rang the law enforcement personnel on their phone?” did not reply that “that prostitute rang the law enforcement personnel on their phone!” If tourists from Kansas want to know how those songs go, they can find their own way to St. Bernard and Marais. (DK) Before the festival, producer Quint Davis said Jazz Fest “should be safe, clean, well-behaved and run on time…. It should be good music, the best food on earth, and it should be an environment where

you can bring your children and your parents.” Evidently no one showed the Drive-By Truckers’ Patterson Hood that story. He walked onstage and the first words out of his mouth were, “Look at all you good-lookin’ motherfuckers!” Wynton Marsalis and Erykah Badu missed it as well. He was 20 minutes late for his interview Saturday and she was tardy as well. (AR) The F-word made an impressive comeback this year, thanks largely to the efforts of the Drive-By Truckers. But Frankie Ford also got into the swing, when he used an augmented version of “Well, boo-hoo” to chide people who sold fewer records than “Sea Cruise.” (BM) Drive-By Truckers have always been my idea of a great American rock band but the transformation they’ve accomplished in their current collaboration with Booker T. raises my estimation of them even higher. The three guitars are still there, but now Patterson Hood’s band has backed off a gear, achieving a much fuller dynamic range in the process. Making Booker T. a part of the group, even for this one run, energizes him and helps DBT play arrangements with carefully delineated parts. This version plays the Booker T instrumental “Time Is Tight” like seasoned Muscle Shoals vets, every lick and fill in perfect place while still driving the rhythm with conviction. The dramatic ballad “The Living Bubba” has the tension of a Neil Young epic in this configuration. The most important advantage of working with arrangements based on cleanly articulated parts is that Hood no longer has to shout. His strong, sure voice stands out in these arrangements, and his outstanding lyrics cut through the air with poetic intensity. “Hang

on to that ticket stub and have no fear,” Hood sings in “Let There Be Rock,” his coming-of-age anthem centered on the ticket he had to the upcoming Lynyrd Skynyrd concert that never happened, “because the show has been rescheduled.” The irony builds while he sings the line again, as if he’s thinking about all that was lost in the process. “Well I never saw Lynyrd Skynyrd, but I sure saw Ozzy Osbourne,” he exults, breaking the reverie, and those guitars roar with full throats, far more effectively than if they’d been on 11 all through the song. (JS) Really, Acura Stage-goers, enough with the beach gear already. Furniture, portable shelter, and now bouncing beach balls? How old are we here? (RC) The Imagination Movers have long appealed to parents and kids alike, but to close out their Acura show, the Disney Playhouse stars pleased grown-ups and perhaps puzzled the sippy-cup set with a rocking cover of Big Country’s “In a Big Country.” Lyrics like “In a big country dreams stay with you / like a lover’s voice fires the mountainside. / Stay alive” can always be explained on the car ride home. (MT) The best local anthem was Alex McMurray’s “Where K-Doe Lives,” which enshrines the late singer as the folk hero he always knew he was. (BM) I sadly found myself merely able to fly in, run through the building site which was once our house barking orders and inhaling dry wall, stopping only to rehearse, perform, and immediately leave for the airport and the next gig! I was frazzled, but at the Lagniappe Stage my humanity returned. Everything that makes

By Rob Cambre, Jeff Hannusch, Geoffrey Himes, Steve Hochman, David Kunian, Aaron LaFont, Cree McCree, Brett Milano, Alex Rawls, Richard Skelly, John Swenson and Michael Tisserand

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U RED

June Yamagishi www.OFFBEAT.com Sign up for the FREE Weekly Beat at offbeat.com

JUN E 2009

Photo: earl perry

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Photos: Erika Goldring (top), clayton call (bottom left), earl perry (bottom right)

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this town so kind, so cozy—it was all there. And then there was the performance—the warmth, the wind, the joy at looking out and seeing the shiny faces of friends and smiling strangers, including those Jazz Fest staples (you know the ones), the white folks with the clothes sense of Stevie Nicks meets Chief Sitting Buffett doing interpretive dances (sans rhythm). Watching a couple engage in a senseless act of lewd gyrations to one of my “deeper” ballads made me realize that I was indeed having the quintessential Fest experience!— Judith Owen The problem with the Neville Brothers Band is that one member is so inordinately talented and musically dominant that he upends the balance in the group. I’m speaking, of course, of Willie Green, the drummer. When the group goes into a classic New Orleans number such as “Big Chief,” it’s Green who’s pumping the most fuel through the motor. He has a rare gift for keeping a rock-steady groove going even as he never seems to play the exact same phrase twice. He might replace a quarter note with two eighths or a triplet. He might delay that quarter note to create some tension and release it, or he might leave it out altogether, allowing you to play the deliberate omission in your head. These are all tricks he learned from Art Neville’s former drummer, Zigaboo Modeliste. On Thursday Modeliste played with the Meter Men, a power-trio version of the original Meters (with Leo Nocentelli and George Porter, Jr. but without Art). In that stripped-down format, the ingenuity of his drumming was more obvious than ever. But Green is now his equal. (GH) Irma Thomas celebrated her recent induction into the Blues Hall of Fame with one of her best sets in three decades. She and her crack

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Etta James band smoked, balancing the old with the new, and the not-so-new. She then spent the next week at Piety Street Recording working on her golden anniversary CD. (JH) Tony Bennett looked and sounded great. His band was the definition of swinging, and we liked his insertion of “Do You Know What It Means to Miss New Orleans” into the set. That said, he looked almost as bewildered

Damian Marley

at being in this setting as the audience was seeing him in it. (DK)

countries and give them a chance to perform.—Washboard Chaz

I thought this was a really good Jazz Fest. I always love going live on the air at the ’OZ hospitality area which is an oasis for a lot of folks, and it’s always fun to listen to out-of-towners discovering people who toil in our bars and clubs every week. I also like that they bring in acts from African and Caribbean

When Fest Worlds Collide, Pt. 1: Making the way from Congo (Miami’s tropical groovers Locos por Juana) to get to Gospel in time for Mavis Staples, but caught up at Jazz & Heritage where Ile Ayie of Brazil was shakin’ the stage with drums, chants and dance. Just at that moment, up the path from www.OFFBEAT.com

hoc African marketplace next to the Jazz & Heritage Stage resulting in some comical trying on of pants over shorts and linguistically tortured Franglish price negotiations (note to self: plan trip to Benin to get the $5 change still owed). Hustle back to the Blues Tent to catch start of Doc Watson and hear a little warm-up guitar run that sounds for all intents identical to the things Diabate had been playing, as if one of his licks had hung in the air waiting to be plucked. Centuries and a hard-passage ocean crossing apart, brought together as simply as that. (SH)

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James Singleton the track comes the Furious Five, Untouchables and Big Steppers social aid and pleasure clubs with the Young Pinstripe Brass Band making a serendipitous counterpulse. Carnivale on the left, Mardi Gras on the right, waiting to see if the rhythms ever synced up (almost, but not quite). Then there in the middle strolls Tao Rodriguez Seeger, fresh off the triumphant Saturday performance with his grandpa Pete, doing a double-take as he looks from stage to parade. He takes in the world of beats, shrugs bemusedly and moves on. (SH) Who knew there was a second all-bass male choir in Ladysmith, South Africa? Playing the Blues Tent, the Ladysmith Redlions of South Africa sounded like a younger, waiting-in-the-wings version of the more famous Ladysmith Black Mambazo. It’s good to know that such a thing exists. (BM) France contributed two of the more unusual acts of the first weekend of Jazz Fest. Tarace Boulba, a combination brass band and vocal orchestra created a sound totally suited to the streets of New Orleans. Though the charts are more intricate than New Orleans brass band arrangements and leave less room for improvisation, the overall effect approximates the

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excitement of a hot night at the Blue Nile. Bombes2Bal, a stripped down rhythm and voice ensemble from Toulouse, used call and response chants, an archaic three stringed instrument called an esclop, a diatonic accordion, a Brazilian zabumba drummer and percussion to fashion a hypnotic dance music. They played at the children’s tent at Jazz Fest and induced nearly the entire crowd to form a giant ring dance in front of the stage. (JS) Most collaborations between African and North American musicians go wrong in one way or another. The musicians in each camp may play too much, as if they’re trying to impress one another, or else they may play too little, as if they’re trying to demonstrate their respect for the other side. Ensemble Fatien avoided both traps. Seguenon Kone is a master drummer from the Ivory Coast who formed Ensemble Fatien with an unlikely array of New Orleans musicians: clarinetist Michael White, vibes player Jason Marsalis, steel guitarist Marc Stone, bassist Matt Perrine, accordionist Sunpie Barnes, singer Margie Perez and saxophonist Rex Gregory. The addition of tempered instruments has added a whole new dimension to Kone’s polyrhythms. White’s composition, “Ancestral

Reunion,” began with a bluesy clarinet solo, but acquired an entirely different character when Kone added the chiming melody and rippling rhythm of his marimbalike balaphon. Marsalis’ vibraphone shadowed the balaphon and seemed to comment on it. On Kone’s composition, “Ngoro,” the African cross rhythms were given a twist by Perrine’s ostinato bass figure and by Stone’s pedal steel solo. The set climaxed with a version of “St. James Infirmary” unlike any of the countless other versions played at the festival. One can only hope that this group stays together long enough to record. (GH) When Fest Worlds Collide, Pt. 2: Simply having Mali’s Cheick Hamala Diabate and his crew in the Blues Tent was enough to make the connect-the-dots point, as he at one point switched from his traditional ngoni to its Transatlantic descendent, the banjo (a five-string, no less), with the Fest’s ubiquitous Umbrella Girl then coming onstage to second line step alongside the African woman singing and dancing with the troupe. But there was more to come. First a jaunt to Congo (for a little of the Glass House menagerie featuring Dirty Dozen and Rebirth), waylaid on route by members of the Ori Culture Danse Club of Benin who have set up a little ad

“So nobody can complain,” said Etta James before she and her Roots Band launched into “At Last,” her signature song. After a beautiful rendering, she said simply: “Beyoncé, that’s my song!” (RS) Sharon Jones and the Dap Kings demonstrated that classic soul is alive and well. Miss Jones not only had fun onstage, but she was spotted more than once at other stages and in line at Lil’ Dizzy’s Soul Food enjoying herself. (JH) The difference between Brother Tyrone and Sharon Jones is that the Dap-Kings work to create a moment that never actually existed, where Memphis horns and Motown drums played behind a female James Brown. Brother Tyrone seems to have emerged from a melting iceberg, ready to make the southern soul of 30-plus years ago without a hint of retro. One isn’t necessarily preferable to the other, but those who loved Jones’ first weekend set need a dose of Tyrone as well. (AR) Voice of the Wetlands Allstars may be the best band in the world. They’re so good that they don’t have to let Cyril Neville get righteous. (DK) “We’re losing an acre of wetlands every hour, which is why there’s nothing left to prevent the Gulf of Mexico from rolling right over us,” said Tab Benoit during the Voice of the Wetlands Allstars set. “This could be the last Jazz Fest if we don’t start doing something about it today!” (JS) www.OFFBEAT.com

Photo: Erika Goldring

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Photos: earl perry (top right), Erica stavis (others)

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It’s fitting that Tab Benoit and the Voice of the Wetlands Allstars were performing on May 3. May 3 was Pete Seeger’s 90th birthday. (RS) When Pete Seeger appeared early Sunday morning on the Allison Miner Music Heritage Stage, an audience member asked him about his January performance with Bruce Springsteen at the Lincoln Memorial inaugural concert for President Barack Obama. After a few kind words for Springsteen (he called him honest and well-organized), Seeger admitted he preferred smaller events. The intimate interview was likely Seeger’s favorite public event over his extended 90th birthday celebration, which also included an Acura Stage appearance on Saturday and concluded the following weekend with a million-dollar bash at Madison Square Garden. Seeger seemed more comfortable and confident, starting things off with a sing-along “Skip to My Lou” and plucking his banjo while recounting the story of running into an old House Un-American Activity Committee foe at a Louisiana party. Once branded and blacklisted as a radical, Seeger was more of a peacemaker when asked how he justified appearing at a festival sponsored by an oil company with a questionable human rights record. Seeger declined to engage the issue directly, saying instead that it was important to talk with people you disagree with. Meanwhile, Dr. John had already clarified/retracted his controversial pre-Fest statements about Shell’s responsibilities to repair the wetlands, and he wasn’t about to stir it up any more during the festival. Although an airplane pulled a Shell-admonishing banner above Acura during his set, the Doctor played it cool, and during his Music Heritage Stage interview, he mentioned the role of oil companies in wetlands depletion but didn’t specify any by name. (MT)

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For me, the most moving experience of this year’s festival was seeing thousands of people in front of the Acura Stage mesmerized and galvanized by the seemingly simple act of singing along with Pete Seeger’s completely acoustic, homemade songs. Playing his old five-string banjo and 12-string guitar and radiating integrity, Pete gently demonstrated the timeless, quiet power of the traditional music that set me on my personal musical path some 45 years ago, and he moved me to tears.—Spencer Bohren The way DJ Soul Sister ramped up the energy before Chuck Brown suggests that having a DJ spin between all the sets at Congo Square would be a very cool thing. (AR) Most ingenious cover: Twangorama’s “Pop Goes the 40” was, yes, 40 very recognizable bits

and pieces—from “Day Tripper” to the “Looney Tunes” theme— threaded together over four minutes. Joked guitarist Cranston Clements, “We would’ve put that on our CD but it would’ve cost us a hundred thousand bucks.” (BM) Indians do the darnedest things. After Sugarland invited Mardi Gras Indians onstage for “That’s How I Like It,” Jennifer Nettles and Kristian Bush stopped for a photo with their guests. When the camera came out, the Indians reflexively posed, one eclipsing Nettles entirely behind his suit. (AR) I didn’t see Bon Jovi, but when I was exiting the Economy Hall Tent after Gregg Stafford’s excellent tribute to Danny Barker, I heard a sound like the white noise of traffic on the interstate as it races on the overpass through Treme. (DK)

It was partly out of irony that I began championing Bon Jovi as a backlash to the backlash: could one ’80s hair band really give Jazz Fest (like love) a bad name? I bought a Bon Jovi lighter from the gal on Maurepas Street who set up a JBJ shrine and made plans to meet my JBJ T-shirted girlfriends at the Acura Stage. First, though, I had a date with Kings of Leon, who rocked me so hard at Voodoo Fest 2004 that I went out and bought every album. Sadly, they never got the memo that Jazz Fest’s supposed to be fun. Barely acknowledging the crowd, they played with surly, too-cool-forschool ’tude that invited no one in. Meanwhile, Jon Bon Jovi was showing his love. “Thank you for finally inviting us down to Jazz Fest!” he enthused. Looking boyishly cute in totally uncool cargo pants, he and Richie Sambora www.OFFBEAT.com

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pulled out every cliché in the rock ’n’ roll book without a trace of irony, and damn, if they didn’t pull it off. Sambora’s defiant middle finger punctuated “Have a Nice Day,” which Bon Jovi underscored with a double-maraca shake. Then, on “Bad Medicine,” Bon Jovi thrust his mic onto Sambora’s guitar. Talk about homoerotic! It was all deliciously cheesy, like the faux-nostalgic invocation of Wilco’s “Heavy Metal Drummer”: “I miss the innocence I’ve known / playing Kiss covers beautiful and stoned.”

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Photo: KIM WELSH

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Bon Jovi blew it, alas, by saying “good night” at 6:25 (!), then leaving the stage for real after a fake-encore “Dead or Alive” and a real-encore “Twist and Shout” with a full 15 minutes left on the clock. Talk about anticlimactic. You had me at “hello,” boys, but you lost me at “goodbye.” (CM) The real Tony Soprano would certainly have been fist pumping in the Big Chief enclosure during that most historic of all Jazz Fest sets, Bon Jovi. After all, the New Jersey

mobster had some “business” in New Orleans after Katrina that went very, very well. (JS) Bon Jovi has been an easy whipping boy for this year’s festival, a benchmark of how far it’s fallen from some idyllic yesteryear, but certainly as long as I’ve been attending—over 20 years—there have always been bands who in the dark recesses of their hearts hoped 50,000 or so people would see them at one time and buy their tour shirts. But do they have the ability to write hooks as big as www.OFFBEAT.com

JAZZ FEST ‘09 REDUX Endymion floats? The self-editing discipline to discard anything less than immediate? The willingness to put a sing-along moment, a group handclap or some sort of shtick into every song? The talents of the entertainer may not be ones that Jazz Fest has typically embraced, but that doesn’t mean they should be overlooked. And you have to admire to confidence of someone who has the sack to open with “Living on a Prayer.” (AR) No, Bon Jovi didn’t ruin Jazz Fest, but it didn’t enhance it either. The booking, we’re told, was a good thing because it brought in bigger crowds, which allegedly spilled over to the Gospel and Jazz tents. Yet none of those tents were any more full than usual while the massive crowds camped out at the Acura Stage. Getting a prime seat for John Mayall’s headline set at the Blues Tent proved surprisingly easy. If, however, you wanted to catch a reasonable glimpse of Dr. John—who played the pre-Jovi slot at the Acura Stage—you were

pretty much out of luck. If we need an arena-level act, how about R.E.M., whose lead guitarist used to attend the fest regularly as a paying customer? (BM) What is amazing about Jazz Fest is that the planet comes to us right in our own backyard. So along with our most loyal fans, family and friends, and fellow musicians, we have folks from all over the world rockin’ to Roddie Romero and the Hub City All Stars. It’s not hard to spot these folks either; just check out how they dance! No judgments here. We want you to make your body work any way you know how, even the guy this year that dropped down into the Fair Grounds dusty funk to do the Sizzlin’ Bacon. Burn, Brutha Burn!— Eric Adcock of Roddie Romero and the Hub City All Stars Allen Toussaint can thank the English for the two highlights of his Sunday set. Both were buried treasures from his catalogue: The funny, funky “Here Come the Girls” was lost on a long-deleted Ernie

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K-Doe album before someone in the UK made it a TV commercial. And he revived the tough, streetwise “Hercules” (first recorded in the ’70s by Aaron Neville), possibly because Paul Weller recently did it. (BM) Drummer Cedric Burnside and guitarist Lightnin’ Malcolm’s Blues Tent barnburner unintentionally provided a perfect lead-in to Neil Young’s set, which followed theirs 30 minutes later on the Acura Stage. Cedric is of course a descendant of the late R.L. Burnside and Lightnin’ Malcolm is one of the most ardent tenders of the legacy of the legendary Junior Kimbrough, so they are obvious heirs apparent of the North Mississippi hill country blues and play it better than most anyone of their generation. But what was most striking was the sonic common ground shared by their Kimbroughinspired earthy throb and Young’s caveman stomp. Really, sit down one night and play Most Things Haven’t Worked Out side-by-side with Zuma or Greendale and you’ll see what I mean. (RC)

At least two major reviewers took Neil Young to task for putting a quarter-hour of “Change Your Mind” into an otherwise hit-heavy set. Sorry friends, but that beautiful semi-obscurity was the best thing in the set. Classic-rock reference points are fine, but intuitive performers like Young tend to pour the most feeling into songs they haven’t played a million times. (BM) Another equally profound, though more abstract, moment struck me as Neil Young delivered the chorus of his classic folk-rock anthem “Old Man:” “Old man take a look at my life I’m a lot like you / I need someone to love me the whole day through / Ah, one look in my eyes and you can tell that’s true.” Watching the now 63 year-old stringy, gray-haired icon sing these tranquil verses as his wife provide the background vocals struck me. Amidst a set that was largely characterized by wild, rebellious, feedback-laden guitar jams, in the peace and calmness that I felt in those words, perhaps

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His white shirt was emblazoned with an abstract paint pattern, but I overheard audience chatter mistaking it for blood splatter, which it might as well have been given the full-steam intensity of Young’s performance.

Though he wasn’t backed by Crazy Horse and the setlist leaned heavily on the hits, Neil Young’s Sunday set was by no means a lazy trawl through dewey-eyed baby-boomer nostalgia. With no introduction or fanfare, Young hit hard right out the gate with “Love and Only Love” and “Hey Hey, My My (Into the Black),” conjuring luminous feedback and yanking strangled notes out of his beloved Old Black (as iconic a guitar as B.B. King’s Lucille at this point) like his life depended on it. His white shirt was emblazoned with an abstract paint pattern, but I overheard audience chatter mistaking it for blood splatter, which it might as well have been given the full-steam intensity of Young’s performance. An epic reading of “Down by the River” featured extended Young solos worthy of the great longform jazz explorers and consumed nearly a quarter of the set. At 63 with a voice that breaks hearts, a guitar that boils the blood, and an enviable back catalog of classic songs, Neil still sounds vital, and most rockers half his age still can’t touch him. (RC) Kinky’s tech-savvy Mexican dance rock pointed a possible direction for New Orleans bands willing to see it. They never sold out their culture, but they weren’t hamstrung by it either, making modern music with traditional and modern tools. Their version of “Mexican Radio” interacted with Wall of Voodoo’s recording, with singer Gil Cerezo swapping verses with the pre-recorded Stan Ridgway. Their dynamics came from old school hip-hop, and the bass throb is straight out of British

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Photos: skip bolen (top), clayton call (Bottom left), jerry moran (bottom center), Erika Goldring (bottom right)

I saw the genuine sincerity and candor that the youthful, thick, longhaired songwriter sought all those years ago. (AL)

Buddy Guy

Sharon Jones rave pop. In a city as culturally complex as New Orleans, it’s exciting to imagine a contemporary music that reflects its present as much as its past. (AR) John Scofield is justly admired as one of the best jazz guitarists of his generation. But when he played the

Dr. John

Chris Owens

Blues Tent, he was playing a set of vintage gospel hymns rearranged as New Orleans funk workouts. With keyboardist Jon Cleary and bassist George Porter, Jr. providing the second-line push-and-pull, numbers such as “Ninety Nine and a Half” and “Something’s Got a Hold on Me” sounded little different, really,

from what you once heard at the Fair Grounds from the Meter Men, Galactic or Dumpstaphunk. So what gave this set the edge over the myriad of other funk sets over the two weekends? The secret was Scofield’s jazz background, which allowed him to be simultaneously more adventurous in harmony and www.OFFBEAT.com

Photo: jerry moran (top), clayton call (bottom)

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more restrained in phrasing. More chances and fewer notes made all the difference. (GH) New Orleans has a long history of amazing performers whose legend never completely translates to the outside world. Somehow, Jazz Fest mediates between New Orleans and the outside world, and moment when a local artist breaks through at the festival is a spectacular thing to witness. This fest it happened to Glen David Andrews, and when I say it happened to him, it was as if some otherworldly force took over him during a performance in the Gospel Tent that was completely transformative. His latest album is a gospel session in which Andrews feels secondary to the events surrounding him. At the Gospel Tent, he was a combination of James Brown and Prince fronting an outstanding gospel band that included his cousin Troy Andrews on trumpet. He wore a white suit and immediately took emotional control of the tent, which was packed with almost all white festgoers who were definitely not regular sanctified worshippers. Andrews had them fervently chanting “Help Me Jesus” and screaming as he doffed the white coat with a flourish. He jumped into the crowd and created a frenzy on the floor. There were the usual photo flashers, but people were clamoring to touch him, to take a spark from this burning light of a spiritual force in their midst. “Anybody out there want a blessing?” He asked and they screamed affirmation; he was preaching and literally everyone was with him on the call-and-response “Thank you Jesus / Thank you Lord,” over and over again, ecstatic in what would be an intensely sexual way in any other setting.

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Cyril Neville

Donald Harrison At the close of his set, Andrews got the whole crowd singing “Glory, Glory Hallelujah,” jumped into the crowd again and suddenly Quint Davis was in center stage like he was going to talk Andrews to the end of the set: “This is New Orleans sanctified music,” Davis announced, “one of the great talents of New Orleans music, Glen David Andrews!” Andrews put his white coat back

on as the band vamped. Looked like it’s over, but No! It was the end of the James Brown show, the white coat slipped off the shoulder and Andrews removed it in one powerful, sexually charged gesture. He danced again and had the crowd chanting. He and Troy were grinning like schoolkids, wrapped in each other’s arms until the MC finally regained control of the stage. (JS)

After many years of festing I thought I’d heard everything, but it was sissy-bounce act Freedia & Nobby at Congo Square who made me think twice. It wasn’t just the tough way they delivered proudly gay-themed raps; and it wasn’t just the transsexual dancers (and a couple of natural women) shaking their butts throughout. It was their friends from a local gospel choir, still wearing their regalia from a www.OFFBEAT.com

JAZZ FEST ‘09 REDUX Gospel Tent performance, cheering them on upfront. (BM) E.O.E had an amazing Jazz Fest this year, and highlights include seeing Quint Davis on the side of the stage checking out E.O.E.’s set, hanging with Earth, Wind & Fire and watching them in action, and forming a relationship with the great Miami-based band Locos por Juana.—Billy Franklin, E.O.E.

themselves sound alike in a host of ways; the Avetts made their personality their calling card, letting their playing, their words and their voices be distinctive and infinitely more memorable for doing so. (AR) At Congo Square, Ms. Tee’s set was a little run of the mill despite live DJ work on vinyl from EF Cuttin. During the ballad “Too Much to Lose,” I

mentioned to a friend that every line in the song had appeared in 20 other songs, but then she sang, “I shouldn’t have put the car in my name” and for a moment the song wasn’t a by-the-numbers empowerment ballad. The drama was real, the relationship between her and her user boyfriend actually existed, and we could understand it. Then she got back to the commonplace

lyrics in the chorus and the relationship evaporated. (AR) When the Tipsy Chicks played the Lagniappe Stage, Lynn Drury sang, “All is Forgiven on Frenchmen Street,” I wonder if that’s true. (AR) For additional festival season coverage including notes from the Ponderosa Stomp and Noizefest, go to OffBeat.com.

Once again, the sound at the Blues Tent was quite often dreadful. The overload of bass was so heavy, that it drove other people out of the tent before the end of the second song of Roy Rogers and the Delta Kings set. (JH) Robert Cray was visibly and vocally upset with the sound at the Gentilly Stage At the conclusion of “Our Last Time,” he stared at the sound booth and yelled, “You Suck!” (JH) If not for Solomon Burke’s astounding version of “I Can’t Stop Loving You,” his show would have been riveting simply for freak appeal. His size in a shiny purple suit. His pimped wheelchair. His glowering paternal authority (“No rap,” he said sternly and repeated a number of times on and off mic before his youngest daughter sang “I Will Survive”). His lack of boundaries (playing with former Blind Boy Clarence Fountain’s ponytail while Fountain sang). And his shaky grasp of history (dedicating a soul medley to the greats that had passed on including Percy Sledge, who hasn’t). (AR) The Avett Brothers played folk without piety. Nothing suggested that they saw what they did as something purer or more beautiful than anything else, or that it was a higher, more sincere, more sacred music. That meant that humor and sober reflection were on equal footing, and the lovely moments were accompanied by perfectly good guitars played like they cost $45 at Toys R Us. Folk singers inadvertently make www.OFFBEAT.com Sign up for the FREE Weekly Beat at offbeat.com

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Photo: elsa hahne

O JUNE 2009

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COVER STORY

Allen Toussaint comes home and follows

The River in Reverse with The Bright Mississippi.

llen Toussaint finally looks comfortable. We’ve finished talking and during the conversation, he expressed concern that he wasn’t a good interview. He was gentlemanly as you’d expect, forthright, and though he wasn’t unhappy, it didn’t seem like he enjoyed the interview experience. But when he sat down at the piano while the photographer snapped test shots, an ease and eloquence kicked in. He free associated a medley that started with a classical piece that flowed into “Tipitina and Me” then an Irish lullaby, a polka, “Tipitina” proper, “Your Cheatin’ Heart” and more. Many of the pieces were songs or styles we had just talked about, and it felt like he was speaking about them again, this time in the language he was most fluent. In this impromptu medley, each composition was recognizable but he also remade it in his own voice with his distinctive sense of rhythm, space and style. Everything was elegant and everything was profound. The musical history of the 20th Century was coded into his performance—not just in the choices of songs but in how his playing reflected an understanding of all those styles, regardless of what he was playing. It was a similar moment that led producer Joe Henry to his most recent collaboration with Toussaint, The Bright Mississippi. In the album’s liner notes, Henry writes: One day in a studio in Los Angeles, while grabbing a piano overdub on a song we’d recorded earlier that afternoon, he began amusing himself between takes by blowing freely and with great invention through a song by Fats Waller. I was stunned. It was a revelation to hear this music (“my parents’ music,” he later offered) interpreted through Allen’s very unique point of view. The song, inherently rhythmic as a composition, was transfigured by a left hand schooled in New Orleans, and by the melodic sensibility of a most particular kind of songwriter. “Have you ever considered making a record like that?” I quickly asked him over the talkback. “Never,” he said with a slight grin, and kept playing by way of assuring me that he most certainly had. The Bright Mississippi is a red herring in a sense. The largely instrumental album with “St. James Infirmary” and jazz tunes by Jelly Roll Morton, Sidney Bechet and Louis Armstrong invites listeners www.OFFBEAT.com

to hear it as a journey through Toussaint’s back pages, but as he told Henry, that’s not the case. “‘Dear Old Southland ‘I had never heard. ‘Egyptian Fantasy’—no none of these,” Toussaint says. “Because I’ve been New Orleans funkified quite a bit—and some pop and some Patti Labelle and some Joe Cocker. We don’t get off on that exit usually.” During an interview at Jazz Fest, he told writer Ben Sandmel that he was far more interested in the street music of his day. That knowledge suggests a slightly different way to think of the young Toussaint who wrote and produced so many New Orleans R&B classics. Rather than being the apotheosis of the New Orleans piano tradition, he can now also be thought of as akin to a young Phil Spector, immersed in the music of his day and making hits for the young record-buying audience, largely teenagers. The Bright Mississippi presents Toussaint not as a nostalgic lion in winter but as an artist as engaged in making modern music now just as he was when he recorded “Ride Your Pony” with Lee Dorsey in 1966, “Right Place, Wrong Time” with Dr. John in 1973, “Lady Marmalade” with Labelle in 1975 and The River in Reverse with Elvis Costello in 2005. The source material may have been written decades ago, but the performances and arrangements are contemporary. His primary foil on the album is Nicholas Payton, and his band includes guitarist Marc Ribot, bassist Don Piltch, Don Byron on clarinet and Jay Bellerose on drums. The tracks were cut live without charts, with Toussaint and the band responding to the music not as history but as fresh musical compositions. As Henry writes in his liner notes, “He has fixed himself on an old and yellowing map, and by so doing has conjured it (again) to be a living, changing landscape.” Toussaint’s renaissance has been a byproduct of his association with Joe Henry, the musician who himself is coming out with a new album, Blood from Stars, in August. He had approached Rhino Records and Starbucks with the idea for a series of soul albums made for the beginning of the 21st Century with classic soul artists. “There are people whose humanity is so visceral that this invariably soulful,” he says. “I don’t care anything about capital ‘S’ soul music in a record store. Ann Peebles’ very seminal record I Can’t Stand the Rain, as a whole album

By Alex Rawls

is a singer/songwriter’s record, [but it] delivered a beautiful soulful quality that many people respond to when they hear it. It’s not about big horn sections; the songs are very folky in their structure. Beautiful stories delivered by a voice that inclines you to want to believe in it.” He set out to record artists who had that human quality, and he came up with I Believe to My Soul, Vol. 1 with Billy Preston, Mavis Staples, Irma Thomas and Toussaint in addition to Peebles. Unfortunately, most of New Orleans missed the release because on October 4, 2005, the city had other things to think about. Thomas’ version of Bill Withers’ “The Same Love that Made Me Laugh” is one of her finest moments from the last five years, and despite Toussaint’s self-deprecation of his talents as a vocalist, “Mi Amour” is convincingly sung by a sly, smooth-talking devil. His inclusion in the project was partially a result of Henry’s search for a musician who could also make meaningful contributions as a member of the band. The idea appealed to Toussaint. “Me and Dr. John, we started as sidemen,” he says. “So I was back into a zone that I remember, and it had been a long time since I had the pleasure of just playing the piano and not having to consider the other factors.” According to Henry, though, Toussaint later confessed that he surprised himself when he agreed to fly to Los Angeles for the project. “He told me later, much later, that up until that point he considered himself semi-retired; he had imagined he wouldn’t leave New Orleans again. He played Jazz Fest every year, but that was the extent of what he was doing, for the most part.” Industry changes meant the I Believe to My Soul series never made it to Volume 2, but Henry didn’t lose interest in the artists he worked with. He was working on an album with Preston when he died in 2006, and he has expressed interest in producing Thomas again. He also stayed in touch with Toussaint, who found sessions very much to his liking. “I didn’t know Joe Henry before then, but as soon as I got out and started to go over things I realized this was a gentleman producer,” Toussaint says. “I respected him because of how he felt about the music and how he treated the musicians, and the atmosphere he set was so comfortable. And classy and smooth, he just setup a very creative atmosphere.” It was no surprise then that when Toussaint and Elvis Costello started to JUN E 2009

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He wasn’t trapped by the immediate moment. He could already see through to where it was going and where it might lead.

work on The River in Reverse, the two producers called Henry to man the board. Because the city was under lockdown when The River in Reverse sessions started, recording began in Los Angeles then moved to New Orleans and Piety Street Recording 10 weeks after Katrina. It was Toussaint’s second journey back. “I came back to see my house a month later, as soon as I could, and everything was gray,” he says. “It was all light gray, a medium gray. It was very interesting. It looked like the work of an artist, to see everything gray. My Steinway, you couldn’t distinguish the black keys and the white keys. And there were no splits between the keys, just two unleveled bars of grayness. And everything else, the things on the wall, the stools and everything was grey. Very, very interesting. Everything I liked, Katrina liked it more. I resolved immediately that all was well, and whatever I had served me well until that day. “I resolved Katrina, because I saw it as a baptism not a drowning,” he says, and if that sounds impossibly sanguine or like some sort of revisionism—rampant since Katrina—Henry confirms his account. “He is sort of a Zen master in a way,” Henry says. “I was just devastated and felt I hadn’t prepared myself for what I was going to see, and he was elated to be there. It wasn’t that he was in denial about how catastrophic the scene was; it was more, to my estimation, that he could see through it to the next thing. He wasn’t trapped by the immediate moment. He could already see through to where it was going and where it might lead.” In his case, it led to a lengthy tour in front of audiences, many of whom knew Toussaint as a figure from the past rather than a contemporary artist. His songs were celebrated nightly as he toured with Costello, and rather than seeming like an icon from history trotted out for a segment of the show, he integrated his distinctive piano into much of Costello’s music. He also recorded with other musicians including British R&B singer James Hunter and Theresa Andersson. She in turn celebrates him in her live show with a radically rearranged version of “On Your Way Down.” “It’s quite an honor that they would call me,” Toussaint says. “It’s nice of them to feel that way about me.” If The Bright Mississippi would have been about Toussaint’s past, it would have focused

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far more on Professor Longhair. He celebrated Fess with “Tipitina and Me” for Mark Bingham’s post-Katrina project, Our New Orleans, and “Ascension Day” on The River in Reverse” is strongly based on “Tipitina.” As a pet project, he has written symphonic arrangements for much of Longhair’s catalog. He has no plans to stage the music or record it, though. “Right now, where it is, we are very dear lovers.” The close consideration of Longhair necessary for such a project just confirmed what Toussaint already knew. “He’s our Bach of rock,” he says. “I remember the first time I saw him. He was playing a spinet piano up on Valence Street. It was for a high school, and I thought how ironic because I thought of him as larger than life and there he was playing the smallest piano there is. But it was Professor Longhair and I stood near the piano in awe. Of course I didn’t speak to him because I didn’t have the right yet. Of course I watched his hands, but I was so busy with being in awe and in his presence I didn’t learn too much. But I knew his stuff. Ever since my earliest times, I’d copied everything, ever so humbly in the early days. I knew every song he had.” Toussaint started playing before he was 7, and before he saw Longhair, he knew what he was doing with his life. Around the time he turned 12, he says, “I told my mother, ‘I’ll always do this.’” Still, he cautions against seeing too much Fess in him. “I came up in love with hillbilly music for a long time, and I dearly love bluegrass and all of the classics and polkas. I’m a polka fanatic, and of course all of the music I hear—the Irish lullabies and folk songs: ‘If They Knocked the ‘L’ Out of Kelly, It Would Still be Kelly to Me.’” Henry selected the songs for The Bright Mississippi with “Tipitina and Me” in mind. “There was a certain kind of beauty,” he says. “It sounded old world, it sounded classical, deeply rhythmic like tango, with New Orleans rhythm but also had a deep blues tonality.” On a crosscountry flight, he scoured his iPod for songs that might similarly showcase Toussaint’s rich musical voice, even though a jazz album seems counterintuitive as a follow-up to The River in Reverse, which celebrated his songwriting. The project appealed to Toussaint, who had by that time developed a deep trust in Henry. “I feel like an instrumentalist, first second and third,” Toussaint says. “When he first mentioned he wanted to produce me, I had no idea what genre he had in mind. I was glad it would be an

instrumental, whatever genre it would be. And to find out it was going to be this really easy going jazz project—that was quite comforting too, once I got involved. It was something that’s mellow, it’s smooth. It’s not taxing at all.” Toussaint knew Duke Ellington’s “Solitude” and Jelly Roll Morton’s “Winin’ Boy Blues,” but though he knew Django Reinhardt, he hadn’t heard “Blue Drag.” He hadn’t performed any of the songs before including “St. James Infirmary,” despite the song’s status as a standard in New Orleans. “I hadn’t paid much attention to it, but it’s an easy song to remember,” Toussaint says. “I didn’t give it much thought, but for some reason the intro came to me like that. It was something I had done before on the piano, but never used.” In that intro, he teases the melody with a little trilled, morse code-like figure before playing the melody as a series of single notes played only with the right hand. With each pass through the verse, he adds levels of complexity. “As far as my part is concerned, that’s the most unique thing about the song by this pianist—the intro and the interlude. That song is a good song on its own and is easy to remember. You just try not to ruin it.” When the album was in the planning stages, Henry asked, “When you were the man in New Orleans in the ’60s and ’70s making such iconic records as songwriter and producer, what did you think of Louis Armstrong?’ He said, ‘I thought of Louis Armstrong not at all. That was my parents’ music. At that point, he was sort of a nice old man on TV. I didn’t realize until much later that he was a revolutionary.” For Henry, that admission confirmed the rightness of the project. “Here was Allen at this point in his life understanding the significance in a completely fresh way. It wasn’t about recreating anything to him; it wasn’t in Allen’s mind to be recreating. He was seeing a new light shining out from his beloved city in a way he hadn’t before.” Toussaint is now 71 and he’s back in New Orleans. He still maintains the place in Manhattan he lived in after Katrina, but he has a house on the lakefront. He’s not sure that it’s home yet, but it’s a place to work—a place where he gets a cup of tea, turns on synthesizers and starts making music. “It’s either completing plots I’ve started before, or finishing some plans I might have thought up before,” he says. “There’s always something on the www.OFFBEAT.com

Photo: elsa hahne

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back burner, so there’s always something to do musically. Everyday is something about music.” Unfortunately, this spring has also meant saying goodbye to contemporaries—Snooks Eaglin at 71 and Eddie Bo at 79. It’s a fact of advancing age that friends pass away, and it only underscores the remarkable nature of Toussaint’s career that he is enjoying a career renaissance now. It’s not surprising that Toussaint doesn’t reflect on their deaths in that light.

“They left something good that is forever,” he says. “These two gentlemen that you mentioned, and others like Earl King and King Floyd, they left something that is very dear and they’re still here. All of the people that love their music—many of them never got to know the person, so the part they knew is still here. I think of that as quite a blessing. The age we live in, lives can be immortalized, as opposed to during the days of Bach where it must be reproduced by someone. You can hear the original guy.”

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That sort of peace and insight has made his relationship with Allen Toussaint particularly special for Henry. “My wife said to me on more than one occasion, when I come back from some experience with Allen—because I’ve had quite a few of them now, and I’d come back and in retrospect I’m just in awe of something that happened or communicated or performed—she’ll say you’ll never have another friendship in your life like that one, and that’s true. I don’t know anyone else in the world like him.” O JUN E 2009

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In the Kitchen with Helen Helen Gillet details the subtle considerations behind a proper Belgian French fry.

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PhotoS: ELSA HAHNE

“I

was born in Belgium and my family is from Verviers, which is very close to where the fry originated. It started in the Meuse Valley—the Meuse is a river in Southeastern Belgium—but the origin of the fry is from 1680, which is before Belgium was even a country. Poor inhabitants of that area used to cook up small fish from the Meuse River, fry them. But when the river froze over, a woman grabbed a potato and cut it into long shapes that resembled the fish and threw them in the fryer. It’s still a Belgian tradition to have these thick fries. This is the Belgian way. Of course, fries have gone all around the world and the French fries tend to be skinnier. The secret to the Belgian fry—and there really is a difference; in Belgium everyone celebrates how good these fries really are; there are fry stands all over and you go there; they serve them with all sorts of dipping sauces, which I’ll talk about in a minute— but you fry them twice! The first time on a lower heat, until the fry is barely cooked all the way through. I don’t have a fry-daddy or a friteuse with a basket inside, which is really what I’d need for this because it has a temperature gauge, but I’m using my gumbo pot. Let the fries cool completely and then right before serving, you fry them again on a very high temperature for 3-5 minutes until crisp and golden. God, it’s so loud! I’m imagining what it was like for women to make fries for their families during the war. Belgium was a very bloody battlefield during World War II and potatoes saved the day, yet again. Fish and chips? Total steal! Everything, when it comes down to it, really originates in Belgium. The smurfs are from Belgium, I’d like to point out. Those little adorable blue creatures, called Schtroumphs in French. They originated in a very

similar location to where the fry originated. So, yeah, a lot of good things coming out of Belgium. Glad to share. Let’s discuss the stages of the fry. We’re at stage one: the raw fry. Some of these are better cut than others, but we did find one of the more perfect fries here. And I think we’re ready. I’m now placing the fries in the pot and you’ll hear a change in the sound. Aaah, the fryer is happy; it has its fries. I’m using a safety device between me and the oil. Some people call this a strainer. I like to think of it as a fry safety device. It’s good not to get your skin too close to the hot oil. So, we get it all in, and now I’m going to monitor them. It’s like being a lifeguard. And we’re going to have a sip of beer, which is also a very Belgian thing to do. I learned how to make fries in Belgium from my friend Louise-Marie and her mom. I never paid attention more than when I was at the fritures themselves, waiting in line for fries, and you just see it happening. Another thing I’ve failed to mention is to salt the fries right away when they come out of the fryer the second time. It’s important not to wait because you want the salt to absorb into the hot oil. Otherwise it falls off. Remember, you want the

By Elsa Hahne

fries to cool completely before you cook them the second time. You can leave them on the counter or put them in the fridge. I’ve never tried freezing them, but I don’t see why that wouldn’t work. The shock effect of going from cold to hot helps. Another trick for cooking these fries in New Orleans is to turn your AC up really high. A true Belgian fry-eating experience is about a mayonnaisebased sauce. How you make your mayonnaise is going to effect how you enjoy your fry. I learned how to make mayonnaise in Belgium. It’s very simple. You take an egg yolk and a teaspoon of mustard and you slowly pour the oil in while you stir in one direction and it’s important to keep stirring in the same direction because otherwise it might not take, solidify, have the right consistency. Today I’m doing the quick and dirty, which is putting some [store-bought] ketchup and mayonnaise together, and we’re going to call this cocktail sauce. Now the fries are ready to come out. Feel the fry. It must be cooked almost all the way, just barely cooked! The worst thing in the world would be to bite into a fry that’s not cooked all the way through, but you also don’t want them to fall apart. These

look good; these look real good, actually. But this one is mushy and this one is teaching me that I need a friteuse in order to treat people to an even better Belgian perfection.”

Belgian Fries—a main course! Fries are like crepes. You can put anything you want on them. Gillet’s been thinking about a dipping sauce with blue cheese and avocado, but she hasn’t tried it yet. large russet potatoes (about 2 per person) vegetable or peanut oil salt ketchup mayonnaise 1 clove garlic Peel and wash potatoes. Cut them into half-inch thick fries. Deep-fry in oil for 5-10 minutes until fries are barely cooked. Let fries cool completely. Fry fries again in oil for 3-5 minutes until crisp and golden. Salt fries immediately. Serve hot with dipping sauces of your choice. Gillet always serves a “straight mayo.” She also stirs together equal parts mayonnaise and ketchup for cocktail sauce, and minces 1 clove of garlic and stirs it into mayonnaise in a third bowl for “quick aioli.” O www.OFFBEAT.com

EATS

OffBeat AFRICAN Bennachin: 1212 Royal St., 522-1230. AMERICAN Hard Rock Café: 418 N. Peters St., 529-5617. Port of Call: 838 Esplanade Ave., 523-0120. St. Charles Tavern: 1433 St. Charles Ave., 523-9823. BARBECUE The Joint: 801 Poland Ave., 949-3232. BREAKFAST Bluebird Café: 3625 Prytania St., 895-7166. Elizabeth’s: 601 Gallier St. 944-9272. CHINESE/VIETNAMESE Amy’s Vietnamese Café: Red Cart in the French Market, 352-9345 August Moon: 3635 Prytania St., 899-5129. COFFEE HOUSE Café du Monde: 800 Decatur St., 525-4544. Café Rose Nicaud: 634 Frenchmen St., 949-2292. CREOLE/CAJUN Atchafalaya Restaurant: 901 Louisiana Ave., 891-9626. Bon Ton Café: 401 Magazine St. 524-3386. Clancy’s: 6100 Annunciation, 895-1111. Cochon: 930 Tchoupitoulas St., 588-2123. Dick & Jenny’s: 4501 Tchoupitoulas, 8949880. Galatoire’s: 209 Bourbon St., 525-2021. Gumbo Shop: 630 St. Peter St., 525-1486. Hookah Bar & Lounge: 502 Frenchmen St., 943-1101. K-Paul’s Louisiana Kitchen: 416 Chartres St., 524-7394. Montrel’s Bistro: 1000 N Peters St., 524-4747. Mulate’s: 201 Julia St., 522-1492. DELI Mardi Gras Zone: 2706 Royal St., 947-8787. Martin Wine Cellar: 714 Elmeer Ave., Metairie 896-7350. Stein’s Market and Deli: 2207 Magazine St., 527-0771. Verti Marte: 1201 Royal St., 525-4767. FINE DINING Antoine’s: 701 St. Louis St., 581-4422. Bombay Club: 830 Conti St., 586-0972. Broussard’s: 819 Conti St., 581-3866. Commander’s Palace: 1403 Washington Ave., 899-8221. Emeril’s: 800 Tchoupitoulas, 528-9393. Iris Restaurant: 321 N Peters St., 299-3944. Lüke: 333 St. Charles Ave., 378-2840. Martinique Bistro: 5908 Magazine St., 891-8495. Mat and Naddie’s: 937 Leonidas St., 861-9600.

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Mr. B’s Bistro: 201 Royal St. 523-2078. Pelican Club: 312 Exchange Place, 523-1504. Restaurant Cuvée: 322 Magazine St., 587-9001. 7 on Fulton: 701 Convention Center Blvd., 525-7555. Stella!: 1032 Chartres St., 587-0091. Tujague’s: 823 Decatur St., 525-8676. FRENCH Café Degas: 3127 Esplanade Ave., 945-5635. Delachaise: 3442 St. Charles Ave., 895-0858. Flaming Torch Restaurant: 737 Octavia St., 895-0900. La Crepe Nanou: 1410 Robert St., 899-2670. Crepes à la Cart: 1039 Broadway St., 866-2362. Restaurant August: 301 Tchoupitoulas St., 299-9777 ICE CREAM/GELATO Creole Creamery: 4924 Prytania St., 894-8680. La Divina Gelateria: 3005 Magazine St., 342-2634. Sucré: 3025 Magazine St., 520-8311. INDIAN Nirvana: 4308 Magazine St., 894-9797. ITALIAN Eleven 79: 1179 Annunciation St., 299-1179. Irene’s Cuisine: 539 St. Philip St., 5298811. Maximo’s: 1117 Decatur St., 586-8883. Tommy’s: 746 Tchoupitoulas St., 581-1103. JAPANESE/KOREAN/SUSHI Gimchi: 3322 Turnbull Dr., Metairie 454-6426. Kyoto: 4920 Prytania St., 891-3644. Mikimoto: 3301 S. Carrollton Ave., 488-1881. Miyako Japanese Seafood & Steak House: 1403 St. Charles Ave., 410-9997. Wasabi: 900 Frenchmen St., 943-9433. Yuki Izakaya: 525 Frenchmen St. MEDITERRANEAN Byblos: 3218 Magazine St., 894-1233. Café Lazziza: 2106 Chartres St., 943-0416. Mona’s Café: 504 Frenchmen St., 949-4115. MEXICAN/CARIBBEAN/SPANISH Juan’s Flying Burrito: 2018 Magazine St., 569-0000. El Gato Negro: 81 French Market Place, 525-9846. Nacho Mama’s: 3240 Magazine St. 899-0031. RioMar: 800 S. Peters St., 525-3474. Tomatillo’s: 437 Esplanade Ave., 945-9997. MUSIC ON THE MENU Carrollton Station Bar and Grill: 140 Willow St., 865-9190. Hookah Café: 500 Frenchmen St., 943-1101. House of Blues: 225 Decatur St., 412-8068. www.OFFBEAT.com

EATS Prejean’s Restaurant: 3480 Hwy 167 N, Lafayette (337) 896-3247. Le Bon Temps Roule: 4801 Magazine St., 895-8117. 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. NEIGHBORHOOD JOINTS 13 Bar & Restaurant: 517 Frenchmen St., 942-1345. Café Reconcile: 1631 Oretha Castle Haley Blvd., 568-1157. Camellia Grill: 626 S. Carrollton Ave., 309-2676. Slim Goodies: 3322 Magazine St., 891-3447. Ye Olde College Inn: 3000 S. Carrollton Ave., 866-3683. PIZZA Fresco Café & Pizzeria: 7625 Maple St., 862-6363. Garage Pizza: 220 S Robertson St., 569-1599. French Quarter Pizzeria: 201 Decatur St., 948-3287. Slice Pizzeria: 1513 St. Charles Ave., 525-7437. Theo’s Neighborhood Pizza: 4218 Magazine St., 894-8554. Turtle Bay: 1119 Decatur St., 586-0563.

PO-BOYS / SANDWICHES Mahony’s Po-Boy Shop: 3454 Magazine St., 899-3374 Parkway Bakery and Tavern: 538 Hagan Ave., 482-3047. SEAFOOD Acme Oyster & Seafood House: 724 Iberville, 522-5973. Bourbon House: 144 Bourbon St., 522-0111. 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. SOUL Dunbar’s: 501 Pine St., 861-5451. Praline Connection: 542 Frenchmen St., 943-3934. Willie Mae’s Scotch House: 2401 St. Ann St., 822-9503. THAI Sukho Thai: 1913 Royal St., 948-9309. WEE HOURS Clover Grill: 900 Bourbon St., 523-0904. Mimi’s in the Marigny: 2601 Royal St., 872-9868. Molly’s At The Market: 1107 Decatur St., 525-5169. St. Charles Tavern: 1433 St. Charles Ave., 523-9823.

Margie Perez hits the When did you start coming to Sound? Before I got my day job. This place is nice because they’re very socially conscious. And it’s funky.

Sound Café 2700 Chartres Street (504) 947-4477

What do you eat here? I just saw a sign that said “Quiches are back!,” but it’s mostly baked goods. I like the coffee here. I think the medium roast is fair trade, which the bleeding heart liberal in me is always glad about. I don’t know where the espresso beans come from, but at least there’s some fair trade. What do you like about hanging out at Sound? I always see people I know, which is a good thing. Sometimes a crowd will grow as we’re sitting here. It’ll start out with myself and a friend, then somebody else will come, then all of a sudden like eight people will be crowded around two little tables, and then it just kind of trickles away and it’s left with the two of us. —Scott Ross www.OFFBEAT.com Sign up for the FREE Weekly Beat at offbeat.com

JUN E 2009

DINING OUT Ciro’s Côté Sud Your 401K is shot, your savings are depleted, and the vacation fund is paying for a new set of tires. You are not traveling abroad this year, but one need not fly Air France to experience the charms of the cafés of Paris or the bouchons of Lyon. If there is anywhere in the city which comes close, it is Ciro’s Côté Sud. Walking up to this quaint Maple Street camelback-turned-café, one is instantly reminded of the many independently owned and operated restaurants which dot the French landscape. A trio of tables on the sidewalk beckon diners to brave the summer heat while candlelit settings inside entice visitors to relax and let time slowly roll by. The menu focuses on the Provencal region of the eponymous owner (who hails from Marseille). There is a major Italian influence in the South of France, which is why some of the best dishes will be more Catherine de Medici than Louis XIV. For instance, the lasagna is delicious, with a sweet, basil-tinged sauce, a

J 73 ohn 3 S ny W (5 04 aint hit ) 5 Pe e’s 23 te -0 r S 83 t. 9

A GOOD TIP

...from Taco

The bars and restaurants of the French Quarter employ thousands of people, many of whom need a stiff drink after a long night’s work. For those whose shifts end in the middle of the night or early morning hours, the Quarter provides a few hidden bars where they can have a cocktail and unwind. One is Johnny White’s—not the now-famous location that stayed open throughout the aftermath of Katrina but the St. Peter Street location, which is an institution in its own right. For the last 10 years, George Medina—better known as Taco—has been the smiling face on the other side of the bar during the graveyard shift, catering to the host of service industry folks desperate for a drink after a long night

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liberal scattering of cheese and large swaths of ground beef. If classic bistro fare is what you seek, then the escargots, onion gratinée and salad maison are fine choices, though the house vinaigrette on the last choice could be better. The Côtelette de Porc Dijonnaise presents two grilled T-bones of pork with pommes frites and haricots vert with a racy mustard sauce, but it would benefit from one thick cut pork chop rather than two thin jobs. But where Ciro’s stands out is its pizza, the foundation of which is the fresh homemade dough and a brick oven. All of the typical toppings are available, but you would do well to satisfy your inner vegetarian with the Bianca of spinach, tomatoes, artichoke hearts, onions, mozzarella, feta, and pesto sprinkled atop a garlic herb sauce. Large 16-inch pies run $19 but can easily be split between two, if not three, diners. Coupled with a wine list consisting entirely of bottles priced under $30, one wonders whether the owner meant to list the figures in Euros. Bottom line: if you can’t make it to the South of France this summer, a visit to Ciro’s will do. 7918 Maple St.; 866-9551; 5:30-10 p.m. Sun.-Thu., 5:30-11 p.m. Fri.-Sat. Closed Tues. Cash and checks only. —Peter Thriffiley and Rene Louapre

Photo: elsa hahne

EATS

Owner Ollivier Guiot has run Côté Sud for twelve years, but never noticed there’s a circumflex accent missing on the sign.

of coping with the masses on Bourbon and beyond. “I really love the place,” Taco says. “The customers are great and the owners treat me like family after so many years.” The best part of his job is the constant change of scenery, and he never knows what will happen next. “We’ve got this stand up urinal fountain in the men’s room and the janitor fills the trough with ice to deodorize it. More than once I’ve seen a guy come out with a full cup of ice from the bottom of it. I’ve tried to let them know, but if they don’t figure it out, all you can do is shake your head,” he says. Working behind the bar has given Taco a tolerance he lacked in his youth. “I was so full of attitude in my 20s, tough and cocky. As I’ve gotten older, I’ve learned to appreciate the different walks of life. I see all shapes, sizes and cultures. I meet people from all over the country, all over the world,” he shares. “Bartending has taught me that if you want to be respected, you’ve got to earn that respect.” A good tip? “Don’t ask stupid questions, like ‘What’s good?’ or ‘What’s strong?’ Come prepared. Have your money out and know what you want.” And it’s never a good idea to snap your fingers at the person pouring your drinks. —Juli Shipley www.OFFBEAT.com Sign up for the FREE Weekly Beat at offbeat.com

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

REVIEWS

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

One Love R&B and even an Afro-Cuban jazz composition. It’s all about New Orleans, from its inspiration to its performance, as Mayfield fashions specific roles for some of the most talented individual voices in the city right now, getting outstanding performances out of vocalists Johnaye Kendrick, Leon “Kid Chocolate” Brown and John Boutte; clarinetist Evan Christopher; and trumpeter Barney Floyd among others. Blues lies at the heart of Mayfield’s The New Orleans concept and provides a narrative Jazz Orchestra context for the album with the Book One sultry theme of “7th Ward Blues,” (Harmonia Mundi) which opens the proceedings with an expressive introduction Irvin Mayfield’s musical career has from the rhythm section of bassist been occluded by his personality, David Pulphus, who is outstanding which has distracted critics from throughout these proceedings, his strengths as a conceptualist and drummer Adonis Rose and Victor organizer adept at surrounding “Red” Atkins on piano. The theme himself with exceptional talent. pits clarinet and trumpet against Mayfield has been overshadowed each other in glorious interplay on the local depth chart by some before a series of soulful blues legendary older trumpeters, and though he has never been shy about turns from Derek Douget on tenor saxophone, Ronald Westray on his ability, at this point Mayfield has actually been undervalued as a soloist. trombone and Mayfield on trumpet. Kendrick, an impressive young Watching Mayfield develop the vocalist who just finished her New Orleans Jazz Orchestra and residence with the Thelonious Monk work with some of the city’s best Institute of Jazz in New Orleans, musicians in his Wednesday jazz delivers a beautiful turn on “In Love workshops at Snug Harbor has left All Over Again,” which features a little doubt about his abilities as a screaming, crying trumpet solo from leader. He has the skills as a writer, arranger and organizer to match his Mayfield at its climax. Elsewhere he is content to turn the spotlight on maturation as a soloist. Now in his 30s, Mayfield is enjoying a moment others. Christopher shares writing and arrangement credits on the of artistic arrival with NOJO’s Book One, an impressive collection of the outstanding “Creole Thang,” in which his supple clarinet surfs orchestra’s live performances. This album has an emotional power through NOJO’s majestic sonic waves in Bechet-like grandeur. Floyd’s and depth of writing/arrangement trumpet goes ballistic on the Super content that invites comparison to Chief tempo of “Somebody Forgot similar efforts by such past giants of to Turn the Faucet Off (Probably jazz orchestration as Duke Ellington, Steve)” a harkening back to the Count Basie and Charles Mingus, excitement of Basie and Ellington but Mayfield balances the big band train songs. Speaking of Basie, it’s material with some contemporary www.OFFBEAT.com Sign up for the FREE Weekly Beat at offbeat.com

shades of Jimmy Rushing when Brown takes the microphone for “Richie Can Count,” the entertaining take on the current financial crisis with its memorable call-and-response chorus of “Bail me out, boy!” Finally, Mayfield employs Boutte’s vocal skills to full measure on the inspirational “Move On Ahead,” one of the best-written post Katrina anthems we’ve heard yet. —John Swenson

Preservation Hall Jazz Band New Orleans Preservation, Vol. 1 (Preservation Hall) By now, it can’t be a surprise that there’s a lot that is subtly smart about the Preservation Hall Jazz Band. Like the best traditional jazz, little of what’s special about New Orleans Preservation, Vol. 1 is obvious, but a little contemplation reveals a lot. For instance, it’s not until you get to Walter Payton’s faux-Armstrong vocal on “I Wish I Could Shimmy Like My Sister Kate” that you hear the sort of voice you expect on the album. Otherwise, Clint Maedgen and Mark Braud’s vocals suggest that traditional jazz isn’t just music for tourists and older generations. The inclusion of Jimmie Rodgers’ “Blue Yodel #9” and “Choko Mo Feel No Hey” (minus second line drums) says that traditional jazz is an approach to music, not a narrow library of antique texts. The inclusion of Maedgen’s original “Halloween” implies that the music can handle new songs as well. The pleasures of New Orleans Preservation, Vol. 1 aren’t solely conceptual. The ensemble playing is often wonderful, particularly in the ecstatic conclusion to “Tiger Rag,” where Braud’s trumpet and Charlie Gabriel’s clarinet keep threatening to break away from the band and each other, but never stray for

good. On the Hall band’s first album since John Brunious’ passing, it also includes a second line of sorts for him, with “Westlawn Dirge” followed by a joyful “What a Friend” near the end of the album. If nothing else, New Orleans Preservation, Vol. 1 is a public service because it reminds the many young traditional jazz bands in town how it’s done. Many are all energy with accelerated tempos and sometimes manic energy, but the Hall band measures out the music more deliberately, saving the energy so that when it ramps up, it has more impact. “Wish I Could Shimmy …” also tells young bands that nobody, not even Preservation Hall, should engage in Satchmo impressions because they’re always going to be FTO—For Tourists Only—no matter how well the song is played. —Alex Rawls

Various Artists Robots are Mean (NOIRC) On their first compilation, Rock Beats Paper, the New Orleans Indie Rock Collective showed that there was more bounding around the streets of the Crescent City than the sounds of brass and funk. This time around, the organization reaches further into the burgeoning Big Easy indie scene to uncover the bands that are steadily shaking JUN E 2009

REVIEWS up its musical landscape. Like its predecessor, Robots Are Mean features two songs from each of the acts showcased at the NOIRC’s most recent festival. While appreciably less vibrant than Rock, Robots are Mean is assuredly more brazen, giving it an edgier, less refined subtext. The brainy, punctilious power pop of Glasgow, with its sweeping violin, saw-toothed guitar and rock-steady rhythms bookends the disc and makes for the album’s most accessible tunes. The Happy Talk Band’s Luke Allen—Robots’ most obstinate and incisive lyricist—crows, “If I were to end my life / an officer would read my rights,” over the ragged alt-country of “Legalize Suicide.” Later, on “Giant,” he rails, “There’s a devil inside of me I cannot name.” Micah McKee’s deft wit and billowing baritone elevates

Silent Cinema’s earthen cadence and gives the band’s dark textures a lively timbre. While the frenetic cacophony of madcap rockers Big Rock Candy Mountain and the unabashed, psychedelic punk of New Orleans transplants the Pharmacy fill the far reaches Robots’ clamorous dystopia, it’s the cataclysmic newwave eruptions of the Public and the sonic bombardment of noiserock duo Caddywhompus that penetrates its core. As for the roiling folk-punk of turbulent traditionalists the Zydepunks, their swashbuckling sea shanty “When My Ship Sails Away” stands toe-to-toe with the best of any barefooted gypsy band. Do yourself a favor and download Robots Are Mean for free from NewOrleansIndieRock.com. —Aaron LaFont

Building Empires Better Than Ezra Paper Empire (Red Distribution) By now, Better Than Ezra holds few surprises. They make BTE songs full of longing, ache and surging energy. They’re attentive enough students of modern pop that their recordings don’t sound dated even if they’re not 100 percent au courant. There’s a light sheen of Coldplayesque gloss on much Paper Empire, but it suits the band and Kevin Griffin’s sense of drama. They make being young, alive and in love sound like an epic experience. There are times when Paper Empire sounds very familiar, though. Not just moods and tempos but chord changes and melodies, as if Song A from King of New Orleans was genetically spliced with Song B from Closer. That still produces melodic, attractive pop so it’s not the worst possible outcome, but it means songs don’t necessarily stick in the memory despite big, immediate hooks. The one song that stops me every time is “The Loveless,” a grand production with a choir and strings behind the question, “Who’s going to love the loveless?” If the differences between this album and those before it are largely cosmetic, the gestures outside of

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Ezraville are the most awkward tracks on the album. “All In” comes at a point when the poker wave has crested on television, leaving the game’s signature phrase behind as a marker of a past moment, much like “Talk to the hand” and “Don’t go there.” And the odd voices Griffin adopts in the hard rock “Hell No!” are similarly puzzling. He dabbles with Auto-Tune on the verse to no clear purpose, then in spoken word section, perhaps he’s going for a Patton-like pep talk, but he sounds hickish, making his rallying speech seem slightly mocking. But those songs won’t define Paper Empire. It’s all about beautiful songs with just enough muscle courtesy of Tom Drummond’s exactly-in-the-right-place bass and Travis McNabb’s barely controlled drive. They still make versions of the songs you’ve known for all these years, and they still do it well. —Alex Rawls www.OFFBEAT.com

REVIEWS

Marcus Roberts New Orleans Meets Harlem, Vol. 1 (J-Master)

The Peekers Life in the Air (Park the Van) The Peekers, a six-piece band from Shreveport with a vintage sound impress with their decidedly eclectic and far reaching debut, Life in the Air. With infectious melodies, thoughtful lyrics and fine musicianship, the Peekers offer a guided tour of the mental and emotional state of lovesickness through vintage guitarand-tambourine pop. Brittney Maddox, John Martin, and Michael Stephens, all songwriters, contribute to the sweeping, dreamy soundscapes devoted to themes of new love and infatuation. Adding to the trio are Jordan West, Aubre Bauer, and Jeremy Hayes, and since so many members of The Peekers are talented singers, vocals also often rotate and sometimes culminate in energized choruses. The microphone is always shifting hands as the band keeps it interesting with alternating lead vocals and four-part harmonies. Most affectingly, the interplay between the male and female vocals allows for lush harmonies and shifting emotional tones from song to song. Each song is essentially its own genre exercise, from 1920s warbling on “Close My Eyes” to the bluesy “Meet You in Produce.” A psychedelic organ and upbeat handclaps heighten that mid-1960s atmosphere in the bouncy “Concrete Feet.” One generally comes to love the magpie mind of this endearing band and the synthesized ambience of their sweet, simple, love songs that bring to mind the Beatles, the Beach Boys, Cass Eliot, John Phillips and Denny Doherty. In the end we find that love is sometimes a blessing, more often a fever, and always bittersweet. —Adrienne Bruno

Blind piano prodigy, Wynton Marsalis protégé and staunch traditionalist Marcus Roberts returns with his first album in eight years, New Orleans Meets Harlem, Vol. 1. He is back with his longtime trio, New Orleans bassist Roland Guerin and drummer Jason Marsalis, reinterpreting the sounds that led from saloons of Storyville to the streets of the Big Apple. To accomplish this, Roberts revisits many familiar faces: Jelly Roll Morton, Fats Waller, Duke Ellington, Scott Joplin and Thelonious Monk—many of whom he’s previously expounded upon. And while this may appear confusing on the surface, the focus here isn’t on the musicians or their compositions. It’s on uncovering the ties that span from the roll of ragtime to the spirit of the second line to the essence of the blue note. Musically, its mission lies within unveiling the true nature of the blues as evidenced by Roberts’ sole, original composition, “Searching for the Blues.” Fans of Roberts, particularly fans of his 1997 release Blues for the New Millennium, should find this set intriguing. But this time around, the piano itself—as opposed to the ensemble or the compositions—is the focal point. Stylistically, it’s as if he’s deconstructing the ethos of what Tennessee Williams described as the “blue piano,” working through the core elements of ragtime, swing and bebop (more precisely pre-bop), often in each song. Sometimes, the joy is in the twinkle of the traditional flavor (“New Orleans Blues,” “Ain’t Misbehavin’”). Other times, listening to the laidback New Orleans groove shift into the crisp New York pulse is simply rhapsodic (“Black & Tan Fantasy,” “Ba-lue Bolivar Ba-luesare”). Sometimes, something much cooler and hipper reveals itself. Roberts take on Scott Joplin’s “The Entertainer” trumps his version from 1998’s “The Joy of Joplin.” Yet, other times, you’re left scratching your head (“Jitterbug Waltz,” “In Walked Bud”). One thing is clear—according to Roberts, this volume is just a taste of what’s to come. —Aaron LaFont

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JUN E 2009

REVIEWS

J.J. Caillier The Zydeco Knockout (Caillier)

Caddywhompus EPs (Independent) “What’s in a name?” Shakespeare once wrote. In “Caddywhompus” one expects a lot—or at least a band that rocks. They don’t disappoint. The first 45 seconds of this album warn of the electrical storm ahead, the clouds of feedback circling overhead until the downpour of cymbals, riffs, fingertaps, and “oh-ohohs” begin. For the rest of the album, Sean Hart’s thunderous gattling drums and the lightning crackling out of Chris Rehm’s amplifiers drench the listener in pounding rhythms and warm melodies. There are sprinklings of psychedelic touches that never overwhelm, but only complement the pop sensibilities that shine throughout the ten songs on this CD. Although there a couple of slight stutters here and there—ideas that could have been more fully developed; sometimes sophomoric song titles—at their best the songs on EPs are beautiful, multitextured, psilocybic soundscapes that explode into torrential bursts of energy and sing-song refrains. If the album as a whole feels fragmented, that is because it is a collection of their previous two EP offerings with a few new tracks added on. Unlike the offerings of so many young bands though, EPs hangs together because this duo seems to have already found an identity that unmistakably theirs, and undeniably caddywhompus. This is a monsoon of an album and a refreshing conception of rock ’n’ roll. —Ben Berman

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Zydeco stopped being an old man’s game in the late ’80s when Zydeco Force turned it upside down and modernized it, thereby ringing in the era of nouveau zydeco. If J.J. Caillier’s latest is any indication, zydeco might be shifting again. While nouveau zydeco and Caillier in particular, have burrowed deeper and deeper into contemporary R&B and hip-hop over the years, he still manages to manifest it in a way here that’s still somewhat radical. The runaway hit “She’s the Bomb,” this year’s answer to “The Cupid Shuffle,” features jarring hip-hop beats, synchronized beeps and blurred guitar chord changes. Ironically, the accordion, the genre’s staple instrument, was the last thing added to the mix and maintains minimal presence relative to other recordings. So far “Bomb” has not only had heavy rotation on zydeco stations but also on contemporary R&B and even crossed over to a country station. Caillier’s ingenuity is felt elsewhere as well. Instead of the typically sparse arrangements, his are densely layered with supporting melodies, rhythms and special effects. A few mid-tempo songs were intended for relaxed listens, but Caillier hasn’t abandoned what established him and several tracks are compelling dance numbers. However, even these have their homegrown subtleties. Guitarist Kent August’s jazz-tinged rhythm chords groove with a sense of motion. Only time will tell if Caillier’s sixth CD will be his ultimate knockout punch, but already the judges have awarded him victory of yet another bout. —Dan Willging

Dee-1 David and Goliath (Independent) It seems that new rappers, especially burgeoning southern artists, often fall into the claptrap of mainstream hip-hop, with its empty insistence on objectifying women, celebrating wealth and opulence, and glorifying crime. On David and Goliath, Dee-1 resists the temptation. In fact, his latest effort is more than www.OFFBEAT.com

REVIEWS

Twice the Jealousy

Jealous Monk

From Sun Up to Moon Down (Independent) Given the abundance of talent that New Orleans has to offer in the fields of both rap and instrumental music, it’s more than a little surprising that the two genres cross paths so rarely. Jealous Monk, the brainchild of New Jersey transplant Jermaine Quiz and West Bank rapper MC Intelligence, is a rare exception. Through steady gigging over the past three years, Jealous Monk has managed to become the Crescent City’s foremost live-instrument hip-hop act. Now, with their debut album From Sun Up to Sun Down, the group proves itself capable of putting the energy of their live performance into album form. From the opening drum beat, it’s obvious that this is a band that can bring the funk. The musicians execute a wide array of grooves with great dexterity, from the driving “Black Magic” to the deep funk of the album’s title track to the secondline feel of “Sense In That.” Special guest Kirk Joseph adds an extra dose of funk with his fat sousaphone line on “Come One Come All.” All the instrumentalists shine on Sun Up and are given ample opportunity to show off their skills, most notably on the jazzy instrumental “She Groove Interlude,” which spotlights guitarist Pete Murano. The real highlights come towards the end of the album. The aforementioned “Sense in That” hits hard with an infectious refrain and some of the album’s most impressive MC work by Intelligence and Quiz. Likewise, the closing track, “High and Down,” is instantly likeable. With its chorus of “We gettin’ high and gettin’ down” put over top of a pounding funk beat, the song proves to be a great party anthem. While Jealous Monk adds a unique element to the New Orleans music scene with its blending of rock, rap and funk, its music adds little to the hip-hop genre as a whole. The aesthetic they create on From Sun Up to Moon Down owes much to the alternative hip-hop movement of the late 1990s. Likewise, on a lyrical

level MCs Quiz and Intelligence do enough to keep the vibe going, but rarely do they amaze with their lyrical content or the inventiveness of their flow, barring a few exceptions. But the bottom line is that Jealous Monk is a party band, and with From Sun Up to Moon Down, as with their live shows, they prove capable of getting the party started. —Mark LaMaire

Jermaine Quiz Live in New Orleans (mixtape) While New Orleans is known for being the home of dirty, in your face live shows of the most eclectic variety, it’s always a real treat to discover something on the other end of the of the sonic landscape. Jermaine Quiz has slipped a new mixtape over the viral world titled Live in New Orleans and it’s a killer. Showing off his skill as a dance mixologist, Quiz cranks the beats out one after another. Mixing everything from the Beatles’ “Eleanor Rigby” to Lil Wayne’s “Go DJ” and then further still to the Meters and 2Pac, he’s very adept at taking the Dirty South and pushing it in directions few have dared try. While there are a few questionable transitions with beat matching, the idea as a whole is strong and concise. Where most behind the decks will try their hardest to turn every song into a floor anthem, Quiz bides his time and builds his songs into fever pitches like a veteran. His rendition of War’s “Why Can’t We Be Friends” with Big Tymer’s “Still Fly” is the highlight of the mix, a track that will hopefully find its way into the dance music community. —Bobby Hilliard

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JUN E 2009

REVIEWS just resistance; it is rebellion, and Dee-1 certainly isn’t hesitant about what he perceives to be his mission. He seeks to not only abolish the mainstream hip-hop idiom, but to offer positivity in its stead. Dee-1’s criticisms of hip-hop can be heard throughout the CD, with the most glaring example being his track, “Jay, 50, & Weezy.” Here, he rebukes the three hip-hop heavyweights in a hypothetical “dream” sequence for either having a negative influence on the rap game, or for shirking their responsibility as icons and mentors. The lines directed toward Lil Wayne have obvious resonance: “Lil Weezy, flow off the heezy / but we don’t feel your presence down in the Big Easy / shoutin’ out New Orleans at the Grammys, that’s cool / but how about donatin’ some cash money to help the schools?” Many of his tracks are also very poignant as he laments the harrowing consequences of “street life”. On “Living Legend,” Dee-1 offers a compelling tribute to his friend and fellow rapper, Mckinley Phipps, who is currently incarcerated for manslaughter but maintains his innocence: “Through your lyrics in the past, I could tell you was conflicted. / A scholar and a thug, that’s the image you depicted. / Nobody from my city ever spit it like you spit it. / Somebody tell Obama, Mac was wrongfully convicted.” Dee-1 is an artist with a sense of purpose, and his overall message of striving for change against a Goliath, whether it be societal injustice or a wayward music industry, is a very relevant and uplifting one. In this struggle, he would probably have us realize, “We all have a little David in us.” —Matthew Gagliano

poetic feminine aspect encased in the author’s robust manliness, McKee goes at the Charles canon with all the daintiness of a starving person let loose on a plate of barbecue. And it’s the absolute right approach for material from the Bard of the Bayous. She doesn’t waste any effort searching for subtext in, for example, “I Spent All My Money Lovin’ You” or “See You Later Alligator” (the writer’s teenaged publishing debut from more than five decades ago). Charles doesn’t really do subtext, and that’s part of the beauty of his catalog. The only sub that matters here is the underlying growl that marks these performances—blasting saxes, slashing and sliding guitars, burbling organ and piano (McKee leading the way on the latter) and earthy beats all keyed to McKee’s naturally lusty vocals. There are no attempts to evoke the original or familiar versions, be they from Fats (“Walking To New Orleans”), Frogman (“But I Do”) or the expressive author himself (pretty much all of them, at one time or another), though her heartfelt rendition of the title confessional does recall the 1972 Tracy Nelson version— inevitable given their comparable vocal gifts. That’s all trickier than it might seem. Charles’ songs are certainly adaptable, but not always forgiving. Going for novelty on the lighter ones trivializes them. Going for pure sentiment on the ballads turns them to mush. McKee gets that every step of the way. And it’s the latter that provides this album’s closing triumph when McKee switches to accordion for “I Don’t See Me.” Even in that downcast observation, McKee embodies Charles’ plain-spoken wisdom. That’s Louisiana Zen. —Steve Hochman

Beth McKee

More Reviews

I’m That Way (bethmckee.com) The ladies love Bobby Charles. McKee, ex-Evangeline and ex-Mid City, devotes this album entirely to his songs, and Shannon McNally has her own similar project on the way. Maybe Bobby’s become the Louisiana Leonard Cohen, but where the women who have taken on Cohen’s catalog tend to dig for the

O JUNE 2009

For reviews of these CDs, go to OffBeat.com: Telefon Tel Aviv: Immolate Yourself (BPitch Control); Anson Funderburgh and the Rockets: Talk to You by Hand (Hep Cat); Black Moth Super Rainbow: Eating Us (Graveface) www.OFFBEAT.com

MONDAY JUNE 1

Apple Barrel: Sam Cammarata and Dominick Grillo (BL) 8p, Dana Abbott and Bill Van (BL) 10:30p Columns Hotel: David Doucet (KJ) 8p d.b.a.: Glen David Andrews (JV) 9p Donna’s: Sarah Quintana and the New Orleans Moonshiners (JV) 9p Dos Jefes: John Fohl (JV) 9:30p Dragon’s Den: Hollow’s Kept, Dirty Bourbon River Show (RR) 10p Fritzel’s: Tim Laughlin & John Royen (TJ) 9p Funky Pirate: Willie Locket (BL) 8p Hi Ho Lounge: Bluegrass Pickin’ Party (BU) 8p Irvin Mayfield’s Jazz Playhouse (Royal Sonesta): Bob French & the Original Tuxedo Jazz Band (JV) 8p Kerry Irish Pub: Danny Burns (BL) 9p Maple Leaf: Papa Grows Funk (FK) 10p Mulate’s: La Touche (KJ) 7p Old Point Bar: Brent Walsh Jazz Trio (JV) 8p One Eyed Jacks: Loose Marbles (RR) 9p Preservation Hall: Preservation Hall Jazz Band (JV) 8p Rivershack: Amanda Walker (BL RR) 7p Snug Harbor: Charmaine Neville (MJ) 8 & 10p Southport Hall: Ozomatli (LT) 10p Trinity Church: Chapel feat.Albinas Prizgintas (CL) 6p Tropical Isle Bourbon: Partytime Band (PP) 9p

TUESDAY JUNE 2

Apple Barrel: Dave Gregg & the Odd Man Band (BL) 8p, Kenny Schwartz & the Palace of Sin (BL) 10:30p Blue Nile: Jeff Albert Quartet (JV) 9:30p Checkpoint Charlie: Ruby Rendrag (RR) 10p Chickie Wah Wah: Anders Osborne, John Fohl, Johnny Sansone (SS OR) 7p Columns Hotel: John Rankin & Friends (JV) 8p d.b.a.: New Orleans Jazz Vipers (JV) 9p Dos Jefes: Joe Krown (JV) 9:30p Dragon’s Den: Floopy Head (RH) 10p Fritzel’s: Tom Fischer & Friends (TJ) 9p Funky Pirate: Big Al Carson & the Blues Masters (BL) 8p Hi Ho Lounge: Kelcy Mae, Ladyfingers, Johnny Woodstock, Cosmic Oasis (RR) 10p Irvin Mayfield’s Jazz Playhouse (Royal Sonesta): Jason Marsalis (JV) 8p Kerry Irish Pub: Slewfoot & George (BL) 9p Maple Leaf: Rebirth Brass Band (BB) 10p

Old Point Bar: Westbank Mike Show (BL) 6:30p One Eyed Jacks: Bonnie Prince Billy with the Howling Hex (RR) 10p Preservation Hall: Preservation Hall-stars (JV) 8p Snug Harbor: Uptown Jazz Orchestra (MJ) 8 & 10p Trinity Church: Organ & Labyrinth feat. Albinas Prizgintas (CL) 6p Tropical Isle Bourbon: Partytime Band (PP) 9p

WEDNESDAY JUNE 3

Apple Barrel: Wendy Darling (AU) 8p, Andre Bouvier & the Royal Bohemians (BL) Blue Nile: call club Columns Hotel: Riccardo Crespo (LT) 8p d.b.a.: Tin Men (JV) 7p, Walter “Wolfman” Washington & the Roadmasters (BL) 10p Dos Jefes: Bob Andrews (JV) 9:30p Dragon’s Den: Dancehall Classics (RG) 10p Fritzel’s: Chuck Brackman and Barry Foulon (TJ) 9p Funky Pirate: Big Al Carson & the Blues Masters (BL) 8p Hi Ho Lounge: IXNAY and Friends (VR) 10p Irvin Mayfield’s Jazz Playhouse (Royal Sonesta): Irvin Mayfield’s NOJO Jam Session (JV) 8p Kerry Irish Pub: Chip Wilson (BL) 9p Lafayette Square: Trombone Shorty & Orleans Ave., John Boutte and Paul Sanchez (MJ) 5p Maple Leaf: Posse (FK) 10p Mid-City Lanes Rock ’n’ Bowl: Joe Krown (SI) 8:30p Mulate’s: Lee Benoit (KJ) 7p Palm Court Jazz Café: Palm Court Jazz Café feat. Topsy Chapman (TJ) 7p Preservation Hall: Preservation Hall Jazz Band feat. Mark Braud (JV) 8p Snug Harbor: Edward Petersen and the Test (MJ) 8 and 10p Tropical Isle Bourbon: Partytime Band (PP) 9p

THURSDAY JUNE 4

Apple Barrel: Dave Gregg & the Odd Man Band (BL) 8p, Washboard Chaz (BL) 10:30p Blue Nile: DJ T-Roy (RG) 11p Carrollton Station: Lucy Gossett, K-Town & the Mania, Natalie Mae (RR) 10p Copeland’s Social City: Gashouse Gorillaz (PP) 9p d.b.a.: Paul Sanchez (LT) 7p,Andrew Duhon (BL JV) 10p Donna’s: Jason Marsalis (JV) 9p Dos Jefes: Lantana Combo (JV BL) 9:30p Dragon’s Den: Bassbin Safari (RH) 10p

Fritzel’s: Tom Fischer & Friends (TJ) 9p Funky Pirate: Big Al Carson & the Blues Masters (BL) 8p Harrah’s: Live Jazz in Masquerade (JV) 6p Hi Ho Lounge: Surf Night, Crimson Ghosts, the Bills, the UnNaturals (RR) 10p Irvin Mayfield’s Jazz Playhouse (Royal Sonesta): Johnaye Kendrick (JV) 8p Kerry Irish Pub: Mike Ryan Trio (BL) 9p Le Bon Temps Roule: Soul Rebels House Party (BB) 11p Maple Leaf: the Trio feat. Johnny Vidacovich and special guests (FK) 10p Mid-City Lanes Rock ’n’ Bowl: CurleyTaylor (ZY) 8:30p Ogden Museum: Ogden After Hours feat. a Ponderosa Stomp collaboration feat. Jay Chevalier with a special guest (RR) 6p Old Point Bar: Marc Stone & Friends (BL) 6:30p, Andre Bouvier & the Royal Bohemians (BL) 9p One Eyed Jacks: Fast Times ‘80s Night (PP) 10p Palm Court Jazz Café: Crescent City Joymakers feat. Leroy Jones and Katja Toivola (TJ) 7p Preservation Hall: Brass Band Thursday feat. Darryl Adams & the Tornado Brass Band (BB) 8p Rivershack: Space Heaters (BL RR) 7p Snug Harbor: Dirty Dozen Sax Man, Roger Lewis & Friends (MJ) 8 and 10p Trinity Church: Jennifer Tu (CL) 7p Tropical Isle Beach Club: Waylon Thibodeaux (PP) 5p Tropical Isle Bourbon: Corey Michael (VR) 5p, Debi & the Deacons (PP) 9p; (upstairs): Late as Usual (PP) 9p Tropical Isle Original: closed for repair

FRIDAY JUNE 5

Apple Barrel: Kenny Holladay & Rick Westin (BL) 8p, the Hip Shakers (BL) 11p Blue Nile: Kirk Joseph & the Backyard Groove (FK) 10:30p Chickie Wah Wah: Jumpin’ Johnny’s Blues Party (BL) 7p Columns Hotel: Sweet Home New Orleans Renew Our Music (JV) 5p Copeland’s Social City: Kingsroe (PP) 9:30p d.b.a.: Hot Club of New Orleans (JV) 6p, TBC Brass Band (BB) 10p Donna’s: Jesse McBride & the Next Generation (JV) 9p Dos Jefes: George French Band (JV) 10p

Dragon’s Den: a Living Soundtrack, D. Numbers, Beautiful Bells (JV) 10p Fritzel’s: Fritzel’s New Orleans Jazz Band (TJ) 9p Funky Pirate: Mark & the Pentones (BL) 4p, Big Al Carson & the Blues Masters (RR) 8p Hi Ho Lounge: call club Howlin’ Wolf: Designate Zero, Headspill, World’s Most Dangerous (RR) 10p Irvin Mayfield’s Jazz Playhouse (Royal Sonesta): Leon “Kid Chocolate” Brown (JV) 8p Kerry Irish Pub: Chris Segar (BL) 5p, Foot & Friends (BL) 9p Le Bon Temps Roule: Joe Krown (PK) 7p, Jealous Monk (RR) 11p Maple Leaf: Gravy (FK) 10p Mid-City Lanes Rock ’n’ Bowl: Eric Lindell (RB) 9p Mimi’s: Zazou City (JV) 10p Mulate’s: La Touche (KJ) 7p Old Point Bar: Amanda Walker (BL) 6:30p, Westbank Mike & Friends (BL) 9p One Eyed Jacks: Wolves in the Throne Room feat. A Storm of Light, Krallice (RR) 10p Palm Court Jazz Café: Palm Court Jazz Band feat. Lucien Barbarin (TJ) 7p Preservation Hall: Preservation Hall Jazz Masters feat. Leroy Jones (JV) 8p Rivershack: Christian Serpas & Ghost Town (CW RR) 9:30p Snug Harbor: Africa New Orleans Connection feat. Seguenon Kone, Dr. Michael White, Jason Marsalis and more (MJ) 8 & 10p, call club for midnight show Tipitina’s: Free Friday Series feat. Summertime in New Orleans Kick-off Party with Anders Osborne (RR) 10p Tropical Isle Beach Club: Waylon Thibodeaux (PP) 5p, Willie Locket (PP) 9p Tropical Isle Bourbon: Corey Michael (VR) 5p, Debi & the Deacons (PP) 9p; (upstairs) Late as Usual (PP) 9p

SATURDAY JUNE 6

Apple Barrel: Maxwell (BL) 4p, Sneaky Pete (BL) 8p, the Hip Shakers (BL) 11p Blue Nile: Soul Rebels Brass Band (BB) 11p Checkpoint Charlie: Wendy Darling (AU) 8p, Tiger Piss (RR) 10p Copeland’s Social City: Stormy (PP) 9:30p d.b.a.: Little Freddie King (BL) 11p

GUIDE

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. Other events may be included at offbeat.com. For up-tothe-minute music listings, check OffBeat’s web page at www.offbeat. com. Also, check out www.louisianatravel.com for the OffBeat Music Calendar. For more details on a show, call the club directly. Phone numbers of clubs are shown in this section and/or at 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 BG BL BU BB SH KJ

FE FR FK FS GG GS MJ TJ

RG RH RB RC RR SI SKA SS

A Cappella Acoustic Big Band Blues Bluegrass Brass Band Cabaret/Show Cajun

KS CL CR KR CO CW DN DG

Christian Classical Classic Rock College Rock Comedy Country Dance Dance Group

Folk/Ethnic Folk Rock Funk Fusion Girl Group Gospel Jazz. Contemp. Jazz, Traditional

JV LT ME OL OR PK PP PR

Jazz, Variety Latin Metal Oldies Originals Piano/Keyboards Pop/Top 40/Covers Modern Rock

Reggae/World Beat Rap/Hip Hop Rhythm & Blues Rockabilly Rock Swing Ska Singer/Songwriter

SW TC TG VR VF VM ZY

Spoken Word Techno/ Electronica Thrash/Grunge Variety Vocal, Female Vocal, Male Zydeco

When you’re out, text the word ‘offbeat’ to 33669 for daily updates & statewide listings, or log onto offbeat.com www.OFFBEAT.com Sign up for the FREE Weekly Beat at offbeat.com

JUN E 2009

LIVE LOCAL MUSIC Donna’s: Meschiya and the Little Big Horn Jazz Band (JV) 9p Dos Jefes: Gringo do Choro feat. Rick Trolsen (JV BL) 10p Dragon’s Den: White Colla Crimes, Grass Rootz (RH) 10p Fritzel’s: Chuck Brackman and Richard Scott (TJ) 9p Funky Pirate: Mark & the Pentones (BL) 4p, Big Al Carson & the Blues Masters (RR) 8p Hi Ho Lounge: MDK feat. DJ Vendetta of Corrosion and DJ Tot Kuhunge of Shadow Gallery (RR) 10p House of Blues (the Parish): Richard Cheese and Lounge Against the Machine (VR) 9p House of Blues: the Nobles 2009 Anniversary Bash (RR) 8p Howlin’ Wolf: 3rd Echo, Christian Serpas & Ghost Town, Sticky Wig (RR) 10p Irvin Mayfield’s Jazz Playhouse (Royal Sonesta): Shannon Powell Quartet (JV) 8p Kerry Irish Pub: Buddy Francioni (BL) 5p, Hurricane Refugees (BL) 9p Le Bon Temps Roule: Honey Island Swamp Band (RR) 11p Maple Leaf: Walter “Wolfman” Washington & the Roadmasters (FK) 10p Mid-City Lanes Rock ’n’ Bowl: Jennifer Batten, Mike Zito (RR) 9p Old Point Bar: Delfeayo Marsalis (BL) 5p, Eric Lindell (RB) 10p One Eyed Jacks: Odoms Record Release Party feat. One Man Machine, DJ Nate White and Ballzack (RR RH) 10p Palm Court Jazz Café: Palm Court Jazz Band feat. Lionel Ferbos (TJ) 7p Preservation Hall: Preservation Hall Band feat. Tom Sancton’s New Orleans Serenaders (JV) 8p Red Dragon Listening Room (Baton Rouge): Southpaw Jones (AU) 8p Rivershack: Mo-Jelly (BL RR) 10p Snug Harbor: Astral Project (MJ) 8 & 10p, free midnight show feat. The Will Thompson Quartet (MJ) 12a Tipitina’s: call club Tropical Isle Beach Club: Waylon Thibodeaux (PP) 5p, Willie Locket (PP) 9p Tropical Isle Bourbon: Corey Michael (VR) 5p, Debi & the Deacons (PP) 9p; (upstairs) Late as Usual (PP) 9p

SUNDAY JUNE 7

Apple Barrel: Maxwell (BL) 4p, Rollin’ Hills (BL) 8p, Eve’s Lucky Planet (BL) 10:30p Bacchanal Wine & Spirits: New Orleans Moonshiners (JV) 7p Checkpoint Charlie: acoustic open mic feat. Jim Smith (AU) 8p Chickie Wah Wah: Sweet Olive String Band, Old Tyme Country & Blues (JV BL) 3p, John Mooney (BL) 6p Copeland’s Social City: Wiseguys (PP) 6p d.b.a.: Palmetto Bug Stompers (JV) 6p, Honey Island Swamp Band (RR) 10p Donna’s: Donna’s Jam Night feat. Victor Atkins Trio (JV) 9p Dragon’s Den: Corrosion (RR) 10p Fritzel’s: the Loose Marbles (TJ) 9p Funky Pirate: Mark & the Pentones (BL) 4p, Willie Locket (BL) 8p House of Blues (the Parish): Wade Bowen and Randy Rogers 8p House of Blues: Sunday Gospel Brunch feat. Leo Jackson and the Melody Clouds (GS) 9:30a; New York Dolls, Black Joe Lewis & the Honeybears (RR) 8p

JUNE 2009

Howlin’ Wolf NorthShore (Mandeville): Cajun Fais do do (KJ) 3p Kerry Irish Pub: Les Poissons Rouges (BL) 9p Maple Leaf: Joe Krown Trio feat. Russell Batiste and Walter “Wolfman” Washington (FK) 10p One Eyed Jacks: Fleur de Tease Burlesque Show (SH) 8 & 10p Palm Court Jazz Café: Sunday Night Swingsters feat. Lucien Barbarin (TJ) 7p Preservation Hall: 726 Jazz Band feat. William Smith (JV) 8p Snug Harbor: Michael Pellera Trio (MJ) 8 & 10p Trinity Church: Jesse Nolan and Marv Akin (CL) 5p Tropical Isle Beach Club: Waylon Thibodeaux (PP) 5p Tropical Isle Bourbon: Corey Michael (VR) 5p, Debi & the Deacons (PP) 9p Tropical Isle Original: closed for repair

MONDAY JUNE 8

Apple Barrel: Sam Cammarata and Dominick Grillo (BL) 8p, Ready Teddy (BL) 10:30p Checkpoint Charlie: Wendy Darling (OR) 8p Chickie Wah Wah: Chickie Wah Wah’s Original Anniversary Party (VR) 8p Columns Hotel: David Doucet (KJ) 8p d.b.a.: Glen David Andrews (JV) 9p Donna’s: New Orleans Moonshiners (JV) 9p Dos Jefes: John Fohl (JV) 9:30p Dragon’s Den: Pig Lizzard, Downstairs Doodle, Mojo Method, Liquid Peace Revolution (RR) 10p Fritzel’s: Tim Laughlin & John Royen (TJ) 9p Funky Pirate: Willie Locket (BL) 8p Hi Ho Lounge: Bluegrass Pickin’ Party (BU) 10p Irvin Mayfield’s Jazz Playhouse (Royal Sonesta): Bob French & the Original Tuxedo Jazz Band (JV) 8p Kerry Irish Pub: Kim Carson & Friends (BL) 9p Maple Leaf: Posse (FK) 10p Palm Court Jazz Café: Palm Court Jazz Band feat. Tim Laughlin (TJ) 7p Preservation Hall: Preservation Hall Jazz Band feat. Mark Braud (JV) 8p Rivershack: Amanda Walker (BL RR) 7p Snug Harbor: Charmaine Neville (MJ) 8 & 10p Trinity Church: Chapel feat. Albinas Prizgintas (CL) 6p Tropical Isle Bourbon: Partytime Band (PP) 9p Tropical Isle Original: closed for repair

TUESDAY JUNE 9

Apple Barrel: Dave Gregg & the Odd Man Band (BL) 8p, Kenny Schwartz & the Palace of Sin (BL) 10:30p Blue Nile: Helen Gillet (JV) 9:30p Chickie Wah Wah: Anders Osborne, John Fohl, Johnny Sansone (SS OR) 7p Columns Hotel: John Rankin & Friends (JV) 8p d.b.a.: New Orleans Jazz Vipers (JV) 9p Dos Jefes: Joe Krown (JV) 9:30p Dragon’s Den: Floopy Head (RH) 10p Fritzel’s: Tom Fischer & Friends (TJ) 9p Funky Pirate: Big Al Carson & the Blues Masters (BL) 8p Hi Ho Lounge: Gorgonopsium, Quarter the Villain, Cancer Whores (RR) 10p Irvin Mayfield’s Jazz Playhouse (Royal Sonesta): Jason Marsalis (JV) 8p Kerry Irish Pub: Jason Bishop (BL) 9p Maple Leaf: Rebirth Brass Band (BB) 10p Preservation Hall: Preservation Hall-stars (TJ) 8p Snug Harbor: the Uptown Jazz Orchestra (MJ) 8 & 10p Trinity Church: Organ & Labyrinth feat. Albinas Prizgintas (CL) 6p Tropical Isle Bourbon: Partytime Band (PP) 9p Tropical Isle Original: closed for repair

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LIVE LOCAL MUSIC

WEDNESDAY JUNE 10

Apple Barrel: Wendy Darling (AU) 8p, Andre Bouvier & the Royal Bohemians (BL) Blue Nile: call club d.b.a.: Tin Men (JV) 7p, Walter “Wolfman” Washington & the Roadmasters (BL) 10p Dos Jefes: Bob Andrews (JV) 9:30p Dragon’s Den: Dancehall Classics (RG) 10p Fritzel’s: Chuck Brackman & Richard Scott (TJ) 9p Funky Pirate: Big Al Carson & the Blues Masters (BL) 8p House of Blues (the Parish): Gaelic Storm 8p Irvin Mayfield’s Jazz Playhouse (Royal Sonesta): Irvin Mayfield’s NOJO Jam Session (JV) 8p Kerry Irish Pub: Chip Wilson (BL) 9p Lafayette Square: Boogie Men, Dr. Gonzeaux (PP) 5p Maple Leaf: Joe Krown Combo (FK) 10p Mid-City Lanes Rock ’n’ Bowl: Johnny Angel (SI) 8:30p Palm Court Jazz Café: Palm Court Jazz Band feat. Topsy Chapman (TJ) 7p Preservation Hall: Preservation Hall Jazz Band feat. Mark Braud (JV) 8p Snug Harbor: Steve Masakowski Trio (MJ) 8 & 10p Tropical Isle Bourbon: Partytime Band (PP) 9p Tropical Isle Original: closed for repair

THURSDAY JUNE 11

Apple Barrel: Dave Gregg & the Odd Man Band (BL) 8p, Mike Darby & the House of Cards (BL) 10:30p Blue Nile: DJ T-Roy (RG) 11p Checkpoint Charlie: Domenic (RR) 7p, the Fens (RR) 10p Chickie Wah Wah: Paul Sanchez (JV) 7p Copeland’s Social City: Topcats (PP) 9p d.b.a.: Derrick Freeman Trio (OR) 10p Donna’s: Donna’s Caribbean Night feat. Sunflower City Jazz Band (JV) 9p Dos Jefes: Courtyard Kings (JV BL) 9:30p Dragon’s Den: Bassbin Safari (RH) 10p Fritzel’s: Tom Fischer & Friends (TJ) 9p Funky Pirate: Big Al Carson & the Blues Masters (BL) 8p Harrah’s: Live Jazz in Masquerade (JV) 6p Hi Ho Lounge: Miracle Dolls, Chapel of Thieves, Grave City Hooligans (RR) 10p Irvin Mayfield’s Jazz Playhouse (Royal Sonesta): Johnaye Kendrick (JV) 8p Kerry Irish Pub: Lynn Drury (BL) 9p Le Bon Temps Roule: Soul Rebels House Party (BB) 11p Maple Leaf: the Trio feat. Johnny Vidacovich and special guests (FK) 10p Mid-City Lanes Rock ’n’ Bowl: Zydeco Night (ZY) 8:30p Mulate’s: La Touche (KJ) 7p Ogden Museum: Ogden After Hours feat. Rocky’s Hot Fox Trot Orchestra (SI) 6p Old Point Bar: Marc Stone & Friends (BL) 6:30p, I Tell You What (BL) 9p One Eyed Jacks: Clues (RR) 7:30p, Fast Times ‘80s Night (PP) 10p Palm Court Jazz Café: Crescent City Joymakers (TJ) 7p Preservation Hall: Brass Band Thursday feat. Darryl Adams & the Tornado Brass Band (BB) 8p Rivershack: John Lisi (BL RR) 7p Snug Harbor: Dara Tucker (MJ) 8 & 10p Tipitina’s: Homegrown Night (RR) 8:30p Trinity Church: Esther Sparks Quartet (CL) 7p Tropical Isle Beach Club:Waylon Thibodeaux (PP) 5p Tropical Isle Bourbon: Corey Michael (VR) 5p, Debi & the Deacons (PP) 9p; (upstairs) Late as Usual (PP) 9p

JUNE 2009

FRIDAY JUNE 12

Apple Barrel: Kenny Holladay & Rick Westin (BL) 8p, the Hip Shakers (BL) 11p Big Top: Friday Night Music Camp feat. Rites of Swing (VR) 5p Blue Nile: Johnny Sketch & the Dirty Notes (FK) 10:30p Bombay Club: Right Reverend and Soul Transplant (JV RB) 9:30p Carrollton Station: Juniper Row (RR) 10p Chickie Wah Wah: Jumpin’ Johnny’s Blues Party (BL) 7p Columns Hotel: Sweet Home New Orleans Renew Our Music (JV) 5p Copeland’s Social City: Rockin’ Jerry (PP) 9:30p d.b.a.: Ingrid Lucia (JV) 6p, Grayson Capps (CW) 10p Donna’s: Brice Miller & Friends Brass Jazz (JV) 9:30p Dos Jefes: Eric Traub (JV BL) 10p Dragon’s Den: Dragonflly, DJ Redbone, DJ Proppa Bear, the Other Planets (RR RH VR) 10p Fritzel’s: Chuck Brackman and Barry Foulon (TJ) 9p Funky Pirate: Mark & the Pentones (BL) 4p, Big Al Carson & the Blues Masters (RR) 8p Hangar: Combichrist, Julien K., Aesthetic Perfection, Ego Likeness (RR) 5p Hi Ho Lounge: Swaggerin Growlers (RR) 10p House of Blues: the Veronicas, the Pretty Reckless, Carney 6:30p Howlin’ Wolf NorthShore (Mandeville): Snot, Greyskull, Touching the Absolute (RR) 10p Howlin’ Wolf: Off the Dome Emcee Competition (RH) 10p Irvin Mayfield’s Jazz Playhouse (Royal Sonesta): Leon “Kid Chocolate” Brown (JV) 8p Kerry Irish Pub: call club for early show (BL) 5p, Jesse Moore Band (BL) 9p Le Bon Temps Roule: Joe Krown (PK) 7p, Gravy (RR) 11p Maple Leaf: Rotary Downs (RR) 10p Mid-City Lanes Rock ’n’ Bowl: Bucktown All-stars (PP) 10p Old Point Bar: Amanda Walker (BL) 6:30p, Honey Island Swamp Band (BL) 9p One Eyed Jacks: Tom Rhodes (RR) 10p Palm Court Jazz Café: Palm Court Jazz Band feat. Lucien Barbarin (TJ) 7p Preservation Hall: Preservation Hall Jazz Masters feat. Steve Pistorius (TJ) 8p Rivershack:Tiki & the Rhythmrockers (BL RR) 9:30p Snug Harbor: Jason Marsalis (MJ) 8 & 10p, call club for free midnight show Tipitina’s: New Orleans Bingo! Show (RR) 10p Tropical Isle Beach Club: Waylon Thibodeaux (PP) 5p, Willie Locket (PP) 9p Tropical Isle Bourbon: Corey Michael (VR) 5p, Debi & the Deacons (PP) 9p; (upstairs) Late as Usual (PP) 9p

SATURDAY JUNE 13

Apple Barrel: Maxwell (BL) 4p, Sneaky Pete (BL) 8p, the Hip Shakers (BL) 11p Blue Nile: Kermit Ruffins & the Barbecue Swingers (MJ) 11p Carrollton Station: the Good God Damn Show (RR) 10p Copeland’s Social City: Vieux Carre (PP) 9:30p d.b.a.: Zydepunks (RR) 11p Donna’s: Jesse McBride & the Next Generation (JV) 9p Dos Jefes: Sunpie & the Louisiana Sunspots (JV BL) 10p Dragon’s Den: a Living Soundtrack Caddywhompus, Static TV, Kourtney Heart, Next Generation Brass Band (BB RR VR) 9:30p Fritzel’s: Fritzel’s New Orleans Jazz Band (TJ) 9p

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LIVE LOCAL MUSIC Funky Pirate: Mark & the Pentones (BL) 4p, Big Al Carson & the Blues Masters (RR) 8p House of Blues: Peaches, Drums of Death 9p Howlin’ Wolf NorthShore (Mandeville): The Frontiers, a tribute to Journey (RR) 10p Howlin’ Wolf: Birdfinger CD-listening party (RR) 10p Irvin Mayfield’s Jazz Playhouse (Royal Sonesta): Shannon Powell Quartet (JV) 8p Kerry Irish Pub: Balsawood Flyers (BL) 5p, Rites of Passage (BL) 9p Le Bon Temps Roule: Joe Krown Trio (FK) 11p Maple Leaf: Crazy McGee (FK) 10p Mid-City Lanes Rock ’n’ Bowl: Anders Osborne (RR) 10p Old Point Bar: Delfeayo Marsalis (BL) 5p, Hot Club of New Orleans (RR) 10p One Eyed Jacks: Peaches After Party, Mr. Quintron and Miss Pussycat (RR) 10p Palm Court Jazz Café: Palm Court Jazz Band feat. Lionel Ferbos (TJ) 7p Preservation Hall: Preservation Hall Band feat. William Smith (JV) 8p Rivershack: Mustard Brothers (BL RR) 10p Snug Harbor: Davell Crawford (MJ) 8 & 10p, call club for free midnight show Southport Hall: Weathered (RR) 10p Tropical Isle Beach Club: Waylon Thibodeaux (PP) 5p, Willie Locket (PP) 9p Tropical Isle Bourbon: Corey Michael (VR) 5p, Debi & the Deacons (PP) 9p; (upstairs) Late as Usual (PP) 9p

SUNDAY JUNE 14

Apple Barrel: Maxwell (BL) 4p, Rollin’ Hills (BL) 8p, Bill Van (BL) 10:30p Chickie Wah Wah: Sweet Olive String Band, Old Tyme Country & Blues (JV BL) 3p, John Mooney (BL) 6p Copeland’s Social City: Wiseguys (PP) 6p d.b.a.: Palmetto Bug Stompers (JV) 6p, Marc Stone Band (BL) 10p Donna’s: Donna’s Jam Night feat. Victor Atkins Trio (JV) 9p Dragon’s Den: Corrosion,Autumn’sAftermath (RR) 10p Fritzel’s: the Cotton Mouth Kings (TJ) 9p Funky Pirate: Mark & the Pentones (BL) 4p, Willie Locket (BL) 8p House of Blues: Sunday Gospel Brunch feat. Zion Harmonizers (GS) 9:30a Howlin’ Wolf NorthShore (Mandeville): Cajun Fais do do (KJ) 3p Howlin’ Wolf: Battle of the Bands (RR) 10p Kerry Irish Pub: Mike Ryan (BL) 9p Maple Leaf: Joe Krown Trio feat. Russell Batiste and Walter “Wolfman” Washington (FK) 10p Mid-City Lanes Rock ’n’ Bowl: benefit for Harry Ravain (VR) 9p Palm Court Jazz Café: Sunday Night Swingsters feat. Mark Braud and Lucien Barbarin (TJ) 7p Preservation Hall: 726 Jazz Band feat. Orange Kellin (JV) 8p Snug Harbor: Leah Chase (JV) 8 and 10p Tipitina’s: Cajun Fais do do feat. Bruce Daigrepont (KJ) 5:30p Trinity Church: New Orleans Civic Symphony feat. James Hammann, Kang Hyung Kyung and more (CL) 5p Tropical Isle Beach Club: Waylon Thibodeaux (PP) 5p Tropical Isle Bourbon: Corey Michael (VR) 5p, Debi & the Deacons (PP) 9p Tropical Isle Original: closed for repair

MONDAY JUNE 15

Apple Barrel: Sam Cammarata and Dominick Grillo (BL) 8p, Johnny J. and Benny Maygarden (BL) 10:30p

Blue Nile: Ryan Cabrera (JV) 9p Columns Hotel: David Doucet (KJ) 8p d.b.a.: Glen David Andrews (JV) 9p Donna’s: Mark Braud Jazz Jam (JV) 9p Dos Jefes: John Fohl (JV) 9:30p Dragon’s Den: Mike Dillon feat. James Singleton and Brian Coogan, Spaces to Mars (FK MJ) 10p Fritzel’s: Tim Laughlin & John Royen (TJ) 9p Funky Pirate: Willie Locket (BL) 8p Hi Ho Lounge: Bluegrass Pickin’ Party (BU) 10p Irvin Mayfield’s Jazz Playhouse (Royal Sonesta): Bob French & the Original Tuxedo Jazz Band (JV) 8p Kerry Irish Pub: Kim Carson & Friends (BL) 9p Maple Leaf: Papa Grows Funk (FK) 10p Mimi’s: New Orleans Moonshiners 9p Preservation Hall: Preservation Hall Jazz Band feat. Mark Braud (JV) 8p Rivershack: Amanda Walker (BL RR) 7p Snug Harbor: Charmaine Neville (MJ) 8 & 10p Trinity Church: Chapel feat.Albinas Prizgintas (CL) 6p Tropical Isle Bourbon: Partytime Band (PP) 9p Tropical Isle Original: closed for repair

TUESDAY JUNE 16

Apple Barrel: Dave Gregg & the Odd Man Band (BL) 8p, Kenny Schwartz & the Palace of Sin (BL) 10:30p Blue Nile: Naked on the Floor (MJ) 9:30p Checkpoint Charlie: Ruby Rendrag (RR) 7p, Shane Johns (RR) 11p Chickie Wah Wah: Anders Osborne, John Fohl, Johnny Sansone (SS OR) 7p Columns Hotel: John Rankin & Friends (JV) 8p d.b.a.: New Orleans Jazz Vipers (JV) 9p Dos Jefes: Joe Krown (JV) 9:30p Dragon’s Den: Floopy Head, Big Fat and Delicious, Sobriety Starts Tomorrow, the Local Skank (RH RR VR) 10p Fritzel’s: Tom Fischer & Friends (TJ) 9p Funky Pirate: Big Al Carson & the Blues Masters (BL) 8p Hi Ho Lounge: Death by Arrow, Stix Duh Clown, the Devil Makes Three (RR) 10p Irvin Mayfield’s Jazz Playhouse (Royal Sonesta): Jason Marsalis (JV) 8p Kerry Irish Pub: Jason Bishop (BL) 9p Maple Leaf: Rebirth Brass Band (BB) 10p Mid-City Lanes Rock ’n’ Bowl: R&B Night (BL VR) 8:30p Preservation Hall: Preservation Hall-stars feat. Shannon Powell (JV) 8p Snug Harbor: the Uptown Jazz Orchestra (MJ) 8 & 10p Trinity Church: Organ & Labyrinth feat. Albinas Prizgintas (CL) 6p Tropical Isle Bourbon: Partytime Band (PP) 9p Tropical Isle Original: closed for repair

WEDNESDAY JUNE 17

Apple Barrel: Wendy Darling (AU) 8p, 19th St. Red (BL) Blue Nile: call club Chickie Wah Wah: Jolly House: Ed Volker, Reggie Scanlan, Joe Cabral, Michael Skinkus (FK JV OR) 7p d.b.a.: Tin Men (MJ) 7p, Walter “Wolfman” Washington & the Roadmasters (BL) 10p Dos Jefes: Bob Andrews (JV) 9:30p Dragon’s Den: Dancehall Classics (RG) 10p Fritzel’s: Chuck Brackman and Barry Foulon (TJ) 9p Funky Pirate: Big Al Carson & the Blues Masters (BL) 8p Howlin’ Wolf: Afton Local Rock Showcase (RR) 10p Irvin Mayfield’s Jazz Playhouse (Royal Sonesta): Irvin Mayfield’s NOJO Jam Session (JV) 8p

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Kerry Irish Pub: Chip Wilson (BL) 9p Lafayette Square: Galactic, Hot 8 Brass Band (BB RR) 5p Maple Leaf: J the Savage (FK) 10p Mid-City Lanes Rock ’n’ Bowl: Joe Krown (SI) 8:30p Palm Court Jazz Café: Palm Court Jazz Band feat. Topsy Chapman (TJ) 7p Preservation Hall: Preservation Hall Jazz Band feat. Mark Braud (JV) 8p Snug Harbor: Brian Seeger Quartet (MJ) 8 & 10p Tropical Isle Bourbon: Partytime Band (PP) 9p Tropical Isle Original: closed for repair

THURSDAY JUNE 18

Apple Barrel: Dave Gregg & the Odd Man Band (BL) 8p, Johnny J. & Benny Maygarden (BL) 10:30p Blue Nile: DJ T-Roy (RG) 11p Copeland’s Social City: Topcats (PP) 9p d.b.a.: Paul Sanchez (LT) 7p, Matt Perrine’s Sunflower City (RR) 10p Donna’s: Donna’s Caribbean Night feat. Sunflower City Jazz Band (JV) 9p Dos Jefes: Rick Trolsen & the New Orleans Po-boys (JV BL) 9:30p Dragon’s Den: Bassbin Safari (RH) 10p Fritzel’s: Tom Fischer & Friends (TJ) 9p Funky Pirate: Big Al Carson & the Blues Masters (BL) 8p Harrah’s: Live Jazz in Masquerade (JV) 6p Irvin Mayfield’s Jazz Playhouse (Royal Sonesta): Johnaye Kendrick (JV) 8p Kerry Irish Pub: Schatzy & Associates (BL) 9p Le Bon Temps Roule: Soul Rebels House Party (BB) 11p Maple Leaf: the Trio feat. Johnny Vidacovich and special guests (FK) 10p Mid-City Lanes Rock ’n’ Bowl: Geno Delafose (ZY) 8:30p Ogden Museum: Ogden After Hours feat. Brian Seeger (JV FK) 6p Old Point Bar: Marc Stone & Friends (BL) 6:30p, Kim Carson (BL) 9p One Eyed Jacks: Fast Times ‘80s Night (PP) 10p Palm Court Jazz Café: Crescent City Joymakers feat. Tom Fischer (TJ) 7p Preservation Hall: Brass Band Thursday feat. Paulin Brothers Brass Band (JV) 8p Rivershack: Gal Holiday (CW RR) 7p Snug Harbor: Hector Gallardo (MJ) 8 & 10p Tipitina’s: Homegrown Night feat. Phosphate Jesse, Mondays Date, Pig Lizzard and Research Turtles (RR) 8:30p Trinity Church: Kim Hickey feat. Amanda Wadsworth (CL) 7p Tropical Isle Beach Club: Waylon Thibodeaux (PP) 5p Tropical Isle Bourbon: Corey Michael (VR) 5p, Debi & the Deacons (PP) 9p; (upstairs) Late as Usual (PP) 9p

FRIDAY JUNE 19

Apple Barrel: Kenny Holladay & Rick Westin (BL) 8p, the Hip Shakers (BL) 11p Blue Nile: Revivalists and guests (FK) 10p Bombay Club: Judy Spellman Trio (JV RB) 9:30p Carrollton Station: Zamapara (RR) 10p Chickie Wah Wah: Jumpin’ Johnny’s Blues Party (BL) 7p Columns Hotel: Sweet Home New Orleans Renew Our Music (JV) 5p Copeland’s Social City: Vieux Carre (PP) 9:30p d.b.a.: Hot Club of New Orleans (JV) 6p, John Mooney (BL) 10p Donna’s: Belle du Jour feat. Mayumi Shara and Cari Roy (JV) 9p JUN E 2009

LIVE LOCAL MUSIC Dos Jefes: George French Band (JV) 10p Dragon’s Den: Shadow Gallery, Van Halen II & Hat Talk (RR) 10p Fritzel’s: Chuck Brackman and Barry Foulon (TJ) 9p Funky Pirate: Mark & the Pentones (BL) 4p, Big Al Carson & the Blues Masters (RR) 8p Hangar: David Allan Coe (RR CW) 9p House of Blues: Reverend Horton Heat, Backyard Tire Fire (RR) 8p Howlin’ Wolf: Soundclash (RR) 10p Irvin Mayfield’s Jazz Playhouse (Royal Sonesta): Leon “Kid Chocolate” Brown (JV) 8p Kerry Irish Pub: Buddy Francioni (BL) 5p, Foot & Friends (BL) 9p Le Bon Temps Roule: Joe Krown (PK) 7p, Ingrid Lucia (VF) 11p Maple Leaf: call club Mid-City Lanes Rock ’n’ Bowl: Kermit Ruffins (MJ) 10p Mimi’s: Zazou City (JV) 10p One Eyed Jacks: ActionActionReaction Indie Dance Party (PP) 10p Palm Court Jazz Café: Palm Court Jazz Band feat. Lucien Barbarin (TJ) 7p Preservation Hall: David Torkanowsky & Friends (JV) 8p Rivershack: Big Al & the Heavyweights (BL RR) 9:30p Snug Harbor: Ellis Marsalis (MJ) 8 & 10p, call club for free midnight show Southport Hall: Flashback (RR) 10p Tipitina’s: Free Friday Series feat. Marva Wright & the BMWs (BL) 10p Tropical Isle Beach Club: Waylon Thibodeaux (PP) 5p, Willie Locket (PP) 9p Tropical Isle Bourbon: Corey Michael (VR) 5p, Debi & the Deacons (PP) 9p; (upstairs) Late as Usual (PP) 9p

SATURDAY JUNE 20

Apple Barrel: Maxwell (BL) 4p, Sneaky Pete (BL) 8p, the Hip Shakers (BL) 11p Blue Nile: Backbeat Showcase (FK) 10p Carrollton Station: Big Blue Marble (RR) 10p Copeland’s Social City: Vieux Carre (PP) 9:30p d.b.a.: Alex McMurray (RR) 11p Donna’s: Panorama Jazz Band (JV) 9p Dos Jefes: Acoustic Swiftness (JV BL) 10p Dragon’s Den: DJ Resin, DJ Proppa Bear (RH) 10p Fritzel’s: Charlie Fardella (TJ) 9p Funky Pirate: Mark & the Pentones (BL) 4p, Big Al Carson & the Blues Masters (RR) 8p Harrah’s: Stylistics (OR) 7 & 10p Hi Ho Lounge: call club House of Blues (the Parish): To Be Continued Brass Band (BB) 10p House of Blues: Appetite for Destruction - Guns ‘n’ Roses Tribute (RR) 9p Howlin’ Wolf NorthShore (Mandeville): Benjy Davis Project (RR) 10p Howlin’ Wolf: Touching the Absolute, Built for Speed, Rising Sun (RR) 10p Irvin Mayfield’s Jazz Playhouse (Royal Sonesta): Troy Sawyer (JV) 8p Kerry Irish Pub: Paul Tobin Trio (BL) 5p, Invisible Cowboy (BL) 9p Le Bon Temps Roule: Walter “Wolfman” Washington & the Roadmasters (BL) 11p Maple Leaf: Groovesect (FK) 10p Mid-City Lanes Rock ’n’ Bowl: Al “Carnival Time” Johnson’s Birthday feat. Kermit Ruffins (MJ) 9p Old Point Bar: Delfeayo Marsalis (BL) 5p, Marc Stone Band (BL) 9:30p Palm Court Jazz Café: Palm Court Jazz Band feat. Lionel Ferbos (TJ) 7p Preservation Hall: Preservation Hall Jazz Band feat. Mark Braud (JV) 8p

JUNE 2009

Rivershack: Austin Sicard (BL RR) 10p Snug Harbor: Micheal Wolff Trio (MJ) 8 & 10p, call club for free midnight show Southport Hall: Band Camp (RR) 10p Tipitina’s: call club Tropical Isle Beach Club: Waylon Thibodeaux (PP) 5p, Willie Locket (PP) 9p Tropical Isle Bourbon: Corey Michael (VR) 5p, Debi & the Deacons (PP) 9p; (upstairs) Late as Usual (PP) 9p

SUNDAY JUNE 21

Apple Barrel: Maxwell (BL) 4p, Rollin’ Hills (BL) 8p, Andre Bouvier & the Royal Bohemians (BL) 10:30p Chickie Wah Wah: Sweet Olive String Band, Old Tyme Country & Blues (JV BL) 3p, John Mooney (BL) 6p Copeland’s Social City: Boogie Men (PP) 6p d.b.a.: Palmetto Bug Stompers (JV) 6p, Washboard Chaz Blues Trio (BL) 10p Donna’s: Donna’s Jam Night feat. Victor Atkins Trio (JV) 9p Dragon’s Den: Corrosion, the Casualties, Leftover Crack (RR) 10p Fritzel’s: the Cotton Mouth Kings (TJ) 9p Funky Pirate: Mark & the Pentones (BL) 4p, Willie Locket (BL) 8p House of Blues (the Parish): Sunday Gospel Brunch feat. Rocks of Harmony (GS) 9:30a, Johnny Lang, Michael Logen (BL) 8p Howlin’ Wolf NorthShore (Mandeville): Cajun Fais do do (KJ) 3p Kerry Irish Pub: Danny Burns (BL) 9p Maple Leaf: Joe Krown Trio feat. Russell Batiste and Walter “Wolfman” Washington (FK) 10p Palm Court Jazz Café: Sunday Night Swingsters feat. Clive Wilson and Lucien Barbarin (TJ) 7p Preservation Hall: 726 Jazz Band feat. Orange Kellin (JV) 8p Snug Harbor: Michael Wolff Trio (MJ) 8 & 10p Tipitina’s: call club Trinity Church: New Orleans Orchestra feat. Jean Montes (CL) 5p Tropical Isle Beach Club:Waylon Thibodeaux (PP) 5p Tropical Isle Bourbon: Corey Michael (VR) 5p, Debi & the Deacons (PP) 9p Tropical Isle Original: closed for repair

MONDAY JUNE 22

Apple Barrel: Sam Cammarata and Dominick Grillo (BL) 8p, Shotgun House (BL) 10:30p d.b.a.: Glen David Andrews (JV) 9p Donna’s: New Orleans Moonshiners (JV) 9p Dos Jefes: John Fohl (JV) 9:30p Dragon’s Den: Russian Mafia Band, Tiger Woods Crew, Goose, Heata (RH) 10p Fritzel’s: Tim Laughlin & John Royen (TJ) 9p Funky Pirate: Willie Locket (BL) 8p Hi Ho Lounge: Bluegrass Pickin’ Party (BU) 8p Irvin Mayfield’s Jazz Playhouse (Royal Sonesta): Bob French & the Original Tuxedo Jazz Band (JV) 8p Kerry Irish Pub: Damien Bouvier (BL) 9p Maple Leaf: Papa Grows Funk (FK) 10p Preservation Hall: Preservation Hall Jazz Band feat. Mark Braud (JV) 8p Rivershack: Amanda Walker (BL RR) 7p Snug Harbor: Charmaine Neville (MJ) 8 & 10p Trinity Church: Chapel feat.Albinas Prizgintas (CL) 6p Tropical Isle Bourbon: Partytime Band (PP) 9p Tropical Isle Original: closed for repair

TUESDAY JUNE 23

Apple Barrel: Dave Gregg & the Odd Man Band (BL) 8p, Kenny Schwartz & the Palace of Sin (BL) 10:30p

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LIVE LOCAL MUSIC Blue Nile: Rex Gregory (OR) 9:30p Chickie Wah Wah: Anders Osborne, John Fohl, Johnny Sansone (SS OR) 7p Columns Hotel: John Rankin & Friends (JV) 8p d.b.a.: New Orleans Jazz Vipers (JV) 9p Dos Jefes: Joe Krown (JV) 9:30p Dragon’s Den: Floopy Head, Birdfight, Compost Bomb, Fiction (RH) 10p Fritzel’s: Connie Jones (TJ) 9p Funky Pirate: Big Al Carson & the Blues Masters (BL) 8p Kerry Irish Pub: the Tom Paines (BL) 9p Maple Leaf: Rebirth Brass Band (BB) 10p Mid-City Lanes Rock ’n’ Bowl: Chuck Credo IV (RB) 8:30p Preservation Hall: Preservation Hall-stars feat. Shannon Powell (JV) 8p Snug Harbor: the Uptown Jazz Orchestra (MJ) 8 & 10p Tropical Isle Bourbon: Partytime Band (PP) 9p Tropical Isle Original: closed for repair

WEDNESDAY JUNE 24

Apple Barrel: Wendy Darling (AU) 8p, Andre Bouvier & the Royal Bohemians (BL) Blue Nile: call club ChickieWahWah: Jolly house, EdVolker, Reggie Scanlan, Joe Cabral, Michael Skinkus (FK JV OR) 7p d.b.a.: Tin Men (JV) 7p, Walter “Wolfman” Washington & the Roadmasters (BL) 10p Dos Jefes: Bob Andrews (JV) 9:30p Dragon’s Den: Dancehall Classics (RG) 10p Fritzel’s: Chuck Brackman and Barry Foulon (TJ) 9p Funky Pirate: Big Al Carson & the Blues Masters (BL) 8p Hi Ho Lounge: Goddamn Gallows (RR) 10p Irvin Mayfield’s Jazz Playhouse (Royal Sonesta): Irvin Mayfield’s NOJO Jam Session (JV) 8p Kerry Irish Pub: Chip Wilson (BL) 9p Maple Leaf: CR Gruver (FK) 10p Mid-City Lanes Rock ’n’ Bowl: Johnny J. & the Hitmen feat. Derek Houston (SI) 8:30p Palm Court Jazz Café: Palm Court Jazz Band (TJ) 7p Preservation Hall: Preservation Hall Jazz Band feat. Mark Braud (JV) 8p Snug Harbor: Steve Masakowski presents NOLA Nova feat. Sasha Masakowski (JV) 8 and 10p Tropical Isle Bourbon: Partytime Band (PP) 9p Tropical Isle Original: closed for repair

THURSDAY JUNE 25

Apple Barrel: Dave Gregg & the Odd Man Band (BL) 8p, Louisiana Hellbenders (BL) 10:30p Blue Nile: DJ T-Roy (RG) 11p Chickie Wah Wah: Paul Sanchez (JV) 7p Columns Hotel: Fredy Omar (LT) 8p Copeland’s Social City: Rockin’ Jerry (PP) 9p d.b.a.: Walter “Wolfman” Washington & the Roadmasters, Joe Krown, Russell Batiste (JV FK) 10p Donna’s: Donna’s Caribbean Night feat. Sunflower City Jazz Band (JV) 9p Dos Jefes: Todd Duke (JV BL) 9:30p Dragon’s Den: Bassbin Safari (RH) 10p Fritzel’s: Tom Fischer & Friends (TJ) 9p Funky Pirate: Big Al Carson & the Blues Masters (BL) 8p Harrah’s: Live Jazz in Masquerade (JV) 6p Irvin Mayfield’s Jazz Playhouse (Royal Sonesta): Johnaye Kendrick (JV) 8p Kerry Irish Pub: call club Le Bon Temps Roule: Soul Rebels House Party (BB) 11p Maple Leaf: the Trio feat. Johnny Vidacovich and special guests (FK) 10p Mid-City Lanes Rock ’n’ Bowl: Zydeco Night (ZY) 8:30p

Ogden Museum: Ogden After Hours feat. Charles Moore (JV) 6p Old Point Bar: Marc Stone & Friends (BL) 6:30p, Tony Vegas (BL) 9p One Eyed Jacks: Fast Times ‘80s Night (PP) 10p Palm Court Jazz Café: Crescent City Joymakers feat. Mark Braud (TJ) 7p Preservation Hall: Brass Band Thursday feat. New Birth Brass Band (BB) 8p Rivershack: Newspaper Levee (BL RR) 7p Snug Harbor: Kim Prevost and Bill Solley (MJ) 8 & 10p Tipitina’s: MyNameisJohnMichael, Andrew Duhon (RR) 10p Tropical Isle Beach Club:Waylon Thibodeaux (PP) 5p Tropical Isle Bourbon: Corey Michael (VR) 5p, Debi & the Deacons (PP) 9p; (upstairs) Late as Usual (PP) 9p

FRIDAY JUNE 26

Apple Barrel: Kenny Holladay & Rick Westin (BL) 8p, the Hip Shakers (BL) 11p Balcony Music Club: Fredy Omar con su Banda (LT) 10:30p Big Top: Friday Night Music Camp feat. Sugarboy (BL) 5p Blue Nile: the Revealers (RG) 10:30p Carrollton Station: the Tanglers Bluegrass Band (BU) 10p Chickie Wah Wah: Jumpin’ Johnny’s Blues Party (BL) 7p Columns Hotel: Sweet Home New Orleans Renew Our Music (JV) 5p Copeland’s Social City: Rockin’ Jerry (PP) 9:30p d.b.a.: Ingrid Lucia (VF) 6p, Good Enough for Good Times (OR) 10p Donna’s: call club Dos Jefes: Eric Traub (JV BL) 10p Dragon’s Den: Kourtney Heart (RR) 9:30p the Next Generation Brass Band (BB) 10p Fritzel’s: Chuck Brackman and Barry Foulon (TJ) 9p Funky Pirate: Mark & the Pentones (BL) 4p, Big Al Carson & the Blues Masters (RR) 8p House of Blues: Jenny Lewis, Heartless Bastards (RR) 8p Howlin’ Wolf NorthShore (Mandeville): Susan Cowsill (VF) 10p Howlin’ Wolf: Face First, Born Empty, Scraps of Life, Endall (RR) 10p Irvin Mayfield’s Jazz Playhouse (Royal Sonesta): Leon “Kid Chocolate” Brown (JV) 8p Kerry Irish Pub: call club Hurricane Refugees (BL) 9p Le Bon Temps Roule: Joe Krown (PK) 7p, Gal Holiday & the Honky Tonk Revue (CW) 11p Maple Leaf: John Gros Weekend Special (FK) 10p Mid-City Lanes Rock ’n’ Bowl: Kermit Ruffins (MJ) 10p Old Point Bar: Amanda Walker (BL) 6:30p, Bourbon Cowboys (RR) 9:30p Palm Court Jazz Café: Palm Court Jazz Band feat. Lucien Barbarin (TJ) 7p Preservation Hall: Preservation Hall Jazz Masters feat. Steve Pistorius (JV) 8p Rivershack: Space Heaters (BL RR) 9:30p Snug Harbor: Henry Butler (MJ) 8 & 10p, call club for free midnight show Southport Hall: Ratt Poison (PP RR) 10p Tipitina’s: Free Friday Series feat. 007 (MJ) 10p Tropical Isle Beach Club: Waylon Thibodeaux (PP) 5p, Willie Locket (PP) 9p Tropical Isle Bourbon: Corey Michael (VR) 5p, Debi & the Deacons (PP) 9p; (upstairs) Late as Usual (PP) 9p

SATURDAY JUNE 27

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

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JUN E 2009

LIVE LOCAL MUSIC Blue Nile: Soul Rebels Brass Band, Dr. Gonzeaux (BB) 10p Carrollton Station: Glasgow, Picardy Birds (RR) 10p Copeland’s Social City: Voodoo Funk & Soul (PP) 9:30p d.b.a.: Original 007 (MJ) 11p Donna’s: Brice Miller & Friends (JV) 9:30p Dos Jefes: Sunpie & the Louisiana Sunspots (JV BL) 10p Dragon’s Den: Dough Stackin’ Up All-stars (RH) 10p Fritzel’s: Charlie Fardella (TJ) 9p Funky Pirate: Mark & the Pentones (BL) 4p, Big Al Carson & the Blues Masters (RR) 8p House of Blues: Chee Weez (pP) 9p Howlin’ Wolf NorthShore (Mandeville): Pandemic, Saturate (RR) 10p Irvin Mayfield’s Jazz Playhouse (Royal Sonesta): Troy Sawyer (JV) 8p Kerry Irish Pub: 30 x 90 (BL) 5p, Hurricane Refugees (BL) 9p Le Bon Temps Roule: Bourbon Cowboys (RR) 11p Maple Leaf: call club Mid-City Lanes Rock ’n’ Bowl: call club Old Point Bar: Delfeayo Marsalis (BL) 5p, Johnny J. & the Hitmen (BL) 9:30p One Eyed Jacks: Ben Lee, Starlight Mints, Evangelicals (RR) 10p Palm Court Jazz Café: Palm Court Jazz Band feat. Lionel Ferbos (TJ) 7p Preservation Hall: Essential New Orleans Band feat. Carl LeBlanc (JV) 8p Rivershack: Blackened Blues Band (BL RR) 10p Snug Harbor: Delfeayo Marsalis Quintet (MJ) 8 & 10p, call club for free midnight show Southport Hall: Contraflow (RR) 10p Tipitina’s: Rebirth Brass Band (BB) 10p Tropical Isle Beach Club: Waylon Thibodeaux (PP) 5p, Willie Locket (PP) 9p Tropical Isle Bourbon: Corey Michael (VR) 5p, Debi & the Deacons (PP) 9p; (upstairs) Late as Usual (PP) 9p

SUNDAY JUNE 28

Apple Barrel: Maxwell (BL) 4p, Rollin’ Hills (BL) 8p, I Tell You What (BL) 10:30p Chickie Wah Wah: Sweet Olive String Band, Old Tyme Country & Blues (JV BL) 3p, John Mooney (BL) 6p Copeland’s Social City: Vieux Carre (PP) 6p d.b.a.: Palmetto Bug Stompers (JV) 6p Donna’s: Donna’s Jam Night feat. Victor Atkins Trio (JV) 9p Dragon’s Den: Corrosion, DJ Earl Da Pearl (RH RR VR) 10p Fritzel’s: the Cotton Mouth Kings (TJ) 9p Funky Pirate: Mark & the Pentones (BL) 4p, Willie Locket (BL) 8p House of Blues: Sunday Gospel Brunch feat. Electrifying Crown Seekers (GS) 9:30a Howlin’ Wolf NorthShore (Mandeville): Cajun Fais do do feat. Amanda Shaw (KJ) 3p Howlin’ Wolf: Battle of the Bands (RR) 10p Kerry Irish Pub: Irish session (FE) 5p, Slewfoot, Yvette and Sticky (BL) 9p Maple Leaf: Joe Krown Trio feat. Russell Batiste and Walter “Wolfman” Washington (FK) 10p Palm Court Jazz Café: Palm Court Jazz Band feat. Lucien Barbarin (TJ) 7p Preservation Hall: 726 Jazz Band feat. William Smith (JV) 8p Snug Harbor: Ray Moore & Brasilliance (MJ) 8 & 10p Tipitina’s: Cajun Fais do do (KJ) 10p Trinity Church: IX Annual Independence Day Music Festival feat. Over 200 performers (CL) 5p Tropical Isle Beach Club:Waylon Thibodeaux (PP) 5p

JUNE 2009

Tropical Isle Bourbon: Corey Michael (VR) 5p, Debi & the Deacons (PP) 9p Tropical Isle Original: closed for repair

MONDAY JUNE 29

Apple Barrel: Sam Cammarata and Dominick Grillo (BL) 8p, Butch Trivette (BL) 10:30p Columns Hotel: David Doucet (KJ) 8p d.b.a.: Glen David Andrews (JV) 9p Donna’s: Mark Braud Jazz Jam (MJ) 9p Dos Jefes: Olga (JV) 9:30p Dragon’s Den: Shotgun Silhouette (RR) 10p Fritzel’s: Tim Laughlin & John Royen (TJ) 9p Funky Pirate: Willie Locket (BL) 8p Hi Ho Lounge: Bluegrass Pickin’ Party (BU) 8p Irvin Mayfield’s Jazz Playhouse (Royal Sonesta): Bob French & the Original Tuxedo Jazz Band (JV) 8p Kerry Irish Pub: call club Maple Leaf: Papa Grows Funk (FK) 10p Preservation Hall: Preservation Hall Jazz Band (JV) 8p Rivershack: Amanda Walker (BL RR) 7p Snug Harbor: Charmaine Neville (MJ) 8 & 10p Tropical Isle Bourbon: Partytime Band (PP) 9p Tropical Isle Original: closed for repair

TUESDAY JUNE 30

Apple Barrel: Dave Gregg & the Odd Man Band (BL) 8p, Electro Kings (BL) 10:30p Blue Nile: Rajah (IR) 9:30p Checkpoint Charlie: Ruby Rendrag (RR) 7p, Shane Johns (RR) 11p Chickie Wah Wah: Anders Osborne, John Fohl, Johnny Sansone (SS OR) 7p Columns Hotel: John Rankin & Friends (JV) 8p d.b.a.: New Orleans Jazz Vipers (JV) 9p Dos Jefes: Joe Krown (JV) 9:30p Dragon’s Den: Floopy Head (RH) 10p Fritzel’s: Tom Fischer & Friends (TJ) 9p Funky Pirate: Big Al Carson & the Blues Masters (BL) 8p Hi Ho Lounge: Good Guys, Tribella, Plastic Fantastic Lover (RR) 10p Irvin Mayfield’s Jazz Playhouse (Royal Sonesta): Ed “Sweetbread” Petersen & the Test (JV) 8p Kerry Irish Pub: Chris Segar (BL) 9p Maple Leaf: Rebirth Brass Band (BB) 10p Mid-City Lanes Rock ’n’ Bowl: Los Po-boy-Citos (OR) 8:30p Old Point Bar: Westbank Mike Show (BL) 6:30p Preservation Hall: Preservation Hall-stars feat. Shannon Powell (JV) 8p Snug Harbor: the Uptown Jazz Orchestra (MJ) 8 & 10p Tropical Isle Bourbon: Partytime Band (PP) 9p Tropical Isle Original: closed for repair

LOUISIANA MUSIC ON TOUR JEFF ALBERT QUARTET Jun 13 Springfield IL Charles and Limey’s Lounge Jun 14 Chicago IL The Hungry Brain Jun 15 Chicago IL The Skylark Jun 17 Brooklyn NY Douglass St Music Collective Jun 18 Philadelphia PA Chris’s Jazz Café Jun 19 Middletown CT Fishbone Café Jun 20 Richmond VA The Camel BEAUSOLEIL AVEC MICHAEL DOUCET Jun 28 Toronto ON Toronto Jazz Festival TAB BENOIT Jun 7 Vienna VA Filene Center at Wolf Trap Jun 26 Winter Park CO Smokin Moe’s Ribhouse Jun 27 Granby CO Blues From the Top

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LIVE LOCAL MUSIC BIG AL & THE HEAVYWEIGHTS Jun 18 Hancock MS Silver Slipper Casino Jun 20 Gulfport MS The Shed BONERAMA Jun 11 Milwaukee WI Jazz in the Park Jun 14 Lancaster PA Longs Park Amphitheater JON CLEARY Jun 13-14 Rochester NY International Jazz Festival SUSAN COWSILL June 11 Houston TX Discovery Green THE DIRTY DOZEN BRASS BAND Jun 19 Spartanburg SC Music Camp Jun 20 North Las Vegas NV Blues, Brews & BBQ Jun 22 Calgary ALB Calgary Jazz Festival Jun 23 Whitefish MT Stillwater Landing Jun 24 Missoula MT Top Hat Jun 25 Bozeman MT The Filling Station Jun 27 Saskatoon SK Saskatchewan Jazz Festival Jun 30 Winnipeg MAN Jazz Winnipeg Festival GALACTIC Jun 4 Enterprise AL Bama Jam Festival Grounds Jun 6 Ozark AR Mulberry Mountain Jun 12 Manchester TN Bonnaroo Music Festival ERIC LINDELL Jun 12 Tampa FL Skipper’s Smokehouse Jun 26 Omaha NE Downtown Omaha IVAN NEVILLE’S DUMPSTAPHUNK Jun 6 Live Oak FL Spirit of the Suwannee Music Park Jun 21 Alexandria VA Oronoco Bay Park PAPA GROWS FUNK Jun 4 Falls Church VA State Theater Jun 5 New York NY Sullivan Hall Jun 6 West Chester PA The Note Jun 7 Lancaster PA Long’s Park Amphitheater Jun 11 Buffalo NY Lafayette Tap Room Jun 13 Rochester NY Rochester International Jazz Fest PINE LEAF BOYS Jun 4-5 Preston CT Strawberry Park Jun 5 Hyattsville MD Surf Club PRESERVATION HALL JAZZ BAND Jun 7 Vienna VA Filene Center at Wolf Trap SOUL REBELS BRASS BAND Jun 13 Silverton CO Jamboree Festival Grounds IRMA THOMAS Jun 14 Washington DC Duke Ellington Jazz Festival ALLEN TOUSSAINT Jun 13 Manchester TN Bonnaroo Music Festival Jun 19 St Paul MN Twin Cities Jazz Festival Jun 20 San Francisco CA San Francisco Jazz Festival Jun 22 Calgary ALB Calgary Jazz Festival Jun 24 Seattle WA Woodland Park Zoo Amphitheater TROMBONE SHORTY & ORLEANS AVENUE Jun 4 Ozark AR Wakarusa Festival Jun 5-6 Columbus OH Lincoln Theater Jun 7 Pittsburgh PA Three River Arts Festival Jun 14 Washington DC Duke Ellington Jazz Festival Jun 19 Houston TX Gulfcoast Juneteenth Festival Jun 20 Santa Barbara CA Live Oak Music Festival

Jun 21 San Diego CA Anthology Jun 23 Hollywood Ca KJazz Wine & Jazz Series Jun 26 Omaha NE Omaha Arts Festival Jun 27 Ottawa ON Ottawa Jazz Festival

vintage and custom bicycles from all around the state. There will be food, music and plenty of two-wheeled activities. 10a-4p. (985) 892-2624, www.ucmmuseum.com.

CLASSICAL

JUNE 27 & 28 Lacombe Crab Cook-off Festival: Head under the shady oak trees of John Davis Park in Lacombe for rides, live music, crab races and great food. (985) 882-3010, www.lacombecrabcookofffestival.com.

JUNE 7-28 Trinity Artist Series:Albinas Prizgintas presents this eclectic concert series every Sunday throughout June at Trinity Church, 1329 Jackson Ave. Check the OffBeat daily listings for scheduled performances. 5p. (504) 522-0276, www.trinitynola.com.

SPECIAL EVENTS

JUNE 9 Coldplay: The world-famous English rock band plays New Orleans Arena. 7:30p.

THROUGH JUNE 5 Free Music Fridays: Venture to the Mandeville Trailhead in Old Mandeville every Friday this spring for a free concert series. Check the www.mandevilletrailhead.com for scheduled performances. 5:30p.

JUNE 20 Fleetwood Mac Unleashed Hits Tour 2009: Originally formed way back in 1967, this legendary rock band is still kicking and will play the New Orleans Arena. 8p.

JUNE 6 WYES International Beer Tasting: Sample homebrews and beers from around the world at this 26th annual event. UNO Lakefront Arena. 6-8p. www.wyes.org.

JUNE 21 Dane Cook:The stand-up comedian and film actor brings his humor to the UNO Lakefront Arena. 8p.

JUNE 6 & 20 Jazz’n the Vines: Head to Pontchartrain Vineyards in Covington for an outdoor concert featuring Larry Wallace Band (6/06) and Larry Garner (6/20). 6:30p. (985) 892-9742, www.pontchartrainvineyards.com.

CONCERTS

FESTIVALS THROUGH JUNE 17 Wednesday at the Square: The weekly workday concert series brings Louisiana artists to Lafayette Square every Wednesday from 5-7:30p. Check the OffBeat daily listings or www.wednesdayatthesquare.com for a schedule of performers. JUNE 5-7 Church Point Buggy Festival: Take a trip to the “Buggy Capital of the World” for great Cajun cooking, two-steppin’ zydeco and a chance to ride in and old-fashioned buggy. www. churchpointbuggyfestival.com. JUNE 5-7 Opelousas Spice and Music Festival: Enjoy great Cajun food, live music and family fun in downtown Opelousas. www. opelousasspiceandmusicfestival.com. JUNE 13-14 Louisiana Seafood Festival: Enjoy cooking demonstrations, live music, great food and behind-the-scenes tours in the kitchens of some of the city’s most famous restaurants. 11a-7p. (504) 286-8735. JUNE 13-14 Tomato Festival: Celebrate this plump vegetable at the French Market with live music, cooking demonstrations and more. (504) 5222621, www.frenchmarket.org. JUNE 13-14 Louisiana Cajun Zydeco Festival: Head to the French Market and enjoy this festival of live music along with the Tomato Festival and Louisiana Seafood Festival. www. jazzandheritage.org/cajun-zydeco. JUNE 20 Louisiana Bicycle Festival: Make a trip out to Abita Springs to see, exhibit and ride home-built,

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JUNE 13 Sankofa Marketplace: Held every second Saturday of the month in the Lower Ninth Ward, this market features fresh produce, arts and crafts, live music, health screenings, children’s activities and more. www.sankofamarketplace.org. JUNE 19 Concerts in the Courtyard:The Historic New Orleans Collection on Royal Street hosts an evening concert featuring Steve Riley & the Mamou Playboys. 6p. (504) 523-4662, www.hnoc.org. JUNE 20 Bywater Art Market: Head to this art market for paintings, pottery, glass, furniture and more. 9a-4p. www.bywaterartmarket.com. JUNE 25-28 Ringling Bros. and Barnum and Bailey: The famous circus brings its acrobatic stunts and animals to the New Orleans Arena. 7p.

THEATER AND DANCE THROUGH JUNE 7 The Sweetest Sounds: Enjoy the Music of Richard Rogers, a celebration of the music by one of the greatest and most influential composers of all time. (504) 581-5812, www.cabaretlechatnoir.com. JUNE 5 NORD/NOBA Performance: Three local artists will perform with the New Orleans Recreation Department and New Orleans Ballet Association Center for Dance students. NOCCA. 7:30p. (504) 522-0996. JUNE 13-JULY 5 Valley of the Dolls: Running With Scissors brings to life everyone’s favorite guilty pleasure, chronicling the rise and fall of three young ladies in show business. Fri. & Sat. 8p, Sun. 6p. (504) 581-5812, www.cabaretlechatnoir.com. JUN E 2009

BACKTALK

Marcus Roberts

talks back

You’ve just released New Orleans Meets Harlem Vol. 1, a very interesting record. Vol. 1 implies that this is the first part of a larger piece. Yes, this one is concentrating just on pianists. The next one will expand the field to include Louis Armstrong, King Oliver and Sidney Bechet. There’s a lot more. You seem to be developing the theory that the music of Scott Joplin and Jelly Roll Morton flows through these other composers and players from Waller to Ellington to Monk. That’s what I’ve found from my own exploration of playing this material over the years. You see certain currents. I’ve always been interested in how people influence each other, how they tie together, and most importantly, how we can make that music translate into our own style and to my own individual approach as a pianist. Joplin is certainly an integral presence both from a folk standpoint and also because he wrote it down. It definitely doesn’t sound European, although it’s influenced by that of course. It definitely has this clear American sound. Jazz musicians were able to use a lot of those Joplin compositions for inspiration to create something unique. www.OFFBEAT.com

Photo: skip bolen

ianist Marcus Roberts has been playing with bassist Roland Guerin and drummer Jason Marsalis (who also plays with Ellis Marsalis) for more than a decade, but it’s been eight years since Roberts’ last recording, Cole After Midnight. Roberts hasn’t been idle during this time—the trio has been performing with symphony orchestras around the world, including a televised broadcast of his Gershwin arrangements with the Berlin Philharmonic. In the current project, New Orleans Meets Harlem Vol. 1, Roberts explores the roots of jazz in New Orleans and how that music relates to its later developments in New York City. In the process, Roberts demonstrates how the compositions of Scott Joplin and Jelly Roll Morton anticipated the work of Fats Waller, Duke Ellington and Thelonious Monk. He concludes the record with his own piece, “Searching for the Blues,” which is part of a larger work scheduled for release later this year. The brilliance of the Roberts trio’s romp through jazz history is that all of these compositions sound completely contemporary in the context of this recording.

You speak in terms of Morton’s swing. The rhythmic change is one of the key things that happens between ragtime and what Morton played. Jelly Roll had a very powerful and flexible view of rhythm. I think his rhythmic approach introduced the whole concept of syncopation in jazz music. For example, you might have the whole band playing and all of a sudden one instrument is playing. Or the whole notion of call and response, the interplay between the clarinet and the trumpet. I think he was able to elaborate and update the ragtime feeling to create all the basic improvisational tools of jazz. He was also able to put this in the context of this huge range of a melting pot of musicians in New Orleans, some guys who could read music, some guys who couldn’t. People with all different kinds of training, a very, very eclectic group of people, and he understood what all these people were doing. And he was the first guy who could actually write it down and show it to you. So when he went to St. Louis, the first thing he did is he wrote it all down and he taught them how to play it. He did the

By John Swenson

same thing when he went to Los Angeles. He’s a real cornerstone of our music. It’s interesting how you reference “Basin Street Blues” inside of “Jungle Blues.” That’s true (laughs). I don’t know how that happened. It was just one of those spontaneous things. That was one of the most spontaneous performances on the recording. I think there’s a comfort level that we’ve achieved as a group that allows us to really improvise with true freedom now. We’ve played long enough together that we have a lot of arrangements to work with and we have a lot of different directions we can go in. Even though you’re from Florida, you’ve played with a lot of New Orleans musicians and you really sound like a New Orleans guy now. I appreciate that. I am originally from Jacksonville, Florida but I’ve had the good fortune to play with a lot of very fine Louisiana musicians, and we do reflect in a lot of sense the sound of church or of how some guys might have played jazz as they learned it from their parents. JUN E 2009

BAC

KTA

I started to see the big approach [Monk] had, the connection between intellect and spirit, his profound approach to the sound of the piano. Why did you choose the concept of New Orleans meets Harlem as opposed to the concept of, say, New Orleans meets Chicago? I could have done that. That’s not a bad idea. I think it had to do with the fact that the music started in New Orleans and it went to various places in the country, but I think it reached what one could argue was the height of its expansion in New York. The Harlem musicians and writers reflected the apex of all of this coming together in one location. The pianists in particular; the Harlem pianists were more interested in true pianistic virtuosity. So when you look at the history of jazz piano, by the time you get to Fats Waller, Tatum and all those guys, you’re really dealing with a very refined technical approach to the piano, but they still have the spirit and the color, the feeling and modality of blues that you hear in the original jazz players. The way you’re able to deconstruct these compositions and do different things with the melodies and rearrange them on the spot feels a lot like the way Fats Waller played. Oh yeah, he was unbelievable. And he had such a beautiful rich sound. How Waller played the piano, I mean, anybody from the classical world who hears that is going to be impressed. Clearly he had fantastic training. He had fantastic rhythm and again that down home blues sound, he mixed that all together. I’ve always been interested in doing that, combining different elements like that together in a way that will move people. You include Ellington in this evolution as well. “Black and Tan Fantasy” is particularly poignant in this context because of its relationship to the New Orleans jazz funeral music, which quotes the same theme. That’s true. It’s got the quote at the end from the Chopin B flat minor Sonata, from that funeral march, so he actually took it back to Poland, I guess you could say. It’s got all those elements. He worked with a lot of New Orleans musicians, even Sidney Bechet for a brief period, so Ellington himself is a symbol of how New Orleans jazz comes to New York. It’s an interesting point you’re making because Ellington isn’t usually associated with New Orleans. Well when you look at Duke, he kind of starts at the beginning of jazz anyway. His first official band was in 1923. Pops hit New York in 1924. If you look at the convergence of all these things,

O JUNE 2009

they were taking place in the 1920s. By the time everybody starts expanding and getting into their thing, you may lose sight of the foundation, of the connection that’s there. I only know because I’ve been exploring it for a long time. To me, the turning point of the record comes on “Honeysuckle Rose” because you deconstruct it once again and then you insert a Monk phrase, suggesting Waller’s composition as a bridge to Monk. I’m glad you made that point. I’m a firm believer in using more than one style at a time and using the psychology of a style interspersed with another style. There’s no reason why we can’t take the Monk language and put that inside of Waller’s vocabulary or vice versa. In the 21st Century, jazz is going to have to build bigger relationships across the history of the music. We don’t have to stick to a 10-year period of time for our inspiration. You have to be inspired by the entire tradition. When you hear a Mahler symphony, you hear the influence of Beethoven as well as contemporaries like Brahms. You hear the full range of that tradition. We certainly should in our music take advantage of this great history. We don’t have to be restricted by it. It’s a good point because so much of our contemporary thinking tends to be technologically dominated, so much so that it almost favors the idea of the performance of the transcription or the perfect recreation of the work. I guess part of your argument is that that’s not a living approach. It’s one approach, which is not to say that it’s bad, but you have to take into account that first of all it’s impossible to recreate it with the exact nuances that inspired the original. We should be able to recreate it if we wanted to, but we should take from what we learned by studying it and recreating it and be inspired by that in a genuine, personal way. We end up with both. Some parts of it may make sense to be played exactly as it’s displayed in transcription, and then other things need to be changed and developed. That’s my belief; that’s what I’ve always intended to do. There is a whole school of New Orleans jazz so faithful to the recordings they “play the mistakes.” That’s true. The beauty of jazz is that you can play it any way you want to. It’s not for me to dictate to people which way you should do it.

You obviously have an affinity for Monk’s music. When I started trying to play those compositions in my early 20s I had trouble playing them, but somewhere it just clicked and I started to see the big approach he had, the connection between intellect and spirit, his profound approach to the sound of the piano. He was a real influence. His compositional style, his tonal style, his improvisational style have all played a huge role in my approach to composing and playing. You suggest a strong connection going back from Monk through Ellington and Jelly Roll. I’ve always believed that. Monk, to me, comes right out of Duke Ellington. I think his first record for Riverside was Duke Ellington compositions. He loved Duke Ellington. Monk was able to match this really innocent, child-like sound with a very profound, human sound. There’s a slice of life in his playing. He always said that he was interested in finding as many ways to syncopate as he could. I agree with him. I try to play things on the other side of the beat, play different harmonies, put chords half a step up or below. Even the form itself sometimes is a little off, and that creates a syncopation. And of course his melodies are entrenched with syncopation. Monk is like a modern Jelly Roll Morton. If you were going to pick guys and say here’s what sounds like jazz because it definitely doesn’t sound like anything else, you could definitely pick those two guys and not go wrong. Is your composition “Searching for the Blues” a kind of summation of this theme? It is a summation because it’s got the swing element and the sort of bebop nomenclature, but in the slower section there’s that Latin tinge that Jelly Roll always talked about. When I look at that piece, all of those influences are in there. It felt like a good way to end the record. It says it’s part of a suite of music. Are we going to hear the rest? Oh yes, this year. It’s been 8 years since I put the last one out, but it won’t be 8 years between this one and the next one, I’ll tell you that. I have a whole bunch of stuff ready to come out. I feel real good about where we are and what we’ve achieved. It feels like a real good time to start putting out more of our music. O www.OFFBEAT.com