REVIEWS

gruff vocals on “I Asked for Water.” Smith’s playing on Hooker’s “Locked Up in Jail (Prison Blues)” deviates from the predominant muscular sound with trancelike passages and a dangling, suspenseful ambiance.

While most of the guests reside outside the Pelican State, Broussard made the excellent decision to include Acadiana’s Roddie Romero. Among the bigger-name guitarists, Romero holds his own with his riveting, gutbucket playing on “Cuttin’ In.” Lyrically, it’s the album’s most vivid storyline: a guy breaking up a dance to patch things up with his girlfriend.

All this sets the stage for Broussard’s authentic, souldrenched pipes. They’re the kind that comes around once every generation, a throwback to the killer R&B-soul crooners of the ’60s and ’70s. Comparisons to Bobby Womack aren’t that farfetched, and even though that era is now a gone pecan, Broussard couldn’t have captured it any better. This is the path he should stay on.

—DAN WILLGING

Krasno Moore Project Book of Queens (Concord Jazz)

Soulful, contemplative and full of warmth, drummer Stanton Moore and guitarist Eric Krasno’s first-ever studio recording sees the frequent collaborators tackle instrumental renditions of songs made famous by a range of women vocalists, from

Amy Winehouse to Kacey Musgraves to Nina Simone.

Working alongside Hammond B3 organist and keyboardist Eric Finland— with cameos by Branford Marsalis, Cory Henry and Robert Randolph—Krasno and Moore are at their best here when they lean into the ’60s soul-jazz organ trio tradition, opting for slow-simmering grooves over big, burning solos. It’s a subdued aesthetic, particularly given Krasno and Moore’s respective work in their more jam-oriented projects Lettuce, Soulive and Galactic, but it gives each player space to stretch out without detracting from pushing up against a thick and rolling beat. Taken together, the dynamic creates a layer of tension that feels more playful than the drama embedded in Winehouse’s darker original. Later, on the Marsalis-assisted “Fever,” the saxophonist’s first batch of warm, round tones complement Krasno’s bluesy riffs before things change direction and Marsalis takes the reins, pitching the tune into new, fiery territory. Henry’s contribution—he trades trombone for keys on Brittany Howard’s “Stay High”—is a highlight, too, replete with laidback, sunny grooves that give way to a climactic finish. The standout, though, is the gospel and blues-drenched take on “I Wish I Knew How It Would Feel To Be Free.” the album’s overall balanced trio sound. The organ trio vibe—particularly the lack of a vocalist—also opens new musical doors, highlighting unexpected elements of some songs and casting new light on others, courtesy of shifts in mood or rhythm.

Written by Billy Taylor but largely associated with Simone after the stirring cover she recorded for 1967s Silk and Soul, the tune welcomes pedal steel guitarist Robert Randolph to the mix, layering soaring peels of sound to close the album with a freedom that doubles as a trip to church.

The opener is a case in point. A dreamy, psychedelic version of Winehouse’s “You Know I’m No Good,” Krasno and Moore’s take features a reverb-heavy melody

It’s a bit odd that a recording billed as a celebration of women in music features only men, particularly given the album’s multiple guest spots. And some of the more pop-centric covers, like Billie Eilish’s “Lost Cause,” never quite find their footing. But between the open feel of the material here—and the additional guest artists who’ve surfaced on Krasno and Moore’s spring tour—the project seems designed with room to grow.

—JENNIFER ODELL O

Jazz Fest is here, and while it’s common knowledge that there are plenty of food options on the grounds, sometimes it’s nice to venture out and experience some of the other fantastic food that New Orleans has to offer. Whether you’re in the mood for fine dining or a breakfast that will get your day started on the right foot, we have you covered with some “can’t miss” food spots that are sure to satisfy your hunger.

NEW HIGH-END RESTAURANTS

Dakar NOLA: 3814 Magazine St., 504-493-9396 Chef Serigne

Mbaye’s Dakar NOLA offers a beautiful and unique Senegalese tasting dinner menu. The menu changes daily but is always authentic Senegalese food. Past dishes include Akara, Gulf Fish a la Senegalaise, and Thiebou niebe.

MaMou: 942 N. Rampart St., 504-381-4557 Chef Tom

Branighan and sommelier Molly Wismeier opened this French brasserie on Rampart Street late last year. Here you’ll enjoy exquisite French dishes in a cozy space. The menu includes Gulf Fish ‘Court Bouillon,’ Escargot Tartlet, and Poisson a la Florentine.

Yakuza House: 2740 Severn Ave., 504-345-2031 Chef Huy Pham delicately molds and shapes nigiri and hand rolls right before your eyes at Yakuza House. With traditional practices and a menu to match, Yakuza House is as close as you can get to authentic sushi in New Orleans, and your meal here will be memorable.