OffBeat Magazine Jazz Fest Bible 2019

NEW ORLEANS MUSIC, FOOD, CULTURE—APRIL 2019

CONTENTS TA B L E

O F

50 YEARS OF JAZZ FEST

Our 50th Anniversary Jazz Fest Bible cover was created by Baton Rouge-based painter and muralist Ellen Ogden. “Look for beauty, y’all; it helps elevate every moment and calm the mind,” she says. Her work for our 2019 cover captures well the Jazz Fest’s feast of visual, aural and kinetic beauty.

For more of Ogden’s artwork: facebook/ellenogdenart

9 Mojo Mouth

A message from the publisher.

10 Fresh

Five Questions with Cleopatra Welch, a nine-year-old’s perspective of Katy Perry; Smithsonian Folkways releases Jazz Fest box set; Winter Circle Productions: Bringing new flavors to the gumbo; Dewey Balfa Cajun and Creole Heritage Week.

18 Vintage Jazz Fest photographs from our readers.

22 Musicians Memories

Recalling 50 Years of Jazz Fest.

42 Dignity In His Sound

Wynton Marsalis talks about the Buddy Bolden movie.

50 Are you missing the Rolling Stones?

Here’s our conversation with Keith Richards to help ease the pain.

56 King of the French Accordion Jimmy Breaux and Johnny Sonnier pay tribute to Aldus Roger.

58 Slightly Risqué,

But Never Vulgar

Maria Muldaur’s tribute to Blue Lu Barker.

28 Sympathy for Jazz Fest

60 Doing What’s Right

30 Thriller

62 Astral Plane

34 What Does A New Orleans

66 John Fogerty

Has the Fest lost the collective link to its identity?

Alfredo Rodriguez and Pedrito Martinez bring their history to the stage.

Music Industry Actually Mean?

Guest editorial by Scott Billington.

38 A Long Road to the Center Amy Helm follows her father Levon.

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Nesby Phips & Curren$y preserve hip-hop’s place at Jazz Fest.

David Lasocki’s five-volume series about Astral Project.

Living in His Own Head

68 Louisiana Dance Party for Children

Johnette Downing and Scott Billington’s swamp romp.

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p. 72

p. 148

72 Secret Agent Man

Johnny Rivers’ funky go-go rock.

76 Jazz Fest Stage Schedules and Map

94 Jazz Fest A to Z

All you need to know is in our Jazz Fest Guide

98 110 122 128 134 140 148

Fest Focuses

Boukman Eksperyans Keith Burnstein’s Kettle Black Ragtime to Jelly Roll featuring Lars Edegran and Kris Tokarski Lulu and the Broadsides The Messy Cookers Jazz Band Monk Boudreaux T’Monde

154 Restaurants We Love

A Jazz Fest guide to places we like to keep to ourselves.

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p. 190

157 Restaurant Review

Review by Theo Schell-Lambert reviews Molly’s Rise and Shine.

160 Reviews

Quiana Lynell,Tom McDermott, Woodenhead, Soul Brass Band, Sam Price & the True Believers, Herlin Riley, Marc Stone, Noah Young, Branford Marsalis Quartet, Christian Scott ATunde Adjuah, Alexey Marti, Dwayne Dopsie & the Zydeco Hellraisers and more.

172 The 24-Hour

Jazz Fest Challenge

Brett Milano tells you how to hear music 24-7.

174 Listings 190 Backtalk with Mavis Staples OFFBEAT. COM

Louisiana Music, Food & Culture

Jazz Fest Bible 2019 Volume 32, Number 5 Publisher and Editor-in-Chief

Jan V. Ramsey, janramsey@offbeat.com Managing Editor

Joseph L. Irrera, josephirrera@offbeat.com Consulting Editor

John Swenson Layout and design

Eric Gernhauser, Danika Andrade (Stage Schedules) Listings Editor

Katie Walenter, listings@offbeat.com Contributors

Scott Billington, Stacey Leigh Bridewell, Michael Dominici, Bill Forman, Robert Fontenot, Herman Fuselier, Jeff Hannusch, Raphael Helfand, Jay Mazza, Amanda Mester, Brett Milano, Jennifer Odell, John Radanovich, Theo Schell-Lambert, John Swenson, Christopher Weddle, Michael Patrick Welch, Dan Willging, John Wirt, Geraldine Wyckoff Cover ART

Ellen Ogden Web Editor

Amanda “Bonita” Mester, amanda@offbeat.com Videographer/Web Specialist

Noe Cugny, noecugny@offbeat.com Copy Editor

Michael Patrick Welch, michael@offbeat.com Advertising Sales

Melinda Koslowsky, tutti@offbeat.com Camille A. Ramsey, camille@offbeat.com Advertising Design

PressWorks, 504-944-4300 Interns

Mia Fenice, Lucy Foreman, Catie Sanders Distribution

Patti Carrigan, Doug Jackson OffBeat (ISSN# 1090-0810) is published monthly in New Orleans by OffBeat, Inc., 421 Frenchmen St., Suite 200, New Orleans, LA 70116 (504) 944-4300 • fax (504) 944-4306 e-mail: offbeat@offbeat.com, web site: www.offbeat.com /offbeatmagazine Copyright © 2019, OffBeat, Inc. No part of this publication may be reproduced without the consent of the publisher. OffBeat is a registered trademark of OffBeat, Inc. First class subscriptions to OffBeat in the U.S. are available for $65 per year ($70 Canada, $140 foreign airmail). Back issues are available for $10, except for the Jazz Fest Bible for $15 (for foreign delivery add $5) Submission of photos and articles on Louisiana artists are welcomed, but unfortunately material cannot be returned.

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mojomouth A Note From Publisher J an Ramsey

Photo by KIM WELSH

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Jazz Fest Hits 50

was a teenager living in another state when the first New Orleans Jazz Fest & Heritage Festival was born. Both my parents were born here, but my daddy picked up and moved his wife and eight kids to another state for a job promotion.

We were the first of our dyed-in-the-wool New Orleans families to relocate, and it certainly had an impact on us kids: we were in Arkansas; it was a non-Catholic, law-abiding, non-drinking, hilly, snow-inthe-winters, small Southern Wesley Schmidt town kind of place. Living in Little Rock definitely changed my “world” view, so to speak.

One thing the move didn’t change, though, was my love of music. I had started listening to the transistor radio when I was a little kid and got into New Orleans R&B that was on the AM waves back then: Fats, Irma, Chris Kenner, etc.

Then I picked up my little brother’s Gibson guitar and dove into learning to play.

Have always been a music lover—of all kinds, too. But when I got back to New Orleans for good, I discovered the Jazz Fest.

Wow. A feast for the ears, the eyes, the tastebuds, the senses—the vibe was fantastic because everyone who went to the Fest was like me: a damn music freak. We loved the music and loved each other for loving the music.

And I’m still into music (obviously), although the old bod can’t party like she did. I do want to let you guys know that just because she has white hair and a cane, this old music broad used to be a serious party animal, but also one who was more attuned to the music than the

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partying (I’d go to music clubs and bars for the music, not so much to get wasted). I feel the same way about the Jazz Fest: music first, camaraderie second.

It’s amazing that the Jazz Fest has grown and endured for so long. It’s changed, of course, and the issues that promoters had with booking the major headliners this year (the cancellation of the Stones and then Fleetwood Mac) demonstrate that the Jazz Fest founders’ musical era will soon be coming to a close. It has been a stunning 50 years.

So it goes.

But it must continue.

I just pray that local musicians and those players (and music biz types) who are drawn to New Orleans realize how very special the music and culture is and keep it going into perpetuity. It’s a treasure that cannot, must not, be lost.

As I write this I would like to also pay tribute to my old friend and a true music lover, Wesley Schmidt, who passed away today (April 12). Talk about full of life and music!

Wes was the owner of Snug Harbor, after he bought it from its previous owner, George Brumat. I met Wesley a long time ago—maybe at the infamous Luigi’s near UNO?—I know not how or where (we were both too drunk or stoned to remember, I’m sure), but he was the most delicious, fun, intelligent guy. We knew each other for over 30 years, well before OffBeat was a reality. He was one of the original M.O.M.S. ball organizers, led countless performances and second lines with the Storyville Stompers Jazz Band: a lovely man who will be missed by every person who knew him.

Wes, doll, this Jazz Fest is ever for you. O O F F B E AT J A Z Z F E S T B I B L E 2 0 1 9

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No Bucket, No Beer Smithsonian Folkways releases Jazz Fest box set.

One of the hottest items in the record stores at Jazz Fest this year will be the 5-CD set Jazz Fest: The New Orleans Jazz & Heritage Festival, a compilation of live tracks that cover the history of the festival, released on the Smithsonian Folkways label. In keeping with the Folkways tradition, the selections concentrate on Louisiana music, as opposed to the high profile celebrities that have headlined the festival in recent years.

The tracks, dating back to 1974, include performances

by Professor Longhair, Allen Toussaint, Snooks Eaglin, Dr. John, Irma Thomas, the Neville Brothers, Kermit Ruffins, Champion Jack Dupree, Beausoliel, Deacon John, Boozoo Chavis, the Zion Harmonizers, John Boutte, Earl King, the Golden Eagles Mardi Gras Indians with Big Chief Monk Boudreaux, the Wild Magnolias Mardi Gras Indians with Big Chief Bo Dollis, and pianist Henry Butler. It’s an impressive list, even if some essential pieces are left out—Eddie Bo and the Radiators jump immediately to mind.

The box set also includes a 135-page book of photographs from the archives of the New Orleans Jazz & Heritage Foundation, The Historic New Orleans Collection, and independent photographers, historical essays by journalist Keith Spera and author Karen Celestan, a retrospective of the music heard at Jazz Fest by Robert H. Cataliotti, and notes

by Jeff Place and Huib Schippers of Smithsonian Folkways, New Orleans Jazz & Heritage Foundation plus archivist Rachel Lyons, WWOZ’s Dave Ankers, and Jon Pareles of the New York Times.

“We are simply delighted with this collaboration,” says Smithsonian Folkways director and

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curator, Huib Schippers. “It immediately made sense to us as soon as we started discussing it. There is a compelling and beautiful synergy between the first fifty years of this iconic music festival, and a 70-year-old record label committed to documenting and celebrating this country’s sound legacy, and keeping it available in perpetuity, in whatever format, for a listenership of 230 million and growing. We are so pleased that we can bring some of the amazing sounds and sights and impressions from New Orleans to both new and familiar audiences.”

The discs have rough themes: jazz on disc one, then New Orleans blues, soul, gospel and R&B on discs two and three. Cajun, zydeco, and big stage cameos from the Nevilles and Allen Toussaint populate disc four, while more big stage offerings from the likes of Clarence “Gatemouth” Brown and Big Freedia take up disc five. When it’s over, you might have to check your bucket.

—John Swenson

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Photo by David Simpson

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Dewey Balfa Cajun and Creole Heritage Week Twenty years of learning Cajun and zydeco at home.

Once upon a time, the best way to learn Cajun music and zydeco was to leave Cajun and zydeco country. Master musicians from the homeland, meaning southwest Louisiana cities like Lafayette and Opelousas, were star teachers at cultural camps in West Virginia, Washington, and other faraway states.

Glenn Fields, who grew up in Baton Rouge and became interested in Cajun music, was surprised to find that people outside of Louisiana shared his passion. “[Fiddler] Kevin Wimmer was teaching at Ashokan, a camp up in the Catskills,” says Fields, a former drummer with the now-defunct Red Stick Ramblers.

“That’s how I met Jay Ungar and Molly Mason.

“That was the first time I had been to camp and the first time I met other people who weren’t from here but who played Cajun music.

They weren’t just interested in dancing;They played the music. It was kind of shocking.”

Fields now serves as executive director of Louisiana Folk Roots, a nonprofit that keeps the master instructors at home and brings students to the source. Folk Roots hosts the 20th Dewey Balfa Cajun and Creole Heritage Week from May 5-10 at Chicot State Park, just north of Ville Platte.

Named in honor of a Cajun fiddling pioneer and cultural advocate, the Balfa Camp features six days of classes in accordion, fiddle, guitar, rubboard, vocals, and dance. Instructors range from multipleGrammy nominees like David Greely and Cedric Watson, to a beloved legend named “Bird,” a.k.a.

Paul Edwards of Eunice, Louisiana. “Bird” can’t read

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sheet music, but his rubboard and drumming skills have taken him around the world, and made him a camp favorite.

Willie Durriseau, a 101-year-old Creole fiddler who was uncovered last year in Opelousas, is scheduled to this year spend an afternoon with campers. Each evening of Balfa Camp ends with a public dance, which includes Camper Karaoke. Individual campers perform on stage with professional musicians.

“A camper can play with an all-star band that was put together by our staff members,” says Fields. “For one or two songs, they get to lead the band or do whatever they want.

It’s one thing to play in a jam session and another thing to play on stage. This throws them in the fire.You have to have your stuff together. That’s a challenge we haven’t seen at Balfa Week before.”

Fields has also matched campers with legendary musicians in bands that play for dance classes. While the instructors are teaching new dance steps, the masters share life stories with the band.

“It creates these little bonds that you don’t otherwise get a chance to have,” says Fields.

“When I’d go teach at Ashokan, I’d play an hour-long dance class alongside an 80-year-old fiddler from Oklahoma. He would tell stories about what it was like to see Bob Wills and Hank Williams, and play on trail rides. That was my favorite part of the whole thing.You’re not going to get that any other way.”

—Herman Fuselier

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Bringing new Flavors to the Gumbo Winter Circle Productions

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2012 and 2015. “And we started taking things really seriously,” DiPasquale says. “Our relationships with the venues changed. We were booking a lot more shows at Republic, and then the Joy Theater came online.”

Winter Circle Productions today produces shows at the recently upgraded Joy Theater courtesy of Winter Circle Productions

The BUKU Music + Art Project, the swarm of nighttime shows, plus Bassik, the electronic dance music series that’s been throbbing in New Orleans since 2010—all are brought to this city by Winter Circle Productions.

Founded in 2009 by music fans Dante DiPasquale and Reeves Price, Winter Circle Productions was ready to take the Buku plunge into festival production by 2011. The next year, the two Tulane University graduates staged their first BUKU festival.

Not long after, DiPasquale, Reeves and Winter Circle Productions made a major move, by entering into partnership with AEG, the international sports and live entertainment company that’s also a partner of the New Orleans Jazz and Heritage Festival.

“Our end game was never to join an AEG or Live Nation,” DiPasquale says of the AEG-WCP partnership, “but after we met the AEG team, it just felt right. The partnership happened naturally. With AEG having one of their largest festivals, Jazz Fest, in our market, it made sense for them to have an office in New Orleans.

They saw BUKU’s potential and we’d just signed a deal with the Joy Theater, which is a great 1,200-capacity room. It fit their plan.”

“By that time,” DiPasquale says, “we’d identified a niche—contemporary music, EDM, and hip-hop. We thought there was room for a more contemporary festival here in New Orleans and in the region.”

The fledging BUKU grew rapidly between

on Canal Street and other local venues. WCP’s 2019 Jazz Fest-timed events include Phil Lesh and the Terrapin Family Band (April 25 and 26 at the Joy), Gov’t Mule (April 27 and May 4 at the Orpheum Theater), the Word featuring John Medeski, Robert Randolph, and Luther Dickinson (April 28 at the Joy), the String Cheese Incident (May 3 and 4 at Mardi Gras World), and My Morning Jacket front man Jim James (May 5 at the Joy).

“We thought the preservation of New Orleans music was in good hands,” Price says, “with the great things the Jazz and Heritage Festival Foundation and Tipitina’s were doing.

So, for us, it was about the next step. We brought new flavors to the gumbo.”

—John Wirt

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SOUNDCHECK

Five Questions with Cleopatra Welch, a nine-year-old’s perspective of Katy Perry.

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black dress. And I also loved the performance: this giant inflatable hand came out of the stage, and it had stairs going up into the palm, and she like walked up there, did a few dance moves, Photo courtesy of the artist

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once disliked modern radio pop music, from Puff Daddy to Taylor Swift. But now that I have two young daughters, I think of that iHear tRadio junkfood music as made for kids, and suddenly it seems benevolent. Little girls, like my four and nine year olds, need their own music! And in that respect, I believe Katy Perry does a good job being a sor t of kids-strength Beyonce.

My older daughter Cleopatra loves Katy Perry. So, I thought it appropriate to interview this 9-year-old expert, who’s already seen her fav live in concert once, last year at the Smoothie King Center.

Cleo and I first watched some live concert videos, which looked pretty amazing, stage wise even though Perry seemed to sing only half the words to her songs. After the videos, I asked Cleo what Perry’s fans should expect from her at Jazz Fest, and what fuels Cleo’s own love for “Kitty Purry.”

What can people expect from Katy Perry at Jazz Fest?

The costumes are amazing, and her songs are so good. And sometimes she picks people from the crowd, and they like, play giant basketball.

Her stage show was very cool. But she only sings half the words…

At my concert she sang ALL the words! And she had three or four costume changes, but the [stage setup] changed like every song. When she sang “Firework,” she had a long white and

then the hand deflated—it was cool.

What does Katy Perry like, mean to you?

If it weren’t for Katy Perry and her song named “Roar,” I would probably like dogs more than cats. Instead I like cats. Because of her.

Wow. That’s not nothing! Now, Jazz Fest is different. I don’t think she’ll be able to do all those stage changes and stuff. I think she might go the other way, and do like an acoustic set because it’s Jazz Fest.

I would like that. But I wouldn’t like that as much.

I have to ask one last time though: you really think her dancing and singing were as good as her stage show?

She was good at the dance moves, but her singing was amazing. You feel the way you do because you’re a 45 year old. And I’m a nine year old.

—Michael Patrick Welch

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Jazz Fest MOMENTS

Capturing the Moments Do you remember your first Jazz Fest?

Over the last five decades we’ve all gathered treasured memories: dancing in the pouring rain and mud, great sets by Longhair, Earl King, Booker, the subdudes, Irma, the Neville Brothers or

Trombone Shorty (appearing together this year).

Our subscribers, who mostly learn about OffBeat from picking up a copy at Jazz Fest, shared some of these photos with us. We thought we would share them with you. Happy Jazz Fest!

Bobby Bland, 1979 Photo by Paul Harris

Dr. John, circa 1970s Photo by Lindsey Shannon

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JAZZ FEST BIBLE

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Jazz Fest MOMENTS

Clifton Chenier, circa 1970s Photo by Lindsey Shannon

Al “Carnival Time” Johnson, 1979 Photo by Paul Harris

James Booker, 1979 Photo by Paul Harris

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JAZZ FEST BIBLE

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Jazz Fest MOMENTS

Clarence “Frogman” Henry, 1979 Photo by Paul Harris

Barbara Lynn, 1979 Photo by Paul Harris

Little Freddie King, circa 1970’s Photo by Lindsey Shannon

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JAZZ FEST BIBLE

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Jazz Fest MOMENTS

A young Geno Delafose, right, 1991 Photo by MJ Mastrogiovanni

Anders Osborne, circa 1990’s Photographer Unknown

Irma Thomas, 1979 Photo by Paul Harris

Champion Jack Dupree, 1991 Photo by MJ Mastrogiovanni

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JAZZ FEST BIBLE

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50 Years of Jazz Fest

Celebrating 50 Years of Jazz Fest t’s safe to say that everyone who has performed, attended or even worked at the New Orleans Jazz & Heritage Festival over the last five decades remembers distinctly individual experiences. Especially during the “Jazz Fest season,” which begins with the first announcement of the line-up and carries through until the Fairgrounds’ gates close, a favorite topic among festgoers is the great sets of the past, funny predicaments along the way, bitter sweet moments of goodbye and, of course, the weather. Remember dancing in the pouring down rain to the magical musicianship of guitarist and Earl King?

Storms, downpours and mud are topics that pop up quite often among the artists who are Irma Thomas at the 2006 Jazz Fest.

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interviewed here about Jazz Fest, many of whom performed at the very birth of the event, held at Congo Square and the Municipal Auditorium.

Could anyone have conceived its eventual expansion? Back then, George Porter remembers thinking that that it would be “cool” if this “gig,” a festival focused on Louisiana artists, made it.

The nighttime concerts aboard the Riverboat President, often overlooked during these particular conversations, must also be mentioned.

People would scramble for tickets for the early or late shows—or sometimes buy both—to cruise up the Mississippi, enjoying performances by some of the world’s most renowned artists. It’s almost impossible to believe that early on, fully-loaded ice chests were allowed to be brought onboard.

An aim for many was to try to be on the top deck as the riverboat passed under the Mississippi River Bridge without missing a note of the shows.

A special personal moment onboard the President came for this writer when the entire crowd heading down the riverboat’s gangway following a spectacular set by the Sun Ra Arkestra chanted, “Space is the place! Space is the place!”

So magical.

It was also somehow fascinating to observe that, when the oh-so-soulful vocalist Bobby “Blue” Bland and his great ensemble (which was often bookended by two guitarists, most notably Wayne Bennett and on occasion Clarence Hollimon) performed, the front three rows in the President’s concert area were filled with all women. Go get ’em Bobby!

Like all those interviewed, OFFBEAT. COM

Photo by Clayton Call

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by Geraldine Wyckoff

50 Years of Jazz Fest

I’ve experienced numerous musically memorable moments withProfessor Longhair, Fats Domino, Wayne Shorter, Sonny Rollins, Ornette Coleman, the World Saxophone Quartet, and the Leaders, to name only a few. One act definitely stands out as the most outrageous: guitarist/vocalist Ironing Board Sam performing in a Plexiglas tank filled with water. All day before his “dive,” we looked at that tank and laughed hysterically with a touch of fear mixed in with the giggles. “Man, I hope he doesn’t electrocute himself.” He didn’t, and he’s back to perform this year. This time, presumably, he’ll stay on terra firma.

So, what are some of the most memorable moments at Jazz Fest for the artists who’ve made major contributions to its success? Here’s how some of them remember the times.

Irma Thomas (vocalist) “The one memory that’s kind of comical in a sense, was the year that Stevie Wonder played after the storm. I was out there, just as a fan going to see the festival, and I was sitting on the side of the stage. Someone told him that I was there, and Stevie called me on stage and we sang the song by him that I covered, ‘Shelter in the Rain.’ After I sang ‘Shelter in the Rain’ with him, I became a star to my grandchildren. All of a sudden I was somebody. Before that, I was just mama. I also once did ‘Bridge Over Troubled Water’ with Paul Simon.”

Thomas’ first appearance at the Fest was in 1974 when she did a walk-on with Tommy Ridgley’s band. The next year, she “officially” played with him at Jazz Fest. “When I moved back to city in 1976, I formed my own back-up band, and I’ve performed at Jazz Fest ever since.

What I appreciate about the Jazz Fest, and what was important to many of us New Orleans and Louisiana artists, was that we were in our waning years, and by playing the festival it brought us out of the cobwebs. It brought us up front. It’s making the world aware of the arts of New Orleans. I hope Jazz Fest grows and continues to grow and grow. What I also appreciate about Jazz Fest is that it doesn’t matter if you’re performing in a wheelchair, on a stool, or if you’re standing; if you are a viable artist and you can do your thing, they will hire you. And that’s what’s important, to be wanted. They make all of the local people feel wanted.”

Cyril Neville (percussionist, vocalist and former member of the Meters and Neville Brothers) OF F B E AT. COM

“My fondest memory of the Jazz Fest was on the Fess Stage, with the Neville Brothers, Big Chief Jolly and the Wild Tchoupitoulas, and Big Chief Pete of the Black Eagles. That was a magical day.

That was the first time we [the brothers] played Jazz Fest, and at that point we weren’t even the Neville Brothers; that was the Wild Tchoupitoulas. That never happened before, and it never happened again. Any one of the closing shows that the Neville Brothers did though, every one of them was special.

“I first came to the Jazz and Heritage Festival with James Caroll Booker in a white Bentley. We got off of that track and drove through the crowd, passing reefers out of both windows as we drove up to the stage he was on. He was passing them out one window and I was passing them out the other. [When he got to the stage] he got out of the car, took a bow and played his set. At that point, me and him was just hangin’. He was my friend.”

Johnny Vidacovich (drummer) “I remember one time, me, [James] Singleton, and David Torkanowsky were hired to back up Snooks Eaglin. There was a wooden stage with bleachers on both sides, and a big puddle of mud in the middle. We were waiting for David T. Snooks didn’t bring a guitar chord or a case or anything. He kept asking, “Where’s David? Where’s David?” So it’s downbeat time, ‘Ladies and gentlemen…’ All of a sudden I looked out through the crowd, and I could see across this big giant mud puddle, David running towards the stage. So, he hits the mud puddle, man, and he falls in, but he jumps up keeps running, and comes up with one shoe on and jumps up on the stage.

“We’d go out there all day. We’d park the car behind the stage and you’d pull your drums out, pull your beer out, pull your girl out. I remember playing solo drums in 1977 and I had to follow James Black! I remember playing with Earl Tubinton, with me and [drummer] Brian Blade.

That’s when the tent was over on the other side [in the infield].

“My oldest memories are when I was really young and I had long hair and a beard, back around 1973. I played with Willie Tee and the Souls, with Earl Turbinton and George Davis. I had my eyes closed and we were playin’ hardcore hometown funk. All of a sudden the microphones fall, the stands fall. I opened my eyes and I was surrounded by feathers, and there were about O F F B E AT J A Z Z F E S T B I B L E 2 0 1 9

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10 Indians dancing and beating on cowbells and tambourines. The whole thing turned chaotic. It was like I opened my eyes and I was in a kaleidoscope.”

George Porter (bassist, vocals, leader of the Runnin’ Pardners and original member or the Meters) “I have at least 50 memories. Probably one of the most amazing things that I was involved in was two maybe three years ago on the Acura Stage. It was a horribly rainy day and we, the Runnin’ Pardners band, went on stage and the rain came back when we were performing. The stage manager told me, ‘Man you can quit any time.’

I remember looking out into the audience and seeing these people standing out there in the mud and the rain with their little plastic hats and stuff on. I told the guy, ‘As long as they’re standing out there, I’m going to stay up here.’

“At my very first Fair Grounds performance, Stevie Wonder came out and played with the original Meters. We closed out that stage and Fess [pianist/vocalist Professor Longhair] was playing at Allen Toussaint at the 2005 Jazz Fest.

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another stage—we had like a 15-minute window.

Zig [drummer Zigaboo Modeliste] and I went and played with Fess—it was the first time I played with Fess in public.”

Porter remembers viewing the early incarnations of Jazz Fest as being like an experiment: “The idea of growing this into a real event, it was like a test if that could happen. I think we all, as players, thought, ‘Wow if this gig did happen it would be cool.’ ” Kermit Ruffins (trumpeter, singer and leader of the Barbeque Swingers) “I would have to say, my first festival was in 1985, playin’ the parade with the Rebirth [Brass Band]. I was maybe 20 years old. I remember sitting in the grass in the open field—it was a picnic kind of feel—and I was layin’ on the tuba, and there were all these freaking photographers.

The whole band brought their families, theirmamas and aunties. It was a big deal. We we’re playing the freakin’ Jazz Fest! The parade was super special. We knew the members of the social aid and pleasure club in the parade, and that added to the fun and the whole party.

Before that, I might have been to the festival with my school one year, but not an experience like that. I can remember the feeling of that parade, the vibe that we had. It was life-changing.

“One year, I was lucky enough to have [bassist] Walter Payton hire me with his band.

I was a fan of “The Young and the Restless,” and they had this girl in the show, a superstar, Victoria Rowell. When I got off the stage, [Rowell] ran up to me and said, “You were great!

Great!” I said, “I’m playin’ tonight at Joe’s Cozy Corner with Walter Payton,” and she came and hung in the hood with us for like three days.

“I had the time of my life last year too, going for the first time to every day of the Jazz Fest. I never did that because it’s always too hot and too hectic. I saw Lionel Richie and Anita Baker. I went every day because I got a Brass Pass OFFBEAT. COM

Photo by Clayton Call

50 Years of Jazz Fest

50 Years of Jazz Fest

forhelpin’ out WWOZ.” James Rivers (saxophonist, singer, bagpipe player) “The first couple of years I played with Deacon John’s band, the Ivories. When I left [his group] in 1971, I started my band and I’ve been doing it ever since. I love playing at the Jazz Fest—Jazz Fest could be once a week. When it first started, it was like a regular gig. My first year at the Fair Grounds, I was leading the James Rivers Trio:me, [keyboardist/ organist and gospel great] Sammy Berfect, and drummer/singer John Wright, and then it became the James Rivers Quartet when I added a guitar. The reason I called it [the larger ensemble] the Movement was because of the variety of music I played.” Rivers then mentions being a bagpipe player since the mid-1970s.

“People were amazed, seeing this black guy playing bagpipes, and playing jazz and blues at that.

Rufus Harley, he’s the president of bagpipes, and I’m the vice president. I don’t wear no kilt. You’re not going to put a dress on James Rivers. You’d have to pay me a whole lot of money.”

Deacon John (singer, guitarist bandleader of the Ivories) “The one memory that fixes in my head was when Stevie Wonder jammed with the Meters.

Everybody remembers that.

“Years ago, when they used to have the River Tent shows, Etta James invited me to sit in, and we were singing a song, and I sat on Etta James’ lap, yeah! I think it was on, ‘When Something Is Wrong with My Baby.’ Oh, this is a good memory too! They had the River Tent, and I had the perfect song, because my signature song was, ‘Many Rivers to Cross.’ So, this was when they’d just come out with wireless microphones. I made my entrance through the audience with the cordless microphone, and I was shakin’ people’s hands, and everyone was lookin’ around like, ‘Where’s Deac?

Where’s Deac? I hear him but I don’t see him.’ ” Ellis Marsalis (pianist, composer, educator) Marsalis’s involvement with the Jazz Fest began when jazz historian/Hogan Jazz Archive curator, Dick Allen, asked him to work with fest founder/ producer, George Wein, to identify local musicians to play the festival. “So I wouldn’t get in the middle of nothing,I said to the musicians, ‘You give me your best price, and I’m gonna give it to George.’

“Everybody who played at the Municipal Auditorium got 45 minutes, and there was 15 minutes for set up. I remember Willie Tee was

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singing and the audience liked what he was doing, and then the curtain just closed. Willie said, ‘Man, I was just getting’ to my stuff.’ I said [sarcastically], ‘Welcome to New York; nobody don’t know nothin’ about that.’

“One year, it was really hot out there, so I bought a white straw hat. I call it my Jazz Fest hat.

The only time I ever wear it is at the festival.”

CJ Chenier (accordionist, vocalist, composer, and leader of the Red Hot Louisiana Band) “The main thing I remember was my very first time performing at Jazz Fest with my dad [the late, great Clifton Chenier]. I didn’t know what the festival was all about. We pulled up on the grounds with the van and trailer, and he would set up his own PA system because he didn’t trust the festival’s PA system. It was just incredible to look out at that audience—he played on the main stage—and see all those people having a good time. That was just amazing to me at the age of 21 years old, to see all of that happening.

“In the beginning, I didn’t know how I was going to feel being on the stage with my dad and my uncle [rubboard master Cleveland Chenier], because I was the baby of the band. But it was all-natural, because Cleveland was so friendly, and my father knew I didn’t know anything. So they all had patience with me, and that made me feel comfortable.

“Jazz festival is one of the most incredible places. I’ve played there every year except when it was rained out.

“Another good time recently, was when we did a tribute to Buckwheat [meaning zydeco great, Buckwheat Zydeco] after he had passed. Before that, I’d sat in with Buckwheat when the festival did a tribute to him.”

Andrew Jackson Sr. (leader of the Rocks of Harmony) “I like the improvements at the Gospel Tent,” says Jackson, the leader of the Rocks of Harmony group, which has been praising for over 60 years, and boasts 10 original members. “At first, we didn’t have a place to change clothes at the festival; only the out-of-town groups had [dressing rooms]. There used to be water up under the tent, and we’d be out there in the mud while we sang.

It’s so beautiful now, you don’t have no kind of problems like that. “[Gospel Tent coordinator] Sherman Washington was the prime reason that we were out there; he was like a brother to us. Every time OFFBEAT. COM

we go [to Jazz Fest], we get a first-class reception.

I think the audience likes the upbeat songs we do.

We’ve met beautiful people at the festival and have been offered to go overseas. Now we’re known as the Legendary Rocks of Harmony.”

Rev. Louis Dejan (gospel matriarch of the Johnson Extension) Dejan led the Gospel Inspirations, which was populated with students from McDonogh 35 High School, which, at the time, was right down the street from Congo Square, where the festival was initially held. Dejan’s daughter, Pamela Landrieu, pulled it all together and formed the group. “First it was a struggle, because not many people knew about the festival,” says Dejan, who leads the Johnson Extension, which currently boasts four generations of her family. “Matter of fact, they brought a band all through the Treme and brought the neighborhood people in to see what was going on. But we were there ’cause all the kids knew us from school, so they came out anyway.

There was a small wooden stage with a piano on it in a tent. I started contacting other schools and got them on the festival. It’s been a wonderful experience for me.

“When we go to the Jazz Fest, we go to inspire people we don’t just go to have people clap and dance. There’s a message to our music. If there’s no message, there’s no reason for us to come.”

Lars Edegran (pianist, bandleader of the New Orleans Ragtime Orchestra) “One exciting memory was when I got to perform with [legendary pianist and composer] Eubie Blake. He came to hear us at Preservation Hall, and then he came to perform with us [Ragtime Orchestra] and we played some of his compositions. I was honored to meet him.

Also, I met George Wein at the first festival and he offered us to play at [Newport Jazz Festival], which we did in 1971. The first Jazz Fest was small, so you knew everybody in the audience. Then there were artists like Duke Ellington, Mahalia Jackson, and Kid Ory. I got to meet and play with many musicians.

“I thought the jazz festival was a great idea. I got to hear people that you wouldn’t normally hear, like Professor Longhair and [guitarist] Snooks Eaglin. In the early years, when there were kind of a lot of unique blues artists—I’m very much into blues—like Big Joe Williams and Roosevelt Sykes, I was able to hear them. I also heard a lot of great Cajun music. It’s been an amazing run.” O OF F B E AT. COM

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EDITORIAL

Sympathy for Jazz Fest Has the Fest lost the collective link to its identity? he Rolling Stones have been a lightning rod for controversy throughout their career. During the 1960s the group’s management cultivated a dark image: the bad boy antithesis of the Beatles. Devil iconography appeared on the cover of the single release of “Jumping Jack Flash,” from the album Their Satanic Majesty’s Request, which promoted the theme of, “Sympathy for the Devil.”

The developing power of the band’s music gave teeth to the myth that there was some kind of Faustian bargain going down. It all added to the legend, but it came at a price. The band was hounded by authorities, who believed the myth even more than the fans, and drove the Stones out of England. Founding member Brian Jones died under mysterious circumstances after bonking his head on the bottom of a swimming pool. And then in a paroxysm of bad karma, the Stones managed to overturn the myth of peace and love branded by Woodstock with the gruesome stabbing at the Altamont festival: a vision of chaos and death captured vividly in the best rock documentary ever made, Gimme Shelter.

The New Orleans Jazz and Heritage Festival inherited part of the Woodstock myth, becoming a symbol for a place where music and culture brought people together in a spirit of social harmony. Instead of a peace symbol, the image of a joyous, nonviolent second line parade became the festival’s trademark.

In a way, Jazz Fest producer Quint Davis tried to negotiate with the opposing festival myths of

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peace and chaos, by bringing the Stones to Jazz Fest for the 50th celebration of the signature New Orleans event. If the Stones could play in this fairytale setting without the kind of crowd violence that has never occurred in a half century of Jazz Fest, then all the vestiges of negativity surrounding the band would be removed.

Illustration by L. Steve Williams

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by John Swenson

But the idea produced a different kind of imbalance. The festival has always relied on a collective identity, the strength of Louisiana culture, with seven or eight days of music, food and crafts all sharing equal weight. Ticket prices were uniform day-to-day, even when big-ticket names started to be added to the lineup. Part of the festival’s strength was that the presence of Bob Dylan, Stevie Wonder, Bruce Springsteen or Aretha Franklin on the bill didn’t mean you had to pay more than on a day when lesser-known but equally valued musicians were featured.

The price of bringing in the Stones was to OFFBEAT. COM

upset that balance. By creating a special day for the Stones with tickets roughly double what they usually cost, Jazz Fest created an imbalance with its own sense of equanimity. The Stones immediately reverted to lightning rod status. Many griped about the ticket costs, or about the fact that the special day tickets sold out so quickly that access to the festival was limited for the first time. If you wanted to see Glen David Andrews or Mavis Staples you had to pay the same big-ticket price as Stones fans. Even worse, the cornucopia of music and stages all going at once were to be shut off for the first time ever, in order to make the Stones the only musicians playing from 4:30 to 7:00.

Over the years, the festival has had a charm for averting and overcoming disaster. Extreme weather had cancelled entire days and truncated others. The inundation of the Fair Grounds host site after Katrina postponed horse racing for a year, but did not stop the festival from resuming on schedule. In the end, an unsexy medical emergency caused the Stones to cancel their No Filter tour, and upended the Jazz Fest apple cart.

For the first time, festival organizers came face-toface with intractable decisions regarding single day refunds and a wholesale juggling of the lineup.

The lightning hit hard. Stones fans were naturally devastated and many just cancelled their trips to New Orleans. Refunds required Solomonic wisdom that could never satisfy everyone. Rumors of “Who will replace the Stones?” went viral when the simple truth became clear: no one could totally replace the band, not with the special ticket pricing. Most unhappily (and predictably), social media became inundated with the schadenfreude of people making gleeful remarks about the perils of growing old. The fact that Mick Jagger got ill at 75 and could not make the tour became cause for derision. Maybe rock ’n’ roll is just a young person’s game, but music isn’t, as so many greats of Louisiana music have proven right here at Jazz Fest.

What worries me, though, is that perhaps Jazz Fest has reached a tipping point; so many of its bedrock figures are gone, and so many more are unable to perform. Won’t it lose some collective link to its identity? I don’t have to make a list of who we’ve lost, but just consider who else has dropped out since this year’s lineup was announced: Jerry Lee Lewis, Jimmy Cliff, Bob Seger.

Those defections were noted, but taken in stride.

It wasn’t until the Stones cancelled, that lightning struck. O OF F B E AT. COM

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Alfredo Rodriguez and Pedrito Martinez

Saturday May 4, Cultural Exchange Pavilion, 2 p.m.

Thriller

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Alfredo Rodriguez and Pedrito Martinez bring their history to the stage. by John Radanovich in 2006. Stunned by Rodriguez’s skills, Jones not only helped his resettlement in Los Angeles, he also lent his own studio production skills to the pianist’s recordings—leading to a Grammy nomination for arranging and solo on the song “Guantanamera” from his second album, Invasion Parade. Pedrito Martinez also played percussion on that record, which helped form a fast friendship between the two.

Twelve years older than his Duologue counterpart, Martinez landed in Union City, New Jersey, in 2000 and founded the great Photo courtesy of the artist

he second-Saturday Jazz Fest appearance by Havana-born pianist Alfredo Rodriguez and percussionist Pedrito Mar tinez marks a visit by two of the most talented musicians in the world, in an unusual yet satisfying duo format, suppor ting a new record, Duologue, produced by Quincy Jones.

Another creation of the enviable Cuban conservatory system, Alfredo Rodriguez was encouraged to leave Cuba by Quincy Jones, when they first met in Montreux, Switzerland

Pianist Alfredo Rodriguez, left, and percussionist Pedrito Martinez

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Alfredo Rodriguez and Pedrito Martinez

Latin funk band Yerba Buena. That year he not a conga player or drummer, but I do have appeared in the documentary Calle 54. the sounds in my head,” Rodriguez explains.

Martinez, a Santeria priest, has since become “When I did the arrangements in my kitchen,” a session man for absolutely everyone in he continues, “I had to use spoons, cooking jazz, pop, Latin, and funk genres. He speaks of utensils, trash cans.” Later in the studio, the two acquiring his vast knowledge of Afro-Cuban worked their way through the pianist’s ideas. religious rhythms literally on the streets in The title song is a tour de force of melody, his Havana Cayo Hueso neighborhood. For a counterpoint, and polyrhythms.

Santeria drummer, this knowledge can mean The men also cover the Celina González memorizing hundreds of toques (rhythms), Cuban classic “(Yo Soy) El Punto Cubano,” voicings, and inflection—on the three-headed Martinez leading with his supple voice. Still, the (or six, to be more precise) bata alone. Along two musicians aren’t nostalgists, and are keen to with this percussion training he practiced broaden their reach. singing to the Orishas, or Always experimental Yoruba spirits.

“Quincy Jones highly in his own recordings, The duo’s concerts Rodriguez says of recommended we do Alfredo are filled with jokes and this record, “We are trying laughter—often initiated ‘Thriller,’ ” one of the to bring our roots in a by the funny guy in their way. We’ve been great producer’s own different comedy duo routine in the states for 10 and 20 (Pedrito). Martinez also fills successful historical years, and yes we do bring the performance area with history to the stage,” he studio productions, our his various percussion instrusays. “But it’s not just about ments: conga, bata, cajón, Cuba—we are thinking after hearing the cymbals, high hat (struck globally.” theme song to “Super more with his hands), and snare Indeed, breathing new drum. On a small stage, life into Michael Jackson’s Mario 3.”

Martinez, with his boxer’s “Thriller” is one of their physique, looks rather crowded in by all the surprises, fearlessly done as a Cuban timba— various tools of his trade, and has to switch the aggressive, funkified Cuban form of son. position often to tap out parts on bata, before The producer “asked if I could do ‘Thriller’ going back to conga, and then to the cajón, etc. because I’ve been doing timba transformations When he does use his snare drum, Martinez of songs,” Rodriguez says. plays it barehanded, gently coaxing softer Martinez remembers it a bit differently: sounds out of the drumhead. Unlike American “Quincy Jones highly recommended we do jazz drummers like Philly Joe Jones, who played ‘Thriller,’ ” one of the great producer’s own with his hands on occasion, Martinez never successful historical studio productions, after uses sticks. His effortless drumming and his hearing the theme song to “Super Mario 3.” own magnetism naturally lead to comparisons Martinez says that after a Rodriguez social with the late Chano Pozo. Because the piano media post about the video game went viral, “I is a percussion instrument, and a great Cuban said we have to put that song on the record.” It pianist like Rodriguez lives by his interplay became of the many musical Easter eggs hidden with the drummer, the two are able to have a in Duologue. rhythmic conversation using practically any song Not only is this year’s Jazz Fest visit a first they choose. for Alfredo Rodriguez, it is his first ever trip The entire 11-song recording testifies to two to New Orleans--whereas Pedrito Martinez absolute masters of every Cuban form and knows the city well from past appearances. rhythm, and each song contains the couraWhile the duo plan to soak up all things geousness of Rodriguez’s bold piano arrangeNew Orleans, “The history, the rhythms, the ments; he first captured melodies and rhythms food, everything,” says Martinez, fans of piano, on his iPhone, and sent the demos to “Pedrito,” percussion, and Cuban music, will be soaking in who immediately started composing lyrics. “I’m one of the best concerts of the year. O

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GUEST EDITORIAL

What Does A New Orleans Music Industry Actually Mean?

by Scott Billington We all want the New Orleans’ music scene to not only as a self-sustaining background for other grow and prosper, which means that musicians make businesses, but as a business unto itself that has enough money to live at least a middle-class (if not the potential to deliver a far greater benefit to the better) lifestyle, and that we have a strong music New Orleans economy. business infrastructure to not only support local In a business that often requires no physical musicians but to also be players in the international footprint, it is certain that many dollars generated music world. This is a thoughtful guest editorial by

by New Orleans music are going to out of state experienced music industry producer, A&R Director, companies—managers, booking agents, record musician, educator and three-time Grammy-winner companies, publishers, attorneys, etc.—although Scott Billington on the potential for developing the it may be argued that all of these businesses music industry in New Orleans. Billington has also are employed by musicians who are looking for received the OffBeat Best of The Beat Award for the best opportunities. It is also easy to point Lifetime Achievement in the Music Business.—Jan out musicians, from Louis Armstrong to Harry Ramsey.

Connick, Jr. to Jon Batiste, who have moved elsewhere to maximize opportunity. We really don’t have the infrastructure here. Or do we? n my 35-five-plus years of working in the In reality, there has always been a steady and New Orleans music business, first as a persistent music business in New Orleans. Many producer and A&R person for Massachunational and international acts are drawn to New setts-based Rounder Records, and more recently Orleans to rehearse and record. The city now as a locally-based producer, educator and boasts several world-class recording studios (along musician, I’ve seen a number of initiatives for the with many top-rate smaller rooms), several highly development of a New Orleans music industry qualified music attorneys (some with clients from come and go. While the marketing of New Orleans as a music business destination may have other parts of the country), many ambitious and creative artist managers, one of the best music been improved in those years, the realization of industry education programs in the country, and, New Orleans as a Nashville-scale center for the surprisingly, a new record pressing facility. Many of music industry has remained elusive, even as our these businesses are driven by highly motivated music remains a diverse cultural resource that entrepreneurs who have few other cities can claim. learned on the job, or by It is gratifying, then, to see apprenticing with others. the creation of the New However, there’s one Orleans Music Economy major factor that is missing, Initiative by Greater New especially when New Orleans Orleans, Inc., which, according is compared to Nashville, to Michael Hecht, president because New Orleans is not and CEO of GNO., will offer a hit-making center, and the “an action plan, as well as sound of New Orleans is not a full economic assessment generally what anyone would of the current and potential call a mass-market commercial impact of the music industry property, in spite of our in Greater New Orleans.” vibrant live music scene. Look Perhaps it is finally time to at Nielsen Soundscan figures perceive New Orleans music

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Photo by Noe Cugny

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(which include digital streaming) for many of the city’s most emblematic artists, and you’ll be pressed to find any that have exceeded sales of 25,000 copies. Perhaps the city’s last big hit was Li’l Wayne’s Tha Carter IV, which sold 2.5 million copies in 2011.

Nothing on a similar scale has followed.

During the Fats Domino/Little Richard era of the 1950s, and again during Allen Toussaint’s rule in the 1960s and 1970s, New Orleans generated hits. These records were mostly produced for national labels, although the city never had a shortage of creative indie operators. During the 1980s and 1990s, labels such as locally-owned Black Top and NYNO, among others, and my own employer, Rounder, continued to record the best New Orleans talent, both legacy and new artists.

The Jazz Fest-driven obsession with New Orleans music and a friendly network of national media and record stores meant that sales were sufficient to pay studios and musicians, and often to make a profit. Now, the record stores and the media are mostly gone (with the notable exception of several excellent local shops and this publication!).

Nashville, on the other hand, remains a hit-generating and song-based culture. Publishing companies sign writers and set up collaborative writing sessions. The songs are pitched to A&R people and artists who get them recorded, employing local musicians, studios and mastering engineers. The record companies generate hits by promoting the music to the substantial number of radio stations that play country music. While the Nashville sound may now be more varied than it once was (with Americana-based artists balancing the pop sound of contemporary country music), the bar for musicians and the overall professionalism of the business there is high. It’s a complete circle, serving a large and steady marketplace.

What, then, does New Orleans need to develop its music economy? Tech-driven distribution companies such as Tunecore and CD Baby have opened the digital marketplace (and the remaining niche physical market) to everyone. The performing rights organizations—BMI, ASCAP and SESAC, all with Nashville offices—collect royalties for traditional radio and other song performances, while international publishing companies such as Kobalt Music administer song rights and collect performance royalties from around the world for very reasonable fees. The government-sponsored Sound Exchange collects royalties from digital radio, and anyone can sign up for free. Could a New Orleans company do one of these jobs better, or could one OF F B E AT. COM

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GUEST EDITORIAL

of the above businesses see the value in opening an burning, and we now have the New Orleans Jazz office here? I’m not convinced.

Museum (one of the best listening rooms in the I would argue that what we need is a true city), but the large scale with which other cities songwriting culture. That’s exactly what Dave showcase their music is missing. Further, few Bartholomew and Allen Toussaint brought to the venues present new talent which may not fit the table in their day—taking the sounds of the culture New Orleans template. Is there a possibility of itself, in its manifestation of the day, and adding the a performing arts complex that would give our element of universally appealing songs. It’s what music its due, and pay musicians a fair wage?

Bob Marley did with reggae—taking dancehall There certainly are more questions than music and using it as a foundation for songs that answers. Could there be a New Orleans podcast spoke to the world. Songs are the foundation upon or TV show that would showcase our immense which everything else is built. It’s not that we don’t pool of talent? Could we have our own New have great songwriters, but Orleans music trail, with a map, “... few venues that the connection between markers and streaming playlist? songs and the other parts of present new talent Could a new local record the business is missing. It’s what galvanize the scene which may not fit company Nashville, and, to a lesser extent, by bringing writers, musicians, Atlanta, Los Angeles and New the New Orleans singers, producers, engineers, York, have. Certainly, the door studios and mastering template. Is there recording seems open for pro-active local facilities together? Could music publishers who could New Orleans music support a possibility of a nurture a songwriting aesthetic additional music supervisors, performing arts and make connections with video directors, graphic artists, artists and record companies. complex that would photographers, publicists, social Education is also a critical media managers, and other give our music factor that may be missing. professionals? In the era of There is no reason that any streaming, can we find new its due, and pay New Orleans musician should to steer people toward musicians a fair wage? ways not currently be receiving all our music? due royalties, whether from airplay, streaming, public In many ways, though, a provincial attitude may performance of songs, sync use, and other sources. be wrong, because a real New Orleans music It’s a matter of knowing how to put these revenue industry would serve artists, songwriters and other streams in place. Of course, the music has to be music creators from around the world, as, to some something that people want, and the challenge of extent, it already does. And, in an era when physical getting any music heard can be formidable without location means less and less, a culture that delivers focused marketing and promotion. the absolute best service in every area is what will There is also the question of venues in which bring more music business here. That’s what our music is not used simply as an accompaniment most successful attorneys, managers, musicians, for partying (even if the joyous sounds of songwriters, recording studios and engineers have New Orleans music are often perfect for that). done, often following passion before profit. The Nashville certainly has its version of Bourbon New Orleans Music Economy Initiative is a step in Street, on Lower Broadway, but it also has its the right direction, but we also need to recognize substantial institutions—the Grand Ole Opry, the the very real infrastructure that we already have, Ryman Auditorium and The Country Music Hall and build from there, one song at a time. O of Fame. Memphis has the Stax Museum, Sun Scott Billington has won three Grammy Awards Studios and myriad destinations for music tourists. as a producer of Louisiana music. In addition, he is The Austin City Limits television show partially led a Trustee of the Memphis Chapter of the Recording to the branding of that Texas city as “America’s Academy, an instructor in the music business Live Music Capital.” Mississippi welcomes travelers program at Loyola University, and a music business to “The Birthplace of America’s Music,” and has consultant. As a musician, he performs regularly funded the Mississippi Blues Trail. with his wife, the children’s musician, songwriter and Many New Orleans nightclubs keep the flame author Johnette Downing.

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Amy Helm Thursday, April 25, Gentilly Stage, 1:25 p.m.

A Long Road to the Center Amy Helm follows her father Levon

by Brett Milano

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same kind of throw-and-go sound to them (She also covers “Mandolin Wind” onstage).

Motel Shot is one of those records where you can hear that everyone just picked their instruments up and started playing—they didn’t think too much about arrangements, they just sang when it was their turn to sing. There’s kind of an abandon there, where the only thought Photo courtesy of the artist

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my Helm has been a notable artist in her own right for a couple of decades now, but when she performs there are times she can feel her late father, The Band’s great singer/drummer Levon Helm, looking over her shoulder.

“There’s something that everyone who played with him can remember, and they called it ‘the Look’—you’d get it when you weren’t playing something just right. He was an older guy who’d paid his dues in spades, and when you saw that expression it meant, ‘Get that note back in tune!’ He was a strong influence and I feel that he keeps me on the straight and narrow, lest I stray from the rhythm section.”

Amy first appeared in New Orleans during the late ’90s, as part of the house band when Levon owned his Classic American Cafe on Decatur Street. She joined the roots band Ollabelle in 2004, and has since begun rocking in earnest, with gospel-infused vocals and open-ended jamming onstage. She worked with star producer Joe Henry on her latest album, This Too Shall Light, recorded over just a few days.

The Band is certainly on her list of influences—the album even covers “The Stones I Throw,” a pre-Band, Levon & the Hawks single—but her sense of musical history runs a bit deeper. She says that she and Henry patterned the new album on Motel Shot, a Delaney and Bonnie release from 1971 that also had a strong Southern gospel feel.

“We listened to that one a lot, along with a lot of early Rod Stewart tracks that had the

process is What does this song feel like? In that spirit, we recorded the whole album in four days, and we didn’t do more than two or three takes of any song. Joe asked me not to spend too much time singing, so I wouldn’t have too much familiarity with the songs.”

Though Amy is still in her 40’s, most of her reference points come from slightly before her time; her live show includes a killer version of the Dave Mason song “Only You Know and I Know” (which Delaney and Bonnie also had a hit with). “If you grew up in a certain time, some singers were always going to be part of your DNA,” she says. “For me it was Aretha Franklin—I heard her at age 14 and that was OFFBEAT. COM

Amy Helm

it, the game changer. In high school, I liked it all: the Rolling Stones, along with the Beastie Boys. But the rock and roll that spoke to me was more the classic kind.” Ollabelle’s run in the 2000’s paved the way for a good number of roots bands who took a more somber acoustic approach. “I hope so,” she says. “And as you get older, you have a certain clarity when you look back. Ollabelle was an unusual project, and one that inspired musicians of a certain type over time.”

Still, Helm says, she’s never been much of a record collector. “I know some of my stuff, but I’ve also gleaned a lot from my friends.

Everybody has that one friend who can win the Pepsi challenge when it comes to knowing all the deep cuts, and I’ve got a few like that.

But the things I do know are inspiring to me.

I finally succumbed to the streaming thing and got Tidal, which is better than the rest at paying artists. And the good thing for me is that all these catalogues are wide open in terms of what you can discover. Now I get my ten-year-old running downstairs and shouting

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things like ‘Mom, have you ever heard of Smokey Robinson?’ It’s like entering another planet.”

She still thrives on collaboration; earlier this spring she toured with North Mississippi Allstars leader Luther Dickinson in his spinoff project. “He did an album with a bunch of different ladies—it’s called Sisters of the Strawberry Moon, which sounds like the most psychedelic thing I’ve ever been part of.”

The project began as a celebration of female energy, she says, adding, “But there’s a lot of dude energy there as well.” When time allows, she also hosts her father’s Midnight Ramble in Woodstock musical get together, which has found her jamming with a number of artists, some of whom--like Maria Muldaur, Taj Mahal, and Little Feat--are also performing at the Fest this year. “I love to bring artists together and create an event where you can have a lot of collaboration and chemistry. When you have a bigger band, you have more opportunities to get those moments happening. I guess that what I really love,” she admits, “is a party.” O

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Coming in 2019 PAUL SANCHEZ

also available on ITunes and CD baby

Stew Called new Orleans, 2009

live at Papa roux, 2010

Jet black and Jealous, 1992

Wasted lives & bluegrass, 1994

loose Parts, 1998

bridging the Gap, 2010

nine lives, 2011

reclamation of the Pie-eyed Piper, 2012

Paul Sanchez

I’m a Song, I’m a Story, I’m a Ghost The fInal full album releaSe Ten new songs by best of the beat awards winner in: 2018 allen Toussaint Song of the Year “One more Trip around The Sun” best roots rock album best roots rock artist

2017 Songwriter of the Year

2016 best Country/folk/Singer-Songwriter artist

2014 Songwriter of the Year

2009 Songwriter of the Year best Country/folk/roots rock album Song of the Year - “Stew Called new Orleans”

aVaIlable aT lOuISIana muSIC faCTOrY

Sonoma Valley, 1999

hurricane Party, 2000

live at Carrollton Station, 2000

between friends, 2007

exit to mystery Street, 2008

everything That ends begins again, 2014

heart renovations again, 2016

life is a ride, 2016

One more Trip around the Sun, 2018

between friends and me, 2018

Wynton Marsalis

Sunday April 28, WWOZ Jazz Tent (Ellis Marsalis Family), 5:40 p.m.

The Dignity of His Sound Wynton Marsalis talks about the Buddy Bolden movie. ynton Marsalis describes the movie Bolden, which is directed by Daniel Pritzker, and will be released on May 3, as a “mythical account” of New Orleans cornetist Buddy Bolden.

“The man is mythical; we don’t have recordings of him, we only know what people say Buddy Bolden was like, but nobody really knows,” says the Grammy-winning trumpeter and composer who acts as the film’s executive producer and who composed and performed on its soundtrack, which will drop on April 29.

Marsalis is also heard playing the cornet when actor Gary Carr is depicted blowing the horn. He switches to the trumpet when Louis Armstrong, played by Reno Wilson, enters the picture. “This is not a historical drama or a biopic,” Marsalis reiterates.

“Dan [Pritzker] had a vision of Buddy Bolden and of those times, and it deals with different issues. It’s not a sanitized version that makes Buddy Bolden seem like he was a preacher.”

Cornetist and bandleader Bolden, who was sometimes referred to as King Bolden, was born on September 6, 1877, and gained a city-wide reputation for his musical talents and the strength of his blowing.

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He struggled with mental illness for much of his life and died in the Insane Asylum of Louisiana, on November 4, 1931 at the age of 32.

“When I was growing up I heard his name.

I heard people talking about him,” remembers Marsalis, who around 1980 read author Don Marquis’s highly researched biography of Bolden, Photo by Clay McBride

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by Geraldine Wyckoff

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Wynton Marsalis 1978’s In Search of Buddy Bolden: First Man of Jazz. you going to argue with Jelly Roll Morton, Louis “I love his book, and him,” Marsalis offers.

Armstrong—we could go on and on, the list is Though Marsalis has been deeply involved with endless. Why waste time on that besides the fact the movie, he is quick to point out that Bolden is that it’s fun to talk about something in a heated the producer, Daniel Spritzer’s project. “He called fashion especially if there’s no proof and there’s me to see if I was interested in doing it,” Marsalis not going to be a resolution to it.” explains. Of course, he was.

“Yea, I think New Orleans was well repreLikewise, the movie isn’t based on Marquis’s sented in the movie,” Marsalis reflects. “You could book, though it certainly played a very important see that it was the city and the places and the role as an authoritative factual reference. Pritzker people, yea. The movie is so internal, and it’s really also consulted with the author. about the interaction of the characters, but still The importance of the film to you know you’re in New Orleans.”

“Most of the the New Orleans audiences who Marsalis was gratified that have long heard about the legend director Pritzker “let the music play” greatest jazz in the movie; and love the history of their city is Marsalis felt that, too musicians paramount. Knowing that Buddy often in films about jazz, the music Bolden, who used the music to bring to take a back seat. came from tends joy to his people and community, will “Dan knew a lot about the be shared with the world also brings New Orleans. material, he did a lot of research, and a certain satisfaction.

Michael White of course It’s like the [clarinetist] “I think it makes people aware of knows a lot about this material. We earliest bones talked for years about what Bolden that history, and that a man named Buddy Bolden lived and he created played. His repertoire, it’s not like that were the music that he believed in, that it was mysterious; he played music found were from the church, hymns, he played dealt with issues of freedom and negotiation of a group,” Marsalis marches, he played ragtime.” from Africa.” lightPerhaps offers. “That’s made clear in the surprisingly, many of the movie. There are racial tensions in tunes on the soundtrack were newly America that are still with us today. written by Marsalis for the project.

Destroy their souls and they destroy themselves.

The familiar classics that appear, songs like “Tiger The movie also made it clear that Buddy Bolden Rag,” and “Basin Street Blues,” were arranged by didn’t grow up in a playground. This isn’t Walt the trumpeter for an ensemble that included Disney. several musicians from New Orleans, including “It also sheds a light on mental health issues, Marsalis, White, reedman Victor Goines, and because Buddy Bolden lost his mind—and that guitarist/banjoist Don Vappie. is a fact—and mental health is an issue today for “I play loud on it,” says Marsalis of one of the many people. So, I think it’s good for it to be the ways he approached the cornet with Bolden in subject of something. How a guy with that level of mind. King Bolden boasted a huge reputation for creativity ended up.” That subject is also focused on blowing the instrument hard. in the fictionalized novel based on Bolden, Michael “What I was doing, I actually idealized his Ondaatje’s 1976’s Coming Through the Slaughter. sound—no you can’t recreate it,” Marsalis says of Following the publication of Marquis’ biography what is heard in the movie and on the soundtrack. on Bolden, there seemed to be a change of “What I tried to do is composite three trumpet heart by many who had argued that New York players who I know were influenced by him. The or Chicago was the birthplace of jazz. The movie first assumption is that the person who invents a might finally seal the deal that New Orleans owns style is going to play it better than the people who the rights to that claim. come right after them. People could play after “Most of the greatest jazz musicians came [saxophonist] Charlie Parker but he played his from New Orleans,” Marsalis states. “It’s like the style better than them. [That’s true] throughout earliest bones that were found were from Africa. time. Armstrong, Monk, you can go on and on.”

If you want to go back and forth about it [jazz’s “A person who can barely play is not going to be birthplace] you can and it’s fun to do that. Are called the king in New Orleans where people could

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Wynton Marsalis play. Buddy Bolden was called king at a time when people could play, in a city where people played a lot of music.That means to me, he could play.”

“He also invented more than trumpet parts.

That’s why they called him the guy who invented jazz. When he talked to musicians, he was talking about more than the trumpet. If that weren’t the

case, he wouldn’t have had that kind of status. He would have just been a good instrumentalist.”

“Another thing, the people who came right after him and actually heard him and competed after him, they could play. Look at who they are, people like Freddie Keppard. People would have a tendency to think that since Buddy Bolden was

Don Marquis on Bolden the Movie “I think the movie [Bolden] accepted that Buddy Bolden was just a man,” says Don Marquis, the author of the New Orleans cornetist’s definitive biography, In Search of Buddy Bolden: First Man of Jazz. “He wasn’t a genius. He was just a man who played the cornet and who played a certain type of music that very few people were playing at the time. It was the creation of a new era.”

Marquis, a jazz historian and retired curator of the Louisiana State Museum, was meticulous in his research in preparation for writing the book, which was first published in 1978, with a revised edition published 2005. No facts entered its pages without verification, and he put to rest many of the tales and rumors that had long been told about Bolden, and even printed as true in other publications. No, Buddy Bolden wasn’t a barber, though he did hang around barbershops in his Central City neighborhood.

“In general, it’s a good following of the book,” says Marquis, while allowing that “movies are different than books.” His knowledge and insights on Bolden naturally were sought by the movie’s director, Daniel Pritzker.

“I think it brings Bolden more out in the open, and shows what he actually did, the problems he had, and the contributions he made to the music,” Marquis says “The movie presented actual places in New Orleans.

Mahogany Hall came to life, and representa-

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tions of his neighborhood--Perdido Street, South Rampart Street, and Lincoln Park--were made authentic. It was obvious that this music, jazz, was put together in New Orleans.” Brass brands were a big part of the beginning of jazz, and Bolden performed mostly for dances, parties, and outdoor concerts.

They said that people came out of the church dancing when he played.

“The movie also emphasizes what things were like in the 1930s when Louis Armstrong was playing, and trying to remember what he thought Buddy Bolden sounded like,” says Marquis “I think it does a good presentation of the man. At the time the word ‘jazz wasn’t yet invented.”.

Marquis’ book includes wonderful, personal quotes by the few folks who were privileged enough (and well, old enough), to hear Buddy Bolden, like the “little fella” in Plaquemine who lent Bolden his “pot metal” cornet when the valves were stuck on Bolden’s horn, making it impossible to blow.

There are also copies of birth and death certificates, and a copy of Bolden’s admission certificate into the Insane Asylum of Louisiana, often referred to as “Jackson” in the book.

“The first time he was arrested for insanity, he was listed as a musician, but the next time he was listed as a laborer,” says Marquis “It was obvious he was out of music and out of life. In those days, if you went to a place like Jackson, especially if you were a black person, it was a one-way trip.”

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from a black area uptown, he was not harmonically sophisticated. Not harmonically sophisticated?

Environment doesn’t lead to those conclusions.

King Oliver is a direct descendent of Buddy Bolden. He heard him all of the time and was inspired to play by him. That makes me know that Buddy Bolden also had dignity in his sound.”

Marsalis went on mentioning the sophistication of Jelly Roll Morton and how trumpeter Bunk Johnson would whistle, incorporating diminished chords that Marsalis credits as having been inspired by Bolden.

By compiling the sound of New Orleans trumpeters who immediately followed Bolden, Marsalis says his aim in blowing his cornet was to represent not only Bolden but the instrument’s tradition in America.

“I made him play rough and with a lot of attack,” Marsalis explains. “I made him louder than anybody and with a lot of dignity. I included arpeggios because every cornetist has to play them,” he adds.

Louis Armstrong, who it’s been claimed, heard Bolden when he was five years old, enters the movie when Bolden hears Satchmo on the radio, while incarcerated in the asylum. Marsalis describes the moment in time as the rise of Armstrong and the decline of Bolden.”

The release of Bolden comes at an auspicious time in New Orleans as there is a renewed focus and effort to restore Bolden’s double shotgun home at 2309 S. Liberty Street. Presently owned by the Greater St. Stephen Full Gospel Baptist Church, the house was by cited by the city for neglect, and threatened with demolition.

Keyboardist/vocalist PJ Morton, who is the son of Rev. Paul S. Morton, the bishop of St. Stephen and his wife, Dr. Debra B. Morton, the church’s senior pastor, stepped up and formed the non-profit group, Buddy’s House Foundation, aimed at restoring the legend’s home.

Naturally, Marsalis is aware of the effort and in support of its goal. “I think that it is important for cities to have a sense of significance about their places, the architecture, the physical,” says Marsalis, who compares such locales to part of a “family album.” “Where historical figures lived, their impact on the city and their achievements are great enough to deserve to be commemorated, remembered and preserved.That’s because that achievement and the preservation will create more achievement of the same level of quality and insight.” O

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Photo by Frank Stewart

Wynton Marsalis

At the Fest ...

Sunday April 28, WWOZ Jazz Tent (Ellis Marsalis Family), 5:40 p.m.

At Jazz Fest on Sunday, April 28, Wynton Marsalis will be blowing jazz music from the modern era when he and his musical brothers, saxophonist Branford, trombonist Delfeayo and drummer/vibraphonist Jason Marsalis pay tribute to their father, pianist, composer and educator Ellis Marsalis.

“It’s good,” says Wynton on getting together with his kin in what could be considered the Marsalis Family Band. “I’m always shocked that everybody plays that good,” he adds with a laugh. “You know we love our father and respect him so it’s always good. For me and Branford, we worked together so it’s very easy—it’s second nature. My father has a list for us—so we’ll play his tunes like “Orchid Blue” and “Nostalgic Impressions.”

Finally, Wynton Marsalis reminds potential audiences of Bolden that it’s not a documentary or a biography about Buddy Bolden.

“It is itself and that’s what it is and that’s also what it’s trying to be.”

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KEITH RICHARDS

Are you missing the Rolling Stones?

Here’s our conversation with Keith Richards to help ease the pain.

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by John Swenson

he Rolling Stones broke up in 1986 during the recording of the album Dirty Work following a well-publicized feud between Mick Jagger and Keith Richards. Jagger went on to release two solo albums. Richards found new projects to engage in—a solo album Talk Is Cheap with a new band, the X-Pensive Winos; sessions with Aretha Franklin that produced her version of “Jumping Jack Flash;” and assuming the music director’s role for the film Chuck Berry: Hail! Hail!

Rock ’n’ Roll.

Richards then went on a critically-acclaimed U.S. tour. Stones drummer Charlie Watts and guitarist Ron Wood also toured the United States without the Stones.

Watts put together a big band that reproduced swing-era classics and performed at Jazz Festivals, while Wood joined forces Bo Diddley for a series of performances.

I interviewed Keith in February 1989. We sat down in a back room at the offices of his manager Jane Rose. Richards asked me “Are you a drinking man?” It was a rhetorical question. He produced a fifth of Rebel Yell, cracked the seal, then we proceeded the drain the bottle as he delivered one of the most entertaining interviews I’ve ever been involved with.

I saw the Chuck Berry film. It’s pretty amazing how you managed to pull that off.

It’s a trick to put a bunch of guys together and make them sound as if they’ve been playing together [a long time] after only a few days. It’s very difficult to do, but in the last year I’ve realized that I can do that. It was the same with Aretha Franklin.

We were there only three days, but we were a band by the end of it.

It’s an ingredient that I’ve always taken for granted with the Rolling Stones, but it always worried me that I might not be able to get anything like that again. I found that it can be done.

It started out as a 60th birthday concert for Chuck.

It’s one of those offers you can’t refuse. I knew

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it wasn’t gonna be easy. Chuck’s not an easy guy to work with. In fact, nobody’s worked with him for years because he always plays with pickup bands that show up at the gigs. If I didn’t do it and someone else did it I’d be kicking myself for the rest of my life.

When I was starting to play the guitar, that was the guy I wanted to be, the one that was slightly out of focus over Chuck’s shoulder backing him up. I kind of had to do it. It was my idea of what I wanted Chuck Berry to sound like, playing with a really good band. And I wanted to get him back with Johnny Johnson, who was so instrumental in Chuck’s early success and sound, and songs. I only realized that when I got into playing and rehearsing with him.

Was [Johnny] surprised to get the call?

I think so, yeah, because Johnny hadn’t played with Chuck since the early ’60s, since Chuck got out of jail on that first rap. He stopped carrying a regular band. Before that his whole career was tied up with Johnny Johnson. Chuck basically walked in on the Johnny Johnson Trio and took it over. Chuck seemed to sing more naturally and take more care of his music when Johnny was there. There was an immediate bond that was picked up again. I thought there would be some enmity or grudges after 25 years of not working together, but Johnny’s so easygoing, and he was such a tower of strength within that little band we put together.

Why do you think [Chuck] stopped writing essentially in ’62?

Could I hint at the fact that Johnny Johnson wasn’t around anymore? The melodies in those songs are all traditional melodies, and the other strange thing is that none of them are in guitar keys.There’s no open A’s and E’s, they’re things like C sharp, E flat, all piano keys.This is not to take anything away from Chuck at all. Johnny was very instrumental, and I use that word specifically in putting those classic ’50s records of Chuck’s together, those riffs, those tempos. Chuck is a lyricist essentially, a wordsmith, but I think the melodies—like “Sweet Little 16”—you can hear OFFBEAT. COM

Photo courtesy of the artist

KEITH RICHARDS

’30s versions of that as a folk song, and I think the reason you didn’t hear hardly any new Chuck Berry songs after the early ’60s is the fact that he split with Johnny Johnson.

If you ask Johnny he’d say “No,” because he didn’t think of it as writing songs. Then you ask, “How did Chuck write these songs?” and he’d say, “Chuck had all these words, and I’d sit down and play. I think Chuck just used Johnny’s piano riffs as a bedrock, to put these great songs down onto. Maybe a more generous guy would have cut Johnny in for a little slice [laughs]. When you’re sitting around with Johnny Johnson at the piano and you say, “Johnny, play us a 12 bar in G,” you hear that, it’s his intro and Chuck just transposed it to guitar. It just drips off [Johnny’s] fingers. As a musician you can tell when a guy’s playing his own lick. Like I say, it takes nothing away at all from Chuck Berry either, because the lyrics are just so gorgeously innovative, especially for the time.

Did you write arrangements?

We tried to make it simple, and as much like the records as possible arrangement-wise, same with the tempos. That was what we were going for on stage, to have a band that would sound powerful enough, yet restrained themselves from having to push it into sort of power rock, which is not really Chuck Berry. It’s a very light touch; the rhythms are very bouncy and have a lot of elasticity to them.

It’s not stiff rock ’n’ roll. It’s a beautiful fusion of ’40s jump time and ’50s rhythm-and-blues power. I was OF F B E AT. COM

thinking on stage this thing could really collapse, but the guys were up for it. Steve Jordan’s tempos were locked in. We did two shows, and a couple of numbers we had to edit from one show to the other. Without any click tracks the tempos were exactly the same in both shows.

Chuck’s guitar had that light, almost jazz touch, just like on the records.

I’ll let you in on a secret. I never did tell him this but I didn’t actually rely on the amp that he had on the stage. He likes to keep turning up which can throw off the recording. I had another amp connected to his signal that was three floors below the stage. I had a mike on that so it would stay the same throughout. Sorry Chuck but I had to do it, man.

You rehearsed with the Stones to play a song like “Little Queenie.” What was the difference playing with Chuck?

The main difference is that it’s his song. I had to forget the way I played it with the Stones. I had to sort of unlearn all that I’d learned over the years about Chuck Berry and the way I play, and actually start again, even down to the keys.

It’s easy in A and E. That’s what virtually everybody plays Chuck Berry songs in because you have all those open strings ringing away, but in E flat and C sharp, suddenly you have to re-learn the whole concept of playing it.You have to forget what you thought you knew about Chuck Berry when you’re actually playing with him.

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KEITH RICHARDS

He’s got a punch.The eye went through the usual Did Ian Stewart idolize Johnson? things, turning colors, black and purple and yellow. He Actually, yes. That was an undercurrent for me, just smacked me and went.Then his roadie comes in because this happened only a few months after with his guitar. I said, “Is that Chuck’s guitar?” He said, Stewart died. Stew was the one who told me that “Yeah.” I’m just about to get it across my knee and Johnny Johnson was alive and well in St. Louis. It smash it all over the dressing room and I thought, Ah, was one of the things he told me a few months no. Like I say, he’s the only one who could get away before he died. We were talking about Johnny Johnson and what a marvelous piano player he was. with it. Sparks fly and sometimes it’s worth it.

Did he remember?

I always thought Stew would still be around after I He knew he’d hit me but when Ronnie went up was dead. He was like a rock to us. And one of the strange sensations I had making this thing was that I to him about a year later he apologized to Ronnie.

You can’t tell ’em apart y’know. had this uncanny feeling, especially “He [Chuck I read all those reports during the rehearsals, that it was Berry] just swept about you being mad at Mick. actually Stew playing the piano. real?

Johnny’s position in the band was out and I played Is that I don’t have time now [laughs]. always the same as Stew’s was. along, saying, ‘Hey But yeah that’s one of the reasons You looked to him to unravel Stones at the moment aren’t the mystery of what the hell was don’t just leave the working together. going on. So I was looking up and Well you can never be sure like that, at least thinking, If there is a rock and roll unless you ask somebody heaven up there I can see Stew say ‘Hello’” and he yourself if that was real or not. looking at us. There’s this uncanny I was considerably mad at Mick, sort of thread running through it. just turned around more and more so in the last It’s kind of like this band and BANG! I was couple of years with the Stones, was the Rolling Stones and incredibly proud because it seemed to me that he Chuck Berry music all fused consider the feelings of the together. of myself because didn’t rest of the band.

What I was going for was I’m not talking about myself I didn’t actually go I wanted to put together the particularly, because I’ve known Chuck Berry gig that I never saw, down. The guy’s Mick really well. I can live with that, that I always imagined when I got a reach and but he became increasingly more was learning to play the guitar. I and dictatorial to the wanted to walk out when all was he’s physically fit.” arrogant point where he was spending the said and done with a record— band’s money on movies and stages without even the movie is not my movie, I had very little say in telling anybody, and it would inevitably fall to me to that—but the soundtrack’s mine. There’s never have to point this out. Things got really bad during been a really good Chuck Berry live recording and Dirty Work. With the pressure of the work and that was my goal, the one that almost got away. the frustration, not being able to talk to my oldest I hadn’t heard Eric play with as much fire in friend and not getting an answer out of him, except a long time. Those two solos at the end were a a sort of weirdo power struggle, I could well, in a flash of the old God; we used to call him “God” in moment of rage, have done the boy some injury.

England.

So in a way this is a cooling-off period, lean on the You tell that story in the film about him ropes for a minute. punching you. When was that?

Would you still work with him again?

It must have been three or four years ago. I Well that’s, uh, far be it for me to say no. Of walked into the dressing room to say hello and he course I would. But I wouldn’t do it just for the was leaving. He just swept out and I played along, bread or to put the Stones together on a phony saying, “Hey don’t just leave like that, at least say basis. It’s not just Mick and I; it would have to come ‘Hello’” and he just turned around and BANG! I was together in a way that we could all feel comfortable incredibly proud of myself because I didn’t actually with to resolve all this. Time is the one ingredient go down.The guy’s got a reach and he’s physically fit.

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that can maybe do it. After 25 years on each other’s back, maybe a couple of years off ain’t so bad.

After all, it’s about the only remedy left that I could think of, because it was getting sticky between Mick and me. I can understand his point of view in a way. He’s out there in the front in the LV position, lead vocalist. So after 25 years you have to start believing that the sun shines out of your ass.

You kind of lose contact with reality. And it’s very difficult once that occurs to be able to say what’s the problem? Because there isn’t one. There’s a question but there isn’t an answer. It’s gets to be frustrating. So let’s try that, a couple of years off.

Because if anybody can pull it back together, it will be the Stones.

There’s got to be a lot of pressure to reunite the Stones.

Oh sure. As far as I know we’re still committed to make more records. I personally would lay a lot of the Stones current non-communication and this current break at the doorstep of (CBS and division president Walter) Yetnikoff in particular.

He thought Mick Jagger was the Rolling Stones,

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and he encouraged and greased him up, led him to believe he wass really all that counted. I don’t think that was good for Mick to hear at the time.

Because that’s what he wanted to hear and to believe. And as far as I’m concerned if you want to say who broke up the Rolling Stones, I’d say CBS. It’s fairly obvious when you think about it. Why sign a band for 26 million bucks and then steam straight away into breaking them up?

Mick and I have in fact been writing songs together again. We just spent a week in Barbados writing. We wrote about 35 songs together in a week and I’m going back down there to write more songs with him. The Stones will tour from around September through to December.

Any time I work with Mick, I feel the charge. It’s very rare that I play with anyone that I don’t feel the charge, but with Mick it’s easy because we’ve known each other since we were kids. I know that I can turn him on, and he turns me on. There’s nothing we can do about it.

When did you start feuding with Mick?

The seeds of this started back in the early

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’70s when we were Ronnie Wood and Keith Richards hounded out of England. It’s very difficult to make good records when you’re thrown out of your own country.You’ve got to learn how to go from sort of living around the corner from each other and being a closely knit unit, to being flung all around the far corners of the globe and still trying to keep the intensity of the Stones together.You go from seeing everybody three or four nights a week, even when you weren’t working, to not seeing them for nine months a year.

The pressures of making a Rolling Stones record around the time You can’t really go 25 years without feeling like of It’s Only Rock ’n’ Roll were very difficult. Black you want to stretch a wing or two. I say that not and Blue especially was difficult, with Mick Taylor in retrospect. The signs were obviously there, but dropping off on us, he still doesn’t know why. being so close you didn’t read them like that.

You were also getting harassed by the I see what went down as inevitable. Also, I see authorities for drug use, thrown out of that it’s still a fact that there’s an awful lot left in the France.

Stones that still has to be explored. Mick has recogI was pretty much on a fugitive trail, being nized that, too, which is why we’re working together hounded from pillar to post, and trying to make again. I personally never doubted that, but Mick had good records under those conditions is difficult. to be taught it. That’s the difference.

I’m not just offering it as an excuse; it’s something Earlier this year you and Mick played to bear in mind.You realize that the solid amount together for the first time since the breakup of work that went down, forget the early stuff, let’s at the Rock and Roll Hall of Fame induction say from Beggar’s Banquet to Exile On Main Street, dinner when the Stones were inducted. and the fact that it coincided with the point where He had me playing behind him, didn’t he? For me, we had to start being nomads, trying to keep the any time I work with Mick I feel the charge. We’ve Stones together out of a suitcase, and the fact that known each other for so long, it’s bananas and cream. the next two or three records didn’t build on that When Mick and I talked about it, when we work. It bears considering. started to work together again, we said “The By the time of Undercover, Mick was going with Stones are going to work together this year. That’s current trends and trying to impose them on the on. Let’s look at it like this—let’s put together Stones, which is fairly difficult to swallow. Still, some what we’ve learned in the last two or three years of the songs are good, and there’s a certain amount positively and make music for the Stones.” We of give-and-take that goes down in partnerships. said, “Let’s make something work, rather than just Okay, if you want to do that, I’ll do my best to give be purely negative, two superstars bitching at each you what you want. other.” O

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Photo by Clayton Call

KEITH RICHARDS

Jimmy Breaux and Johnny Sonnier Sunday, May 5, Fais Do Do Stage, 11:15 a.m.

King of the French Accordion Jimmy Breaux and Johnny Sonnier pay tribute to Aldus Roger. esides Jazz Fest’s annual celebration of indigenous music and culture, one of the special things about it is that it pays homage to those who have influenced and shaped the performers taking the stage. One of those moments will occur this year, when accordionist Jimmy Breaux and steel guitarist Johnny Sonnier and the New Lafayette Playboys salute the legendary Cajun accordionist/ band leader Aldus Roger with a tribute show.

In the annals of Cajun music, Roger had a significant presence. Besides being one of the greatest accordionists ever, Roger and the Lafayette Playboys were the first Cajun band with a regular weekly TV show, broadcast from 1955 to 1970.

Additionally, they contributed such songs as “KLFY Waltz” (named after the TV station), “Johnny Can’t Dance,” and “The Lafayette Playboy Waltz” to the repertoire.

Roger left his mark on many, including Sonnier and Breaux, who’ve had completely different trajectories in Cajun music. “Up until the time he died, [Roger] still played the same. He never changed his style and that’s what people loved about him,” says Sonnier. “He had the best dance band in the state as far I’m concerned. Every Saturday I would watch him on TV and pick up pointers [on how to play the accordion] from him.”

“He was an excellent accordion player,” Sonnier continues. “That’s why he was called the King [of the French accordion]. He was smooth.

He never was a showman.”

As an inquisitive 14-year-old, Sonnier would

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often go see his idol play live. One night, Roger needed a drummer and hired Sonnier on the spot. That lasted four or five months until Sonnier left the Playboys to front his own band playing accordion.

Breaux only met his idol once, that being during a break at a gig. By then he already knew Photo courtesy of the artist

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by Dan Willging

Roger’s catalogue. “I put him pretty much on top of the list,” says Breaux, whose list included Lawrence Walker, Walter Mouton, and Iry LeJeune. “I just listened to all these styles and learned different licks from each person, and that’s how I developed my style through the years, by experimenting with different things I invented, and combining that all together.”

“To be honest, he played really fast,” Breaux continues. “I couldn’t believe the stuff he would make his fingers do at that tempo. It was hard to follow him on LPs and try to capture those licks but I did the best I could.”

A few years ago Sonnier ran into Breaux at a jam session and asked him to be his accordionist for the band he was about to launch. Due to a work-related accident to his shoulder, Sonnier could no longer play the loud little box for more than a few songs, and consequently switched to steel guitar so he wouldn’t strain his arm. After a few gigs, Sonnier pitched doing an Aldus Roger OFFBEAT. COM

Jimmy Breaux and Johnny Sonnier

tribute album to Breaux. “It was a great idea, because I’ve always wanted to do a tribute to Aldus Roger,” recalls Breaux.

With that, they proceeded to cut the album not at a professional studio, but at his bass player Rick Benoit’s outdoor kitchen on a computer. After the mix-down, Sonnier didn’t like the sound, so the next weekend he brought over his two bargain-priced tape machines equipped with thick VCR tape and proceeded to re-record the entire album in analogue. Even though recording on analogue takes longer, especially when it comes to fixing mistakes, Sonnier preferred its warmth. “Digital is too Nashville,” says Sonnier, who took both versions of the album to Swallow Records’ Floyd Soileau, who preferred the analogue version hands down. “Floyd was amazed,” Sonnier recalls. “He said, ‘What studio are y’all using?’ I said, ‘I cut that in an outdoor kitchen [laughs].’ He said, ‘No you didn’t.’ I said, ‘Yes, I did.’

Originally, Sonnier intended to title the album, A Tribute to Aldus Roger and Phillip Alleman, Roger’s steel guitar man and lead

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vocalist. But Soileau felt the title was too long, and so he shortened it to A Tribute to Aldus Roger & More.

The resultant album is a gritty throwback to how Cajun music sounded in the ’60s and ’70s. Besides drawing from the cannon of Roger, Sonnier reprised his rendition of “Chere Alice,” a Lawrence Walker song he cut at age 17. Sonnier still fields a lot of requests for his signature song, sometimes five or six times a night. “Sometimes I’ll kid with the crowd,” says Sonnier. “I tell them I do have other songs I’ve recorded. ‘Y’all can’t pick one of those? C’mon people, I have five albums out.’”

Ironically, not long after the tribute album was released last year, Breaux’s hectic freelance schedule didn’t coincide with Sonnier’s bookings, so the elder musician was forced to use another accordionist. “But it’s all good,” Breaux says. The Jazz Fest show promises to be an enticing one since it reunites brothers-in-Aldus Jimmy Breaux and Johnny Sonnier once again on the same stage, paying homage to the legend that inspired them along their journey. O

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Maria Muldaur Saturday April 27, Blues Tent, 4:05 p.m.

Slightly Risqué, But Never Vulgar Maria Muldaur’s tribute to Blue Lu Barker ac Rebennack, a.k.a. Dr. John, first introduced Maria Muldaur to the frisky, risqué songs of New Orleans’ Blue Lu Barker. During sessions for the self-titled debut album that features Muldaur’s first national hit, “Midnight at the Oasis,” Rebennack suggested she cut “Don’t You Feel My Leg.” Barker recorded the original version of the bawdy blues classic—co-written with Danny Barker, her larger-than-life musician husband—in 1938. “Don’t you feel my leg,” she sings with a mix of hesitation and desire. “’Cause if you feel my leg, you’ll wanna feel my thigh.

And if you feel my thigh, you’ll wanna go up high.”

From her home in the San Francisco Bay area, Muldaur tells OffBeat how, in the early 70s, recording artists signed to major labels could easily book their favorite musicians for sessions.

“Dr. John was one of my favorites,” she says. “So, one day, Mac comes in the studio and says, ‘Hey. I gotta a song for ya.’

He pulls out a cassette and plays Blue Lu’s ‘Don’t You Feel My Leg.’ Mac put a great arrangement together and we cut the tune.”

Muldaur’s appreciation for American roots music dates to her youth in Greenwich Village.

During the 1950s and ’60s folk revival, she steeped herself in blues, jazz, gospel and old-time

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country music. After singing with the Jim Kweskin Jug Band through much of the ’60s, she wanted her major label solo debut to be both rootsy and eclectic. She never expected to record a hit. “A goofy little song about a camel,” she says. “We weren’t looking for a hit by any means, but to our surprise, ‘Midnight at the Oasis’ became a huge hit.”

The song achieved hit status, but people also loved the album track “Don’t You Feel My Leg.” A national survey of radio stations conducted

by Muldaur’s label, Warner Bros., found that listeners requested “Don’t You Feel My Leg” more than “Midnight at the Oasis.” The label considered releasing “Don’t You Feel My Leg” as the album’s second single.

“But in the end,” Muldaur says, “and to show you how times have changed, Warner Bros. figured that, if they released that song as a single, I’d be pigeonholed as a ‘red hot mama.’ They asked me if I wanted that. Innocent idiot that I was, I said, ‘Oh, no! I want to be known as a serious artiste.’ ” Although “Don’t You Feel My Leg” didn’t get a chance to be a hit single, the song has always been an audience favorite. “It’s still the song people respond to most when I perform,” Muldaur says.

“More than ‘Midnight.’ ” OFFBEAT. COM

Photo courtesy of the artist

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by John Wirt

To Muldaur’s surprise, her 1973 album debut sold millions of copies. “So, the songwriters were due royalties,” she says. “Warner Bros. had to dig around to find the publishing company for ‘Don’t You Feel My Leg.’ When they found them, they told Warners Bros., ‘Oh, that song’s writers are deceased. Send the royalty check to us.’ ” Muldaur wisely brought the matter of the Barkers’s royalties to Rebennack’s attention. “Mac said, ‘Deceased! The f— they are. I just seen ’em two weeks ago down on Bourbon Street.’ With Mac’s help,” Muldaur says, “we found Blue Lu and Danny and sent them the first of many big royalty checks. They were already in their 60s, living down in New Orleans again. And we sent them a gold album, which they proudly displayed on their living room wall.”

On tour in 1974, Muldaur invited the Barkers to her New Orleans show. “We were great friends from that point forward,” she says. “It was an honor to know them. They were both so charming and cool, and such unique, soulful people.”

Muldaur’s Grammy-nominated forty-first album, Don’t You Feel My Leg—The Naughty Bawdy Blues of Blue Lu Barker, features more songs from the Barkers’s catalog. She’ll perform selections from the album during a Blue Lu Barker tribute on April 27 at the New Orleans Jazz and Heritage Festival. Muldaur’s all-star New Orleans band at Jazz Fest will include pianist David Torkanowsky, drummer Herlin Riley, and bassist Roland Guerin, all of whom appear on The Naughty Bawdy Blues of Blue Lu Barker.

The tribute album evolved from a Blue Lu Barker tribute concert Muldaur performed, during the 2016 Danny Barker Banjo and Guitar Festival.

With that show in mind, she searched for and found many songs by the Barkers that she hadn’t heard before. “They’re equally naughty and bawdy and funny (as “Don’t You Feel My Leg”), slightly risqué, but never vulgar,” she attests.

Following that 2016 Blue Lu Barker tribute, members of the Palm Court Café audience swarmed Muldaur’s merchandise table, expecting to find an album featuring the Barker songs that Muldaur had just performed. But Muldaur hadn’t recorded the project yet. “It took me a couple of years to pull it together, but I finally made the album last June down in New Orleans,” she says.

“I hope the fun factor comes through on the recording. We had a ball making it.” O OF F B E AT. COM

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ps & Curren$y Nesby Phi Saturday April 27, Congo Square Stage, 3 p.m.

Doing What’s Right Nesby Phips & Curren$y preserve hip-hop’s place at Jazz Fest. t the 50th New Orleans Jazz & Heritage Festival, hip-hop will stand in its rightful place alongside jazz, blues, gospel, R&B, rock ’n’ roll and funk, as a genre emblematic of this city’s musical diversity. Together, two key figures in New Orleans hip-hop— rapper Curren$y and rapper/producer Nesby Phips—will share the Congo Square stage to showcase the chemistry the two have nurtured since attending Eleanor McMain Secondary School together.

It will be Nesby’s second performance on that stage, which he opened in 2016. The multi-faceted creative was a featured painter at Jazz Fest that year. “I did a live painting at the Blues Tent that morning and then left to perform. I felt mad important,” he tells me.

He’s Though Phips released an album called Therapy in 2018, and still performs with his band, THE GRïD, from time to time, he has expanded his work and become far more than just a musician. He’s an advocate with an entrepreneurial lean, who can frequently be heard speaking on panels about topics like music licensing, and his plans to create “a pipeline for New Orleans, to the global economy.” He says brands that come here during festival season to promote themselves need to do more to help the city. “Coca Cola coming down here for a fest, they need to spend some money on Mardi Gras Indians, and put them in their ads. ’Cause in the world of gentrification, there needs to be an authority figure on what goes and what stays, how to treat and respect

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what’s here. I am obligated to give out this type of knowledge, which I’ve acquired over the course of my career.”

When he performs with Curren$y (a.k.a.

Spitta), Nesby will be reminding fans of that career.

Photo by Noe Cugny

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by Amanda Mester

The two have collaborations for decades, both before and after Spitta’s years withYoung Money Entertainment. Nesby has produced for and collaborated with Curren$y on records including “Prioritize (Beeper Bill),” “Lost in Transit,” “The Seventies,” “Wave Race,” (from The Phipstape) and more.

“I always hold Curren$y in high regard, even though he’s my peer,” says Nesby. “I always revere his authenticity,and how he built his career off of that.” Their relationship, which he says goes beyond music, has an unspoken synchronicity.

When I ask him what their performance will consist of, he tells me they haven’t discussed it at any great length.

“We gon’ do what we do,” he says with a smile.

“We’ve talked in brief... we live in the moment, OFFBEAT. COM

ps & Curren$y Nesby Phi

but we know what to do. That’s the cool thing about our relationship. Every time I see him, I tell him I love him. But we don’t hang out every day.

When it’s time for it, we connect. That’s how we connected in the beginning. The majority of the time we did music, we weren’t ever in the studio together. I sent him a beat, he’d rap on it and put it out, and we got famous... we go in there and put it down and get the fuck out of there.”

Nesby and Curren$y’s appearance at the golden anniversary of Jazz Fest is characteristic of what Nesby calls “a very inclusive festival.”

Since childhood, he’s attended plenty of Jazz Fests, thanks in part to parental guidance. “My mama loved Jazz Fest. A lot of my taste for New Orleans comes from my mama,” he tells me. “My favorite thing to go get was meat pies. She loved meat pies.”

He continues, “Every year, I would get a leather African pendant at Jazz Fest. It was the only place I knew to get them, because I was too young to go to stores and get them. Every year I’d re-up. I kept an African pendant through all of elementary [school] because of Jazz Fest. Even as a second or

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third grader, I was a super black man.”

When I ask him whether today’s Jazz Fests have lost any of the nostalgic feel of years past, Nesby reminds me that, despite things like higher ticket prices, it’s still incredibly important to the city. “It’s definitely a local thing because so many locals work it,” he says. It’s also the place where he got to see Mystikal perform, when he was a kid. “I saw him on the Congo Square Stage, which was dope.

He had this whole Michael Jackson interlude. It was corny as shit but it was very entertaining— especially to an 11-year-old in the crowd.”

Twenty-seven years later, he’ll be performing on the same stage, preserving the legacy of hip-hop at Jazz Fest. “Us being there is them doing what’s right,” he says of the organizers’ decision to include Curren$y and him. “We needed to be represented on that platform because this is a folk-style fest. But ‘folk’ has taken on a whole new look. Folk got Airpods now. Folk got tattoos on his neck. It’s juxtaposed in so many ways. Just be ready for it. It’s going to get even freakier.” O For more of our interview with Nesby Phips, see the online version of this story on OffBeat.com.

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Astral Project Friday April 26, WWOZ Jazz Tent, 2:50 p.m.

Astral Plane David Lasocki’s five-volume series about Astral Project

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pringtime in Louisiana is high season for music pilgrims. Some can be identified by their tropical, festival branded shirts bedazzled with music-related pins from every town in Cajun country. Others make themselves known by the overstuffed bags of vinyl and music books dangling from each arm as they stand on curbs awaiting airport rides on those first sleepy days after Jazz Fest. Their interests tend to be regional and their voyages, seasonal.

David Lasocki, who recently completed publishing a five-volume series about Astral Project, capping off 16 years of work, is a different kind of devotee.

A music reference librarian at Indiana University Bloomington, Lasocki’s prolific research in the history, repertory and performance practices of woodwind instruments in the 15th through 18th centuries, once inspired the Hungarian recorder and Baroque flute player Janos Bali to anoint Lasocki, “the central personality of recorder research.”

As such, he had been happily publishing

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academic articles such as “The Bassanos and The Silkworm Moth,” and collaborating with colleagues on tomes like, A Biographical Dictionary of English Court Musicians, 1485-1714, when a local jazz series in Bloomington brought Tony Dagradi, Steve Masakowski, James Singleton, and Johnny Vidacovich to town.

Lasocki, who, perhaps not inconsequentially, has also practiced energy healing for much of his adult life,had never heard of Astral Project. “New Orleans jazz to me,” he admitted in a recent phone conversation, “meant traditional jazz.”

Astral Project was something else altogether.

“I had never heard anything like it before,” he says, his voice still bearing the imprint of his upbringing in Manchester, England.

“What I literally felt in my body was a very high, spiritual vibration … and funk. I was completely captivated. It was the visual appearance, too. James was wearing this blazer that was orange and red,and he was just off in the clouds the whole time. I thought, This is very strange, but the playing was just fantastic,” he OFFBEAT. COM

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continues. “And Johnny played in Vidacovich’s V was, like, falling on trio over a period of the floor and rolling years, along with the around. Whatever he number of performances was doing—he had bells that person played and, and whistles—literally, in some cases, what bells and whistles. And percentage of time that the interplay among the person appeared in the group!” trio.

Lasocki exchanged Others use firstcontact information person stories to portray with Dagradi after the the scene and vibe at show and began writing famous, now defunct jazz to him. He also began clubs like Lu & Charlie’s, buying everything they’d and Tyler’s. ever recorded, both as Comprehensive a group and individually. discographies at the By the time he was writing end of each book, along with extensive discographies for and lagniappe from “This is my sort of notes Astral Project, he realized the interviews, offer points his woodwind research bibliographical—well, of departure for other Astral seemed less exciting. He had Project fans and historians, discographical— a sabbatical coming up, so he particularly with regard to the proposed to Dagradi a plan to approach to life. If I musicians’ stylistically diverse come to New Orleans and see expertise. really like something, musical them live and interview them “The first [writing] phase for a book. was like writing my disserI just want to Within a few years, Lasocki tation all over again. Only experience as much there was more information,” had returned three times, interviewed about 40 people of it as I possibly can.” the writer jokes. and written about 800 pages, Asked what he cut prior to which he printed out for the publication, Lasocki says that band the next time they were in Indiana. although he was also writing other books and Dagradi “wasn’t discouraging, just a little articles during the 16 years it took to complete skeptical” of the length, Lasocki recalls with a the Astral Project series, his “reference mentality” laugh. Ultimately, he decided to write a series led him to include every detai and date, each of five separate books, instead, comprised painstakingly confirmed. of Higher Fusion: The New Orleans Modern “This is my sort of bibliographical—well, Jazz Group Astral Project at 40; Tony Dagradi: A discographical—approach to life. If I really like Spiritual Approach to Jazz; Steve Masakowski: Big something, I just want to experience as much of Easy Innovator; James Singleton: Rhythm Crusader; it as I possibly can,” he says. and Johnny Vidacovich: John Vidacovich of New Looking back, Lasocki admits he’s enjoyed Orleans on the Drums and on the Cymbals, watching new developments in Astral Project’s the series details each band member’s musical sound since 2002.“They’ve become even more development leading up to, and then in the contrapuntal,” he notes, though he quickly context of their ensemble. returns to his memory of hearing them for the The books are set up chronologically and first time. thematically—and they are dense, drawing largely “My very first impression was that they really on interviews, much of which are printed in bulk could put me on the astral plane. I could really sections of text, tied together with facts and feel it. It wasn’t just funky—it has this depth,” he figures and snippets of published reviews. One says. “I continue to feel that’s the greatest thing I section, for example, lists each musician who got out of this whole project.” O

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Courtesy of David Lasocki

Astral Project

John Fogerty Sunday May 5, Gentilly Stage, 5:40 p.m.

John Fogerty: Living in His Own Head he legacy of John Fogerty can’t be overstated when it comes to American roots music. His songs, both solo and with Creedence Clearwater Revival, sum up most of what’s great about music, from blues to Bakersfield, from country to gospel, all recast in a rock context. Yet the singer-songwriter-guitarist had never set foot in the swamps before recording classics like “Born on the Bayou,” and “Bad Moon Rising.” OffBeat spoke with Fogerty about inspiration, imagination, great songwriting, and his upcoming appearance at the 50th Jazz Fest.

The first Jazz Fest happened on April 22, 1970,which is right around the time you and CCR released “Up Around the Bend,” and “Run Through the Jungle.” How does it feel to be thriving after a 50-year career?

Well, I don’t usually sit around and think of it quite that way. If it does cross my kind, it leaves me kind of humble. Scared actually! 50?

Oh no! [Laughs] Well, still! You’re a survivor.

Years ago, the older you got the less opportunities you had. When I was a little kid, I woulda been scared of the thought. I mean, you’re talking right around 1970, and around that time young people were saying, “Don’t trust anyone over 30!”

Ever since “Susie Q,” right from the beginning, there was a heavy influence of Louisiana music in what Creedence did.

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Photo courtesy of the artist

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by Robert Fontenot

You know, I was just thinking to myself the other day that at any point in my whole life you could stop me in my tracks just by telling me, “Somebody’s calling from New Orleans.” There’s this kind of mystical aura about the place.

Was it just the music?

Maybe. Fats Domino was a big influence on me... probably before I even realized it or fully understood who he was. I knew about Fats, Huey OFFBEAT. COM

John Fogerty “Piano” Smith, Bobby Marchan. the godfather of Americana?

And when I was eight or nine years old, my It was only a few years ago that I started to mom sat me down with some records and led hear the “Godfather of Americana” talk. I’ve always me down the path of Dixieland! Kid Ory, Buddy just fixated on songwriters: Irving Berlin, Hoagy Bolden, Louis Armstrong... Louis I always thought Carmichael... of like the Jimi Hendrix of Dixieland, he just Most rock legends don’t drop those names. brought notes out of his instrument that weren’t Well, a lot of people don’t even try to even supposed to be there. experience it, even though Swamps play an Since I was a songwriter, it’s right there under their important role as It’s like living next to and that’s how I thought noses. atmosphere in your the Statue of Liberty. You classic music. What of myself, I just immersed never go in. But my mom do you think is the always steering me myself in that. I’d watch was connection between toward these things. the bayou and Berkeley, Here’s the thing about movies and TV and see California? me, Robert. I always tried the swamps, the bayous, Since I was a songwriter, to not make choices when and that’s how I thought the gators, the inflec- other people seemed to. of myself, I just immersed How’s that? tions in the accent, the myself in that. I’d watch As a kid, I was a big fan of movies and TV and see the language... It all seemed folk music, Pete Seeger, Burl swamps, the bayous, the I’d go to the Berkeley very colorful to me. So Ives. gators, the inflections in the Folk Festival around 1958, accent, the language... It all I just invented sort of a ’59, ’60. And I loved the seemed very colorful to me.

Trio. But when they mythical stylized version Kingston So I just invented sort of had a hit with “Tom Dooley,” a mythical stylized version of Louisiana for myself the folk community turned of Louisiana for myself in back on them, called in my head, picking it up their my head, picking it up from them sellouts. I still thought books or movies or records. from books or movies all of it was good! I never But you’d never been necessarily bought into the or records. to the area at that point? politics of older people.

The thing is, you don’t I did a cover on my last have to be accurate. Not that accurate. The place album of a John Prine song called “Paradise,” but in my head was very comfortable, very Southern, the version I first heard was by John Denver. I don’t and as a result my very first really good song was necessarily judge. I just gravitate toward things.

“Proud Mary,” which was just me going to that When did you finally make it to New place.

Orleans?

I was a young musician in 1968 and I’d had a While Creedence was on tour, probably ’70, hit with a cover of “Susie Q,” and suddenly I had ’71, something around there. I felt like a spectator! the spotlight on me, so I became somebody else.

I was just standing out there on the street taking Whatever that place was inside me was what I it all in. was most sure of, and that was “Proud Mary.”

And now you’re playing in the bayou.

You know, I read a Stephen Foster bio that said Sort of. he was from Pittsburgh. Pittsburgh! And all his Well, I’ve played the Jazz Fest before, but a songs were about the South. And he was the first lot of my best memories are of myself walking real American songwriter. I only found that out around the Fest as an attendee when I wasn’t about 10 or 15 years ago. playing—walking around by myself, just taking it Jazz Fest is a sort of celebration of all in. I mean, I’m very honored to be part of this Louisiana roots music of all kinds at this 50th Anniversary show. But as to how many times point. Do you see the reaction to modern have I actually played the Fest? You’d have to call country music and consider yourself sort of Quint. [laughs] O OF F B E AT. COM

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Johnette Downing and Scott Billington Saturday, April 27, Kids Tent, 2:50 p.m.

Louisiana Dance Party for Children Johnette Downing and Scott Billington’s swamp romp. hen Johnette Downing and Scott Billington married, they each gained a partner in life and music.

But Downing, an award-winning children’s entertainer, still plays her kids-captivating solo shows at schools, libraries and festivals, between making duo appearances with her lanky, harmonica-playing husband, Billington (a Grammywinning roots music producer) at performing arts centers and larger festivals.

Special guest Irma Thomas will join Downing and Billington at the New Orleans Jazz and Heritage Festival on April 27, to perform “Poor Worry Anna,” a song from the couple’s debut duo album, Swamp Romp.

Downing and Billington began performing together shortly before they married in 2013. “When we’re onstage together,” Billington says, “sometimes I’m distracted, thinking, ‘Wow, that’s a wonderful connection Johnette is making with these kids.’

And those kids leave with an appreciation for art and movement that they might not have had before.”

Children also get a lesson in Louisiana music and culture. That’s been Downing’s mission

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since 1988, the year she became a children’s entertainer. After over 30 years of performing, Downing has seen many of her fans become parents, bringing their own kids to her shows.

The couple’s duo performances, as well as Photo by Rick Olivier

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by John Wirt

Downing’s solo appearances, offer abundant opportunities for child participation. “It isn’t a stage performance of the kind that has no time for interaction or improvisation,” Downing says, adding thatcomments from the kids sometimes send the shows in unexpected directions. “That’s the fun in working with children,” Downing says. “They’re so creative and honest with you. Like the tiny little girl who came up front when we played at the OFFBEAT. COM

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Johnette Downing and Scott Billington

Jazz Museum and said, ‘I’m tired.’ I said, ‘Your Downing added. “We jokingly said, ‘If we’re ever parents will thank me!’” single at the same time, we’re getting married.’ ” Like many of the children she entertains, In February, Downing and Billington released Downing is a live wire on stage. “I’m a wiggle Swamp Romp, their first album as a musical worm,” she says. “But that’s part of our couple. It’s a Louisiana dance party for children Louisiana culture. I do a lot of dance songs filled with Cajun, zydeco, jazz, brass band and because that’s the way I grew up. And the gospel music, rhythm and blues, and rock and movement and dancing and interaction keeps roll. The album’s all-star guests and session the children engaged.” players include New Orleans’s Irma Thomas, the Musically knowledgeable adults in the Dirty Dozen Brass Band, Dukes of Dixieland, couple’s audiences are Washboard Chaz, sousasurprised when they see phone god Matt Perrine, and “For me, having Billington, the Grammysouthwest Louisiana’s Roddie all of these different Romero, and Joel Savoy. winning producer, in the role of children’s entertainer.

Swamp Romp continues styles of Louisiana “Many folks in Louisiana had the couple’s decades of music on Swamp no idea he’s a very good roots-music and cultural harmonica player,” Downing advocacy: Downing’s eleven Romp feels like says. An amiable onstage albums include Fins and Grins, coming full circle. I’m The Second Line—Scarf presence, Billington also sings and strums ukulele. bringing my under- Activity Songs, and Wild and New Orleans native Woolly Wiggle Songs. The standing of roots Downing grew up with recipient of the Louisiana musician parents. “When music to children.” Book Festival’s 2017 Louisiana they brought my siblings and Writer Award, Downing’s “That’s what my I to the French Quarter,” she twenty-four books include remembers, “we’d stand in Petit Pierre and the Floating show has always the doorways of jazz halls and Marsh, Why the Crawfish been about, but Scott Lives in the Mud, and Mumbo clubs and listen to ragtime and blues and jazz. I heard has broadened it.” Jumbo, Stay out of the swamp pop music during Gumbo. visits to my grandparents in The producer of more St. Amant. I learned about all of these different than 100 albums, Billington received Grammy kinds of music in Louisiana.”

Awards for Irma Thomas’s 2007 album After Billington, originally from the Boston area, the Rain, Bobby Rush’s 2016 release Porcupine began his life in music at eleven years old, Meat, and Clarence “Gatemouth” Brown’s 1981 when he received a harmonica for Christmas. album Alright Again!

He later performed blues and roots music “For me,” Billington says, “having all of these in coffeehouses and subsequently became different styles of Louisiana music on Swamp Rounder Records’ longtime vice president of Romp feels like coming full circle. I’m bringing artists-and-repertoire. my understanding of roots music to children.”

Downing and Billington met fifteen years ago “That’s what my show has always been about, at the Cutting Edge Music Conference in New but Scott has broadened it,” Downing says.

Orleans. Although Billington still lived in Boston “And because so many of Scott’s friends then, his production work frequently brought wanted to perform on our record, they him to Louisiana. “We immediately bonded on brought an authenticity that’s really important so many different levels,” he says of Downing. for children to hear.”

“The more we talked, the more we realized “It’s real Louisiana roots music played by that we shared the same passion and feeling for some of the best musicians in their genres,” American roots music, particularly music from Billington says. “The lyrics are child-centered, Louisiana.” but I think the music is on the level with “Scott and I were friends for years,” anything I’ve done in the past.” O

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Johnny Rivers Sunday April 28, Blues Tent, 5:45 p.m.

Secret Agent Man Johnny Rivers’ funky go-go rock. rowing up in Baton Rouge, Johnny Rivers baptized himself in the Southland’s blues, rhythm and blues, and rock and roll.

He later became one of the best-selling recording artists to ever emerge from Louisiana. From 1964 to 1977, Rivers propelled twenty-nine songs into Billboard’s Hot 100.

Nine of those singles entered the Top 10, including “Poor Side of Town,” “Secret Agent Man,” and “Rockin’ Pneumonia and the Boogie Woogie Flu.” Born in New York City, Johnny Ramistella—later renamed Rivers by the groundbreaking rock and roll disc jockey Alan Freed—was already singing and playing guitar when his family moved to Baton Rouge. A 1954 Elvis Presley performance Rivers witnessed at Baton Rouge High School, plus a riotous 1956 Fats Domino show at the city’s airport, fueled his existing fire.

After paying his dues for years, playing clubs and school dances in Louisiana and traveling between Baton Rouge, New York, Nashville and Los Angeles, Rivers hit the big time at the Whiskey a Go-Go in West Hollywood. He capitalized on that Sunset Strip success with an in-performance album, Johnny Rivers at the Whisky A Go Go. Even as British invaders ruled the American charts, “Memphis,” a single from the Lou Adler-produced Whisky A Go Go album, hit number two on Billboard’s Hot 100.

Following several more live albums, Rivers’ first studio-made hit, “Mountain of Love,” featured the inaugural studio collaboration of drummer Hal

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Photo courtesy of the artist

G

by John Wirt

Blaine, bassist and Louisiana native Joe Osborn, and keyboardist Larry Knechtel. They became essential players in the session-musician collective known as the Wrecking Crew.

Following the cancellation of Jerry Lee Lewis’ appearance at Jazz Fest, the festival replaced the ailing rock and roll pioneer with Rivers, another Louisiana artist who made a massive impact on popular music.

You moved to Louisiana and the South just in time for the rise of rhythm and blues and rock and roll.

I got to Louisiana just about the time of the transition from rhythm and blues to rock and roll.

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Fats Domino and all those guys were recording at Cosimo Matassa’s studio down in New Orleans. I collected all of those records.

In 1954, you attended a country music show at the Baton Rouge High School auditorium featuring a young man from Memphis.

In the middle of the show Minnie Pearl says, “We have a special guest, this new kid who’s creating a lot of excitement.” And Elvis comes out with Scotty [Moore, guitar] and Bill [Black, bass].

He gets up there and he’s jumping and twitching around on stage. People laughed. They thought he was a clown act.

But you dug it?

When he started playing “That’s All Right,” me and my buddy said, “Hey, man, that’s that song we like from the radio!” And he did “Blue Moon of Kentucky,” the B-side. Just two songs. After the show, we went around to the back of the school and Elvis was out there by a Cadillac Coupe de Ville. I’m looking at him going, “Wow. This guy is really cool.”

Who were some of the other artists who captivated you in the mid-’50s?

Jimmy Reed. I saw him play at Baton Rouge High. And I was friends with a DJ at a radio station. In those days, the record companies sent DJs several copies of the new singles. My DJ friend played nothing but the blues. So, I got records

by Bobby “Blue” Bland, Johnny “Guitar” Watson and, of course, Slim Harpo from Baton Rouge. I’d learned all that stuff.

And about that same time, you met Dick Holler, the bandleader and songwriter later composed the hits “Snoopy vs. The Red Baron” and “Abraham, Martin and John.”

Dick and his band, the Rockets, played across the river at The Carousel. I begged them to let me sit in. Dick became my mentor. He turned me on to Ray Charles and lot of cool blues things.

When did you put your first band together?

In 1957. All the guys were older than me and married. We used to do all the Fats Domino stuff.

And you recorded your fist single— “Little Girl” and “Two by Two”—at Cosimo Matassa’s studio in New Orleans, where Domino made his recordings.

I used the same band that Fats and Little Richard and all of them used. The guitar player on that record is Mac Rebennack [the future Dr. John].

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Johnny Rivers

Some good breaks came your way— You continued meeting important people your band played the Louisiana Hayride in in the music business, including Hank Shreveport and then, at the Hayride, you Williams’ widow, Audrey, and Jimmy Bowen, met James Burton, the guitarist for music who later produced recordings by Sinatra, and TV star Ricky Nelson’s band.

Dean Martin, Glen Campbell, George Strait I’d been collecting Ricky Nelson records just and Jimmy Buffett. to hear James Burton. I’d written a song that In L.A. in the early ’60s, I was Jimmy Bowen’s everybody said would be great for Ricky Nelson. gofer guy in the studio while he was producing acts Elvis was in the Army then, for Sinatra’s Reprise Records. so Ricky Nelson was the When he started playing I was also still trying to book man. little gigs around town—I “That’s All Right,” me wasn’t’ giving up on my music.

You pitched that song, “I’ll Make Believe,” to and my buddy said, “Hey, In 1963, you finally Burton so he could pitch got some traction at man, that’s that song it to Nelson?

Gazzari’s, a small Italian I mailed a tape of “I’ll we like from the radio!” restaurant.

Make Believe” to James Jimmy Bowen and I And he did “Blue Moon went to Gazzari’s after Burton at his mother’s house in Shreveport. About of Kentucky,” the B-side. we finished in the studio, a month later, the phone because Gazzari’s served Just two songs. After the good Italian food until one in rings and my mother answers. She says, “Johnny, show, we went around the morning. One night, Bill there’s a guy who says he’s Gazzari says, “My jazz band to the back of the school left. I can’t find a group to calling from Hollywood.” I thought it was the guys in and Elvis was out there replace them. Bill looked at my band playing a joke. But me and said, “Why don’t you by a Cadillac Coupe de play a couple of nights?” I it was actually James Burton.

He said, “Ricky is going to Ville. I’m looking at him said, “Bill, I play rock and roll, record your song.”

Chuck Berry stuff.” He said, going, “Wow. This guy is “Just don’t play too loud.” So, You flew to Hollywood and met Ricky Nelson.

I played Bobby Darin tunes, really cool.”

Later you flew to New Chuck Berry, Sam Cooke, York and met Alan Freed.

Jimmy Reed. About the third night we were there, I played some songs for Alan Freed at his office Natalie Wood comes in with her entourage. She in the Brill Building. He got on the phone with starts dancing and they’re having a rock and roll George Goldner [the producer, promoter and party. It gets in the Hollywood Reporter and Variety. record label owner]. Goldner called Otis Blackwell The night after that hit the papers, you couldn’t [the composer of hits by Elvis Presley, Jerry Lee get near Gazzari’s door.

Lewis, Little Willie John]. Goldner got me in the Did Gazzari’s open the door to the studio with Otis Blackwell, who produced my Whiskey a Go-Go? songs “Baby Come Back,” and “Long Long Walk.”

On November 22, 1963, someone calls me and The records you made in New York says, “Johnny, turn on your TV! President Kennedy’s weren’t successful, but you left with been shot!” I call Bill Gazzari to tell him I’m not something else that helped your career, coming in that night. He says, “You have to play!” correct?

I said, “Bill, there’s no way I’m playing tonight.” I’m Back then, all the Italian guys shortened their thinking he’s being an insensitive bastard. So, I call last names. Frank Sinatra was the only Italian singer Elmer Valentine [Whiskey a Go-Go’s co-founder] who didn’t. George Goldner and Alan Freed said and ask him if he still wants me to play at that we can’t use my Ramistella name. I was talking place on Sunset Boulevard. I signed up with him with them about where I grew up, on the Missisfor a year starting in January 1964.” sippi River. They said, “We’ll call you Johnny River.”

How quickly did you catch on at the And then it became Rivers.

Whiskey a Go-Go?

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“... I played Bobby Darin tunes, Chuck Berry, Sam Cooke, Jimmy Reed. About the third night we were there, Natalie Wood comes in with her entourage. She starts dancing and they’re having a rock and roll party. It gets in the Hollywood Reporter and Variety.

The night after that hit the papers, you couldn’t get near Gazzari’s door.”

Opening night at the Whiskey, people were lined up two ways from the door. Everybody was there.

Steve McQueen, Jayne Mansfield, Gina Lollobrigida, Cary Grant—the stars came in every night.

But you couldn’t find any takers for the album you and Lou Adler recorded at the Whiskey?

Nobody wanted it except Bob Skaff at Liberty Records. We put Johnny Rivers at the Whisky a Go Go out and it became a smash hit. I did a lot of live albums at the Whiskey, including the one with “Secret Agent Man.” Your 1964 remake of “Mountain of Love” features the first joint studio appearance by three session musicians who became part of the Wrecking Crew—Hal Blaine, Joe Osborn, and Larry Knechtel.

Hal Blaine played on more hits than anybody.

Hal’s drum fills and rolls were perfect. His time was incredible. And I can’t think of a bass player who played on more hits than Joe Osborn. He’s on a bunch of my stuff, like “Summer Rain” and “Mountain of Love.” Joe had a knack for playing the right riff and the right feel on any song.

You released so many hits. Did you simply know how to pick a song and then get the most out of it?

That came from hanging out at the Brill Building and in Nashville, being around great songs and great songwriters. And if I didn’t feel I could perform a song as if I had written it myself, then I wouldn’t do it. O OF F B E AT. COM

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OFFBEAT. COM

AAPR Rythmpourium: 12:20p - Lars Edegran Trio *; 1:45p - David Doucet of BeauSoleil; 3:15p - Jim McCormick

6:55p

Earth, Wind & Fire

7:00p

Morissette

Alanis

5:40p

5:05p

Boyfriend

7:00p

Ciara

5:55p

New Orleans Female Hip Hop Experience ft. Mia X, Ghetto Twins, 3D Natee, Keedy Black, Briki Fa President, DJ Westbank Red & Downtown Leslie Brown

4:25p-5:25p

3:55p

3:00p

The SpeakerBox Experiment

2:40p

1:45p

Russell Batiste & Friends

6:55p

The James Carter Organ Trio

5:55p

5:30p

The Django Festival Allstars

4:15p

3:50p

Jolynda “Kiki” Chapman & Friends

2:50p

2:30p

Jason Marsalis

1:30p

6:55p

Taj Mahal & the Phantom Blues Band

5:40p

5:05p

Toronzo Cannon

4:05p

3:40p

Meschiya Lake & the Little Big Horns

2:40p

2:20p

Rev. John Wilkins

1:35p

1:15p

J.Monque’D Blues Revue

12:25p

12:05p

Jonathon Long

11:15a

6:45p

Cottonmouth Kings

5:45p New Orleans

5:25p

Tokarski

7:00p

The Milk Carton Kids

5:45p

5:20p

4:15p

3:50p

Jeffery Broussard & the Creole Cowboys

2:50p

2:30p

The Revelers

1:35p

1:15p

Balfa Toujours

12:25p

11:15a Goldman Thibodeaux & the Lawtell Playboys 12:05p

FAIS DO-DO STAGE

NEW ORLEANS

BeauSoleil Ragtime to avec Jelly Roll ft.

Michael Lars Edegran & Kris Doucet

4:20p

4:00p

Gerlad French & the Original Tuxedo Jazz Band

2:55p

1:35p-2:35p New Orleans Swamp Donkeys Traditional Jass Band

1:15p

Charlie Gabriel and Friends

12:20p

11:15a Kid Simmons’ Local International Allstars 12:05p

HALL TENT

ECONOMY SHERATON

*

5:25p

4:45p

4:05p

3:40p

Darcy Malone & The Tangle

2:45p

2:25p

Amy Helm

1:25p

12:20p-1:10p

12:00p

Loyola University Jazz Band

11:15a

BLUES TENT

*

The Dobbie Brothers

3:30p

2:55p

Rockin’ Dopsie, Jr. & the Zydeco Twisters

1:55p

1:30p

1:20p

12:25p

12:05p

Nigel Hall

11:15a

WWOZ JAZZ TENT

Grayson Gal Holiday & the Honky Bill Summers Brockamp & the New Orleans Tonk Revue & Jazalsa Wildlife Band 1:05p

12:20p

12:00p

Mia Borders

11:15a

CONGO GENTILLY SQUARE STAGE STAGE

5:10p-5:55p Craig Adams & Higher Dimensions of Praise

5:00p

Shades of Praise

4:15p

4:00p

Jekalyn Carr

3:00p

1:55p Arthur & Friends Community Choir 2:40p

1:45p

Cynthia Girtley’s Tribute to Mahalia Jackson

1:00p

12:50p

Arrianne Keelen

12:05p

11:15a-11:55a The Wimberly Family Gospel Singers

TENT

6:05p Franklin Avenue of Guatemala Music Ministry 6:50p 7:00p

6:05p

Doctor Nativo

5:45p

Papo y Son Mandao

4:50p

4:30p

3:40p

Forgotten Souls Brass Band

3:20p

2:25p

Joey Stylez

2:05p

Smitty Dee’s Brass Band

1:15p

12:55p

of Senegal

12:15p

Diassing Kunda

Mardi Gras Indians

11:15a-11:55a Fi Yi Yi & the Mandingo Warriors

STAGE

JAZZ &

KIDS TENT

ISL Circus Arts Kids

3:40p

Jeghetto’s Workshop

2:55p

2:30p

1:45p

Chosen Vessels Dance Pac

12:35p-1:20p

Grayhawk presents Native American Lore & Tales

6:30p

Mainline

5:35p

4:20p

6:00p

4:05p Kat Walker Jazz Band: Scat Sasha w/ Ms.Kat Masakowski 4:50p “Art Market” 5:15p 5:15p

4:00p

3:05p

Lulu & the Broadsides ft. Dayna Kurtz

2:45p

Forest Huval Band

1:55p

1:35p

Tom Leggett Band

12:40p

11:30a-12:20p 11:30a-12:15p Michael Young Skinkus and Audiences PerMoyuba w/ forming Arts guest Michael Showcase Ray

STAGE

HERITAGE GOSPEL LAGNIAPPE

2:30p

4:15p

T.R. Johnson

Intrvwr:

James Carter

3:30p

3:15p

Intrvwr: Quint Davis

George Wein

Jazz Fest at 50 The Founder:

Mia X, Keedy Black, 3D Natee, and DJ Westbank Red Intrvwr: Holly Hobbs

1:30p-2:15p

When Women Speak, they make a difference!

Interviewer: Matt Skakeeny 1:15p

James Rivers

12:30p

5:45p

of Senegal

Diassing Kunda

5:05p

DjaRARA

4:35p-4:55p

4:25p

of Guatemala

Doctor Nativo

3:25p

One Mind Brass Band

3:00p-3:15p

2:50p

of France

1:50p

Django Festival Allstars

1:25p

of South Africa

Pride of Zulu

12:35p

12:15p

Makueto Groove & Friends

11:30a

12:00p-6:00p Outdoor Carousel Chouval Bwa Traditionnel of Martinique

ALLISON CULTURAL MINER MUSIC EXCHANGE HERTIAGE PAVILON WORLD JOURNEY STAGE

*

Kinfolk Brass Band

12:40p

12:20p

Rumba Buena

11:20a

ACURA STAGE

Thursday, April 25

2019 New Orleans Jazz & Heritage Festival offBEAT.com

* 1970-First Festival Artist

AAPR Rythmpourium: 12:20p - Luke Winslow-King; 1:45p - Spencer Bohren; 3:15p - Alexis and the Samurai

3:00p

2:30p

Tab Benoit

1:30p

*

7:00p

Santana

5:00p

4:15p

Foundation of Funk ft. Zigaboo Modeliste & George Porter,Jr. w/ special guests Ivan Neville, Tony Hall & Ian Neville

3:40p

Karl Denson’s Tiny Universe

2:40p

2:15p

PJ Morton

1:25p

1:05p

Brass-AHolics

12:15p

11:15a Kumbuka African Drum & Dance Collective 11:55a

6:55p

The Revivalists

5:25p

4:45p

7:00p

Aloe Blacc

5:45p

Diassing Kunda

5:40p

5:10p

4:10p

3:50p

Chris Thomas King

2:50p

2:30p

Charmaine Neville Band

1:40p

of Haiti 1:20p

12:30p

Moonlight Benjamin

of Senegal 12:05p

11:20a

BLUES TENT

7:00p

7:00p

Lean on Me: The José James Robert Celebrates Cray Band Bill Withers

5:45p

5:20p

4:10p

3:50p

Astral Project

2:50p

2:30p

1:30p

Jordan Family Tribute ft.Kidd, Marlon, Stephanie, Kent and Rachel Jordan

1:10p

Roger Lewis and Baritone Bliss

12:20p

12:00p

University of New Orleans Jazz All Stars

11:15a

WWOZ JAZZ TENT

1:25p

12:30p Steve Riley & the Mamou Playboys

12:10p

Corey Ledet & his Zydeco Band

11:15a

FAIS DO-DO STAGE

NEW ORLEANS

5:45p Wendell Brunious & the New Orleans All Stars 6:45p

“Kiki” Chapman

4:20p-5:25p

4:00p

Tim Laughlin

3:05p

2:50p

2:25p

1:55p

DjaRARA

1:30p

Kumasi

12:25p

Mardi Gras Indians

11:20a-12:00p Big Chief Bird & The Young Hunters

STAGE

JAZZ &

6:05p Keith Frank & the Soileau Zydeco Band 7:00p

5:40p

Darlingside

4:40p

4:10p

of Canada

6:45p

Da Truth Brass Band 6:45p

5:05p Arthur Clayton IV & Anointed For Purpose 5:50p

4:50p

Kathy Taylor and Favor

3:50p

6:00p Pastor Tyrone Jefferson

5:40p

Mardi Gras Indians 5:15p

79rs Gang

4:25p

4:00p

2:45p Josh Kagler & Harmonistic Praise Crusade 3:30p

1:45p 1:55p Landry Walker Charter High School Choir 2:35p

McDonogh 35 High School Gospel Choir

1:00p

12:05p Jessica Harvey and the Difference 12:50p

11:15a-11:55a McMain’s International Singing Mustangs Choir

TENT

KID smART Student Showcase

11:30a-12:15p

KIDS TENT

6:30p

Soul Brass Band

5:35p

4:15p Alvin “Youngblood” Hart’s Muscle Theory 5:15p

3:55p

2:55p

2:50p

1:50p-2:25p Deborah Hunt Maskhunt Motions

6:00p

David & Roselyn

5:10p

4:45p

Yvette Landry

4:00p

Pride of Zulu Luke Africa Winslow- of South 3:35p King

2:35p

Paula & The Pontiacs

1:50p

12:35p 12:40p-1:25p John Lawrence Adella, Adella & Ven Pa’ Ca the Storyteller Flamenco & Amber Zu the Ensemble Conductor 1:30p

12:15p

The Wanting

11:30a

STAGE

HERITAGE GOSPEL LAGNIAPPE

Free Agents Le Vent du Nord Brass Band 3:10p

1:45p-2:45p Shannon Powell: King 1:50p of Treme & his Dwayne Dopsie Traditional Allstar Band & the Zydeco ft. Barbara Hellraisers Shorts 2:45p

1:25p

Jazz Ensemble

12:30p

Louisiana Repertory

12:05p

Louis Ford & his New Orleans Flairs

11:20a

HALL TENT

ECONOMY SHERATON

James Terence Dozen Andrews & Tribute to DanBlanchard the ny and Blue Crescent Lu Brass Band Barker ft. ft. The Brooks E-Collective City All-Stars Detroit 5:05p and Jolynda

The Head 4:05p and the Heart The Dirty

3:30p

2:50p

The Subdudes

1:50p

1:25p

Bonerama

12:30p

12:10p

Motel Radio

11:20a

CONGO GENTILLY SQUARE STAGE STAGE

Intrvwr:

5:15p

Scott Aiges

4:30p The Subdudes

4:15p

Gwen Thompkins

Intrvwr:

PJ Morton

3:30p

Intrvwr: Barry Ancelet

2:30p-3:15p

Caesar Vincent’s Legacy: w/Steve Riley, Sam Broussard, Chris Stafford and Anna Laura Edmiston

1:30p-2:15p

Smithsonian Folkways Celebrates Jazz Fest’s 50th w/ Jeff Place, Michael Murphy and Dave Ankers.

Intvwr: John Wirt

1:15p

Interviewer: David Fricke

George Porter, Jr.

12:30p

5:45p

of South Africa

Pride of Zulu

4:55p

DjaRARA

4:25p-4:45p

4:15p

of Haiti

Moonlight Benjamin

3:15p

of Senegal 2:50p

Diassing Kunda

2:05p

1:45p

of Canada

12:45p

Le Vent du Nord

12:20p

Santiman & Garifuna Generation

11:30a

12:00p-6:00p Outdoor Carousel Chouval Bwa Traditionnel of Martinique

ALLISON CULTURAL MINER MUSIC EXCHANGE HERTIAGE PAVILON WORLD JOURNEY STAGE

*

1:10p

Suspects

New Orleans

12:20p

12:00p

of South Africa

Pride of Zulu

11:20a

ACURA STAGE

Friday, April 26

2019 New Orleans Jazz & Heritage Festival offBEAT.com

* 1970-First Festival Artist

AAPR Rythmpourium: 12:20p - Frishberg Family Band; 1:45p - Robin Barnes - The Songbird of New Orleans; 3:15p - Paul Sanchez

3:45p

4:20p

4:00p

4:00p

*

5:40p

Leon Bridges

7:00p

Katy Perry

7:00p

7:00p

Logic

5:50p

7:00p

Gregory Porter

5:30p

7:00p

Boz Scaggs

5:40p

12:15p

Mardi Gras Indians

11:15a-11:55a Semolian Warriors

Diassing Kunda

4:25p

5:45p

5:10p

Pine Leaf Boys

7:00p

6:55p

5:40p

4:50p

Caesar Brothers FunkBox

Javier Olondo and AsheSon

4:15p

3:50p

3:35p

of Senegal 3:15p

2:25p

2:05p

Lil’ Nathan & The Zydeco Big Timers

2:55p

2:30p

Jourdan Thibodeaux et les Rodailleurs

1:40p

Midnite Disturbers

12:25p Pride of Zulu The Cypress of South Africa Band ft.

12:55p Warren Storm & Willie Tee 1:15p 1:15p

12:05p

Terry & The Zydeco Bad Boys

11:20a

STAGE

JAZZ &

1:45p 1:55p Sherman Washington’s Zion Harmonizers 2:40p

E’Dana & Divinely Destin

1:00p

12:50p

12:05p

Connie and Dwight Fitch with the St. Raymond & St. Leo the Great Choir

11:15a-11:55a The Legendary Rocks of Harmony

TENT

6:05p-6:50p Watson Memorial Teaching Ministries

5:10p New Hope Baptist Church Mass Choir 5:55p

5:00p

4:15p

Tonia Scott and the Anointed Voices

4:00p

Ricky Dillard & New G

3:00p

6:30p

La Tran-k Band

5:40p

5:20p

Kristin Diable & the City

4:20p

4:00p

Tom McDermott & Evan Christopher

3:05p

2:45p

1:50p

Sweet Cecilia

1:30p

Marshland

12:35p

11:30a Delgado Community College Jazz Band 12:15p

STAGE

HERITAGE GOSPEL LAGNIAPPE

Aurora 6:00p Nealand & Steve Earle Original the Royal & The Dukes Pinettes Roses Brass Band 6:45p

5:45p

5:25p

5:25p-5:40p

DJ Blaza

Michael White

5:20p

*

5:40p

5:10p

3:00p Lars Edegran’s New Orleans Ragtime Orchestra 4:00p

2:40p

4:05p Maria 4:25p Muldaur’s Louis Cottrell & Tribute to Onward Brass Blue Lu Barker Band Remembered ft. Dr. 5:05p

2:55p Mr. Sipp “The Mississippi Blues Child” 3:45p

Leroy Jones & New Orleans’ Finest

1:40p

1:20p

Preservation Brass

12:25p

12:05p

*

Preservation Naturally 7 Rebirth Hall Jazz Band Brass Band 5:00p

4:10p

3:50p

Curren$y w/guest Nesby Phips

3:00p

2:45p Lawrence Sieberth ft.

Fareed Haque 3:35p

The New Orleans Piano Professors: Celebrating Professor Longhair, James Booker, Jelly Roll Morton, Fats Domino, Allen Toussaint and Dr.John ft. Jon Cleary, Davell Crawford, Tom McDermott, Al “Lil Fats” Jackson, David Torkanowsky, and John “Papa” Gros

1:25p-2:35p

1:10p

Mem Shannon & the Membership

12:20p

12:00p

11:15a

Messy Cookers Jazz Band

FAIS DO-DO STAGE

NEW ORLEANS

Gregory Porter

2:45p-3:30p

Swamp Pop Leg-

2:30p

Intrvwr: Lawrence N. Powell

Spencer and André Bohren

1:45p

1:15p

Interviewer: Karen Celestan

12:30p

6:00p

Sunpie & the Louisiana Sunspots

5:15p

4:50p

The RRAAMS

4:05p

3:40p

5:30p

Herman Fuselier

Intrvwr:

4:45p

Davell Crawford

4:30p

Jason Patterson

Intrvwr:

3:45p

Germaine Bazzle

5:45p

of Senegal

4:55p

Diassing Kunda

Mardi Gras Indian Rythm Section & Washitaw Nation

4:25p-4:40p

4:15p

of South Africa

Pride of Zulu

3:25p

3:00p

Original Pinettes Brass Band

2:05p

of Canada 1:45p

12:45p

Lemon Bucket Orkestra

12:20p

11:30a

Javier Olondo and AsheSon

12:00p-6:00p Outdoor Carousel Chouval Bwa Traditionnel of Martinique

ALLISON CULTURAL MINER MUSIC EXCHANGE HERTIAGE PAVILON WORLD JOURNEY STAGE

Johnette Down- ends Warren Storm ing & Scott and Willie Tee Intrvwr: Billington w/ Nick Spitzer Irma Thomas

2:50p

Tornado Brass Band

2:05p-2:20p

Versailles Lion Dance 2:30p-2:40p

1:50p

Grey Seal Puppets

1:05p

Versailles Lion Dance

12:25p-12:40p

11:30a-12:15p

Young Guardians of the Flame

KIDS TENT

*

4:55p

Hurray For The Riff Raff

Lauren Daigle

DJ Blaza

2:40p-2:55p

2:25p

Germaine Bazzle

11:10a

Johnny Sansone

HALL TENT

ECONOMY SHERATON

*

3:15p

Dobet Gnahoré

of Ivory Coast 2:35p

1:35p

1:15p

Blodie’s Jazz Jam

12:25p

11:15a Robin Barnes The Songbird of New Orleans 12:05p

BLUES TENT

*

2:50p

2:25p

Erica Falls

2:05p

1:35p

1:10p

Justin Garner

12:20p

12:00p

Lisa Amos

11:15a

WWOZ JAZZ TENT

*

Better Than Ezra

1:35p

1:15p

Paul Sanchez & the Rolling Road Show

12:25p

12:05p

Whippersnappers

11:15a Spencer Bohren & The

CONGO GENTILLY SQUARE STAGE STAGE

1:40p

Sweet Crude

12:40p

12:20p

Maggie Koerner

11:20a

ACURA STAGE

Saturday, April 27

2019 New Orleans Jazz & Heritage Festival offBEAT.com

* 1970-First Festival Artist

12:15p-1:30p

11:15a Corey Henry & Treme Funktet 11:55a

ACURA STAGE

*

AAPR Rythmpourium: 12:20p -Helen Gillet; 1:45p -Sarah Quintana; 3:15p - Dave Jordan

7:00p

6:55p

J Balvin

5:45p

7:00p

Al Green

5:45p

5:00p

6:55p

Ellis Marsalis Family Tribute ft. Wynton, Branford,Delfeayo & Jason w/ Ellis Marsalis

5:40p

5:10p

Stephanie Jordan Big Band

4:10p

3:00p-3:50p

‘Give the Drummer Some’ ft. Herlin Riley, Shannon Powell, Terrence Higgins and Johnny Vidacovich

2:35p

*

* 1970-First Festival Artist

Van Morrison

5:30p

5:15p

Bleachers

The O’Jays

3:45p

3:00p

1:35p

Maurice “Mobetta” Brown

*

4:50p

4:05p

3:35p

Royal Teeth

2:45p

2:20p

1:45p

The New Orleans Jazz Orchestra’s Tribute to Aretha Franklin

1:15p

12:25p

Roderick Harper Quartet

12:05p

NOCCA Jazz Ensemble

11:20a

7:00p

Johnny Rivers

5:45p

6:45p

The Creole Jazz Serenaders w/Don Vappie

Deacon John

5:45p

Tribute to Louis Prima ft.

Louis Prima,Jr. ,John Boutté, Meschiya Lake, and Wendell Brunious

5:10p

4:10p-5:25p

2:50p Topsy Chapman & Solid Harmony 3:45p

2:30p

Treme Brass Band

4:10p

3:45p

Davell Crawford

2:45p

2:25p

1:35p

Luther Kent & Trickbag

of Niger 1:15p 1:35p

12:25p

12:25p The Palm Court Jazz Band ft. Sammy Rimington 1:15p

12:25p

7:00p

Curley Taylor

6:00p

5:40p

Indigo Girls

4:20p

3:55p

3:00p

Roddie Romero & the Hub City All-Stars

1:40p Sunpie & the Louisiana Sunspots 2:35p

Johnnie Allan 1:15p

w/special guest

Jambalaya Cajun Band

12:05p

12:05p

12:05p

Mdou Moctar

The Daiquiri Queens

11:20a

FAIS DO-DO STAGE

NEW ORLEANS

Frog and Henry

11:15a

HALL TENT

ECONOMY SHERATON

Cedric Burnside

11:15a

BLUES TENT

6:45p

New Breed Brass Band

5:45p

5:20p

A Tribe Called Red

4:20p

3:55p

Big Chief Monk Boudreaux & the Golden Eagels

3:00p

1:35p Dr. Brice Miller & Mahogany Brass Band 2:35p

1:15p

12:30p

The Circle of Chiefs

12:10p

Bamboula 2000

11:20a

STAGE

JAZZ &

3:00p

6:50p

Pastor Terry Gullage & Kingdom Sound

6:05p

5:10p Pastor Mitchell J. Stevens 5:55p

4:15p Leo Jackson & The Melody Clouds 5:00p

4:00p

6:30p

5:30p

The New Orleans Klezmer All Stars

4:15p Zeke Fishhead & los Reyes De Lagartos 5:10p

3:55p

Helen Gillet

2:40p

3:00p

The Rance Allen Group

2:40p

Driskill Mountain Boys

1:50p

1:30p

12:35p

11:30a-12:15p

Curtis Pierre and the Samba Kids

KIDS TENT

6:00p

Ashé Cultural Arts Center Kuumba Institute

5:15p

4:50p

Mesner Puppet Theater

4:05p

3:40p

David Gonzalez

2:55p

1:50p-2:35p Glenn Hartman & the Earthtones

12:40p-1:25p Dave Washboard Jordan Leo Thomas & the NIA

12:15p

11:30a

Anaȉs St. John presents Lulu White Queen of Storyville

STAGE

Val & Love Alive Choir

1:45p 1:55p

Betty Win & One-A-Chord

1:00p

12:50p

12:05p

Tribute to Jo “Cool” Davis w/ Cordell Chambliss & the Gospel All-Star Band ft. special guests

Zulu Gospel Male Ensemble

11:15a-11:55a

TENT

HERITAGE GOSPEL LAGNIAPPE

*

Bonnie Raitt

3:35p

3:00p

Irma Thomas

1:55p

GIVERS

1:30p

1:10p

Flow Tribe

12:20p Walter Wolfman Washington & The Roadmasters 1:20p

12:00p

Boukou Groove

11:15a

WWOZ JAZZ TENT

3:00p-3:45p

4:45p

Sally Young

Intrvwr:

4:00p Dr. Michael White

Ben Sandmel

Intrvwr:

Cajun Music Legends

Johnnie Allan & Terry Huval

Interviewer: Alison Fensterstock

2:00p-2:45p

Indigo Girls

Intvwr: Melissa “Soul Sister” Weber

Eddie Levert and Walter Williams of the O’ Jays

1:00p-1:45p

12:45p

Interviewer: Bruce Raeburn

12:00p

Johnny Vidacovich

of Ivory Coast 5:45p

4:45p

Dobet Gnahoré

4:20p-4:35p DjaRARA & Chakra

4:15p

of Niger

Mdou Moctar

3:10p

2:45p

A Tribe Called Red

1:45p

1:20p

of South Africa

12:40p Pride of Zulu

12:20p-12:35p DjRARA & Chakra

12:15p

of South Africa

Pride of Zulu

11:30a

12:00p-6:00p Outdoor Carousel Chouval Bwa Traditionnel of Martinique

ALLISON CULTURAL MINER MUSIC EXCHANGE HERTIAGE PAVILON WORLD JOURNEY STAGE

*

Tribute to Dave Bartholomew and Fats Domino w/special guests Bonnie Raitt, Irma Thomas, Davell Crawford, Jon Cleary and Al”lil Fats” Jackson ft.

Domino Orchestra

12:20p

12:00p

Naughty Professor

11:15a

CONGO GENTILLY SQUARE STAGE STAGE

Sunday, April 28

2019 New Orleans Jazz & Heritage Festival offBEAT.com

AAPR Rythmpourium: 12:30p -The New Orleans Guitar Masters ft.

Jimmy Robinson, John Rankin and Cranston Clements; 2:00p - Clay Parker & Jodi James; 3:30p - Alex McMurray

7:00p

Widespread panic

4:30p

2:55p Ivan Neville’s Dumpstaphunk 3:50p

2:30p

Samantha Fish

1:40p

1:20p

Anders Osborne

12:25p

12:05p

Cowboy Mouth

11:15a

ACURA STAGE

6:55p

Tom Jones

5:40p

5:00p

Rita Coolidge

3:50p

3:25p

Marc Broussard

2:15p

1:50p

Johnny Sketch & The Dirty Notes

12:45p

12:20p

Tin Men

11:20a

6:55p

Ziggy Marley

5:25p

4:45p

Big Sam’s Funky Nation

3:30p

3:05p

Dwight James & The Royals

2:00p

1:35p

of Benin

3L Ifédé

12:45p

12:20p

Zena Moses & Friends

11:20a

CONGO GENTILLY SQUARE STAGE STAGE

Thursday, May 2

11:20a

Andy J

BLUES TENT

6:45p

Regina Carter’s Southern Comfort

5:30p

5:00p

3:45p

Nicholas Payton & The Light Beings

3:20p

Tonya Boyd-Cannon

2:15p

History & Future of New Orleans Piano 1:50p

Kyle Roussel

12:45p

12:20p

6:55p

Mavis Staples

5:50p

5:25p

Eric Lindell

4:15p

3:50p

Glen David Andrews

2:40p

1:50a-2:15p The Rising Stars Fife & Drum Band

1:35p

12:35p

Bryan Lee Six String Therapy

12:15p

Crescent Forest & The

by Choice Swampcrawlers

11:20a

WWOZ JAZZ TENT

6:45p

Banu Gibson

5:35p

5:10p

Mark Braud’s New Orleans Jazz Giants

4:00p

3:35p

Lena Prima

2:20p

1:55p

Clive Wilson’s New Orleans Serenaders

12:55p

12:30p

The Pfister Sisters

11:30a

HALL TENT

6:50p

Sean Ardoin

5:35p

5:10p

Creole String Beans

4:00p

3:35p

2:25p

Geno Delafose & French Rockin’ Boogie

2:00p

Bruce Daigrepont Cajun Band

12:55p

12:30p

11:30a

Brandon Moreau & Cajungrass

FAIS DO-DO STAGE

NEW ORLEANS

ECONOMY SHERATON

6:45p

Javier Gutierrez & Vivaz!

5:45p

5:20p

101 Runners

4:20p

3:55p

3:00p

Sons of Jazz Brass Band

2:35p

of South Africa

1:45p Crocodile Gumboot Dancers

1:20p

Pocket Aces Brass Band

12:25p

Mardi Gras Indians

11:20a-12:00p

Big Chief Charles & The White Cloud Hunters

STAGE

JAZZ &

First Grace United Methodist Church Gospel

5:55p - 6:40p

5:40p

4:50p

Audrey Ferguson & The Voices of Distinction

3:45p Lyle Henderson & Emmanu-EL 4:35p

3:30p

Isabel Davis

2:35p

2:20p

Pastor Jai Reed

1:25p

1:10p

The Jones Sisters

12:20p

12:05p

11:20a

The New Voices of Light

TENT

Capoeira

5:15p

4:00p Bruce Daigrepont Cajun Band 4:50p

3:05p-3:35p Black Magic Drumline

2:45p

Donald Lewis

2:00p

1:10p-1:40p Black Magic Drumline

12:45p

Calliope Puppets

12:00p

KIDS TENT

6:30p

Billy Iuso New Orleans & Restless 6:00p Natives

5:20p

3:35p-4:55p

The New Orleans Guitar Masters ft. John Rankin, Jimmy Robinson & Cranston Clements

3:20p

Julio y Cesar Band

2:15p

1:50p

Egg Jolk Jubilee

12:50p

12:25p

11:30a

Clay Parker and Jodi James

STAGE

HERITAGE GOSPEL LAGNIAPPE

5:45p

5:00p

Pocket Aces Brass Band

4:45p

of Benin

3L Ifédѐ

4:00p

3:10p-3:40p

The Rising Stars Fife & Drum Band

Buffalo Hunters & Cheyenne Mardi Gras Indians

2:35p 2:45p-3:00p

1:45p

Javier Gutierrez & Vivaz!

12:35p Nothern Cree of Canada 1:20p

South Africa

11:30a-12:15p Crocodile Gumboot Dancers of

12:00p-6:00p Outdoor Carousel Chouval Bwa Traditionnel of Martinique

WORLD JOURNEY

CULTURAL EXCHANGE PAVILON

2019 New Orleans Jazz & Heritage Festival offBEAT.com

1:35p

12:20p Shamarr Allen & the Underdawgs 1:10p

12:00p

of Benin

3L Ifédѐ

11:15a

11:15a

11:15a-12:00p

Tipitina’s Interns under the direction of Donald Harrison, Jr.

12:20p

11:15a Grupo Sensacion NOLA 12:00p

12:20p

1:10p

1:30p

Batiste Brothers

1:10p

1:30p

AAPR Rythmpourium: 12:00p - Michot’s Melody Makers; 1:15p - The Rising Stars Fife & Drum Band; 2:20p - T’Monde; 3:40p - John Mooney Trio

7:00p

Cécile McLorin Salvant

Gladys Knight

7:00p

Gary Clark Jr.

7:00p

7:00p

5:45p

5:15p

Matthew Whitaker Quartet

4:15p

3:50p

Trumpet Maphia

2:50p

5:45p

5:15p

Supported by The Bahamas Ministry of Tourism

4:15p The Bahamas Revue Band

2:50p Kermit Ruffins & the Barbecue Swingers 3:50p

2:30p

5:45p

5:20p

Kamasi Washington

4:20p

4:00p

3:00p

North Mississippi Allstars

2:35p

2:30p

7:00p

Los Lobos

5:30p

5:00p

Sonny Landreth

4:00p

3:40p

Jarekus Singleton

2:40p

2:15p

of South Africa

1:30p Crocodile Gumboot Dancers

1:10p

John Mooney & Bluesiana

12:20p

12:00p

6:45p

New Orelans

Hot Club of

5:45p

4:20p-5:25p Tribute to Humphrey Brothers and Eureka Brass Band ft. Mark Braud

3:55p

Greg Stafford’s Jazz Hounds

2:55p

2:35p

Jamil Sharif

1:40p

12:25p Tommy Sancton’s New Orleans Legacy Band 1:20p

12:05p

*

Chris Stapleton

5:20p

4:40p

Wayne Toups

3:30p

3:10p

Wetlands All-stars

2:05p

James Rivers Movement

John Mahoney Big Band

11:15a

HALL TENT

12:20p

12:20p

Cha Wa

Ani DiFranco

7:00p

Nathan & The Zydeco Cha Chas

6:00p

5:40p

6:45p

Papa Mali & Friends

5:45p

5:20p

4:15p

4:15p

3:50p

Lost Bayou Ramblers

1:35p - 2:20p

Big Chief Kevin Goodman & the Flaming Arrows Mardi Gras Indians

1:15p

2:45p Herbert McCarver & The Pin Stripe Brass Band 3:50p

2:50p

2:25p

Cedric Watson et Bijou Creole

1:30p

1:10p

Baby Boyz Brass Band

Comanche Hunters

Leyla McCalla

Mardi Gras Indians

12:00p

11:20a-12:00p

STAGE

JAZZ &

6:05p-6:45p The City of Love Music & Worship Arts Choir

The Showers

5:15p-5:55p

4:25p-5:05p Mount Hermon Baptist Church Praise Delegation Choit

4:10p

3:15p

Bobby Jones & the Nashville Super Choir

2:10p St.Joseph the Worker Music Ministry 2:55p

2:00p

Evangelist Jackie Tolbert & The Gospel Ensemble

1:20p

1:10p

12:30p

Jermaine Hawkins and the Harvey Spirituals

11:40a Joel Jones & 3MC 12:20p

Choir

New Orleans Council on Aging Community

11:10a-11:30a

TENT

6:30p

The Iceman Special

5:35p

5:15p

The Deslondes

4:20p

4:00p

Chris Smither

3:00p

2:40p

Susan Cowsill

1:50p

1:30p

12:40p

Patrice Fisher & Arpa w/special guests from Brazil

11:30a Keith Burnstein’s Kettle Black 12:20p

STAGE

HERITAGE GOSPEL LAGNIAPPE

T’Monde

11:15a

FAIS DO-DO STAGE

NEW ORLEANS

ECONOMY SHERATON

Ernie Vincent Andrew & The Top Hall’s Society Notes Brass Band

BLUES TENT

WWOZ JAZZ TENT

CONGO GENTILLY SQUARE STAGE STAGE

*

Big Chief Leo Donald Voice of the Nocentelli Harrison, Jr.

1:40p

Honey Island Swamp Band

12:40p

12:20p

The Iguanas

11:20a

ACURA STAGE

Friday, May 3

Members of

12:30p

6:00p

5:15p

Dancing Grounds Elite Feet Dance Krewe & Youth Company

4:55p

Theater on Tap

4:10p

3:45p

Erik McAllister

3:00p

2:35p

The Swing Setters

1:50p

1:25p

5:15p

Scott Jordan

Intrvwr:

4:30p

Jarekus Singleton

4:15p

Ashley Kahn

Intrvwr:

3:30p Herbie Hancock

3:15p

Interviewer: John Swenson

Ani DiFranco

2:30p

Intvwr: Michael Gourrier

1:30p-2:15p Kamasi Washington

5:45p

Of South Africa

4:50p

Crocodile Gumboot Dancers

4:30p

Leyla McCalla

3:35p

Bahamas Junkanoos

3:10p-3:25p

of Benin 3:00p

3L Ifédѐ

2:10p

1:45p

supported by The Bahamas Ministry of Toursim

12:45p The Bahamas Revue Band

Nothern Cree

12:15p-12:35p Pow Wow

12:00p

The Bahamas Junkanoos

11:30a

12:00p-6:00p Outdoor Carousel Chouval Bwa Traditionnel of Martinique

ALLISON CULTURAL MINER MUSIC EXCHANGE HERTIAGE PAVILON WORLD JOURNEY STAGE

Cha Wa McMain Interviewer: Talented Maurice Martinez Theatre Troupe 1:15p

12:40p

Kehoe France Choir

11:30a-12:15p

KIDS TENT

2019 New Orleans Jazz & Heritage Festival offBEAT.com

* 1970-First Festival Artist

AAPR Rythmpourium: 12:20p - Andrew Duhon; 1:45p - Troy Turner; 3:15p - Joe Krown

7:00p

5:40p

Pitbull

7:00p

5:45p

Diana Ross

7:00p

5:05p

5:05p

Rick Troslen’s

7:00p

John Prine

7:00p

5:45p

5:45p

5:10p

The War and Treaty

4:10p

3:50p

Marcia Ball

2:50p

2:30p

Kenny Neal with guest Henry Gray

1:30p

12:20p Joe Krown Trio ft. Walter Wolfman Washington 1:10p

12:00p

Troy Turner

11:15a

Jonathan Butler & Gerald Albright

5:10p

Alfredo Rodriguez & Pedrito Martinez

4:20p

4:00p

3:00p

Jesse McBride Big Band

2:35p

Leah Chase

1:40p

1:20p

Jeremy Davenport

12:25p

12:05p

Neslorchestra

11:15a

BLUES TENT

6:45p

Chris Owens

5:55p

5:30p

A Tribute to Pete Fountain and Al Hirt ft. Tim Laughlin, Wendell Brunious, Ronnie Kole & Doyle Cooper

4:15p

3:50p

2:55p

Gregg Stafford & his Young Tuxedo Brass Band

2:35p

1:40p

George French & The New Orleans Storyville Jazz Band

1:20p

Orange Kellin’s New Orleans DeLuxe Orchestra

12:25p

12:05p

On The Levee Jazz Band

11:20a

HALL TENT

*

7:00p

The Kings of Zydeco: A tribute to Clifton Chenier & Buckwheat Zydeco ft. C.J. Chenier, Nathan Williams & the IIs Sont Partis Band

5:30p

5:00p

The Earls of Leicester presented by Jerry Douglas

3:45p

2:20p Chubby Carrier & The Bayou Swamp Band 3:20p

2:00p

12:45p

Savoy Music Center Saturday Morning Jam Session

12:20p

Mid City Aces

11:20a

FAIS DO-DO STAGE

NEW ORLEANS

ECONOMY SHERATON

*

Dave Matthews Band

5:00p

Big Freedia

4:05p

3:40p

of the Democratic Republic of the Congo

2:40p

Jupiter & Okwess

2:15p

Hot 8 Brass Band

1:25p

1:05p

Of Benin

3L Ifédѐ

12:20p

12:00p

Aaron Neville

4:00p

2:35p-3:35p

The New Orleans Classic R&B Legends ft. Dixie Cups, Wanda Rouzan, Clarence “Frogman” Henry, and Al “Carnival Time” Johnson w/ Bobby Cure & The Poppa Stoppas

2:15p

11:15a

Southern University Baton Rogue Jazzy Jags

WWOZ JAZZ TENT

*

4:15p

Galactic

3:10p

2:40p

Tank & The Bangas

Amanda Shaw

1:20p

1:00p

TBC Brass Band

12:10p

11:50a

Nothern Cree of Canada

11:20a

CONGO GENTILLY SQUARE STAGE STAGE

*

1:40p

1:15p

The Soul Rebels

12:25p

12:05p

John “Papa” Gros

11:15a

ACURA STAGE

Saturday, May 4

6:05p Big Chief Juan & Jockimo’s Groove 6:55p

5:45p

4:50p

Storyville Stompers Brass Band

4:30p

of Haiti

Boukman Eksperyans

3:30p

3:05p

2:10p

New Birth Brass Band

of South Africa

1:20p-1:50p

Crocodile Gumboot Dancers

12:20p-1:00p

Gathering of Chiefs: Walter Cook & The Creole Wild West Mardi Gras Indians w/family and Friends

Higher Heights Reggae

11:15a-12:00p

STAGE

JAZZ &

6:00p-6:45p Archdiocese of New Orleans Gospel Choir

5:50p

Jermaine Landrum & The Abundant Praise Revival Choir

5:05p

4:55p

Voices of Peter Claver

4:10p

3:55p

Shirley Caesar

2:55p

2:35p

The Johnson Extension

1:50p

1:40p

Kim Che’re

12:55p

12:00p New Orleans Spiritualettes 12:45p

11:10a-11:50a The Gospel Inspirations of Boutte

TENT

6:30p

The Rayo Brothers

5:35p

5:15p

Andrew Duhon

4:15p

3:55p

2:55p

Judith Owen

2:35p

Mo’Fess

1:35p

1:15p

Lane Mack & The Balladeers

12:20p

11:30a-12:00p

Brother Martin High School Stage Band 50th Anniversary

STAGE

HERITAGE GOSPEL LAGNIAPPE

6:00p

5:15p

Clovis Crawfish & the All-Star Bayou Band

4:55p

Square Dance NOLA

4:10p

3:45p

3:00p

Miss Pussycat

4:30p-5:15p

53rd Anniversary of the Savoy Music Center Saturday Jam w/ Marc, Ann, Joel and Wilson Savoy Intrvwr: Ben Sandmel

4:15p

Intrvwr: David Kunian

3:30p

Jonathan Butler & Gerald Albright

2:30p-3:15p

Clifton Chenier & Buckwheat Zydeco Tribute C.J. Chenier, Reginald Dural, Nathan Williams, & Lee Allen Zeno Intrvwr: Michael Tisserand

2:15p 2:35p

OperaCréole

Jerry Douglas

Intrvwr: Steve Hochman

1:30p

1:15p

Interviewer: Joyce Jackson

12:30p Shirley Caesar

5:45p

of the Democratic Republic of the Congo

4:50p

Jupiter & Okwess

Bahamas Junkanoos

4:25p-4:40p

4:10p

of Benin

3L Ifédѐ

3:20p

Alfredo Rodriguez & Pedrito Martinez w/ Cuban Rumberos

2:00p-3:00p

of Haiti 1:40p

12:40p

Bokuman Eksperyans

12:15p

of South Africa

Crocodile Gumboot Dancers

11:30a

12:00p-6:00p Outdoor Carousel Chouval Bwa Traditionnel of Martinique

ALLISON CULTURAL MINER MUSIC EXCHANGE HERTIAGE PAVILON WORLD JOURNEY STAGE

1:50p

Christian Unity Baptist Church Youth Department Choir

12:40p-1:25p

11:30a-12:15p Stephen Foster’s Family Music Program

KIDS TENT

2019 New Orleans Jazz & Heritage Festival offBEAT.com

* 1970-First Festival Artist

AAPR Rythmpourium: 12:20p - Ben E. Hunter; 1:45p - Hazel & The Delta Ramblers; 3:15p - Lilli Lewis

3:10p

Little Feat

2:00p

1:30p

4:50p-5:10p

6:55p

John Fogerty

7:00p

7:00p

5:25p

DJ Captain Charles

Maze ft.

Frankie Beverly

5:40p

5:00p

4:40p

Chaka Khan

3:25p

DJ Captain Charles

3:00p-3:15p

2:50p

Roi “Chip” Anthony & Jeff Floyd

1:55p

1:30p

Trombone Shorty & Orleans Avenue with Nevilles

5:30p

5:05p

Jimmy Buffet & 3:50p the Coral Reefer The Band Radiators

3:05

Tribute to Allen Toussant ft. The Allen Toussant Orchestra w/ Clearence Toussanint & very special guests

Gentlemen

2:30p

John Hammond

1:30p

2:45p

1:50p

Fairview Brass Band Reunion

7:00p

Herbie Hancock

5:30p

5:05p

John Boutté

4:05p

7:00p

Buddy Guy

5:45p

4:15p C.J. Cheneir & The Red Hot Louisiana Band 5:15p

6:45p

Doreen’s Jazz New Orleans

5:50p

4:30p Kermit Ruffins’ Tribute to Louis Armstrong 5:30p

4:10p

Clark

2:45p 2:50p Delfeayo Lil’ Buck Sinegal’s 3:05p Marsalis & the Blues Band w/ Dr.Michael special guest Uptown Jazz White & The Ironing Board Orchestra Original Liberty Sam Jazz Band w/ 3:50p 3:45p guest Thais

2:20p

Alexey Marti & Urban Minds

1:30p

1:10p

12:40p New Leviathan Oriental Fox-Trot Orchestra 1:30p

7:00p

The Mavericks

5:45p

5:15p

Terrance Siemien & The Zydeco Experience

4:15p

3:50p

Savoy Family Cajun Band

3:00p

2:40p

1:50p

Yvette Landry & The Jukes

1:30p

12:30p

Tribute to GG Shinn ft. Gregg Martinez & the Delta Kings w/ guests TK Hulin & Charlene Howard

12:05p

A Tribute to Aldus Roger ft. Jimmy Breaux, Johnny Sonnier & the New Lafayette Playboys

11:15a

FAIS DO-DO STAGE

NEW ORLEANS

6:55p

Stooges Brass Band

6:05p

4:50p Big Chief Bo Dollis, Jr. & The Wild Magnolias 5:45p

4:30p

Mariachi Jalisco

3:40p

of Haiti 3:20p

Boukman Eksperyans

2:25p

2:05p

Mardi Gras Indians

1:15p Hardhead Hunters

12:55p

12:00p

Young Pinstripe Brass Band

11:15a-11:45a Nothern Cree of Canada

STAGE

JAZZ &

TENT

6:00p-6:45p The Bester Gospel Singers and The Dynamic Smooth Family Gospel Singers

5:45p

4:45p

The Gospel Soul of Irma Thomas

Tribute to Raymond A. Myles ft. THE RAMS w/ guest Davell Crawford

3:45p-4:30p

2:40p The Anointed Jackson Sisters 3:30p

2:25p

Tyronne Foster & The Arc Singers

1:45p

1:35p

Jonté Landrum

12:55p

12:45p

12:00p

New Orleans Gospel Soul Children 50th Anniversary Celebration w/ alumni special guests

11:10a-11:50a The Electrifying Crown Seekers

6:30p

Bobby Lounge

5:35p

5:15p

Carsie Blanton

4:20p

4:00p

Panorama Jazz Band

3:05p

2:45p

1:55p

Treces Del Sur

1:35p

The Magnolia Sisters

12:40p

The Don “Moose” Jamison Heritage School of Music Band

11:30a-12:20p

STAGE

HERITAGE GOSPEL LAGNIAPPE

5:15p-6:00p

Culu Children’s Traditional African Dance Company w/ Stilt Walker

4:50p

4:05p Aucoin Family Cajun Band

3:40p

Kai Knight’s Silhouette Dance Ensemble

2:55p

2:20p-2:35p

Rising Dragon Lion Dance Team

2:00p

1:15p

Judy Stock

12:45p-1:00p

Rising Dragon Lion Dance Team

11:30a-12:15p

New Orleans Dance Collective

KIDS TENT

Intrvwr: Keith Spera

4:30p-5:15p

Bill Payne & Paul Barrere of Little Feat

Intrvwr: Derek Huston

3:30p-4:15p

Paul Deakin & Eddie Perez of The Mavericks

Interviwer: Tom Piazza

John Prine

2:30p-3:15p

1:30p-2:15p

Allison MinerTribute w/ Steve Armbuster, Pat Byrd, Keith Frazier, “Dodie” Smith-Simmons Intrvwr: Grant Morris

man Eksperyans of Haiti Intvrvwr: Maryse DéJean

Members of Boku-

12:30p-1:15p

5:45p

of Haiti

4:40p

Boukman Eksperyans

Real Untouchable Brass Band

4:15p-4:30p

4:05p

of the Democratic Republic of the Congo

3:05p

Jupiter & Okwess

Crocodile Gumboot Dancers of South Africa

1:50p-2:40p

The Bourdeaux Family Celebrates Big Chief Monk Bordeaux

12:40p-1:25p

12:15p

of South Africa

Crocodile Gumboot Dancers

11:30a

12:00p-6:00p Outdoor Carousel Chouval Bwa Traditionnel of Martinique

ALLISON CULTURAL MINER MUSIC EXCHANGE HERTIAGE PAVILON WORLD JOURNEY STAGE

*

1:25p 2:25p

Republic of the Congo

1:10p

Little Freddie King Blues Band

HALL TENT

ECONOMY SHERATON

11:15a 11:15a 11:20a Xavier Brother Tyrone Paulin BrothUniversity Jazz & The Mind- ers Brass Band benders Ensemble dedicated to 12:00p 12:00p Rickey Paulin 12:15p 12:20p 12:20p

BLUES TENT

*

1:05p

12:05p

Real Love

11:20a

WWOZ JAZZ TENT

Tribute to 12:30p 12:30p Alvin Batiste w/ Jupiter & Jon Cleary & Herman Jackson Okwess The Absolute and Friends of the Democratic Monster

11:20a George Porter, Jr. & Runnin’ Pardners 12:10p

CONGO GENTILLY SQUARE STAGE STAGE

*

Cyril Neville’s Swamp Funk

12:05p

11:45a

Caroline Jones

11:10a

ACURA STAGE

Sunday, May 5

2019 New Orleans Jazz & Heritage Festival offBEAT.com

* 1970-First Festival Artist

Photo by Clayton Call

Jazz Fest Guide: A TO Z

All you need to know is in our Jazz Fest Guide

by OffBeat staff and contributors including Robert Fontenot and Brett Milano.

O

ILLUSTRATIONS BY EMILIE RHYS

ffBeat’s Jazz Fest “A to Z” contains everything you want to know about Jazz Fest music. It’s arranged alphabetically by band name so you can search when your favorite is playing by stage and time, with handy reference Stage Codes

AARP Rhythmpourium (AARP) Acura Stage (ACU) Allison Miner Music Heritage Stage (AM) Blues Tent (BLU) Congo Square Stage (CON) Cultural Exchange Pavilion World Journey (CEP) Economy Hall Tent (ECO) Folklife Stage (FOLK) Gentilly Stage (GEN)

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O F F B E AT J A Z Z F E S T B I B L E 2 0 1 9

bio information. It’s easy to use on any mobile device to look up info by band, day, time or stage.

Just go to our responsive site OffBeat.com!

Happy Jazz Fest! Remember that performance information may change.

Gospel Tent (GOS) Jazz & Heritage Stage (J&H) Kids Tent (KID) Lagniappe Stage (LAG) Parades (PAR) Sheraton New Orleans Fais Do-Do Stage (FDD) WWOZ Jazz Tent (JAZ) * Artist appeared at the first festival in 1970

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Jazz Fest Guide: A TO Z

#

101 Runners, 5/2, J&H, 4:20p: carrying on the proud tradition of fusing Mardi Gras Indian chants with funk, this group includes Chris Jones with War Chief Juan Pardo of the Wild Comanches and a star cast of players.

21st Century Brass Band, 5/4, PAR, 3:10p: This young, Treme-based group finds room in its repertoire for New Orleans jazz standards as well as modern R&B hits.

3L Ifèdé of Benin, 5/2, CON, 12:45p; 5/2, CEP, 4p; 5/3, GEN, 11:15a; 5/3, CEP, 2:10p; 5/4, CON, 12:20p; 5/4, CEP, 3:20p: The 3L Ifèdé is a cultural association focused on spreading and preserving a wide variety of traditional dances from Benin.

79rs Gang Mardi Gras Indians, 4/26, J&H, 4:25p: Big Chief Jermaine and Big Chief Romeo from the 7th and 9th Wards come together to form the 79rs Gang. Jermaine’s baritone voice combines with Romeo’s alto voice as they since about the Mardi Gras Indians’ unique culture. They released their first CD, Fire on the Bayou, in 2015.

7th Ward Creole Hunters, 5/3, PAR, 1:45p: Big Chief Jermaine Bossier leads this 7th Ward-based Mardi Gras Indian gang.

9th Ward Black Hatchet Mardi Gras Indians, 5/4, PAR, 1p: Mardi Gras Indian parade led

by Big Chief Alphonse “Dowee” Robair.

9th Ward Hunters Mardi Gras Indians, 5/5, PAR, 2:20p: Mardi Gras Indian parade led by Big Chief Alphonse “Dowee” Robair.

A Tribe Called Red, 4/28, CEP, 1:45p; 4/28, J&H, 4:20p: Musically diverse band from Ontario who draw reggae and First Nation influences into an electronic dubstep setting. They have also been active in campaigning for the cultural rights of First Nation and Aboriginal citizens.

A Tribute to Aldus Roger featuring Jimmy Breaux, Johnny Sonnier & the New Lafayette Playboys, 5/5, FDD, 11:15a: Accordionist Jimmy Breaux and steel guitarist Johnny Sonnier and the New Lafayette Playboys salute the legendary Cajun accordionist/band leader Aldus Roger. See feature in this issue.

A Tribute to Pete Fountain and Al Hirt* featuring Tim Laughlin, Wendell Brunious, Ronnie Kole, and Doyle Cooper, 5/4, ECO, 4:15p: If you’d like to experience the kind

of music that New Orleans” reputation was built on, just be down front when the city’s greatest postwar clarinetist and trumpeter are remembered.

Aaron Neville, 5/4, GEN, 4p: The golden-voiced Neville brother, whose classic “Tell It Like It Is” was inducted into the Grammy Hall of Fame collection for 2015, brings originals from his latest effort, Apache (Best R&B/Funk Album winner at the 2016 Best of the Beat Awards), mixed in with some hits from his prolific career.

Adella, Adella the Storyteller and Amber Zu the Conductor, 4/26, KID, 12:40p: This kids’ performer aims to bring animals to life, make history real, turn ancestors into wise friends and open the imaginations and hearts of her listeners.

Al Green, 4/28, CON, 5:45p: Used to be there were two Al Greens: the hitmaker you know from “Let’s Stay Together” and “Love and Happiness” and the gospel singer who won even more acclaim by turning his back on the industry and singing for the Lord. The good news is both Als sound exactly the same, and now he’s found the missing link between them both you can enjoy Sexy Al and Godly Al at the same

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Jazz Fest Guide: A TO Z

time. Look for surprises in the form of gutbucket blues and the signature sound of Al personifying all kinds of love.

Alanis Morissette, 4/25, GEN, 5:40p: She took grrl power into the pop charts in the ’90s with the deathless kiss-off “You Oughta Know,” but she evolved to be more than just that woman who got everyone talking about the textbook definition of irony. Her core audience followed her as she grew up near the millennium, but whether she’s practicing folk-pop or pop-folk, her unique mezzo-soprano is something you have to experience live.

Must See Three at Jazz Fest Amanda Mester, OffBeat Web Editor New Orleans Female Hip-Hop Experience (April 25) PJ Morton (April 26) Curren$y with guest Nesby Phips (April 27) Alex McMurray, 5/2, AARP, 3:30p: This songwriter’s sharp eye, gravelly voice and wicked sense of humor have been well displayed in the Tin Men, Royal Fingerbowl and his current solo career. His song “You’ve Got to Be Crazy to Live In This Town” was a fitting choice to close the third season of HBO’s Treme. In March 2019 Alex McMurray suffered a fall skiing. Please welcome him back after a two month recovery.

Alexey Marti & Urban Minds, 5/5, JAZ, 1:30p: After relocating to New Orleans, Cuban-born conga player and percussionist Marti has become a key fixture on the local Latin scene, performing a mix of jazz, funk, salsa, son, rumba and more.

Alexis & the Samurai, 4/26, AARP, 3:15p: Led by two of the brighter talents on the local rock scene, singer/songwriter Alexis Marceaux and multi-instrumentalist Sam Craft, this act’s Monday night shows developed an almost cult-like following in recent years.

Alfredo Rodriguez and Pedrito Martinez, 5/4, CEP, 2p; 5/4, JAZ, 4:20p: Havana-born pianist Alfredo Rodriguez and percussionist Pedrito Martinez marks a visit by two of the most talented musicians in the world, in an unusual yet satisfying duo format, supporting a new record, Duologue, produced by Quincy Jones.

Algiers Warriors Mardi Gras Indians, 5/5, PAR, 2:20p: Big Chief Alphonse ‘Dowee’ Robair leads this West Bankbased Mardi Gras Indian tribe.

Allison Miner Tribute with Steve Armbruster, Pat Byrd, Keith Frazier, “Dodie” Smith-Simmons, 5/5, AM, 1:30p: Along with Quint Davis, Allison Miner worked with George Wein to help launch the New Orleans Jazz & Heritage Festival. Miner was also a music promoter and manager who help Professor Longhair. Interviewed by Grant Morris.

Aloe Blacc, 4/26, CON, 5:45p: A modern hit-maker steeped in classic R&B, Aloe Blacc broke through in 2010 with “I’m the Man,” which lifted a bit of an Elton John chorus, and the Bill Withers-styled “I Need a Dollar.” 2013 brought his biggest international success, as the co-writer of Avicii’s “Wake Me Up.” Though he’s sure to not play it at Jazz Fest, last winter he gave the world the coolest holiday song in

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years, “Funky Ass Christmas.”

Alvin “Youngblood” Hart’s Muscle Theory, 4/26, LAG, 4:15p: This Grammy-winning singer, guitarist and mandolin player was inspired in his youth by the sound of Mississippi country blues, which he makes his own by adding elements of roots rock and a deep knowledge of folk and Americana.

Amanda Shaw, 5/4, GEN, 1:20p: This Cajun fiddle prodigy has been in the spotlight since age 10. Her sets can jump from teen-friendly pop to straight-up Cajun, with a classic rock cover or two thrown in.

Amy Helm, 4/25, GEN, 1:25p: Levon’s daughter has emerged as a powerful singer in her own right, still steeped in classic-rock traditions. Her latest This Too Shall Light, recorded with Joe Henry and her road band, is one of this year’s roots-rock gems.

Anaïs St. John presents Lulu White Queen of Storyville, 4/28, LAG, 11:30a: St. John is an accomplished singer specializing in jazz, torch songs, and cabaret tunes. Her show “Lulu White: Queen of Storyville”, St. John uses songs to tell the story of a woman who sold sex.

Anders Osborne, 5/2, ACU, 1:25p: New Orleans’ Swedish-rooted guitar hero and songwriting titan recently followed up Freedom & Dreams, an exercise in folk-inspired, up-tempo Southern blues, with Spacedust and Ocean Views, a collection of introspective musings on places dear to his heart.

Andrew Duhon, 5/4, AARP, 12:20p; 5/4, LAG, 4:15p: With his achingly tender voice and penchant for lyrical depth, folk-pop singer songwriter Duhon taps into personal experience to tug at listeners’ heart strings while strumming his way through original music that echoes the blues.

Andrew Hall’s Society Brass Band, 5/3, ECO, 11:15a: Hall is a skilled traditional jazz and rhythm and blues pianist who has performed with the Preservation Hall Jazz Band, Dr. John, and the Olympia Brass Band.

Andy J. Forest & the Swampcrawlers, 5/2, BLU, 11:20a: Blues master Forest has mellowed out in recent years and the result offers a window onto his keen lyric writing skills without compromising the power of his abilities as a harmonica player and guitarist.

Ani DiFranco, 5/3, AM, 2:30p; 5/3, FDD, 4:15p: Indie folk maverick writes prolifically and deals frankly with issues of politics, sexuality, and whatever else crosses her mind.

Originally from upstate New York she’s been partly based in New Orleans for more than a decade, and has enriched her music by working with Terence Higgins and Ivan Neville. Her latest release is not an album but a book, her first memoir No Walls and the Recurring Dream.

Apache Hunters Mardi Gras Indians, 4/27, PAR, 1:10p: Big Chief Preston Whitfield leads this Uptown-based Mardi Gras Indian tribe, headquartered at 3rd and LaSalle Streets.

Archdiocese of New Orleans Gospel Choir, 5/4, GOS, 6p: The Archdiocese represents the largest religious demographic in New Orleans. Its choir represents a tradition of Crescent City Catholicism dating back to 1793.

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festfocus

Saturday, May 4, Cultural Exchange Pavilion, 12:40 p.m.

Boukman Eksperyans

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Lolo credits his father, a television actor, with turning him on to one of his all-time favorite musicians. “My father used to go to the United States in the 1960s,” he recalls.

“When I was four or five years old, he brought me back a James Brown album, Photo courtesy of the artist

E

ven if you know nothing about the Haitian Vodou religion, there’s still no denying the hypnotic power of a Boukman Eksperyans concert. With upwards of a dozen musicians onstage at any given moment, their live shows are a powerful mix of spiritual and artistic intensity that’s made them Haiti’s best known musical export.

“When we are onstage, we don’t know what will happen,” says bandleader Theodore “Lolo” Beaubrun, Jr. “What matters to us is the spirituality that we bring to the people.

And, yes, when we play in Haiti, many people are put in a trance.

It’s a ceremony in which we become one through our music.”

The politically conscious leaders of Haiti’s rebellious mizik rasin (“roots music”) movement, Boukman Eksperyans first earned acclaim with their Grammy-nominated 1991 debut Vodou Adjae. They’ve now released close to a dozen albums, including a live recording of their performance at the 2011 Jazz Fest.

During that time, the band has continually strived to live up to its name, which references both Dutty Boukman, the Vodou priest who led Haiti’s first slave uprising, and Jimi Hendrix, whom they consider the “high priest of rock.”

With their soulful vocals and waist-length dreadlocks, Lolo and his wife Mimerose command center stage during live performances, as the rest of the group contributes call-and-response chants, Vodou drumming, dub-style basslines, synth leads, and, yes, Hendrix-channeling guitar.

whose music you can’t help but dance to.

And then, in the early ’70s, I got into Pink Floyd, The Doors, Jimi Hendrix—of course— and Bob Marley.”

Like Marley, the group situates its lyrics at the crossroads of revelation and revolution, a fact that did not go unnoticed in a time when Haiti was ruled by a military junta.

At a 1993 concert in their native Port-auPrince, soldiers reportedly fired tear gas into the crowd while fans sang along to “Kalfou Danjere,” a song which warns of a final reckoning in the afterlife.

In the meantime, the group will continue to place ideals over ideologies. “Communism, capitalism, any ‘ism’ is dangerous,” says the singer. “We need a system based on love and cooperation, where people can be free from poverty. The money is there, everything is there, but it’s controlled by a few people. And that, for me, is why we need a revolution. So that we can be what we are, not what they tell us we are.”

—Bill Forman

OFFBEAT. COM

Jazz Fest Guide: A TO Z

Arrianne Keelen, 4/25, GOS, 12:05p: Vocalist, songwriter and Hurricane Katrina survivor. Her song “I Still Love You” landed her a spot as an amateur night contestant on “It’s Showtime at the Apollo.” Keelen won the grand prize in the “Dream New Orleans Talent Search.”

Arthur and Friends Community Choir, 4/25, GOS, 1:55p: This New Roads, Louisiana-based gospel choir, founded by Arthur Gremillion, focuses on fostering a spirit of togetherness through music.

Arthur Clayton IV & Anointed For Purpose, 4/26, GOS, 5:05p: Singer songwriter Arthur Clayton IV is from Marrero Louisiana. Along with his gospel group Anointed for Purpose they will undoubtedly perform his 2018 hit “He Never Fails.” It’s a song for Sunday morning church choirs to sing that encourages those dealing with life issues.

Ashe Cultural Arts Center Kuumba Institute, 4/28, KID, 5:15p: This Central City community group brings storytelling, poetry, music, dance, photography and visual art to schools and neighborhoods throughout New Orleans.

Astral Project, 4/26, JAZ, 2:50p: The members of this modern jazz quartet—saxophonist Tony Dagradi, guitarist Steve Masakowski, bassist James Singleton and drummer Johnny Vidacovich—have active musical lives outside of the group, but as Astral Project they evince a rare chemistry that results from playing together for nearly four decades.

Aucoin Family Cajun Band, 5/5, KID, 4:05p: Inspired by his grandfather, Cyprien Landreneau, the first Cajun musician

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to perform at the Newport Folk Festival, bassist Louie Aucoin founded the band T-Salé. His family band consists of his wife, Shannon on guitar, sons Ashton on the fiddle and Ivan on the drums. The family shares their love for Cajun music by playing a “front-porch” style of traditional Cajun tunes.

Audrey Ferguson and The Voices of Distinction, 5/2, GOS, 4:50p: The “traditional foot-stomping, hands-clapping gospel” of this Baton Rouge-based quartet has been a Jazz Fest regular since before the storm.

Aurora Nealand & The Royal Roses, 4/27, ECO, 5:45p: Inspired by Sidney Bechet and Django Reinhardt, singer/ saxophonist Nealand is a bright young player whose nonRoses work spans performance art-inspired improvisation and the rockabilly of Rory Danger and the Danger Dangers.

Baby Boyz Brass Band, 5/3, J&H, 12:20p: The next generation of players from the Treme neighborhood. Leader and trumpeter Glenn Hall, III is often joined by Glen David Andrews.

Balfa Toujours, 4/25, FDD, 12:25p: Daughters of the late Cajun fiddler Dewey Balfa, Nelda and Christine, perform traditional acoustic style Cajun music. Although Nelda Balfa left the group to focus on her career as a hairdresser she occasionally plays local gigs with the band.

Bamboula 2000, 4/28, J&H, 11:20a: “Bamboula” was originally a form of drum and dance ceremony held in Congo Square. Bamboula 2000 leader Luther Gray brings that spirit into the present with a troupe of players and dancers.

Banu Gibson, 5/2, ECO, 5:35p: Singer/ dancer Gibson, a longtime staple of the New Orleans music scene, specializes in swing, hot jazz and the Great American Songbook.

Batiste Brothers, 5/3, CON, 12:20p: The Batistes of New Orleans have had music in their blood for many generations. The family band includes David on the keyboard, Jamal, Ryan and Russell on drums and percussion, with Damon on vocals.

BeauSoleil avec Michael Doucet, 4/25, FDD, 4:15p: Fiddler Doucet’s venerable Cajun band was the first of its genre to win a Grammy in 1998; their latest effort From Bamako to Carencro explores eclectic influences from West African music to James Brown and beyond.

Ben E. Hunter, 5/5, AARP, 12:20p: Reggae artist Ben E. Hunter grew up in the Treme neighborhood of New Orleans. His music is a combination of reggae, Mardi Gras Indian chants and West African drum rhythms.

Better Than Ezra, 4/27, ACU, 2:05p: New Orleans’ long-lived alternative rockers hit in the ’90s with “Desperately Wanting” and remain a strong presence, whether doing philanthropic work in the Bethune Elementary School or celebrating Mardi Gras with their Krewe of Rockus.

Betty Winn & One A-Chord, 4/28, GOS,

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1p: Formed in 1995 by Betty Winn and her husband Thomas, this sprawling choir traces the history of gospel from slave spirituals to new compositions. They perform with as many as 40 singers.

Big 6 Brass Band, 4/28, PAR, 1:30p: Big 6 Brass Band was formed in 2017 and has already become hugely popular in the city’s second line community. With a repertoire bridging traditional with hip-hop, R&B, gospel and more, the group will perform a set of New Orleans classics plus original material from their forthcoming album.

Big Chief Bird and the Young Hunters Mardi Gras Indians, 4/26, J&H, 11:20a: Coming out of the Carrollton neighborhood each year since 1995, this tribe is led by Big Chief “Bird.”

Big Chief Bo Dollis, Jr. & The Wild Magnolias, 5/5, J&H, 4:50p: Big Chief Bo Dollis, Jr. carries on the legacy of his father, leading the Wild Magnolias’ impassioned, funk-inspired Mardi Gras Indian music.

Big Chief Charles & the White Cloud Hunters Mardi Gras Indians, 5/2, J&H, 11:20a: The White Cloud Hunters’ smooth-voiced Big Chief Little Charles Taylor counts his uncle, Thomas Sparks Sr., Big Chief of the Yellow Jacket Mardi Gras Indian gang, as a key mentor.

Big Chief Donald Harrison, Jr., 5/3, CON, 1:30p: Saxophonist Harrison is a New Orleans Renaissance man who has explored reggae, funk and Mardi Gras Indian music through the filter of jazz. His 2011 album This is Jazz featured Billy Cobham and Ron Carter.

Big Chief Joseph Boudreaux, Jr. & the Young Eagles Mardi Gras Indians, 4/28, PAR, 12:25p: Parading Mardi Gras Indians.

Big Chief Juan & Jockimo’s Groove, 5/4, J&H, 6:05p: Skillful Golden Comanche Chief Juan Pardo, who grew up with the sounds of elder statesmen Indians like Monk Boudreaux and Bo Dollis, updates classic and original Mardi Gras Indian songs with a mix of funk and R&B. Big Chief Kevin Goodman & the Flaming Arrows, 5/3, J&H, 1:35p: Singer and Big Chief Kevin Goodman, who’s called Austin home since evacuating during Hurricane Katrina, leads this tribe and stage band Big Chief Monk Boudreaux & The Golden Eagles, 4/28, J&H, 3p*: Boudreaux, who performed for many years alongside Big Chief Bo Dollis in the Wild Magnolias, is one of the most prominent Indian performers and a soulful vocalist. The Golden Eagles’ reggae-heavy performances often get into heady, near-psychedelic territory.

Big Chief Trouble & Trouble Nation, 4/28, PAR, 12:25p: This tribe’s Big Chief Markeith Tero also rolls with the Revolution SA&PC. Must See Three at the Clubs Amanda Mester, OffBeat Web Editor DJ Raj Smoove (April 26, Ace Hotel) Funk & Chant (April 28, d.b.a.)

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Big Dog Brass Band, 4/25, PAR, 3:35p: Parading brass band.

Big Freedia, 5/4, CON, 4:05p: The self-professed Queen Diva put bounce music on the map nationally with her quick-fire rhymes, sweat-inducing rhythms and booty-shaking grooves.

Big Nine SA & PC, 4/26, PAR, 3:15p: Listen for cries of “way downtown” on the parade from this social aid and pleasure club.

Big Sam’s Funky Nation, 5/2, CON, 3:30p: The charisma of former Dir ty Dozen trombonist Sam Williams makes him an able focal point for a musical par ty that blends brass, Meters-style funk, hip-hop and rock.

Big Sam’s Funky Nation won OffBeat’s Best of the Beat Awards for Best Funk Band and Funk Album for Songs in the Key of Funk, Volume 1 in 2018.

Big Steppers SA & PC, 4/28, PAR, 1:30p: Steppers hold one of the season’s most popular Sunday parades.

Bill Summers & Jazalsa, 4/25, CON, 12:20p: Known for his membership in Los Hombres Calientes and Herbie Hancock’s Headhunters, legendary percussionist Summers explores Latin and world music with his Jazalsa band.

Billy Iuso & Restless Natives, 5/2, LAG, 5:20p: Singer songwriter and guitarist Billy Iuso formed the funk jam band, Brides of Jesus, in the ’90s. Iuso began performing regularly with a variety of local players including Anders Osborne and The Wild Magnolias. He also worked as a tour and stage manager for The Neville Brothers, the Meters and George Por ter’s Runnin’ Pardners. With the Restless natives, Iuso has release a number of CD that received critical acclaim including Naked which noted the guitarist’s depar ture from a jam-heavy approach to one in which he focused on song structure and development.

Black Feathers Mardi Gras Indians, 5/3, PAR, 3:30p: This 7th Ward-based tribe has been masking Indian for more than 20 years.

Black Foot Hunters Mardi Gras Indians, 5/4, PAR, 2p: One of the newer Mardi Gras Indian tribes featuring Big Chief Donald Claude.

Black Hawk Hunters Mardi Gras Indians, 4/27, PAR, 1:10p: Mardi Gras Indian parade.

Black Magic Drumline, 5/2, KID, 1:10p; 5/2, KID, 3:05p: Black Magic Drumline is a New Orleans group that formed at Xavier College in 2007.

Black Mohawk Mardi Gras Indians, 4/25, PAR, 1:15p: Big Chief Byron Thomas leads this Mardi Gras Indian parade.

Black Seminoles Mardi Gras Indians, 4/26, PAR, 2:20p: This popular tribe was led by Cyril “Big Chief Iron Horse” Green until his unexpected passing in 2013.

Bleachers, 4/28, CON, 4:05p: Bleachers is an indie pop act from New York City. Jack Antonoff is basically the band, although when performing live he is accompanied by other members. Antonoff produced the

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soundtrack of 2018s Love, Simon writing five songs.

Blodie’s Jazz Jam, 4/27, JAZ, 12:25p: Blodie is better known as Dir ty Dozen trumpeter Gregory Davis, whose jamming par tners include other members of Dir ty Dozen, Trombone Shor ty’s Orleans Avenue and other horn men who will be on the Fair Grounds that day Bobby Jones & the Nashville Super Choir, 5/3, GOS, 3:15p: Gospel singer Bobby Jones was born in Tennessee. He is often referred to as the Ed Sullivan of gospel music. In 1984, he won a Grammy for the Best Soul Gospel Performance by a Duo Or Group with Barbara Mandrell.

Bobby Lounge, 5/5, LAG, 5:35p: A one-of-a-kind mix of barrelhouse piano, Tom Waitsian poetics, Southerngothic storytelling and just plain out-there-ness.

Bonerama, 4/26, GEN, 12:30p: What began as a novelty—a multi-trombone band playing jazz, funk and classic rock—has turned into a local and national favorite. Their renditions of rock classics like Led Zeppelin’s “The Ocean” and the Grateful Dead-associated “Turn On Your Love Light” are full-tilt affairs. Their latest album Bonerama Play Zeppelin is a good bridge into New Orleans music for Zeppelin fans.

Bonnie Raitt, 4/28, ACU, 3:35p: Raitt’s evocative slide guitar playing, soulful, country-laced vocals and songwriting prowess continue to make her live shows as moving as they are fun, a fact to which her longtime pal and frequent collaborator Jon Cleary can attest.

Boukman Eksperyans of Haiti, 5/4, CEP, 12:40p; 5/4, J&H, 3:30p; 5/5, AM, 12:30p; 5/5, J&H, 2:25p; 5/5, CEP, 4:40p: From Por t-au-Prince, Haiti, Grammy nominated for their debut album Vodou Adjae Boukman Eksperyans derives its name from Dutty Boukman, a vodou priest who led a religious ceremony that is considered the star t of the Haitian Revolution. Founded in 1978 by Theodore Beaubrun and his sister Marjorie Beaubrun and others they launched the mizik rasin revolution in Haiti. They combine roots music with vodou religious musical traditions.

Boukou Groove, 4/28, CON, 11:15a: A supergroup of sor ts, made up of venerable blues, funk, and soul sidemen, Groove has garnered admiration and occasional sit-ins from Colonel Bruce Hampton, John Cleary, and members of the Wailers.

Boyfriend, 4/25, GEN, 4:05p: Par t rapper and par t performance ar tist, Boyfriend’s “rap cabaret” shows are enter taining and intellectually-engaging experiences that make destroying gender norms fun for everyone.

Boz Scaggs, 4/27, BLU, 5:40p: The blue-eyed soul man’s career goes back to his late-’60s tenure with the original Steve Miller Band; Scaggs’ 1969 solo debut included the FM radio staple “Loan Me a Dime” with Duane Allman on guitar. The late ’70s brought mainstream success with “Lido Shuffle” and “Lowdown.”

When not pursuing silky blues and soul, he currently runs a Napa Valley winery.

Brandon Moreau and CajunGrass, 5/2, FDD, 11:30a: OFFBEAT. COM

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Combining Cajun and bluegrass with country and zydeco, Brandon Moreau and CajunGrass is a one of a kind band. They are frequent performs at the Tropical Isle on Bourbon Street and Maison on Frenchmen Street.

Brass-A-Holics, 4/26, CON, 12:15p: Formed by ex-Soul Rebels trombonist Winston Turner, this band created its own genre of “go-go brass funk,” combining New Orleans music elements with the strong grooves of Washington DC’s go-go scene.

Brother Martin High School Stage Band 50th Anniversary, 5/4, LAG, 11:30a: The Crusader Bandsmen from Brother Martin High School in New Orleans will celebrate the schools 50th anniversary which just so happens to coincide with Jazz Fest’s 50th.

Brother Tyrone & the Mindbenders, 5/5, BLU, 11:15a: Tyrone Pollard, a.k.a. Brother Tyrone, is a deep-soul vocalist whose original songs could pass for long-lost vinyl tracks.

Bruce Daigrepont Cajun Band, 5/2, FDD, 12:55p; 5/2, KID, 4p: A New Orleans-reared Cajun, this self-taught accordion player and songwriter is back hosting his popular Fais Do Do dances at Tipitina’s.

Bryan Lee Six String Therapy, 5/2, BLU, 12:35p: The sightless “King of Bourbon Street Blues” was the house band

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for a decade and a half at the Old Absinthe House.

Buddy Guy, 5/5, BLU, 5:45p: Equal parts fire and soul fuel of this Louisiana-born guitar icon, whose sound influenced key generations of both rock and the blues. His latest album, the Chicago-meets Southern blues styled Born To Play Guitar added another Grammy to his extensive collection.

Buffalo Hunters Mardi Gras Indians, 5/2, PAR, 2:15p; 5/2, CEP, 2:45p: The Buffalo Hunters tribe is led by Big Chief Spoon.

C.J. Chenier and the Red Hot Louisiana Band, 5/5, BLU, 4:15p: Zydeco king Clifton Chenier’s son has long emerged as a bandleader in his own right.

His 2011 album, Can’t Sit Down has a killer version of Tom Waits’ “Clap Hands.”

Caesar Brothers FunkBox, 4/27, J&H, 4:50p: Drummer Rickey and keyboardist Norman Caesar were born and raised in New Orleans’ uptown funk neighborhood. Related to the Nevilles by marriage—Cyril’s wife, Gaynielle Neville, is their aunt. Their musical roots—the funk and Mardi Gras Indian rhythms—run deep in their sound.

Caesar Vincent’s Legacy with Steve Riley, Sam Broussard, Chris Stafford and Anna Laura Edmiston, 4/26, AM, 2:30p: Caesar Vincent (1882–1970) was not a musician and never recorded commercially. Instead, he was a subsistence farmer who raised five children with his wife

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Olive. But what makes him astounding is his encyclopedic repertoire of ancient French songs, many stemming from the Middle Ages, all crammed inside his head. In 1953 he was recorded by educator Catherine Blanchet and four years later by LSU professor Dr. Harry Oster. One of the songs Oster recorded was “Travailler c’est trop dur.” Swallow Records released updated versions of these songs with Steve Riley, Sam Broussard and others. Sam Broussard’s rendition of “Là bas oh dans ces bois” is ingeniously overdubbed guitar, percussion and vocals to accompany Vincent’s singing.

Calliope Puppets, 5/2, KID, 12p: Humor and satire are priorities in performances by this Louisiana-based puppetry group, which features hand-carved and sculpted puppets.

Capoeira New Orleans, 5/2, KID, 5:15p: A non-profit organization that promotes awareness of Brazilian culture through the Afro-Brazilian arts, primarily Capoeira. Capoeira is sort of a dance with kids moving around each other evading each other’s kicks while attempting to trick one another by faking movements.

Caroline Jones, 5/5, ACU, 11:10a: Singer songwriter Caroline Jones is a country music artist. She has opened for the Zac Brown Band and for Jimmy Buffett. Buffett signed her to his Mailboat Records label and she also collaborated with Buffett on a song. Jones was listed as one of the 10 need-to-know new country artists by Rolling Stone Magazine in 2017. Her latest release Bare Feet was released in March 2019.

Carsie Blanton, 5/5, LAG, 4:20p: Though she sits squarely in the singer-songwriter mode—enough to make both Paul Simon and Loudon Wainwright approve—Carsie Blanton has, through half a dozen or so albums, evolved from just another jazz-folkie hotwiring Billie Holiday into a pure pop butterfly. Yet what really sets her apart is her sexual stance.

She can’t help but be as free with her heart as she is with her sexuality, which is why the ballad “To Be Known” examines why people put not just their genitals but also their feelings out there for examination.

Cécile McLorin Salvant, 5/3, JAZ, 5:45p: No less an authority than Wynton Marsalis has said of this 29-year-old jazz vocalist, “You get a singer like this once in a generation or two.” She’s won Grammies and made the charts while racking up critical acclaim; particularly notable is her wildly eclectic choices of material. Her new album The Window makes new magic out of Stevie Wonder’s “Visions” and the West Side Story chestnut “Somewhere.”

Cedric Burnside, 4/28, BLU, 11:15a: Undeniably influenced by his grandfather R.L.’s sound, Burnside brings a powerful, fierce energy to the stage. Switching back and forth between acoustic guitar and drums, the project provides blues in its most essential form, as well as intense upbeat dance tunes.

Cedric Watson et Bijou Creole, 5/3, FDD, 1:30p: A popular young fiddler, accordionist and singer, this four-time Grammy nominee boasts equal parts star power and skill; his influences range from Creole and Cajun to West African music and beyond.

Cha Wa, 5/3, AM, 12:30p; 5/3, J&H, 4:15p: New Orleans

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brass band-meets-Mardi Gras Indian outfit Cha Wa radiates the energy of the city’s street culture. Their album Spyboy (a nod to frontman J’Wan Boudreaux’s role in the Golden Eagles) is a modern mix of fiery, toe-tapping sounds.

Popmatters describes the band as “a grand gumbo of singing, intoxicating rhythms, and deep funk grooves that are impossible to resist.” They were nominated for a Grammy Award and appeared on OffBeat’s May 2018 cover.

Chaka Khan, 5/5, CON, 3:25p: The funky diva has been way too quiet in the past decade, but she recently claimed that the death of her friend Prince prompted her to take stock of her life and get back to the studio. The material on the just-released Hello Happiness tends to overdo the production, but she still sings great—and since the album is only a half-hour long, that leaves plenty of time for “I Feel For You,” “Ain’t Nobody” and the other classics.

Charlie Gabriel and Friends, 4/25, ECO, 12:20p: Preservation Hall Jazz Band’s clarinetist and vocalist. The band includes Kyle Roussel on piano, Ben Jaffe on bass, Shannon Powell on drums, Kevin Lewis on trumpet and Craig Klein on trombone and others. Though the band will focus on traditional New Orleans music, Gabriel often credits the vitality of jazz with its unique ability to reflect the modern experiences of those who interpret it along with the history in which it’s rooted.

Charmaine Neville Band, 4/26, BLU, 1:40p: An exuberant jazz singer whose influences run the gamut of New Orleans music styles, Neville has long been a staple of the city’s scene, particularly at Snug Harbor.

Cheyenne Mardi Gras Indians, 5/2, PAR, 2:05p: This Mardi Gras Indian tribe takes its name after one of the most famous tribes of the Great Plains.

Chosen Vessels Dance Pac, 4/25, KID, 1:45p: Kristy Lewis leads this local school and company specializing in theater arts and a mix of lyrical, modern, jazz, ballet and hip-hop dance styles.

Chouval Bwa Traditionnel of Martinique, 4/25, CEP, 12p; 4/26, CEP, 12p; 4/27, CEP, 12p; 4/28, CEP, 12p; 5/2, CEP, 11a; 5/3, CEP, 12p; 5/4, CEP, 12p; 5/5, CEP, 12p: Chouval bwa is a kind of folk music originated on the slave plantations of Martinique. There are two versions, traditional and modern. At Jazz Fest the chouval bwa is a hand-pushed carousel with a live band playing in the middle of it.

Chris Owens, 5/4, ECO, 5:55p: She’s been a fixture on Bourbon Street for decades with her big, showy, Vegas-style showcases. You never know what you might hear!

Chris Smither, 5/3, LAG, 3p: His folk-blues picking (think Mississippi John Hurt or Lightnin’ Hopkins) have made this singer-songwriter a bluesman who can count Bonnie Raitt, Dr. John and Loudon Wainwright III along his acolytes.

Chris Stapleton, 5/3, ACU, 5:20p: This big bear of a Kentuckian is one of Country’s greatest keys to the future, a singer-songwriter who can hold court with everyone from Justin Timberlake to Sturgill Simpson. Indeed, it was his duet with Justin on the CMA’s that pushed him into the mainstream. But his solo stuff, buoyed by his surprisingly light and OFFBEAT. COM

airy voice, is rooted squarely in (modern) country tradition on the hits “Traveller,” “Parachute,” and “Millionaire.”

Chris Thomas King, 4/26, BLU, 2:50p: Second-generation Baton Rouge bluesman made a game-changer album with 1995’s 21st Century Blues…From da Hood, a pioneering fusion of blues with rap and metal riffage. He’s appeared in numerous films including “O Brother Where Art Thou” and “Ray,” where he portrayed Lowell Fulson.

Christian Unity Baptist Church Youth Department Choir, 5/4, KID, 12:40p: Youth choir from Conti Street Christian Unity Baptist Church.

Chubby Carrier and the Bayou Swamp Band, 5/4, FDD, 2:20p: This third-generation bandleader won the last Best Zydeco or Cajun Album Grammy for Zydeco Junkie in 2010. He teamed up with Chris Ardoin for his latest album, Back To My Roots.

Ciara, 4/25, CON, 5:55p: Part of a new generation of R&B superstars, Ciara made an immediate splash with her 2004 debut Goodies spawning four platinum singles. She later did co-billed tours with Jay-Z and Britney Spears, and launched a second career as a model. The recent hit single “Greatest Love” is the first teaser from her forthcoming album, the first in a new deal with Warner Brothers.

Clay Parker & Jodi James, 5/2, LAG, 11:30a; 5/2, AARP, 2p: Clay Parker and Jodi James are an acoustic duo from Baton Rouge, Louisiana. The pair’s use of dense harmony-singing and subtle musical arrangements indelibly binds them to the tradition of singer-songwriters and positions them well in the folk roots and Americana strains of country music.

Clive Wilson’s New Orleans Serenaders, 5/2, ECO, 12:55p: Known for their lively interpretations of old New Orleans classics by Armstrong, Kid Ory, and others, the members of the Serenaders have played together in various musical contexts since the ’60s.

Clovis Crawfish and the All-Star Bayou Band, 5/4, KID, 5:15p: For many children in South Louisiana the Clovis Crawfish books contain stories of friendship and moral lessons in the Cajun French language. Songwriter Julie Fontenot Landry the daughter of the books author Mary Alice Fontenot creates songs inspired by the books.

Comanche Hunters Mardi Gras Indians, 5/3, J&H, 11:20a: Big Chief Keith Keke Gibson leads this Ninth Ward gang, performing traditional songs like “Indian Red” and Monk Boudreaux’s “Lighting and Thunder.”

Connie and Dwight Fitch with the St. Raymond & St. Leo the Great Choir, 4/27, GOS, 12:05p: Seventh Ward couple, Connie and Dwight Fitch, have done romantic R&B as well as gospel; she has sung in the past with Ray Charles and Dr. John Corey Henry & Treme Funktet, 4/28, ACU, 11:15a: Galactic trombonist Henry’s highly energetic funk band has quickly become one of the must-see groups around town in the last few years.

Corey Ledet & His Zydeco Band, 4/26, FDD, 11:15a: Ledet was already two years into his music career when he switched from drums to accordion at age 12.

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Cowboy Mouth, 5/2, ACU, 11:15a: They’ve been on the road for 26 years and counting, and still tend to pull out the stops for Fest shows. Go ahead and knock them for working so hard to be inspiring: If Fred LeBlanc, John Thomas Griffith and the newer guys get it right, by the end of the set you’ll be jumping in the air waving your fists to “Jenny Says” along with everybody else. Are you with me?

Craig Adams & Higher Dimensions of Praise, 4/25, GOS, 5:10p: Hammond player and Houston/New Orleans native Adams leads this dynamic, 16-piece gospel group.

Creole Osceola Black Masking Indians, 5/4, PAR, 1p: Big Chief Clarence Dalcour, who counts Bo Dollis as an early Indian mentor, leads this downtown tribe.

Creole String Beans, 5/2, FDD, 4p: Fronted by photographer Rick Olivier and featuring former Iguanas and Cowboy Mouth members, the Creole String Beans began as a “Y’at cover band” doing vintage local gems, and moved on to write similarly-styled originals.

Crescent by Choice, 5/2, JAZ, 11:20a: Saxophonist Ricardo Pascal and clarinetist Joe Goldberg’s Crescent By Choice started as an exodus of musicians from Florida to New Orleans. It includes anyone whose artistic path has led them to the Crescent City.

Crocodile Gumboot Dancers of South Africa, 5/2, CEP, 11:30a; 5/2, J&H, 1:45p; 5/3, BLU, 1:30p; 5/3, CEP, 4:50p; 5/4, CEP, 11:30a; 5/4, J&H, 1:20p; 5/5, CEP, 11:30a; 5/5, CEP, 1:50p: From Durban, South Africa, the gumboot dance is performed by dancers wearing wellington boots known in South Africa as gumboots. The boots are embellished with bells, so that they ring as the dancers stamp on the ground.

Culu Children’s Traditional African Dance Company with Stilt Walker, 5/5, KID, 5:15p: Founded in 1988, this New Orleans-based company has toured the US and performed for Winnie Mandela.

Curley Taylor, 4/28, FDD, 6p: After getting his start as a drummer with Cajun country music stars like Steve Riley and CJ Chenier, Taylor switched to accordion and launched a successful career as a bandleader. His blues-infused sound is a staple on the Lafayette and Opelousas zydeco scenes.

Curren$y with guest Nesby Phips, 4/27, CON, 3p: With decades of friendship behind them, Nesby Phips and Curren$y will showcase the hip-hop chemistry the two have fostered since attending Eleanor McMain Secondary School together. On the Congo Square Stage, they’ll preserve the rightful place of New Orleans rap culture.

Curtis Pierre & the Samba Kids, 4/28, KID, 11:30a: The self-professed “samba king of New Orleans” leads the AfroBrazilian troupe he founded in 1987 on a series of parades and performances.

Cynthia Girtley’s Tribute to Mahalia Jackson, 4/25, GOS, 1p: This jazz-inspired singer/keyboardist is influenced

by Mahalia Jackson, for whom she’s performed tributes.

Cyril Neville’s Swamp Funk, 5/5, ACU, 12:05p: In addition to stints playing with the Meters and the Neville Brothers, reggae-loving percussionist and singer Cyril has helmed funk outfit the Uptown Allstars and conducted a

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successful solo career.

Da Knockaz Brass Band, 5/5, PAR, 1p: Formed in 2014, this eight-piece act plays contemporary brass band music, traditional New Orleans jazz and go-go funk.

Da Souljas Brass Band, 4/28, PAR, 2:40p: This nextgeneration brass band plays in the hot, modern style that makes a second line roll.

Da Truth Brass Band, 4/26, J&H, 5:40p: Da Truth’s highenergy, tight renditions of New Orleans second line classics and originals have made them one of the best new brass bands in the streets on Sundays.

Dancing Grounds Elite Feet Dance Krewe & Youth Company, 5/3, KID, 5:15p: The showcase will include a hip hop and modern dance performances. Dancing Grounds is a nonprofit community arts organization that provides dance education in New Orleans.

Darcy Malone and the Tangle, 4/25, GEN, 2:45p: Led by the daughter of the Radiators’ Dave Malone, husband-andwife team Darcy Malone and Christopher Boye blend their tastes for soul and indie rock. OffBeat writer, Rory Callais, is a member of the band.

Darlingside, 4/26, FDD, 4:40p: Darlingside is a fourperson indie folk band from Boston. Their style has been described as “exquisitely-arranged, literary-minded, baroque folk-pop.” Their latest CD, Extralife, was released by Thirty Tigers.

Dave Jordan & the NIA, 4/28, LAG, 12:35p; 4/28, AARP, 3:15p: Formerly of the funk band Juice, Dave Jordan earned his rep as a first-class roots/rock songwriter when Anders Osborne produced his solo debut and Art Neville recorded one of his songs. The NIA (Neighborhood Improvement Association) has been his vehicle for the past few years and are about to release a new CD, Burning Sage.

Dave Matthews Band, 5/4, ACU, 5p: As one of the leaders in the vanguard of the jam-band revolution of the ’90s, the Dave Matthews band laid the groundwork for many of the younger bands you’ll see at the Fest: a relentlessly upbeat vibe, delicate interplay and always mutating arrangements, in this case those of hits like “What Would You Say,” “Crash Into Me,” and “Ants Marching.” Come for the red cup-style groove; stay to watch some of rock’s greatest living improvisers.

Davell Crawford, 4/27, AM, 4:45p; 4/28, BLU, 2:45p; 5/3, (Festival Ancestor Unveiling), 1:10p: Grandson of the late New Orleans R&B great James “Sugarboy” Crawford, Davell is an energetic singer/keyboardist drawing from R&B, jazz and gospel.

David & Roselyn, 4/26, KID, 5:10p: Local duo David Leonard and Roselyn Lionheart’s blues and jazz sounds have been a French Quarter staple for years. They’ve also performed on the Smithsonian Institute’s PBS “River of Song” documentary.

David Doucet of BeauSoleil, 4/25, AARP, 1:45p: David Doucet: Playing alongside his brother Michael, David Doucet’s acoustic guitar has been a key element in BeauSoleil’s sound since their inception. His last solo album (1957: OFFBEAT. COM

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Solo Cajun Guitar) was released a decade ago and this will be a rare chance to hear him outside the group.

David Gonzalez, 4/28, KID, 2:55p: Storyteller, musician, poet, actor, and writer David Gonzalez, as created numerous productions that combine compelling drama, music, and multi-media.

Deacon John, 4/28, BLU, 4:10p: The singer/guitarist’s long history in New Orleans music includes leading the band at debutante balls, performing at the Dew Drop Inn and playing on some of the city’s classic records like Aaron Neville’s “Tell It Like It Is” and Ernie K-Doe’s “Mother-In-Law.” Deborah Hunt & Maskhunt Motions, 4/26, KID, 1:50p: Deborah Hunt is a maskmaker, puppeteer and performance artist with 35 years of experience. Born in New Zealand and now residing in Puerto Rico, she is the founder and artistic director of Maskhunt, Inc. Dédé Saint-Prix saxophonist, flautist, percussionist, singer and composer brings his deep knowledge of the history of chouval bwa music into play when he performs. The New York Times has said he inspires the kind of “euphoria … only the best dance music [can invoke].”

Delfeayo Marsalis & the Uptown Jazz Orchestra, 5/5, JAZ, 2:45p: The trombonist, composer and producer recently intrigued with his release Make America Great Again!, his energetic UJO sets balance humor and fun with tight

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ensemble interplay and memorable solos.

Delgado Community College Jazz Band, 4/27, LAG, 11:30a: This modern jazz and big band-focused student ensemble hails from the emerging music program at the city’s largest community college.

Devastation SA PC, 4/25, PAR, 3:35p: Social Aid and Pleasure Club parade.

Diana Ross, 5/4, GEN, 5:45p: The fantastic Miss Ross is one of the last living links to the original Motown sound, and the former Supreme leader stayed relevant for years afterward with solo hits like “Love Hangover” and “I’m Coming Out.” Listening to Diana is like hearing R&B itself grow up and consume popular culture, and while she may be soul’s very first diva, she’s also one of its hardiest survivors. At least we know she’ll still come out if it rains!

Diassing Kunda of Senegal, 4/25, J&H, 12:15p; 4/26, BLU, 11:20a; 4/26, CEP, 2:05p; 4/27, J&H, 2:25p; 4/27, CEP, 4:55p: Diassing Kunda is a group of musicians from the casamance region of Senegal who play traditional Mandingo music.

Divine Ladies SA & PC, 4/27, PAR, 12p: This Uptown social aid and pleasure club’s annual parades generally kick off in serious style at St. Charles and Jackson Avenues.

DJ Blaza, 4/27, CON, 2:40p; 4/27, CON, 5:25p: Popular New Orleans bounce DJ.

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DJ Captain Charles, 5/5, CON, 3p; 5/5, CON, 4:50p: The self-proclaimed “most renowned DJ in New Orleans,” Captain Charles has been fortifying his music collection for more than 20 years.

Dja Rara, 4/25, PAR, 4:05p; 4/25, CEP, 4:35p, 4/26, J&H, 1:55p; 4/26, PAR, 4p; 4/26, CEP, 4:25p; 4/28, PAR, 11:55a; 4/28, CEP, 12:20p; 4/28, PAR, 3:55p; 4/28, CEP, 4:20p: Originating in Haiti, Rara music is part-carnival, partsocial protest, part-vodou ceremony. Brooklyn New York’s Dja Rara has performed on Wycleff Jean’s 1997 Carnival album.

Dobet Gnahoré of Ivory Coast, 4/27, CON, 1:35p; 4/28, CEP, 4:45p: Raised both in France and West Africa, this singer/dancer/drummer probably best known for “Pearls,” her duet with India.Arie that won a Grammy in 2010. She’s known as both a skilled percussionist and a theatrical performer whose show includes numerous choreographed pieces.

Doctor Nativo of Guatemala, 4/25, CEP, 3:25p; 4/25, J&H, 6:05p: A hip-hop group from Guatemala.

Must See Three at Jazz Fest Jan Ramsey, OffBeat Publisher Bonnie Raitt (April 28) Cécile McLorin Salvant (May 3) Jon Cleary (May 5) Donald Lewis, 5/2, KID, 2p: Local actor and educator Lewis teaches drama and storytelling and performs regularly with the group Young Audiences of Louisiana.

Doreen’s Jazz New Orleans, 5/5, ECO, 5:50p: Clarinetist Doreen Ketchens and her band perform traditional New Orleans jazz all over the world, and have played for Presidents Carter, Reagan, Bush Sr. and Clinton.

Dr. Brice Miller & Mahogany Brass Band, 4/28, J&H, 1:35p: Trumpeter and ethnomusicologist Miller leads this long-running traditional New Orleans jazz ensemble, his go-to band when he’s not delving into other pursuits like avant-garde jazz and electronic music.

Dr. Michael White & The Original Liberty Jazz Band with guest Thais Clark, 4/28, AM, 4p; 5/5, ECO, 3:05p: Clarinetist and jazz scholar White frequently fuses traditional and modern styles in his Liberty Jazz Band. He recently produced an album’s worth of new recordings tracing the history of modern New Orleans brass band music for Smithsonian Folkways. Clark, his regular Jazz Fest guest, adds a vocal component to the set.

Driskill Mountain Boys, 4/28, LAG, 1:50p: The highest point Louisiana isn’t much of a mountain, but the Boys can pick Bluegrass as well as anyone in Appalachia: classics, originals and real country humor to boot.

Dumaine St. Gang SA & PC, 4/27, PAR, 12p: The Tremebased Dumaine Street Gang Social Aid and Pleasure Club hits the Sixth Ward’s hottest spots during its annual parade.

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Dwayne Dopsie & the Zydeco Hellraisers, 4/26, FDD, 1:50p: OffBeat’s French Quarter Festival cover subject is a second-generation accordion slinger who carries on the blues-infused style of his dad Dopsie Sr., often with a whole lot of added speed and volume. His latest CD Top of the Mountain was nominated for a Grammy and won for Best Zydeco CD at the Best of the Beat Awards.

Dwight James & The Royals, 5/2, CON, 2p: From Lafayette this soul band is led by guitarist and vocalist Dwight J. Roy. The band is noted for its bluesy swagger and delicate croons.

E’dana & Divinely Destin, 4/27, GOS, 1p: Gospel singer and stage actress E’Dana has been touring and recording since she was 15. She hits the Fairgrounds with her Louisiana-based group, Divinely Destin.

Earth, Wind & Fire, 4/25, ACU, 5:25p: The feel good juggernaut of ’70s jazz-soul is back for another run at the fest, complete with their signature horn section and so many hits you’ll never remember them all until you hear ’em in one place—not just “Let’s Groove” and “Shining Star” but the mystical positivity of “Fantasy” and the pure funk of “Serpentine Fire.” Fire indeed!

Egg Yolk Jubilee, 5/2, LAG, 12:50p: Egg Yolk’s brass-driven sound is a wild, anarchic mix of brass band, garage rock, vintage New Orleans R&B, Sun Ra-like jazz, and whatever else moves them at the moment.

Ellis Marsalis Family Tribute featuring Wynton, Branford, Delfeayo, and Jason with Ellis Marsalis, 4/28, JAZ, 5:40p*: Wynton Marsalis will be blowing jazz music from the modern era when he and his musical brothers, saxophonist Branford, trombonist Delfeayo and drummer/ vibraphonist Jason Marsalis pay tribute to their father, pianist, composer and educator Ellis Marsalis. “It’s good,” says Wynton on getting together with his kin in what could be considered the Marsalis Family Band.

Eric Lindell, 5/2, BLU, 4:15p: Once a California skatepunk, Lindell had more success as a blue-eyed soul and bluesman after moving to New Orleans. His tight backing band explores the slightly country-influenced edges of Louisiana roots rock.

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Erica Falls, 4/27, GEN, 1:35p: This soulful R&B vocalist has sung with Allen Toussaint and Irma Thomas but her chops and songwriting skills demand attention on their own merit. She is often featured with Galactic and gave an electrifying performance singing with Walter “Wolfman” Washington at OffBeat’s Best of the Beat Award this last January.

Erik McAllister, 5/3, KID, 3p: The only mime to be playing the Fest this year. McAllister is an NOCCA graduate who co-hosted the kids’ TV show “Let’s…”, and has appeared at the Edinburgh Fringe Theater Festival and at Bonnaroo.

Ernie Vincent & the Top Notes, 5/3, BLU, 11:15a: Ernie Vincent and his band the Top Notes are best known for the 1972 funk anthem “Dap Walk.”

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Friday, May 3, Lagniappe Stage, 11:30 a.m.

Keith Burnstein’s Kettle Black

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Kettle Black released a live album, 4.28.16, soon after forming, and a debut studio LP, Things That are Heavy Make Me Feel Light, is currently in the works. “Part of the reason I stopped doing The Mumbles was because, Photo by Lauren Marie Breaux

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eith Burnstein is a crafter of tunes.

Growing up in a Philadelphia suburb, he started playing piano at age five, and by 14, he was listening to music most young folks aren’t exposed to. “Grant Green, The Headhunters, Wes Montgomery, Mahavishnu Orchestra, shit like that,” Burnstein recalls. “I was also playing Grateful Dead and going to a lot of Phish shows. I think those bands taught me how to listen to long-form music and appreciate things that have more complex forms and constructions. They opened up that pathway in my brain when I was 14.”

Burnstein moved to Brooklyn after college, to work as a teacher at P.S. 305 in Bed-Stuy. When his band, The Mumbles, got more serious, he went part-time so he could tour extensively. In 2010, the band relocated to New Orleans. “I just saw it,” Burnstein says.

“I saw the future in front of me. I love New York City, but at this point in time, I’m stoked that I got the fuck out of there.”

Eventually, The Mumbles ran its course, and in 2016, Burnstein started a new project called Kettle Black. “Initially, the idea was that we wouldn’t have a kit drummer, so we’d have two percussionists: Luke Quaranta from Toubab Krewe and Michael Skinkus, who plays with everyone,” Burnstein says. “[Michael] was trained in Cuban drumming, and Luke plays West African percussion, so between the two of them, we have a lot of rhythm.” Bassist Charles Lumar (Solange) and guitarist Raja Kassis (Antibalas) rounded out the original lineup. More recently, kit drummer Chris Guccione has joined the mix.

after a while, it was trying to fit into certain genres of music that I didn’t always want to fit into,” Burnstein says. “This new album will have a much broader scope.”

Whether Burnstein is playing with his new, percussion-heavy six-piece, or performing a solo piano and voice set, his songs hold up. He takes particular pride in his lyrics, which draw inspiration from the American songbook and Bob Dylan. “The thing about great standards is that they are so hip lyrically, but also the music compliments the lyric in a way that the two cannot be separated,” he says. “If you have great songs, they can stand up wherever and however you’re playing them.”

Keith Burnstein will also play keyboard for Kristin Diable at the festival on Saturday, April 27.

—Raphael Helfand

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Evangelist Jackie Tolbert & the Gospel Ensemble, 5/3, GOS, 1:20p: Preaching through song and witness, Baton Rouge-born Jackie brings it a little jazzier than most of her contemporaries, yet there’s no denying the power of her faith (and voice).

Fairview Brass Band Reunion, 5/5, ECO, 1:50p: In 1970 Danny Barker’s group Fairview Baptist Church Christian Band recruited New Orleans teenagers and convinced young people that brass band music was both cool and worth preserving. The Fairview Brass Band launched the careers of many musicians including Leroy Jones (who will lead this reunion), Wynton Marsalis, Branford Marsalis, Kirk Joseph and Nicholas Payton.

Family Ties SA & PC, 4/27, PAR, 12p: This popular Social Aid and Pleasure Club is based downtown, generally strutting down Basin Street on its annual Sunday parade.

Fi Yi Yi & the Mandingo Warriors, 4/25, J&H, 11:15a: The Fi Yi Yi tribe of Mardi Gras Indians uses African instead of the traditional American Indian themes. Big Chief Victor Harris marched for 25 years with legendary Indian Tootie Montana.

First Division SA & PC, 4/28, PAR, 2:40p: An esteemed branch of the historic Young Men Olympian, Jr. Benevolent Association.

First Grace United Methodist Church Gospel Choir, 5/2, GOS, 5:55p: First Grace United Methodist Church is located on Canal Street in New Orleans. Soloists in the choir include Linda Patten and Brian Patten, Jr. The music director is Barbara Moore.

Flow Tribe, 4/28, GEN, 12:20p: “Backbone cracking music” is the chosen genre of this party-friendly funk/rock band, which adds Red Hot Chili Peppers and hip-hop to the Meters on its list of funk influences.

Fly Circus Company of New Orleans, 5/2, FOLK, 12:30p, 2p; 5/3, FOLK, 1:15, 3:50p; 5/4, FOLK, 12:20p, 3:20p; 5/5, FOLK, 12:05p, 3:50p: Elizabeth Rose’s Fly Circus is a training center for aerialists that are focused on an exotic exercise trend. Since moving to New Orleans in late 2013, she’s been working on building a circus scene in the city.

Forest Huval Band, 4/25, FDD, 1:55p: A native of Cecilia, Louisiana, Forest was influenced by legendary Cajun musicians. He plays both accordion and fiddle and continues to hone his melodic craft with a reverence for master works.

Forgotten Souls Brass Band, 4/25, J&H, 3:40p: From New Orleans the Forgotten Souls Brass Band was the winner of the 2000 Best of the Beat Award for Best Emerging Artist. The Forgotten Souls pay their respects to the unique musical traditions of New Orleans with a special blend of second line, traditional jazz, modern jazz, funk and hip hop.

Foundation of Funk featuring Zigaboo Modeliste and George Porter, Jr. with special guests Ivan Neville, Tony Hall and Ian Neville, 4/26, ACU, 3p*: Foundations of Funk with Ivan Neville, Tony Hall and Ian Neville: The closest thing to a full-fledged Meters set at JazzFest this year, this one brings together the mighty, founding rhythm section of George Porter Jr. and Zigaboo Modeliste with three-fifths

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of Dumpstaphunk.

Franklin Avenue Music Ministry, 4/25, GOS, 6:05p: One of New Orleans’ largest and most powerful church choirs, and a former winner for Best Gospel Group at OffBeat’s Best of the Beat Awards.

Free Agents Brass Band, 4/26, J&H, 2:50p: Bass drummer Ellis Joseph formed this band in September 2005 with other musicians who’d returned to New Orleans after Katrina before their regular bands did; don’t miss their moving hit, “Made It Through the Water,” a modern riff on the spiritual “Wade In the Water.”

Free Spirit Brass Band, 4/26, PAR, 3:15p: A local festival favorite, the young and heavy-hitting Free Spirits are known for a bringing a rock edge to the typical brass-band sound that proves a dance-friendly fan favorite.

Frishberg Family Band, 4/27, AARP, 12:20p: Cajun fiddler, violinist and accordion player Jonno Frishberg, was a member of the Cajun rock band Mamou. Frishberg also recorded with Richard Thomason, Sonny Landreth, Michael Doucet and others. As a New Orleans resident he would often perform at Mulate’s. He now resides in Breaux Bridge, and his family band consists of Colin Frishberg, Eva Frishberg, Susan Leger and of course Jonno Frishberg.

Frog and Henry, 4/28, ECO, 11:15a: Formed in New Orleans as a collective of several street performing groups, Frog and Henry perform old dance and jazz music from the early 1900’s on brass and string instruments. Every instru-

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mentalist contributes to vocals.

Gal Holiday and the Honky Tonk Revue, 4/25, GEN, 12:20p: Big-voiced Maryland native Vanessa Niemann fronts one of the city’s leading Western swing bands, which plays originals, honky-tonk favorites, and less obvious choices like Dylan’s “Don’t Think Twice, It’s Alright.” They were big winners at the 2018 OffBeat Best of the Beat Awards, taking home two awards for the best country artist and best country album for Lost and Found.

Galactic, 5/4, ACU, 3:10p: Approaching their music with open ears, Ben Ellman, Robert Mercurio, Stanton Moore, Jeff Raines and Rich Vogel draw inspiration from quintessential New Orleans musicians such as the Meters and the Dirty Dozen Brass Band as well as from each other. Brass-band elements, old-school soul and hard rock figure as prominently as the funk. These jamband scene stalwarts are known for their high-energy sets that often feature guests including vocalist Erica Falls. Galactic’s first new studio album in more than three years, Already Ready Already, features guest vocalists including Miss Mojo, Princess Shaw, The Revivalists vocalist Dave Shaw, Boyfriend and of course Erica Falls.

Gary Clark Jr., 5/3, GEN, 5:45p: Is he gonna perform “This Land”? That’s the question surrounding this Bonnaroo mainstay, slinging guitar in Austin clubs at 12 before developing a decidedly Hendrixian tone and attempting to resolve not just America’s back and white halves but the history of modern black music in general, from blues clear up to hiphop. “This Land,” which makes Childish Gambino’s “This is America” seem timid, will tell you all you need to know about his stance. If he lets you hear it, that is.

Geno Delafose & French Rockin’ Boogie, 5/2, FDD, 2:25p: Originally the drummer in his late father John Delafose’s band, Geno took to accordion and became a popular bandleader specializing in country-styled zydeco, when not raising horses and cattle at his Double D Ranch outside Eunice, Louisiana.

George French & the New Orleans Storyville Jazz Band, 5/4, ECO, 1:40p: As a bassist, French played on some landmark ’60s sessions with Earl King, Red Tyler and Robert Parker. As a vocalist, he brings a silky touch to jazz and blues standards.

George Porter, Jr. & Runnin’ Pardners, 4/26, AM, 12:30p; 5/5, GEN, 11:20a*: As a founding Meter and a jamming partner to just about everybody, bassist Porter is one of the cornerstones of New Orleans funk. The band’s latest disc, Can’t Beat the Funk, applies fresh spins to lesser-known nuggets from the Meters catalogue. Porter has been nominated for and won numerous Best of the Beat Awards.

George Wein, 4/25, AM, 2:30p: Jazz Fest founder George Wein is interviewed by Quint Davis.

Gerald French & the Original Tuxedo Jazz Band, 4/25, ECO, 2:55p*: The late drummer and colorful WWOZ personality Bob French led OFFBEAT. COM

Jazz Fest Guide: A TO Z

this band for 34 years, schooling young talents like Shamarr Allen and Kid Chocolate. When he retired from the band French passed the torch to his nephew Gerald, also a drummer.

Germaine Bazzle, 4/27, JAZ, 1:35p; 4/27, AM, 3:45p*: This locally prized jazz singer can caress a ballad or scat-sing an up-tempo number with the best. Her history includes a stint playing bass on Bourbon Street with Alvin “Red” Tyler; both OffBeat and the Jazz Journalism Association honored her 50-plus-years of work in music education with awards.

Give the Drummer Some featuring Herlin Riley, Shannon Powell, Terence Higgins, and Johnny Vidacovich, 4/28, AM, 12p; 4/28, JAZ, 3p: Astral Project drummer and legendary jam-band mentor Johhny Vidacovich gets some love back in an annual jam session that started as a benefit.

Givers, 4/28, GEN, 1:30p: This Lafayette-based indie-pop five-piece creates shimmering melodies that have a way of splintering off into unusual rhythms.

Gladys Knight, 5/3, CON, 5:45p: It took a long time for Gladys Knight to be recognized on the same level as Aretha Franklin or Tina Turner, but her still stunning voice proves that out no one can make love hurt like she does on The Pips’ hits “Midnight Train to Georgia” and “If I Were Your Woman.” If you like your soul with a lot of drama, this is where you should be.

Glen David Andrews, 5/2, BLU, 2:40p: This singer/ trombonist, cousin of Troy and James Andrews, is a brass traditionalist and a testifying R&B vocalist who honed his entertaining chops in Jackson Square. His album Redemption was named the number one album of 2014 by OffBeat Magazine.

Glenn Hartman and the Earthtones, 4/28, KID, 1:50p: Accordionist Glenn Harman, a native of California, moved to New Orleans at 18 years of age. He has played with the New Orleans Klezmer Allstars and currently performs frequently with Alex McMurray.

Golden Comanche Mardi Gras Indians, 5/4, PAR, 1:45p: Chief Juan Pardo, who grew up with the sounds of elder statesmen Indians like Monk Boudreaux and Bo Dollis will join the parade.

Golden Sioux Mardi Gras Indians, 4/26, PAR, 2:20p: Mardi Gras Indian parade.

Goldman Thibodeaux & the Lawtell Playboys, 4/25, FDD, 11:15a: This accordion and fiddle-centric band, formed in 1946, plays a form of music called Creole La La, an early American roots style that became one of the components of zydeco.

Good Fellas SA & PC, 5/5, ECO, 11:20a: Social Aid and Pleasure Club parade.

Grayhawk presents Native America Lore & Tales, 4/25, KID, 12:35p: This Houma, Louisiana resident shares stories from his Choctaw heritage.

Grayson Brockamp and the New Orleans Wildlife Band, 4/25, JAZ, 12:20p: Recently a fixture on Frenchmen Street, this band was formed in 2016 by upright bassist

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Brockamp and signed by Nicolas Payton’s label. They do updated versions of “Ain’t Misbehavin’,” “What a Wonderful World” and other classics.

Gregg Stafford & His Young Tuxedo Brass Band, 5/4, ECO, 2:55p*: Trumpeter Stafford made his Bourbon Street performing debut in 1970; he has led the Young Tuxedo Brass Band for over three decades.

Gregg Stafford’s Jazz Hounds, 5/3, ECO, 2:55p: Stafford’s other traditional New Orleans jazz ensemble, the Jazz Hounds, have been under his direction since the death of Danny Barker in 1984.

Gregory Porter, 4/27, AM, 12:30p; 4/27, JAZ, 5:30p: His Grammy-winning, gospel trained, blue-note-labeled baritone, rich and booming, has already made him a rising star in the U.K. and set to duplicate that feat in U.S. jazz circles.

Grey Seal Puppets, 4/27, KID, 1:05p: Puppeteers.

Grupo Sensación NOLA, 5/3, CON, 11:15a: Jaime Perez and Yenima Rojas founded this energetic, pan-Latin ensemble in 2006 after working together in Ritmo Caribeno; both their members and their influences span a variety of Latin American countries Hardhead Hunters Mardi Gras Indians, 5/5, J&H, 1:15p: Big Chief Otto “Fiyo” DeJean leads the parade of Mardi Gras Indians.

Hazel & the Delta Ramblers, 5/5, AARP, 1:45p: Headed

by Hazel Schlueter, the bluegrass and country band has been performing in New Orleans since 1977.

Helen Gillet, 4/28, AARP, 12:20p; 4/28, LAG, 3p: This Belgium-born cellist and singer performs avant-garde jazz and French chansons with gusto. She’s become a cornerstone of the city’s music scene in recent years, lending her skills to multiple improvisational projects.

Herbert McCarver & The Pin Stripe Brass Band, 5/3, J&H, 2:45p: One of the best young bands playing traditional brass band music in town, the YPS represents a new generation of the Original Pin Stripes, founded by McCarver’s father.

Herbie Hancock, 5/3, AM, 3:30p; 5/5, JAZ, 5:30p: A contender for the most popular jazz artist now living, not least due to his ability to play anything from straight-ahead acoustic jazz to pop and hip-hop crossovers. Hancock is currently working on an album that will include Wayne Shorter, Kendrick Lamar, and Snoop Dogg. Here’s hoping his set takes in some of his visionary Afrocentric fusion from the late ’60s.

High Steppers Brass Band, 4/27, PAR, 12p: This young local brass band mixes traditional New Orleans brass sounds with plenty of hip-hop influences.

Higher Heights Reggae, 5/4, J&H, 11:15a: Performing an array of Studio One classics and other hits, this New Orleans-based reggae act is a staple of Frenchmen Street’s small but growing reggae scene.

Honey Island Swamp Band, 5/3, ACU, 12:40p: Formed in San Francisco by Katrina exiles who’ve since returned to town, the HISB is a hard-driving rock band with roots in R&B, country and funk.

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Hot 8 Brass Band, 5/4, CON, 1:25p: The storied Hot 8 is a study in survival, having lost three members in shooting deaths. But the band has endured, and they carry on traditional brass-band sounds and add elements of hip-hop and jazz, touring worldwide. Their latest album, Take Cover, interprets classic tracks from Joy Division, Michael Jackson and George Benson.

Hot Club of New Orleans, 5/3, ECO, 5:45p: These guys almost singlehandedly spearheaded the great Crescent City gypsy jazz revival by perfecting a more modern, less studious, more swinging style.

Hurray for the Riff Raff, 4/27, ACU, 3:45p: During her time in New Orleans, leader Alynda Segarra developed a highly personalized, often stark and haunting take on Americana. Now based in Nashville, she’s expanded Hurray for the Riff Raff into a full electric band for last year’s expansive and semi-autobiographical concept album The Navigator.

Must EAT Three at Jazz Fest Jan Ramsey, OffBeat Publisher Jama-Jama (Bennachin Restaurant) Soft-Shell Crab Po-Boy (Galley Seafood Restaurant) Trout (now Redfish) Baquet (Li’l Dizzy’s Café)

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Indigo Girls, 4/28, AM, 2p; 4/28, FDD, 4:20p: Musical partners Amy Ray and Emily Saliers were briefly the toast of the indie-rock world with their self-titled 1989 album and its single “Closer to Fine.” They’re still beloved by a cult audience and still doing good-hearted acoustic rock with the occasional twist: Their latest album was done live with orchestra, and they can rock surprisingly hard onstage.

Irma Thomas, 4/28, ACU, 1:55p: With a career that spans more than 50 years, Thomas earned her royal nickname through innumerable contributions to the development of soul and R&B. While she still plays early hits like “It’s Raining” and “Time is on My Side,” she continues to introduce new material.

Isabel Davis, 5/2, GOS, 2:35p: Gospel singer Isabel Davis was born and raised in San Antonio, Texas. She is currently the Worship Pastor at the City of Love in New Orleans. Her most recent album The Call reached number eleven on the Billboard gospel chart.

ISL Circus Arts Kids, 4/25, KID, 5:15p: Students from the International School of Louisiana in New Orleans make up this young group of acrobats, stilt walkers and clowns.

Ivan Neville’s Dumpstaphunk, 5/2, ACU, 2:55p: The well-travelled keyboardist makes some of the deepest funk of his career with this band, which features double bass guitars, giving it one of the fattest bottoms in town. Too bad the Rolling Stones cancelled as Keith Richards was sure to join in.

J Balvin, 4/28, GEN, 5:55p: The new king of Reggaeton rides his riddims completely in Spanish. A Colombian superstar who pulls in music from all dance genres

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to embroider his style, he may be the future of worldpop incarnate, thanks to the success of sultry hipshakers like “Ginza,” “Mi Gente,” and “Ay Vamos.” If nothing else, his presence signals that Jazz Fest doesn’t think roots futurism ends at the Equator.

J. Monque’D Blues Revue, 4/25, BLU, 12:25p: “Monk” is a true example of the classic “Yat” native of the 20th century, and his gritty, dirty blues has made him one of the city’s most beloved sidemen.

Jackson Square All-Star Band (Jazz Funeral for Henry Butler), 5/3, PAR, 12:45p: New Orleans pianist Henry Butler passed away from cancer in July 2018 at the age of 69. The Jackson Square All-Star Band is a rotating group of New Orleans musicians usually found entertaining the crowds at Jackson Square.

Jambalaya Cajun Band with special guest Johnnie Allan, 4/28, FDD, 12:25p; 4/28, AM, 3p: This group was founded in 1977 by fiddler Terry Huval. They’re joined by singer Johnnie Allan.

James Andrews & the Crescent City All-Stars, 4/26, BLU, 4:10p: Nicknamed “Satchmo of the Ghetto,” trumpeter Andrews (the grandson of Jessie Hill and brother of Trombone Shorty) has gone in a funky, expansive direction with his Allstars, although Louis Armstrong remains a key influence.

James Carter Organ Trio, 4/25, AM, 3:30p; 4/25, JAZ, 5:55p: Saxophonist and leader James Carter is the cousin of jazz violinist Regina Carter who is also playing the festival. The trio includes drummer Leonard King and organist Gerard Gibbs. Carter has won Down Beat magazine’s critics and readers’ choice award for baritone saxophone several years in a row.

James Rivers Movement, 4/25, AM, 12:30p; 5/3, JAZ, 1:30p*: Perhaps the city’s only jazz/funk saxophonist who doubles as a bagpipe player, Rivers was also known for a longtime (now discontinued) Sunday brunch at the Hilton, and for scoring Clint Eastwood’s The Bridges of Madison County.

Jamil Sharif, 5/3, ECO, 1:40p: This local trumpeter studied with Ellis Marsalis at NOCCA and went on to do a number of soundtracks, including the Ray Charles biopic Ray, for which he was music coordinator.

Jarekus Singleton, 5/3, BLU, 2:40p; 5/3, AM, 4:30p: Rising star Mississippi blues guitarist Singleton combines elements of modern and traditional blues with hip-hop influenced vocals.

Jason Marsalis, 4/25, JAZ, 1:30p: Marsalis began as a vibraphonist but spends more time behind the drums; in both situations, he expertly matches agile displays of technique with a deep sense of groove. His latest album Melody Reimagined book 1 was nominated for OffBeat’s Best of the Beat Album of the Year. Jason Marsalis took home the Best of the Beat Award for Best Contemporary Jazz Artist in 2018.

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Javier Gutierrez & Vivaz!, 5/2, CEP, 1:45p; 5/2, J&H, 5:45p: This energetic and dance inspiring Caribbean/Latin jazz fusion band led by the Bolivian-born guitarist Javier Gutierrez highlights the Cuban tres (a double three-stringed Cuban guitar).

Javier Olondo and AsheSon, 4/27, CEP, 11:30a; 4/27, J&H, 3:35p: Local guitarist Javier Olondo leads this ensemble primarily through the songs of his native Cuba while drawing on the traditions of other Latin American countries, including Guatemala and Puerto Rico.

Jazzy Ladies SA PC, 4/25, PAR, 2:30p: Social Aid and Pleasure Club parade.

Jeffery Broussard & The Creole Cowboys, 4/25, FDD, 2:50p: Once a member of the funky Zydeco Force, singer/ accordionist Broussard turns to old-school Creole and zydeco with this group.

Jeghetto’s Workshop, 4/25, KID, 2:55p: Puppeteer Tarish “Jeghetto” Pipkins uses marionettes to tell a story about a robot that longs to be a real boy. Jeghetto’s talent earned him a Jim Henson Foundation grant.

Jekalyn Carr, 4/25, GOS, 3p: Young Memphis gospel sensation made a national impression with her first album Greater is Coming, at age 16. The empowering song “You Will Win” has since become her anthem, and was also the title of a self-help book that the singer (now 21) released last year.

Jeremy Davenport, 5/4, JAZ, 12:25p: Schooled as the featured trumpeter in Harry Connick, Jr.’s band, the St. Louis

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Must EAT Three at Jazz Fest Camille Ramsey, OffBeat Marketing Crawfish Bread (Panaroma Foods) Mango Freeze (WWOZ Radio) Crawfish Sack (Patton’s Caterers) native has carved out a solo career with a tender tone to both his playing and singing on romantic standards and originals.

Jermaine Hawkins & The Harvey Spirituals, 5/3, GOS, 12:30p: Founded in 2003, the musical quartet is the creation of Jermaine Hawkins.

Jermaine Landrum & the Abundant Praise Revival Choir, 5/4, GOS, 5:05p: The popular Rev. Jermaine Landrum leads the choir affiliated with Holy Ghost Headquarters Ebenezer Baptist Church in New Orleans.

Jesse McBride Big Band, 5/4, JAZ, 3p: Pianist Jesse McBride has led The Next Generation for more than ten years, taking over for his mentor Harold Battiste who passed away in 2015. McBride’s Big Band remains focused on contemporary jazz performing compositions by Harold Battiste, James Black, Clyde Kerr Jr., Ellis Marsalis, Alvin “Red” Tyler and others.

Jessica Harvey and The Difference, 4/26, GOS, 12:05p: The Difference are led by choir director Jessica Harvey who also fronts her own gospel group The Singing Leopards.

Jim McCormick, 4/25, AARP, 3:15p: New Orleans born singer songwriter has been performing with various bands in New Orleans for years—most recently with the Write Brothers featuring Paul Sanchez, Alex McMurray and Spencer Bohren. As a Nashville staff songwriter he has written two number one songs. “Take a Little Ride” for Jason Aldean and “You Don’t Know Her Like I Do” for Brantley Gilbert.

His songs have been covered by Louisiana artists Harry Connick, Jr. and Amanda Shaw. Tim McGraw, Keith Urban, Trisha Yearwood, Randy Travis, Ronnie Milsap and many others have covered McCormick compositions.

Jimmy Buffett & The Coral Reefer Band, 5/5, ACU, 3:05p: Buffett’s shows invariably draw a well-oiled crowd wearing garish tropical gear and clutching their parrot totems; fortunately the Jazz Fest crowd always looks like that anyway. As his fans well know, thoughtful troubadour songs like “A Pirate Looks at 40” are as much of the picture as the party tunes.

Joe Krown Trio featuring Walter Wolfman Washington, 5/4, BLU, 12:20p; 5/4, AARP, 3:15p (Joe Krown):Three instrumental powerhouses join forces in this organ/guitar/ drums trio that has become a full-time band, cutting three CDs, and writing some fine originals including their anthem “You Can Stay But That Noise Gotta Go.” Joel Jones & 3MC, 5/3, GOS, 11:40a: Louisiana native Joel Jones began playing music at age five. Joel is the Minister of Music at Greater Mt. Calvary Church in New Orleans.

Joey Stylez, 4/25, J&H, 2:25p: Saskatchewan rapper whose music is steeped in First Nation and Aboriginal

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culture and spirituality. He has also found success as a visual artist and fashion designer and lives as a nomad, not having stayed anywhere for more than a month.

John “Papa” Gros, 5/4, ACU, 11:15a: New Orleans funk scene stalwart “Papa Gros” took his music in a new direction after disbanding Papa Grows Funk in 2013. The powerhouse keyboardist, singer and French horn player recently released Live at Tipitina’s New Orleans with his Japanese touring band Funk on Da Table.

John Boutté, 5/5, JAZ, 4:05p: A local favorite with a high and haunting voice, Boutte is an inspired, passionate interpreter of songs. His acclaim spread widely after his tune “Treme Song” became the theme of the hit HBO series, “Treme.”

John Fogerty, 5/5, GEN, 5:40p: With Creedence Clearwater Revival he wrote two of the essential Louisiana songs, “Proud Mary” and “Born on the Bayou,” before he’d ever been to New Orleans. He’s made up for lost time since then, and his Jazz Fest sets are always more than solid.

Expect every Creedence hit you can name and a few you’ve forgotten as well.

John Hammond, 5/5, BLU, 1:30p: Acoustic blues giant has played with any number of big names during his 60-year career, making the landmark Triumvirate album with Dr. John and Mike Bloomfield in 1974. Now 76 he’s playing with as much fire as ever, his latest album “Timeless” includes one of the feistiest “Junco Partners” you’ll ever hear.

John Lawrence & Ven Pa’ Ca Flamenco Ensemble, 4/26, LAG, 12:35p: This long-running flamenco ensemble led by guitarist Lawrence usually features saxophonist Rob Wagner with Dave Sobel on percussion, along with dancers.

John Mahoney Big Band, 5/3, JAZ, 12:20p: Trombonist, pianist and Loyola music professor Mahoney leads this large modern jazz ensemble, featuring a slew of the city’s top horn players.

John Mooney & Bluesiana, 5/3, BLU, 12:20p; 5/3, AARP, 3:40p: Real enough to record for Ruf and Blind Pig and to sit in with Snooks Eaglin and Fess himself, Mooney more or less invented welding Delta blues to New Orleans funk.

John Prine, 5/4, BLU, 5:45p; 5/5, AM, 2:30p: You already know if you’re a fan of this iconic yet perennial outsider singer-songwriter; he’s almost single-handedly been holding down the weird end of country music for four decades. If not, “Grandpa Was a Carpenter,” “Illegal Smile,” and “Jesus: The Missing Years” will inculcate you into his cult, and Jazz Fest is a great place to find out... just make sure you can hear the lyrics.

Johnette Downing and Scott Billington with special guest Irma Thomas, 4/27, KID, 2:50p: This local duo, comprised of children’s author and guitarist Downing and Grammy-winning producer Billington, present a medley of Louisiana roots music dubbed “Swamp Romp.” See feature in this issue.

Johnny Rivers, 4/28, BLU, 5:45p: A last-minute sub for fellow Louisiana native Jerry Lee Lewis, Rivers has more than enough hits to fill a set, including the timeless “Secret Agent OFFBEAT. COM

Man” and the only Huey Smith cover to hit the charts in the ’70s, “Rockin’ Pneumonia and the Boogie Woogie Flu.” His last Jazz Fest appearance ten years ago was a pleasant surprise; he still rocked the house like it was the Whisky a Go Go in 1965.

Johnny Sansone, 4/27, BLU, 11:10a: A multi-instrumentalist who draws from swamp-rock, blues and zydeco, Sansone has two aces in the hole: his songwriting and his gut-shaking harmonica solos.

Johnny Sketch and the Dirty Notes, 5/2, GEN, 12:45p: Fronted by a cellist turned guitarist, they’re a funky rock band. The band’s philosophy can best be summed up by the sentiments of the single and video, “Dance Dance Dance Dance Dance.”

Jolynda “Kiki” Chapman, 4/25, JAZ, 2:50p: Right now she’s mainly known for a torchy revamp of Art Neville’s “All These Things,” done with David Torkanowsky, but her churchy approach to both jazz and R&B marks her as one of NOLA’s future soul queens.

Jon Cleary and the Absolute Monster Gentlemen, 5/5, GEN, 12:30p: Since moving over from the UK in the ’80s, Cleary’s earned a place in the frontline of New Orleans blues singers and keyboardists. He won a Grammy Award for his CD GoGo Juice. At the 2018 Best of the Beat awards, Jon Cleary was named Songwriter of the Year and Best Pianist.

Jonathan Butler and Gerald Albright, 5/4, AM, 3:30p; 5/4, JAZ, 5:45p: Two big names in the smooth-jazz world join forces. Saxophonist Albright cut his teeth playing behind a variety of pop and R&B singers including Anita Baker and Phil Collins; his solo albums combine pop and R&B material.

Guitarist Butler originally hails from Cape Town and played with George Duke and Teena Marie after moving to California; his latest album Close to You is all from the Bacharach/ David songbook.

Jonathon Long, 4/25, BLU, 11:15a: This soulful Baton Rouge-based blues guitar slinger has opened for B.B. King and performed with Dr. John, Kenny Neal and many others.

His latest CD is produced by Samantha Fish.

Jonté Landrum, 5/5, GOS, 12:55p: “I am the youngest child of four… we were a musical household. We sang commercials. Even made harmonies of the words my mom would use to scold us. I was part of the family group the Landrum Singers when I was three.” No stranger to Jazz Fest, Landrum sang with the Johnson Extension. A songwriter Landrum said “whatever I’m singing, you will see the Lord in me. I’m ministering, but my church is bigger. It’s the world.”

Jordan Family Tribute featuring Kidd, Marlon, Stephanie & Kent, and Rachel Jordan, 4/26, JAZ, 1:30p: “Kidd” Jordan is one of the music industry’s most in demand jazz sax men, but at the fest he utilizes his family on vocals, flute, violin, and trumpet—all of whom are already leading lights on the stage and in music academia.

Josh Kagler & Harmonistic Praise Crusade, 4/26, GOS, OF F B E AT. COM

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2:45p: The members of this New Orleans gospel group range from age 17-30 and claim they are “radical for Christ.”

Jourdan Thibodeaux et les Rôdailleurs, 4/27, FDD, 1:40p: Thibodeaux is a fiddle-playing farmer from Cypress Island, Louisiana. His Valcour Records CD debut Boue, Boucane, et Bouteilles (or “Mud, Smoke and Bottles”) contains 12 original songs with Thibodeaux’s downhome stories backed by a stellar band. Diagnosed with throat cancer at the age of 21, Thibodeaux said doctors planned to remove his larynx. Thibodeaux wanted his voice recorded before it totally disappeared. Now cancer-free with his voice intact, Thibodeaux cherishes his newfound celebrity. But his folksy personality and work ethic remain untouched. When he’s not playing music, Thibodeaux raises hogs and chickens on his 42-acre farm.

Judith Owen, 5/4, LAG, 2:55p: Singer songwriter and pianist Judith Owen is known for her musical variety, which she melds into a stylistic gumbo all her own. She says of her partner Harry Shearer, “I’m with somebody who makes me laugh.”

Judy Stock, 5/5, KID, 1:15p: Playing folk music on a variety of instruments, Stock, an early childhood specialist, works lessons about literacy into her performances.

Julio y Cesar Band, 5/2, LAG, 2:15p: These local brothers do Latin-American music on twin classical guitars, and have lately expanded from duo to band.

Jupiter & Okwess of the Democratic Republic of the Congo, 5/4, CON, 2:40p; 5/4, CEP, 4:50p; 5/5, CON, 12:30p; 5/5, CEP, 3:05p: Jupiter Bokondji from the Democratic Republic of Congo and his band Okwess perform traditional music from this country. His mission was to delve into traditional music and give it an international dimension.

As Jupiter Bokondji says “I have to revolutionize Congolese music.”

Justin Garner, 4/27, CON, 12:20p: Plaquemine Parish R&B singer songwriter also pulls from pop, rock, soul and country. He was opened for Trey Songz, Fantasia and many others.

Kai Knight’s Silhouette Dance Ensemble, 5/5, KID, 2:55p: New Orleans troupe that aims to teach young African-American woman about positive image and self-expression through dance.

Kamasi Washington, 5/3, AM, 1:30p; 5/3, GEN, 4:20p: Kamasi is one of the most in-demand tenor sax men in the industry today, having been enlisted by everyone from Lauryn Hill to George Duke to Kendrick Lamar. His solo excursions, however, bring a Coltrane-like exuberance, as well as some Pan-African styling, to the most modern hiphop and EDM beats.

Karl Denson’s Tiny Universe, 4/26, CON, 2:40p: After letting love rule with Lenny Kravitz’ original band, sax/flute player Denson showed the ability to jam with just about everybody, from local heroes (he’s played with Galactic a few times) to rock legends (he took the sax solos on the

K

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Stones’ 2015 revisit of Sticky Fingers). Tiny Universe makes a fitting outfit for any rock, funk, jazz or open-ended directions he cares to go in.

Kat Walker Jazz Band: Scat with Ms. Kat, 4/25, KID, 4:05p: Kids learn the art of scat singing with a live band, live-action jazz karaoke style.

Kathy Taylor and Favor, 4/26, GOS, 3:50p: Taylor is a singer and choir leader from the Windsor Village United Methodist Church in Houston.

Katy Perry, 4/27, ACU, 5:40p: She’s probably not going to march a giant animatronic lion across the Jazz Fest stage, but America’s Princess of Pop will pump the place up with big radio hits such as “I Kissed a Girl,” “Teenage Dream,” and “Firework.” Does her career downgrade to a judge on the American Idol reboot indicate she’s lost the crown? Can she silence the haters with a flamboyant Fest set? We’ll be watching.

Keep-n-It Real SA & PC, 4/26, PAR, 12:20p: This young Bayou St. John-based parade club features solid dancers and parades with some of the best brass bands in town.

Kehoe France Choir, 5/3, KID, 11:30p: This Metairie private school choir is open to students from grades three to seven. They have performed at French Quarter Festival, Celebration in the Oaks and lots of events.

Keith Burnstein’s Kettle Black, 5/3, LAG, 11:30a: The brainchild of Mumbles alum Keith Burnstein, along with members of Toubab Krewe and Antibalas, the band fans out the African and Cuban influences found in New Orleans music to create a new American songbook.

Keith Frank & the Soileau Zydeco Band, 4/26, FDD, 6:05p: Frank leads his hard-driving zydeco band, which formed in 1990.

Kenny Neal with guest Henry Gray, 5/4, BLU, 1:30p: Neal may be the best living guitarist on the Baton Rouge swamp-blues scene; Henry is the creator of the Chicago piano blues sound. Now imagine them together.

Kermit Ruffins & The Barbecue Swingers, 5/3, CON, 2:50p: One of New Orleans’ most beloved trumpeters and personalities, Ruffins digs swingin’, smokin’ and partyin’ traditional style.

Kermit Ruffins’ Tribute to Louis Armstrong, 5/5, ECO, 4:30p: A Jazz Fest favorite, trumpeter Kermit Ruffins a contemporary reefer man revisits the work of the original reefer man.

Kid Simmons’ Local International Allstars, 4/25, ECO, 11:15a: An early devotee of George “Kid Sheik” Cola, trumpeter Simmons has been active in traditional jazz since his arrival in New Orleans in 1966 and cut his teeth in Harold Dejean’s Olympia Brass Band and the Young Tuxedo Brass Band.

KID smART Student Showcase, 4/26, KID, 11:30a: This organization brings arts initiatives to a range of public schools in Orleans and Jefferson Parishes, and its student groups have been a fixture at the kids’ tent.

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Kim Che’re, 5/4, GOS, 12:55p: Gospel singer Kim Che’re Hardy has wowed the Jazz Fest audience. According to Keith Spera; “She sounded a bit like a younger Patti LaBelle, with a slightly huskier voice, minus LaBelle’s over-the-top, upperregister histrionics. And she was every bit the show-woman that LaBelle is.

Kinfolk Brass Band, 4/25, ACU, 12:40p: Formed in 2006, the Kinfolk are true to the traditional brass-band sound, performing classics like “Bourbon Street Parade” and “I’ll Fly Away” along with their originals.

Kristin Diable & The City, 4/27, LAG, 4:20p: This deepvoiced Baton Rouge native made a name for herself in New York City’s singer songwriter community before returning to New Orleans. NPR likened her singing on 2015’s Create Your Own Mythology to that of a lighter hearted Amy Winehouse.

Kumasi, 4/26, J&H, 12:25p: New Orleans’ only Afrobeat orchestra brings high-energy dance music in the form of West African-inspired originals and Afro-funk, along with some Fela covers. Margie Perez is the vocalist.

Kumbuka African Drum & Dance Collective, 4/26, CON, 11:15a: Founded in 1983 and based in New Orleans, this troupe brings African music and dance to grade schools throughout Louisiana; members range from ages 10 to 55.

Kyle Roussel History & Future of New Orleans Piano, 5/2, JAZ, 12:45p: Pianist Kyle Roussel has been playing the piano since age nine. He is a graduate of New Orleans Center for Creative Arts. He has performed with the Preservation Hall Jazz Band, the Dirty Dozen Brass Band, Christian Scott, Donald Harrison, Jr. and many others. Roussel utilizes an array of keyboards—acoustic and electric pianos, organ, Fender Rhodes and a clavinet—giving each tune its own personality.

La Tran-K Band, 4/27, LAG, 5:40p: Latin music band from New Orleans founded in 2011.

Ladies of Unity LLC, 4/26, PAR, 3:15p: Social Aid and Pleasure Club parade.

Lady Jetsetters Social & Marching Club, 5/4, ECO, 2:55p: Uptown’s Lady Jetsetters Social Aid and Pleasure Club recently celebrated their 25th anniversary.

Lady’s & Men Rollers SA & PC, 5/3, PAR, 4:10p: Uptown-based social aid and pleasure club.

Landry Walker Charter High School Choir, 4/26, GOS, 1:55p: A 40-plus member gospel choir from the West Bank school whose brass band recently won $10,000 in the Class Got Brass competition.

Lane Mack & The Balladeers, 5/4, LAG, 12:20p: Lafayette singer songwriter and guitarist Lane Mack plays country or Americana music. He has performed with Marc Broussard, Eric Lindell and Sonny Landreth and many others.

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Must EAT Three at Jazz Fest Melinda Koslowsky, OffBeat Sales Crawfish Bread (Panaroma Foods) Mango Freeze (WWOZ Radio) Fried Green Tomatoes (Cajun Nights Catering) OF F B E AT. COM

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festfocus

Thursday, April 25, Economy Hall Tent, 4:20 p.m.

Ragtime to Jelly Roll featuring Lars Edegran and Kris Tokarski

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band which is Jamil Sharif on trumpet, Tom Fischer on clarinet, Charlie Halloran on trombone, me on piano, Peter Harris on bass, Matt Rhody on violin, and Benny Amón on drums. I’m going to have guests with me, too. I’m going to have Kris Tokarski, Photo courtesy of the artist

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s The New Orleans Jazz and Heritage Festival comes to its 50th anniversary, there are few musicians playing this year who have had as long-standing a connection with the festival as pianist Lars Edegran. Naturally, the festival wanted him to do something special for the anniversary.

“I had a call from Christine from the jazz festival and she reminded me that I’d played at the first one in 1970. Actually I’d played in 1969 too, but that was before the festival really started. In 1970 I played with the Ragtime Orchestra,” Lars Edegran recalls of developing this year’s show. “Christine reminded me that I did another program too, which was ’Ragtime to Jelly Roll.’ I’d completely forgot about that. It was fifty years ago!

She reminded me that I played with the Ragtime Orchestra and that I had other guests, one of which was Don Ewell, the very famous piano player. Another one was Frank Amacker who was a piano player who played in Storyville. She asked me if I could repeat that program this year, and I said, ‘Well, those guys are gone, but I can get some other guys!’”

Edegran has put together a stellar line-up to reprise the show, following the formula he used for the original. “I’m going to go from ragtime into early jazz like Buddy Bolden, Kid Ory, Louis Armstrong, King Oliver, and then to Jelly Roll,” he says. “I’m going to have my regular Ragtime Orchestra

who is a specialist on Jelly Roll. I’m going to have extra horn players as well. We’re adding Joe Goldberg on tenor and clarinet, Alonzo Bowens on clarinet, and Kevin Louis on trumpet is going to be featured doing ‘Winin’ Boy Blues.’ That’s one of Jelly Roll’s famous pieces--in fact, that’s what Jelly Roll was called in New Orleans. He wasn’t called Jelly Roll in the Storyville days. He got that nickname because that song was very popular in Storyville, because it had very nasty, obscene lyrics. Of course we’ll do a cleaned-up version!”

Edegran has plenty of multi-part clarinet solos to wow audiences, and several vocal features to delight fans of the New Orleans traditional jazz scene. Whether you want to see some of the best local players strut their stuff, or you just want to see some actual jazz at Jazz Fest, this will be the show to catch.

—Stacey Leigh Bridewell

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Jazz Fest Guide: A TO Z

Lars Edegran Trio, 4/25, AARP, 12:20p*: Multi-instrumentalist Lars Edegran is joined by colleagues in his ad hoc trio. Edegran performs regularly at the Palm Court Jazz Café.

Lars Edegran‘s New Orleans Ragtime Orchestra, 4/27, ECO, 3p: Formed in 1967 by Swedish-born pianist Lars Edegran, this band plays rags, cakewalks and other classic pieces from the original ragtime era.

Lauren Daigle, 4/27, GEN, 2:50p: This Louisiana native has been quietly destroying all previous records for contemporary Christian music... and the former LSU choir leader has only just broken into the mainstream.

Lawrence Sieberth featuring Fareed Haque, 4/27, JAZ, 2:45p: New Orleans-based pianist and composer Sieberth has a knack for blending classical and world music with modern jazz. When he’s not leading his own projects, he performs regularly with Germaine Bazzle, Lena Prima and Gerald French. Sieberth is joined with jazz guitarist Fareed Haque.

Le Vent du Nord of Canada, 4/26, CEP, 12:45; 4/26, FDD, 3:10p: Le Vent du Nord or The North Wind is a Canadian folk music group from Saint-Antoine-sur-Richelieu in Quebec. The band performs traditional Québécois music (which is heavily influenced by Celtic music from both Ireland and Brittany), as well as original numbers in this style, in French.

Leah Chase, 5/4, JAZ, 1:40p: A classically trained opera singer who turned to jazz, Chase is also the daughter of two of New Orleans’ most famous restaurateurs.

Lean On Me: José James Celebrates Bill Withers, 4/26, JAZ, 5:45p: One of the Blue Note labels latter-day stars, James takes a rap-informed approach to jazz singing; he recently built a full tribute album out of a Bill Withers medley he’d been doing onstage. Fans of the Who can take note that his bassist (in the studio and presumably onstage) is longtime associate Pino Palladino.

Lemon Bucket Orkestra of Canada, 4/27, CEP, 12:45p: The Lemon Bucket Orkestra is a Canadian self-described “Balkan-Klezmer-Gypsy-Party-Punk-Super Band” based in Toronto, Canada.

Lena Prima, 5/2, ECO, 2:20p: The youngest daughter of Louis Prima performs her dad’s classics along with her own jazz-pop material. Her recent Basin Street Records release Prima La Famiglia interprets her father’s repertoire. She was featured on the February 2019 OffBeat cover.

Leo Jackson & the Melody Clouds, 4/28, GOS, 4:15p: This family group was formed in 1965 and is now led by founder Leo Jackson’s son. It’s known for its rousing vocals and synchronized steps.

Leo Nocentelli, 5/3, GEN, 1:35p*: The man who put the guitar licks into the Meters and was the main songwriter in the original lineup, Nocentelli recently returned to New Orleans after a long stay on the West Coast. In his sets you can expect to hear “Cissy Strut” and “Fire on the Bayou” straight from the source.

Leon Bridges, 4/27, GEN, 5:40p: The Fest is naturally

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a haven for R&B music of all eras, but Bridges, who first introduced himself to the world with 2015’s Sam-Cookemeets-swamp-pop single “Coming Home,” practices actual Soul with a capital S—Cooke and Otis are two names most often thrown around when describing his voice. These days he’s incorporated a little John Legend/Bruno Mars modernity into his sweet smooth soul, but at the Fest you can expect him to keep his roots close at hand.

Leroy Jones & New Orleans’ Finest, 4/27, ECO, 1:40p: Trumpeter Jones is a protégé of the legendary Danny Barker and at 13 was leading the Fairview Baptist Church Marching Band. In 1991 Jones joined Harry Connick, Jr.’s band; he’s also appeared with the Preservation Hall Jazz Band and Dr. John.

Leyla McCalla, 5/3, FDD, 12:20p; 5/3, CEP, 3:35p: A first-gen Haitian-American who made her name mixing her ancestral Creole folk with Cajun fiddle and Dixieland banjo (among other things,) right on the streets of the Quarter.

Lil’ Buck Sinegal’s Blues Band with special guest Ironing Board Sam, 5/5, BLU, 2:50p: 75 year old Sinegal once led an R&B band that included a young Stanley “Buckwheat” Dural on organ. The blues guitarist seems to slip effortlessly into soulful grooves. Keyboardist Samuel Moore better known as Ironing Board Sam now 79 years old joins the band.

Lil’ Nathan & the Zydeco Big Timers, 4/27, FDD, 2:55p: This young accordion player from Lafayette scored a regional hit with “That L’Argent,” a hip-hop flavored zydeco tune about the power of money. His dad is Nathan Williams of the Zydeco Cha Chas.

Lilli Lewis, 5/5, AARP, 3:15p: Singer songwriter Lilli Lewis describes her music as follows: “If Sister Rosetta Tharpe and Odetta had had a baby, and that baby had had a baby, and that baby had had another baby….well that baby would probably be me.”

Lisa Amos, 4/27, CON, 11:15a: Vocalist Lisa Amos was born and raised in New Orleans. She has appeared with hip hop artist Choppa but her vocal style is more R&B. Little Feat, 5/5, GEN, 2p; 5/5, AM, 4:30p: Formed by the late Lowell George just after Frank Zappa sacked him for drug use, Little Feat had some of the most fluid jams and quirkiest songwriting to emerge in the ’70s. All four living members of the classic lineup are still aboard (they’ve lost George and drummer Richie Hayward), having shed a couple latter-day singers they’re largely back to the vintage sound and material.

Little Freddie King Blues Band, 5/5, BLU, 12:20p*: The Mississippi Delta-born King plays raw juke-joint blues with style, and he’s one of the best dressers you’ll see on any stage. His latest album, Absolutely the Best, compiles some of his very best songs including “Chicken Dance” and “Walking with Freddie.”

Logic, 4/27, CON, 5:50p: Hip hop’s great Half White Hope can’t avoid unfortunate comparisons to Eminem based on his race, but in reality he’s more like a Wu-Tang OFFBEAT. COM

brother from another mother: mentored by the group and sharing their love for twisted jazzy backdrops and relentless lyrical assault. Like Em, however, his sheer energy takes the genre to new heights on his hits “Everybody Dies” and “44 More.” Let’s hope he can do for Jazz Fest what he did for Rick and Morty’s party.

Must See Three at the Clubs Melinda Koslowsky, OffBeat Sales The Suffers (April 26, One Eyed Jacks) Preservation All Stars (April 28, Preservation Hall) Tank and the Bangas (May 4, Sugar Mill) Los Lobos, 5/3, BLU, 5:30p: They’re best known for two ’80s Ritchie Valens covers in “La Bamba” and “Come On, Let’s Go,” but this five-piece has been holding down the tradition of Mexican-American music since they changed all the rules of Latin rock with “Will the Wolf Survive?” Too ahead of their time, they stuck around through sheer tenacity (like the wolf) and now serve as gatekeepers of border music from the Pacific to Port Arthur.

Lost Bayou Ramblers, 5/3, FDD, 2:50p: This band typically plays traditional Cajun music but incorporates Western swing, rockabilly, and punk rock aesthetics. Leader Louis Michot has revived forgotten classics and sings almost entirely in Cajun French. They have collaborated with many artists including Spider Stacey of the Pogues. Their 2017 CD Kalenda received a Grammy for the Best Regional Roots Music Album.

Louis Cottrell and Onward Brass Band Remembered featuring Dr. Michael White, 4/27, ECO, 4:25p: Louis Cottrell was a clarinetist and tenor saxophonist who passed away in 1978. Cottrell worked with Kid Rena, Sidney Desvigne, A.J. Piron and many others but formed an enduring relationship with drummer. Paul Barbarin. In 1960 Barbarin and Cottrell revived the Onward Brass Band. An example of Cottell’s clarinet playing can be heard on Paul Barbarin’s Onward Brass Band—in Concert playing his favorite hymn, “What a Friend We Have in Jesus.” Clarinetist Dr. Michael White remembers this outstanding clarinetist.

Louis Ford & his New Orleans Flairs, 4/26, ECO, 11:20a: Clarinetist and saxophonist Ford’s father was Clarence Ford, who played with Fats Domino. He leads his old-time New Orleans jazz band through a set of traditional music.

Louisiana Repertory Jazz Ensemble, 4/26, ECO, 12:30p: Fred Starr leads this local traditional jazz septet with a focus on tight arrangements of tunes by Sam Morgan and other music from the turn of the century.

Loyola University Jazz Band, 4/25, JAZ, 11:15a: Students from Loyola’s jazz program—the oldest in the city—make up this group.

Luke Winslow King, 4/26, AARP, 12:20p; 4/26, LAG, 2:55p: A Michigan native who studied music at UNO, Winslow-King is both a performer and musicologist, combinOF F B E AT. COM

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ing the sound of early 20th century New Orleans with the street smarts of a modern songwriter.

Lulu & the Broadsides featuring Dayna Kurtz, 4/25, FDD, 3:05p: New Jersey born vocalist and songwriter Dayna Kurtz is joined by drummer Carlo Nuccio (Royal Fingerbowl), pianist Casey McAllister (Hurray for the Riff Raff / King James & the Special Men) and guitarist Robert Mache.

Luther Kent & Trickbag, 4/28, BLU, 1:35p: This Southern-fried soul man, who fronted Blood, Sweat & Tears for a short stint in the ’70s, is best known for leading the funky Trickbag.

Lyle Henderson & Emmanu-EL, 5/2, GOS, 3:45p: A former radio DJ at R&B station FM98 and gospel station WYLD, Lyle Henderson also coordinates the gospel brunches at the House of Blues.

Maggie Koerner, 4/27, ACU, 11:20a: Koerner earned plenty of new fans when she held down the vocal role during a series of Galactic tours a few years back, but her powerful voice and intense stage presence make her solo shows equally exciting.

Mainline, 4/25, FDD, 5:35p: Having dropped the “brass band” moniker in recent years, this eight-piece credits Dirty Dozen Brass Band’s Kirk Joseph with inspiring the funk, rock and jam band-style approach they layer onto their brass band horns instrumentation. See Fest Focus in this issue.

Makueto Groove & Friends, 4/25, CEP, 11:30p: Marcio Peeter, a percussionist from Ilê Aiyê, the group known worldwide as the creator of the unique rhythmic style Samba Afro is Makueto Groove. Originally from Salvador, Bahia, Brazil and now residing in Santa Cruz, California, Marcio Peeter has played professionally since he was 14.

Marc Broussard, 5/2, GEN, 2:15p: The Lafayette singer/ guitarist grew up around vintage swamp-pop, but has since found his niche with a mix of soulful roots music and adultcontemporary pop. He’s opened tours for both the Dave Matthews Band and Maroon 5.

Marcia Ball, 5/4, BLU, 2:50p: A Jazz Fest perennial, the singer/pianist from Texas was recently nominated for the Pinetop Perkins Piano Player of the Year award at the 2014 Blues Music Awards.

Maria Muldaur’s Tribute to Blu Lu Barker, 4/27, BLU, 4:05p: Maria Muldaur was hip to Blue Lu Barker back in 1973 when she put “Don’t You Feel My Leg” on her first solo album; it became her follow-up hit to “Midnight At the Oasis.” Recently she used the song again as the title track to an album devoted to the “naughty bawdy” blues from Barker’s repertoire, including the legendary track “Loan Me Your Husband.” Cover the kiddies’ ears for this one.

Mariachi Jalisco, 5/5, FOLK, 1:30p (Cinco de Mayo Celebration); 5/5, J&H, 3:40p: Baton Rouge-based alumni of Cuba’s Mariachi Real Jalisco reunite to perform music from their hometown of Havana.

Mark Braud’s New Orleans Jazz Giants, 5/2, ECO, 4p: The musical director of the Preservation Hall Jazz Band, this trumpeter and vocalist leads a different cast of traditional jazz players for a change of pace.

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Marshland, 4/27, LAG, 12:35p: Formerly called Nola County, Marshland performs self-described “Louisiana Americana,” blending American roots music with Louisiana culture and New Orleans improvisation.

Matthew Whitaker Quartet, 5/3, JAZ, 4:15p: New Jersey born multi-instrumentalist (piano, organ, drums) began playing the Hammond B3 at age nine. Four years later he became the youngest artist to be endorsed by Hammond.

His influences include Dr. Lonnie Smith, Jimmy Smith, Stevie Wonder, Jon Batiste and many others. In 2019 he was the winner of the Herb Alpert Young Jazz Composers Award for his original song “Emotions!”

Maurice “Mobetta” Brown, 4/28, JAZ, 1:35p: Illinois born jazz trumpeter Maurice “Mobetta” Brown was first recognized by Ramsey Lewis who hired him for his band.

He studied at Southern University in Baton Rouge under jazz clarinetist Alvin Batiste. As a member of Tedeschi Trucks Band, he shared the 2011 Grammy for Best Blues Album Revelator. Brown has worked with Ellis Marsalis, Clark Terry, Stefon Harris and many others.

Mavis Staples, 5/2, BLU, 5:50p: She’ll take you there. The Grand Dame of Gospel’s first family, who stoked her street cred when the family funked in the ’70s on hits like “Respect Yourself ” and “I’ll Take You There,” is getting even more respect today with her solo career; no one else at the Fest except Al Green combines the sexy throaty passion of R&B with the sweet release of gospel. Her recent albums with Wilco’s Jeff Tweedy, all of which transcend genre, may be her best ever. See interview in this issue.

Maze Featuring Frankie Beverly, 5/5, CON, 5:25p: Maze is back as the regular last-set headliner at Congo Square, this classic Philadelphia soul group’s connection with New Orleans goes back to at least 1981, when their live album was made at the Saenger Theater.

McDonogh 35 High School Gospel Choir, 4/26, GOS, 1p: Jazz Fest traditionally feature high-school choirs in the Gospel Tent, and this Treme school has been a regular.

Directed by Veronica Downs-Dorsey, the choir has been the recipient of numerous OffBeat’s Best of the Beat Award for Best Gospel Group.

McMain Talented Theatre Troupe, 5/3, KID, 12:40p: The Eleanor McMain Secondary School student actors will present highlights of their theatre troupe’s productions.

Among their outstanding productions is Miracle on 34th Street under the direction of Diana Boylston in 2015.

McMain’s International Singing Mustangs Choir, 4/26, GOS, 11:15a: The McMain Secondary School Gospel Choir, a.k.a. the McMain Singing Mustangs, return for their seventh Jazz Fest performance under the guidance of Clyde Lawrence.

Mdou Moctar of Niger, 4/28, BLU, 12:25p; 4/28, CEP, 3:10p: Dubbed “the Hendrix of the Sahara” by the UK’s Guardian newspaper, this Tuareg musician was forbidden to buy a guitar by his religious parents, so he built his own.

He is among the first to play traditional Tuareg music in a rock-guitar format, and has starred in a film loosely based on OFFBEAT. COM

Must See Three at the Clubs Noe Cugny, OffBeat Videographer Tasche & the Psychedelic Roses (April 25, One Eyed Jacks) King James and the Special Men (April 26, d.b.a.)

Foundations of Funk (April 27, House of Blues) Prince’s Purple Rain.

Mem Shannon & the Membership, 4/27, BLU, 12:20p: Inspired to play the blues by B.B. King, this local guitarist and singer made a splash when he incorporated recorded conversations from his previous cabbie gig into his first major album.

Men Buckjumpers SA & PC, 5/2, PAR, 3p: The Original New Orleans Lady Buckjumpers and Men Buckjumpers have been rolling for more than 30 years.

Men Of Class SA & PC, 5/3, PAR, 12:45p: This Uptownbased social aid and pleasure club has been parading for 14 years and counting.

Meschiya Lake and The Little Big Horns, 4/25, BLU, 2:40p: Once a Royal Street performer, she made herself a marquee name in the local traditional jazz scene before moving to Ireland. Lake and friends are getting more attention worldwide thanks to her vintage sass and great storytelling.

Mesner Puppet Theater, 4/28, KID, 4:05p: Puppeteers.

Messy Cookers Jazz Band, 4/27, ECO, 11:15a: Alex Owen, bandleader and trumpet player of The Messy Cookers Jazz Band, first came to music at a very young age in New York City. Starting out on piano at age seven, then moving to trumpet at age nine, he has played music now for over twenty years. See Fest Focus in this issue.

Mia Borders, 4/25, GEN, 11:15a: A singer, songwriter, and guitarist from New Orleans, her release, Quarter-Life Crisis, was produced by Anders Osborne and described by OffBeat Magazine as “a record of great music and great intensity.”

Michael Skinkus & Moyuba with guest Michael Ray, 4/25, LAG, 11:30a: Percussionist Michael Skinkus explains that “Moyuba means to give thanks or praise.” The band will play music inspired by the Santeria ceremonies of Cuba.

They are joined by trumpeter Michael Ray who is a member of the Sun Ra Arkestra.

Michot’s Melody Makers, 5/3, AARP, 12p: Louis Michot is a dynamic Cajun fiddler best known as the frontman of the Lost Bayou Ramblers. He performs with a slew of popular musicians from the Lafayette scene.

Mid-City Aces, 5/4, FDD, 11:20a: The Mid-City Aces are accordionist Cameron Dupuy, his father, guitarist Michael Dupuy and fiddler Gina Forsyth.

Midnite Disturbers, 4/27, J&H, 1:15p: This all-star brass band only comes together at Fest when the schedules allow and the planets align. Drummer Stanton Moore and Kevin O’Day co-founded the band; among those who’ve been part of the lineup are Mark Mullins (Bonerama), Ben Elman (Galactic), Matt Perrine (Tin Men), Big Sam (Funky Nation) and many other notables.

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Thursday, April 25, Lagniappe Stage, 3:05 p.m.

Lulu and the Broadsides

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really tight with him and his wife Candace.

When he moved to Memphis after Katrina, he hosted a house concert for me and sat in with me. It was magic right out of the gate.”

Photo by Zach Smith

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ulu and the Broadsides is one of the best new bands you’ll hear at this year’s Jazz Fest. Lulu is the alter ego of the great vocalist Dayna Kurtz, singing with a heart pounding, soulful panache that reaches even further than the extraordinary emotional depths she’s regularly plumbed. She’s backed here by her longtime accompanist, guitarist Robert Mache, and a superb rhythm section of James Singleton on bass and Carlo Nuccio on drums.

Lulu is a stage name Kurtz had considered since high school.

Dayna Kurtz “There was a girl named Lulu who was really brave and really sexy and really cool.

I always thought she had the greatest stage name ever. I’ve been writing for her and it feels like I’m writing for another person. Lulu was waiting for New Orleans to come into full flower. New Orleans has a very special kind of mojo, and to me, feminine mojo. The minute I came here I walked with a swing in my hips that I’d never walked with before.

“I felt New Orleans call to me the first time I came here,” she continues. “It’s a mystique that has taken over my life and music in a very positive way. That was when I was releasing my Secret Canon stuff, which is definitely New Orleans inspired. It was when I was starting to incorporate the R&B I love with the stuff I was doing on my own.”

Mache has accompanied Kurtz since before she moved to New Orleans.

“I met him on one of my first tours down here. I was doing a benefit for the New Orleans Musicians’ Clinic. The Continental Drifters were on that gig. Robert offered me a place to stay, so I wound up getting

Kurtz put the band together last year to play a blues dance, and found herself starting a whole new project.

“It was so much fun to play slow blues songs. I was always cutting 6/8 songs out of my set because I had too many of them.

Then we started playing more of these blues dances. So, when I started writing again, there was maybe one song that was clearly for my solo career and the rest of them were Lulu and the Broadsides songs.”

Now Kurtz has joined the ranks of New Orleans musicians with multiple projects.

“It’s one of the reasons I was so excited about living here. An artist like Aurora Nealand—who plays like Ornette Coleman in one band and traditional New Orleans jazz in another and rockabilly in another-this is the place I want to live. I want to be able to go off on tangents and have nobody think it’s a big deal. This is the only place I’ve ever lived where that hasn’t been a problem.”

—John Swenson

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Jazz Fest Guide: A TO Z

Miss Pussycat, 5/4, KID, 3p: Puppeteer Miss Pussycat operates the Spellcaster Lodge on St. Claude Avenue in New Orleans with her husband Quintron. Her puppets include Chief Pushmataha.

Mo’ Fess, 5/4, LAG, 1:35p: The band’s love for Henry Roeland Byrd a.k.a. Professor Longhair (Fess) and the unique ability of Tom Worrell to emulate Fess’s piano style of music was the inspiration to create a band that utilizes Fess’s sound.

Mohawk Hunters Mardi Gras Indians, 5/5, PAR, 12p: Mardi Gras Indian parade.

Monogram Hunters Mardi Gras Indians, 5/5, PAR, 2:20p: Big Chief Tyrone “Pie” Stevenson recently returned to the Indian nation after a 15-year break Moonlight Benjamin of Haiti, 4/26, BLU, 12:30p; 4/26, CEP, 3:15p: Born in Haiti and living in France, Moonlight Benjamin describes her music as a blend of voodoo, heavy blues and rock ’n’ roll. She has been called: “The new priest of voodoo rock.”

Motel Radio, 4/26, GEN, 11:20a: This young local quintet performs Americana with an indie rock streak.

Mount Hermon Baptist Church Praise Delegation Choir, 5/3, GOS, 4:25p: Singers from this North Broad Street-based congregation have become Jazz Fest regulars in recent years.

Mr. Sipp “The Mississippi Blues Child,” 4/27, BLU, 2:55p: Singer songwriter and guitarist Castro Coleman, a.k.a.

Mr. Sipp, is from McComb, Mississsippi. He started playing the guitar at age six. He has won several awards for his Malaco recordings and was featured in the James Brown movie Get On Up. Nathan & The Zydeco Cha Chas, 5/3, FDD, 6p: Nathan Williams sprung from his brother’s club, El Sid O’s in Lafayette, to become one of zydeco’s biggest names—and to write its two greatest hog songs, “Zydeco Hog” and “Everything on the Hog is Good.”

Native Nations Intertribal, 4/25, FOLK, 12:05p, 2:30p, 3:50p; 4/26, FOLK, 12:10p, 2:45p, 4:10p; 4/27, FOLK, 12:05p, 2:30p, 3:50p; 4/28, FOLK, 12p, 1:15p, 2:35p: Daily exhibition of pow-wow performances including traditional, fancy shawl, straight dance, grass dance, jingle, hoop, southern cloth and stomp dance. The groups include Grammy winners Northern Cree of Canada and Native Nations Intertribal.

Naturally 7, 4/27, JAZ, 4p: A cappella group with a style they call “vocal play.” Group leader Roger Thomas says it’s “the art of becoming an instrument using the human voice to create sound.” The group was formed in 1999 in New York City.

Naughty Professor, 4/28, GEN, 11:15a: New Orleansbased jazz-funk sextet. There 2017 album Identity represents all the good things that have been happening to New Orleans music in the past decade.

New Birth Brass Band, 5/4, J&H, 2:10p: Featuring trumpeter Will Smith and other former students of the famed

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Olympia Brass Band, this long-running ensemble boasts Glen David Andrews and Trombone Shorty among its alumni.

New Breed Brass Band, 4/28, J&H, 5:45p: These high school marching band alums fold hip-hop, funk, and soul into the brass tradition in clubs and second lines around the city.

New Generation Brass Band, 5/3, PAR, 4:10p: New Generation Brass Band will be parading with Lady & Men Rollers and Scene Boosters Social Aid & Pleasure Clubs Must See Three at Jazz Fest Noe Cugny, OffBeat Videographer Al Green (April 28) Trumpet Mafia (May 3) Cécile McLorin Salvant (May 3) New Generation SA & PC, 4/27, ECO, 12:25p: The New Generation Social Aid and Pleasure Club’s annual Sunday parades roll through Uptown.

New Hope Baptist Church Mass Choir, 4/27, GOS, 5:10p: This 100 plus choir is from Birmingham, Alabama.

Gospel greats Mrs. Ruby Boyd and Dr. John David Brown previously led the choir. Currently, the choir led by Reverend Prince E. Yelder.

New Leviathan Oriental Fox-Trot Orchestra, 5/5, ECO, 12:40p: A multi-generational, always-entertaining large ensemble that plays only ’90s music—as in the 1890s, when the shipboard dance music and early jazz they favor was first created.

New Look SA & PC, 4/28, PAR, 2:40p: Kids aged 3-16 make up this branch of the Young Men Olympian, Jr. Benevolent Association.

New Orleans Cottonmouth Kings, 4/25, ECO, 5:45p: Led by Eddie Baynard, this septet performs the music of influential ‘20s-era New Orleans bands like the New Orleans Rhythm Kings and the Original Dixieland Jazz Band.

New Orleans Council on Aging Community Choir, 5/3, GOS, 11:10a: For years the Council on Aging arranged transportation for seniors to experience gospel music. The seniors asked to become part of the entertainment by forming their own gospel choir. According to the Council on Aging executive director, Howard L. Rodgers III: “We have a new group of seniors who want to participate more—they aren’t satisfied with just sitting and listening.

New Orleans Dance Collective, 5/5, KID, 11:30a: The New Orleans Dance Collective (NODC) is a non-profit organization using dance as intervention for inner-city at-risk youth. NODC teaches tap, hip-hop, jazz and ballet.

New Orleans Gospel Soul Children 50th Anniversary Celebration with special alumni guests, 5/5, GOS, 12p: Led by Craig Adams, this long-standing local gospel group delivers energetic and choreographed renditions of gospel standards.

New Orleans Mardi Gras Indian Rhythm Section, 4/27, PAR, 3:45p; 4/27, CEP, 4:25p: Join the parade with a cross OFFBEAT. COM

section of various Mardi Gras Indians tribes.

New Orleans Spiritualettes, 5/4, GOS, 12p: Founded a half-century ago by still-current leader Ruby Ray, the Spiritualettes are the longest-active female gospel group in New Orleans.

New Orleans Suspects, 4/26, ACU, 12:20p: The New Orleans Suspects were formed in 2009 for a jam session. Comprised of some of the most seasoned players, the group called themselves The Unusual Suspects. They have established themselves as one of New Orleans’ best supergroups. The band consists of Neville Brothers drummer “Mean” Willie Green, Dirty Dozen guitarist Jake Eckert, James Brown’s bandleader saxophonist Jeff Watkins, keyboardist CR Gruver and bassist Eric Vogel.

New Orleans Swamp Donkeys Traditional Jass Band, 4/25, ECO, 1:35p: The Swamp Donkeys’ creative mix of traditional jazz, blues, vaudeville and modern jazz styles gained a worldwide legion of fans when a video of their rendition of the Game of Thrones theme went viral online.

New Wave Brass Band, 4/26, PAR, 12:20p: Snare drummer Oscar Washington is at the helm of this updated traditional New Orleans brass band Nicholas Payton and The Light Beings, 5/2, JAZ, 3:45p: In recent years, the #BAM proponent has shifted from trumpet to the keyboard chair, from which he often plays both instruments together. A savvy producer, he’s been delving into electronic music with an R&B sensitivity lately.

Nigel Hall, 4/25, CON, 11:15a: Well-travelled funkateer Hall has played previous Jazz Fests with Jon Cleary’s band and with the Nth Power (with ex-Dumpstaphunk drummer Nikki Glaspie), he’s also a regular member of Lettuce and a sometimes member of the Warren Haynes Band. He’s currently touring behind his solo album Ladies & Gentlemen…

Nigel Hall.

Nine Times SA & PC, 4/27, PAR, 2:10p: Formed in the 1980s, this downtown-based parade club is comprised of the 9 Times Men, 9 Times Ladies and Original 9 Times Ladies divisions.

NOCCA Jazz Ensemble, 4/28, JAZ, 11:20a: Student group from the secondary school whose graduates include Harry Connick, Jr., Nicholas Payton, Trombone Shorty and the Marsalis brothers.

North Mississippi Allstars, 5/3, GEN, 3p: Southern rock and blues band from Mississippi. Brothers, guitarist and drummer, Luther and Cody Dickinson, started the band.

Northern Cree of Canada, 5/2, FOLK, 3:35p; 5/2, CEP, 12:35p; 5/3, CEP, 12:15p, 5/3, FOLK, 2:25p, 5:40p; 5/4, GEN, 11:20a; 5/4, FOLK, 2p; 5/5, J&H, 11:15a; 5/5, FOLK, 2:40p: The group originates from the Saddle Lake Cree Nation but is made up of members from the Treaty 6 area. Northern Cree have recorded 37 albums of which Temptations has been nominated for a Grammy Award.

Northside Skull & Bones Gang, 5/4, PAR, 2p: On the OF F B E AT. COM

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Must See Three at Jazz Fest Rand Owens, Bank Street Bar Kamasi Washington (May 3) Lost Bayou Ramblers (May 3) Big Freedia (May 4) morning of Mardi Gras dozens of skeletons flood the streets of the 6th Ward neighborhood of Tremé in New Orleans.

Northside Skull and Bone Gang is comprised of descendants of Native Americans and slaves.

Ole & Nu Style Fellas SA & PC, 5/5, PAR, 1p: Social Aid and Pleasure Club parade.

On The Levee Jazz Band, 5/4, ECO, 11:20a: On the Levee Jazz Band plays many of the songs associated with New Orleans’ own Kid Ory and his Creole Jazz Band with an intimate knowledge of Ory’s attention to dynamics, danceable tempos and swinging rhythm. Hal Smith’s On the Levee Jazz Band features trombonist Clint Baker.

One Mind Brass Band, 4/25, PAR, 2:30p; 4/25, CEP, 3p: This ten member group is influenced by the Rebirth Brass Band, New Birth Brass Band, Soul Rebels, Dirty Dozen Brass Band, and Stooges Brass Band. Their sound is a unique mix of traditional jazz, R&B, blues, soul and rap.

OperaCreole, 5/4, KID, 1:50p: This vocal ensemble focuses on lost or rarely performed operatic and classical music, often spotlighting the contributions of African-American and Creole artists throughout New Orleans’ history.

Orange Kellin’s New Orleans DeLuxe Orchestra, 5/4, ECO, 12:25p*: Clarinetist Kellin has been helping to keep the traditional New Orleans jazz scene alive in the Crescent City since he moved here from Sweden in 1966. A longtime associate of pianist Lars Edegran, Kellin’s also known for his central involvement in the musical One Mo’ Time.

Original Big 7 SA & PC, 5/3, PAR, 12:45p: The Original Big 7s formed in 1995 in the St. Bernard housing development. Today, the Big 7 Cultural Heritage Division provides a creative and social center for the community’s youth.

Original C.T.C Steppers SA & PC, 5/5, PAR, 1p: Named for their tradition of parading over the Industrial Canal, the CTC (Cross The Canal) Steppers hold one of the season’s most popular Sunday parades.

Original Four SA & PC, 5/2, PAR, 12:45p: Founded in 1986, this social aid and pleasure club takes a unique and long route on its annual parade, marching from downtown all the way uptown through Central City.

Original New Orleans Lady Buckjumpers SA & PC, 5/5, PAR, 3:45p: The Original New Orleans Lady Buckjumpers and Men Buckjumpers have been rolling for more than 30 years.

Original Nine Times Ladies SA & PC, 5/4, PAR, 3:10p: The women’s section of the Upper Ninth Ward parade club, the Nine Times.

Original Pigeon Town Steppers SA & PC, 5/4, PAR, 12p: Based way (way) Uptown in the Leonidas neighborhood, this club’s annual Sunday parade follows a unique route.

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Original Pinettes Brass Band, 4/27, CEP, 2:05p; 4/27, J&H, 6p: Billed as “The World’s Only All Female Brass Band,” the Pinettes were formed by a group of students at St. Mary’s Academy in 1991. They won the Red Bull Street Kings brass competition in 2013 and appeared on OffBeat’s cover.

Panorama Jazz Band, 5/5, LAG, 3:05p: Influenced by styles from around the globe, this hip band comprised of top local instrumentalists blends New Orleans jazz traditions with klezmer, Latin and Balkan sounds.

Papa Mali & Friends, 5/3, J&H, 5:45p: Best known as frontman for 7 Walkers (a band that includes Grateful Dead drummer Bill Kreutzmann and the Meters’ founding bassist, George Porter Jr.), Papa Mali is an accomplished singersongwriter and guitarist who picked up two Best of the Beat Awards in 2015.

Papo y Son Mandao, 4/25, J&H, 4:50p: Cuban guitarist Alexis “Papo” Guevara and his band Son Mandao includes Israel Romo on percussion, Julian Alpizar on bass, Omar Ramirez on trumpet.

Pastor Jai Reed, 5/2, GOS, 1:25p: This New Orleans Baptist minister is a soulful singer in the Stevie Wonder tradition, doing gospel with a contemporary R&B influence.

Pastor Mitchell J. Stevens, 4/28, GOS, 5:10p: Vocalist Stevens was born in Westlake, Louisiana. At five years old he sang his first solo and by the age of ten years old he was playing the piano without any formal musical training. Reverend Stevens recorded his very first live gospel recording entitled, Experience Praise Live.

Pastor Terry Gullage and Kingdom Sound, 4/28, GOS, 6:05p: From a young age, Elder Terry Gullage knew he had a gift for music. He leads the choir from this church in Marrero.

Pastor Tyrone Jefferson, 4/26, GOS, 6p: This New Orleans native is the Senior Pastor of the Abundant Life Tabernacle Full Gospel Baptist Church and the CEO of Abundant Life Ministries. His extensive work serving the community has included efforts to improve voting rates, feed the hungry and get more young people enrolled in college.

Patrice Fisher & Arpa with special guests from Brazil, 5/3, LAG, 12:40p: This Latin jazz ensemble is led by versatile professional harpist Fisher, who has been performing and recording her original compositions since the early ’80s.

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Paul Sanchez & the Rolling Road Show, 4/27, GEN, 12:25p; 4/27, AARP, 3:15p: Cowboy Mouth alum Sanchez has since been a friendly godfather to the local songwriter scene, and the co-writer of the post-Katrina musical Nine Lives. Paul Sanchez transforms audiences with a unique blend of music and storytelling. At the 2018 Best of the Beat Awards Paul Sanchez was awarded Best Roots Rock Artist and Album. The song co-written with John Rankin “One More Trip Around the Sun” was awarded Song of the Year.

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Paula & the Pontiacs, 4/26, LAG, 1:50p: New Orleans blues band Paula and the Pontiacs are fronted by saxophonist, harmonica player and vocalist Paula Rangell. Since 1978 Paula and the Pontiacs have released numerous albums including 30 by 90. Paula lost her home in New Orleans due to the Federal Flood and now resides in Folsom, Louisiana.

Paulin Brothers Brass Band, 5/5, ECO, 11:20a: Ernest “Doc” Paulin founded this band in the 1920s; his sons now perform strictly traditional brass-band music, complete with the longstanding black-and-white uniforms and spiffy white caps.

Perfect Gentlemen SA PC, 4/26, PAR, 12:20p: This Uptown social aid and pleasure club celebrated its 25th year in 2016.

Pine Leaf Boys, 4/27, FDD, 4:15p: This young band has spearheaded the latest revival of Cajun music, bridging new and traditional music and snagging four Grammy nominations. Leader Wilson Savoy is the son of Cajun music’s first couple, Marc and Ann Savoy.

Pitbull, 5/4, CON, 5:40p: Mr. Worldwide is probably only one of the biggest celebrities on the planet at this point, so expect to see a lot of new faces in the crowd grooving to instant Latin-infused dance parties like “I Know You Want Me (Calle Ocho)” or “Hey Baby (Drop It To The Floor)” or “Timber.” It’s like a slice of Miami right here in the middle of South Louisiana. You don’t get that often!

PJ Morton, 4/26, CON, 1:25p; 4/26, AM, 3:30p: The locally rooted singer/keyboardist came to fame with Maroon 5, where he’s been a full member since 2012. His Motown solo debut New Orleans got a Grammy nomination for the single “Only One” which featured Stevie Wonder; he got two more nominations last year for the follow-up album Gumbo.

Pocket Aces Brass Band, 5/2, J&H, 12:25p; 5/2, CEP, 5p: This Bridge City brass-hop band began as a few friends who got together for an annual Mardi Gras jam before expanding to a full-time touring outfit.

Preservation Brass, 4/27, ECO, 12:25p: Featuring bass drummer Tanio Hingle, snare drummer Kerry “Fat Man” Hunter and trumpeter Will Smith, plus a rotating roster of players, Pres Hall Brass aims to serve as the Hall collective’s go-to brass band arm, like the Olympia Brass Band once did.

Preservation Hall Jazz Band, 4/27, GEN, 4:10p*: With its 50th anniversary in the rearview mirror, this New Orleans music institution’s profile is higher than ever thanks to heavy touring, and their last release, So It Is. Their guest-heavy Jazz Fest sets are always festival highlights.

Pride of Zulu of South Africa, 4/25, CEP, 12:35p; 4/25, CEP, 5p; 4/26, ACU, 11:20a; 4/26, KID, 2:50p; 4/26, CEP, 4:55p; 4/27, J&H, 12:15p; 4/27, CEP, 3:25p; 4/28, CEP, 11:30p; 4/28, CEP, 12:40p: Zulu’s are the largest ethnic group of South Africa.

Expect lots of drummers, high-kicking dancers in a OF F B E AT. COM

rainbow of robes and patterned textiles.

Prince of Wales SA & PC, 5/5, PAR, 3:45p: Uptown’s Prince of Wales is among the oldest parade clubs in the city; their annual Sunday second line struts through the Irish Channel.

Ragtime to Jellyroll featuring Lars Edegran and Kris Tokarski, 4/25, ECO, 4:20p*: At the first Jazz Fest in 1970 Lars Edegran played with the Ragtime Orchestra. The program was “Ragtime to Jelly Roll” which Edegran will reprise this year. The band will include Jamil Sharif on trumpet, Tom Fischer on clarinet, Charlie Halloran on trombone, Peter Harris on bass, Matt Rhody on violin, and Benny Amón on drums, pianist Kris Tokarski, who is a specialist on Jelly Roll Morton and of course Lars Edegran.

See feature in this issue.

Real Love, 5/5, CON, 11:20a: Lars Edegran played the first Jazz Fest in 1970 with the Ragtime Orchestra. His band this year will be Jamil Sharif on trumpet, Tom Fischer on clarinet, Charlie Halloran on trombone, Peter Harris on bass, Matt Rhody on violin, and Benny Amón on drums. Of course Edegran will be playing the piano along with Kris Tokarski, who is a Jell Roll specialist.

Real Untouchable Brass Band, 5/5, PAR, 3:45p; 5/5, CEP, 4:15p: This local brass crew adds congas to its otherwise street-centric sound.

Rebirth Brass Band, 4/27 (Festival Ancestor Unveiling), 1:15p; 4/27, CON, 4:20p: Rebirth was one of the first bands to modernize and funkify the New Orleans brass band sound. They won their first Grammy in 2012 for the

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Saturday April 27, Economy Hall Tent, 11:15 a.m.

The Messy Cookers Jazz Band

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member, he also found time to put together The Messy Cookers Jazz Band (named after Alex’s notorious kitchen habits) as an outlet for playing New Orleans-style traditional jazz in the city of that music’s birth. He Photo by Nathan Rocky

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lex Owen, bandleader and trumpet player of The Messy Cookers Jazz Band, first came to music at a very young age in New York City.

Starting out on piano at age seven, then moving to trumpet at age nine, he has played music now for over twenty years. However, it wasn’t until he went to Connecticut College that he came to love traditional jazz. “Our band director there had previously been the tuba player in the Coast Guard Band,” says Alex. “He had started the traditional jazz band there, then during my first semester at college he asked me if I wanted to join a traditional jazz ensemble at school. I had no idea what to expect, but quickly realized how much I was Alex Owen drawn to the music, once I joined.”

After graduating from college, Alex knew his next move would be to New Orleans. “I wanted to learn more about New Orleans-style music, and be surrounded by the great musicians who were based in the city. When I first moved here in 2012, I came as an Avodah Corps member. I was part of a social justice fellowship, where I worked at a local non-profit for a year, living with other corps members, to learn more about social change work and the city. I was fortunate to spend a year at the Greater New Orleans Fair Housing Action Center, working to prevent housing discrimination both here in New Orleans, and throughout Louisiana,” says Alex.

While serving as an Avodah Corps

joined up with drummer Benny Amón, another member of the Avodah Corps, and soon started booking gigs. Since 2012, the band has played regularly around town, and has just recently released its third album, Get Out and Get Under the Moon.

“I’m very excited about our first Jazz Fest performance,” says Alex. “I have some terrific musicians working with me! I’m lucky to not only have one great guitar player, but two of them, in John Eubanks and Albanie Falletta.

Benny Amón will be behind the drums, with Andy Reid on the upright bass. I’ll have James Evans joining me on the frontline on clarinet and sax, and I am thrilled to have David Boeddinghaus on piano.”

—Stacey Leigh Bridewell

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Jazz Fest Guide: A TO Z

CD Rebirth of New Orleans and are frequent award winners at OffBeat’s Best of the Beat.

Regina Carter’s Southern Comfort, 5/2, JAZ, 5:30p: More than a decade ago, jazz violinist Regina Carter became the first non-classical musician to play Niccolo Paganini’s highly guarded, handcrafted Guarneri violin, an instrument that dates back to 1743 and is counted among the most precious items in classical music history. She is a master of improvisational jazz violin, drawing from a wide range of musical influences including Motown, Afro-Cuban, swing, bebop and more with a signature voice and style of her own. She is the cousin of jazz saxophonist James Carter who is also playing at Jazz Fest.

Rev. John Wilkins, 4/25, BLU, 1:35p: The sounds of Mississippi Hill Country and Memphis blues meet gospel in music from this pastor, whose congregation included the late Otha Turner.

Revolution SA & PC, 5/2, PAR, 3p: One of the biggest parade clubs, the Revolution SA&PC is known for mindblowing dance moves and multiple costume changes along their annual Sunday parade route.

Rick Trolsen’s Neslorchestra, 5/4, JAZ, 11:15a: Trombonist Rick Trolsen‘s Neslorchestra is an ensemble of at least 17 musicians. Trolsen arrived in New Orleans in 1982 after attending Berklee College of Music. He was a member of Bonerama for two years and has played or recorded with Dr. John, Al Hirt, Aretha Franklin, Boz Scaggs and many many others.

Ricky Dillard & New G, 4/27, GOS, 3p: Chicago born gospel singer Ricky Dillard was raised in the church singing in the choir from the age of five years. He has been nominated for a Grammy award twice.

Rising Dragon Lion Dance Team, 5/5, KID, 12:45p; 5/5, KID, 2:20p: Strength, endurance, motivation and respect are the calling cards of this local performance group, specializing in traditional Vietnamese lion dance.

Rita Coolidge, 5/2, GEN, 3:50p: You know that honeyed voice if you’ve heard her ’70s soft-rock rendition of “Your Love Keeps Lifting Me Higher” or the epic power ballad “We’re All Alone,” but before that Rita was one of rock’s most in-demand backup vocalists (Leon Russell wrote “Delta Lady” about her), and since that time she’s expanded her range out into blues music and jazz, most recently torch songs. She’ll probably throw in a couple of hits, but she may rearrange them to fit her latest style.

Robin Barnes - The Songbird of New Orleans, 4/27, JAZ, 11:15a; 4/27, AARP, 1:45p: Steeped in R&B, this self-professed “soul pop” vocalist first sang in the choirs at Must See Three at Jazz Fest Nicolaus Logan, Tiptina’s Gary Clark (May 3) Galactic (May 4) Trombone Shorty (May 5)

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St. Phillip and St. David Catholic Churches, and later with her family’s jazz band the Soul Heirs.

Rockin’ Dopsie, Jr. And The Zydeco Twisters, 4/25, ACU, 1:55p: One of the few rubboard players to lead a zydeco band, Dopsie Jr. plays it wilder than his accordionist dad, and his sets are guaranteed party-starters. His brother Dwayne graces our cover this month.

Roddie Romero & the Hub City All-Stars, 4/28, FDD, 3p: This eclectic Cajun, zydeco, swamp pop and rock ‘n’ roll band is built around accordionist/guitarist Romero and pianist Eric Adcock. Their double album The La Louisianne Sessions was nominated for a Grammy.

Roderick Harper Quartet, 4/28, JAZ, 12:25p: A vocalist since early childhood, Harper sings with elegance and ease.

The Washington D.C. native studied with the late Alvin Batiste at Southern University in Baton Rouge. Harper recorded his new album Perfect Imperfections at the Neutral Sound Studio in New Orleans.

Roger Lewis and Baritone Bliss, 4/26, JAZ, 12:20p: Baritone saxophonist for the Dirty Dozen Brass Band, Roger Lewis, brings his project the Baritone Bliss to Jazz Fest. The project started in 2011 playing shows at Snug Harbor with five baritone saxophonists. According to Lewis this is music you can dance with.

Roi “Chip” Anthony and Jeff Floyd, 5/5, CON, 1:55p: Producer Chip Anthony with Jeff Floyd, mixing the 2-step feel with hip-hop and smooth edging lyrics.

Royal Teeth, 4/28, GEN, 2:45p: This young indie rock outfit’s melodic yet danceable pop, highlighted by the pure vocals of Nora Patterson, has been racking up national buzz for a few years. In the summer of 2018 their dance rock single “Never Gonna Quit” with Valerie Sassyfrass spurred a new start for the indie rockers. Their latest single “Show You What I Can Do,” features Tunde Olaniran.

Rumba Buena, 4/25, ACU, 11:20a: This popular New Orleans Latin band is a 12-piece group with four singers, four percussionists, horns and rhythm to spare.

Russell Batiste & Friends, 4/25, CON, 1:45p: The Batistes of New Orleans have had music in their blood for many generations. Drummer Russell Batiste is joined by some of New Orleans finest musicians.

Samantha Fish, 5/2, ACU, 2:40p: This Kansas City guitar-slinger was originally perched on the bluesy side of classic rock; her early albums included Rolling Stones and Steve Miller Band covers. Yet she’s got far more interesting on her last couple of releases, both from 2017: Chills & Fever explored roadhouse rock with the great garage band Detroit Cobras; the current Belle of the West uses Luther Dickinson’s acoustic-based production to put more soul upfront. Samantha Fish was the big winner at OffBeat’s Best of the Beat Awards winning Best Overall Artist, Best Blues Artist and others.

Santana, 4/26, ACU, 5p: As long as there’s a vocalist willing to work with him—in other words, forever—Carlos Santana will be making music, furthering a career that started with Woodstock and “Black Magic Woman” and reached its

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commercial peak not long ago with a series of duets with famous singers (like Rob Thomas on “Smooth”). His squalling Latin guitar runs are always the star of the show however, and he’s made some moves lately in the direction of going back to his roots in the early ’70s. He’s played with half of Journey, Buddy Guy, and Curtis Salgado among others, so we may get a roots heavy workout with occasional hits and fabulous guest stars.

Santiman and Garifuna Generation, 4/26, CEP, 11:30a: From New Orleans Santos Bermudez also known as Santiman is known for his quick-paced punta rhythm. The Garifuna people are of mixed-raced origin with ancestral ties to Arawak, Carib, and African descendants. Though present in several countries, the overwhelming majority of Garifuna outside the United States reside in Honduras. Garifuna in New Orleans have helped define what it means to be a Latino in the Big Easy.

Sarah Quintana, 4/28, AARP, 1:45p: Water and the Louisiana region’s natural beauty provide the inspiration for this ambitious, dreamy and innovative project from one of the city’s top vocalists.

Sasha Masakowski “Art Market”, 4/25, FDD, 4:20p: The daughter of Astral Project guitarist Steve Masakowski has emerged as one of the city’s brightest young jazz vocalists, with a lively style that touches on torch songs and samba.

Savoy Family Cajun Band, 5/5, FDD, 3p: Marc and Ann Savoy have done as much as anyone to celebrate and preserve Cajun music and culture. This group finds the couple with their sons Wilson (of Pine Leaf Boys) and Joel.

Savoy Music Center Orchestra Saturday Morning Jam, 5/4, FDD, 12:45p; 5/4, AM, 4:30p: The world’s leading maker of handcrafted Cajun accordions holds a local jam session every so often, but now you don’t have to visit tiny Eunice, Louisiana to see it!

Scene Boosters SA & PC, 5/3, PAR, 4:10p: Social Aid and Pleasure Club parade.

Sean Ardoin, 5/2, FDD, 5:35p: Sean Ardoin’s family connections in zydeco go back to one of the originators, Amede Ardoin. After leading the zydeco band Double Clutchin, he also rocks the house with Christian-oriented zydeco. He was nominated for two Grammy awards in 2018.

Seminoles Mardi Gras Indians, 5/5, PAR, 12p: Big Chief Keith “Keitoe” Jones leads this Ninth Ward-based tribe.

Semolian Warriors Mardi Gras Indians, 4/27, J&H, 11:15a: Big Chief Yam aka James Harris, created this Uptown gang after stints with the Creole Wild West and the Wild Magnolias.

Shades of Praise, 4/25, GOS, 4:15p: This gospel choir is integrated across race, gender and denomination, and had its first scheduled performance on September 12, 2001; they’ve since been dedicated to spreading a message of hope.

Shamarr Allen & the Underdawgs, 5/3, GEN, 12:20p: Jazz-funk-hip-hop trumpeter Allen resists categorization, having performed with Willie Nelson and written the local anthem “Meet Me on Frenchmen Street.”

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Allstar Band featuring Barbara Shorts, 4/26, ECO, 1:45p: Billed as the “King of Treme,” Shannon Powell is a master drummer and Preservation Hall staple who began his career with Danny Barker and has since played with Wynton Marsalis, Dr. John and Harry Connick Jr. Sherman Washington’s Zion Harmonizers, 4/27, GOS, 1:55p*: This venerable group has been a Jazz Fest favorite since the beginning. The group’s history goes back to 1939, when the first lineup was formed in the Zion City neighborhood.

Shining Star Hunters Mardi Gras Indians, 4/28, PAR, 3:25p: The Shining Star Hunters are led by Big Chief Jimmie Ricks, a veteran Spyboy and Second Chief for Larry Bannock’s Golden Star Hunters.

Shirley Caesar, 5/4, AM, 12:30p; 5/4, GOS, 2:55p: A towering figure in gospel, Shirley Caesar joined the all-female group the Caravans in 1961 and launched her solo career later that decade; winning her first Grammy in 1971 for a cover of the Ocean hit “Put Your Hand in the Hand.” She performed alongside Aretha Franklin for President Obama in 2015.

Single Ladies SA & PC, 4/27, PAR, 2:10p: The Single Ladies SA&PC have been parading through Uptown for two decades.

Single Men SA & PC, 4/27, PAR, 2:10p: Uptown parade club the Single Men was established in 1995.

Sisters of Change SA PC, 4/25, PAR, 3:35p: Social Aid and Pleasure Club parade.

Sisters of Unity SAPC, 5/5, ECO, 1:50p: Social Aid and Pleasure Club parade.

Smithsonian Folkways Celebrates Jazz Fest’s 50th with Jeff Place, Michael Murphy and Dave Ankers, 4/26, AM, 1:30p: OffBeat journalist John Wirt interview Jeff Place, Michael Murphy and Dave Ankers about Smithsonian Folkways 50th Anniversary CD. Smitty Dee’s Brass Band, 4/25, J&H, 1:15p: This band was formed in 1991 by former Olympia Brass Band sousaphonist Dimitri Smith. They play regularly at Preservation Hall and on the Creole Queen riverboat.

Sonny Landreth, 5/3, BLU, 4p: A thoughtful songwriter and scorching slide guitarist, Landreth can claim the likes of Clapton, Buffett, Hiatt and John Mayall as collaborators and fans.

Sons of Jazz Brass Band, 5/2, J&H, 3p: This local brass band often provides the soundtrack for parades by the Ladies of Unity and Revolution Social Aid & Pleasure Clubs.

Soul Brass Band, 4/26, LAG, 5:35p: Drummer Derrick Freeman and saxophonist James Martin lead the Soul Brass Band, which was formed in 2015. They were recently featured on the cover of OffBeat.

Southern University Baton Rouge Jazzy Jags, 5/4, CON, 11:15a: Student group from the Southern

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University of Baton Rouge. The school’s modern jazz program was designed by the late Alvin Batiste.

Spencer Bohren and Andre Bohren, 4/27, AM, 1:45p: Father and son, Spencer and Andre Bohren are interviewed

by Lawrence N. Powell.

Spencer Bohren & the Whippersnappers, 4/26, AARP, 1:45p; 4/27, GEN, 11:15a: Spencer Bohren is a virtuoso guitar player with a master’s knowledge of diverse blues styles and brings those attributes to his own moving compositions. He first made his mark on the New Orleans scene in the late ‘70s, and after leaving town for a long traveling hiatus, he moved back in the late ‘90s to put down roots again.

He boasts a diverse and soul-packed discography, and his most recent CD is Makin’ It Home to You, a typically downhome affair featuring his young band, the Whippersnappers, performing a number of Spencer original compositions.

Sporty’s Brass Band, 5/2, PAR, 3p: Sporty’s Brass Band will be parading with the Sudan, Revolution, and Men Buckjumpers Social Aid & Pleasure Clubs.

Square Dance NOLA, 5/4, KID, 4:10p: The string band gets kids and grown-ups moving to the sounds of old-time fiddle tunes and a variety of up-tempo blues while caller Dan Wally Baker shouts out invitations to swing yer partner.

St. Joseph the Worker Music Ministry, 5/3, GOS, 2:10p: The choir of this New York-based church plays a key role in their community’s daily activities.

Stephanie Jordan Big Band, 4/28, JAZ, 4:10p: This popular New Orleans jazz singer hails from the esteemed

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Must See Three at Jazz Fest Jonathon Long, musician George Porter Jr. (April 26) Tab Benoit (April 26) Samantha Fish (May 2) Jordan family (her father is the award-winning saxophonist Kidd Jordan). In 2012, her big band performed a critically acclaimed tribute to Lena Horne at the Fair Grounds.

Stephen Foster’s Foster Family Music Program, 5/4, KID, 11:30a: No relation to the early American composer, this family foundation is dedicated to music education in New Orleans.

Steve Earle & The Dukes, 4/27, FDD, 5:45p: Earle can do virtually anything during an electric set, from hardcore country to rip-roaring rock, with some Celtic and bluegrass moments likely thrown in. His latest album is a tribute to Texas songwriter Guy Clark, so expect some of that too.

Be glad that Earle still wants to visit New Orleans since he already got killed here, in a dramatic moment during the second season of HBO’s Treme.

Steve Riley & the Mamou Playboys, 4/26, FDD, 12:30p: The venerable band is equally capable of playing straight-up Cajun music as they are of going progressive. Some recent gigs have even included a ten-minute jam on Neil Young’s “Down By the River” in French.

Stooges Brass Band, 5/5, J&H, 6:05p: One of the busiest brass bands on the second line circuit, and one of the best.

They’ve also performed in Pakistan, Tajikistan and Kyrgyzstan as musical ambassadors on US Embassy tours, as well as throughout Europe.

Storyville Stompers Brass Band, 5/4, J&H, 4:50p: This traditional New Orleans brass band formed in 1981, and it performs a number of rarely-played vintage jazz tunes. Its membership includes some of the top players in town, and it’s always in demand for parades.

Sudan SA PC, 5/3, PAR, 2:40p: The Treme-based Sudan Social Aid and Pleasure Club rolls with elaborate, ribbonbedazzled baskets at their annual parades.

Sunpie & the Louisiana Sunspots, 4/27, KID, 5:15p; 4/28, FDD, 1:40p: Bruce “Sunpie” Barnes is dedicated to the Creole music traditions. With the Louisiana Sunspots, he plays a slightly urban version of zydeco with an emphasis on the R&B elements.

Susan Cowsill, 5/3, LAG, 1:50p: Singer songwriter Susan Cowsill’s career began in 1967 with her family band The Cowsills. In 1969 she contributed to the vocals in what would become the Cowsills’ biggest hit, “Hair.” Cowsill has won numerous Best of the Beat Awards for female vocalist.

Her husband Russ Broussard will be playing drums. Unexpected guests are usual.

Sweet Cecilia, 4/27, LAG, 1:50p: Sisters Laura Huval and Meagan Berard, along with their cousin Callie Guidry, make up this trio of multi-instrumentalist Louisiana roots rockers from Acadiana. At the 2017 Best of the Beat Awards Sweet OF F B E AT. COM

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Sunday April 28, Jazz & Heritage Stage, 3 p.m.

Friday May 3, Acura Stage (Voice of the Wetlands All-Stars), 2:05 p.m.

Sunday May 5, Cultural Exchange Pavilion (The Boudreaux Family Celebrates Big Chief Monk Boudreaux), 12:40 p.m.

Monk Boudreaux

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Photo by Elsa Hahne

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ot many people who participated in the first New Orleans Jazz and Heritage Festival are still active in the festival today, but one of the fest’s longest-running, most important players has been Joseph Monk Boudreuax, Big Chief of the Golden Eagles Mardi Gras Indians.

Every year, Monk leads the Golden Eagles concert band in a set at the Jazz and Heritage stage, joined by members of his family, who sing and play percussion behind him, plus a non-Indian backing band usually made up of a funk rhythm section, and a noted New Orleans electric guitarist.

Last year, keyboardist Tom Worrell added significant texture to Boudreaux’s mix.

But most importantly, that set showcased Monk’s phenomenal ability to tell the stories of Mardi Gras Indians in his own distinctive way, incorporating pieces of history from his own life experience, and observations on the evolution of the Indian phenomenon. He is a true griot in the African tradition, who at the same time embraces his Creole roots as a Native American, making him a living embodiment of the Mardi Gras Indian history of people from African American neighborhoods in New Orleans offering homage to the Native American brothers and sisters who aided them in their struggles against slavery.

In 1970, the event’s first year, festival organizer Quint Davis asked Monk and his good friend Big Chief Bo Dollis of the Wild Magnolias to lead a parade of Indians through the French Quarter to the jazz festival, which was held that year in what is now Armstrong Park. Mardi Gras Indian parades have continued to be a feature of the festival to this day.

This year, Monk will perform an integral part of Jazz Fest, serving as a liaison to the Indian gangs who perform at the Heritage Stage, as well as appearing several times

himself. Boudreaux’s biggest showcase will be with the Voice of the Wetlands All Stars, where he will come out to sing his spectacular, “Lightning and Thunder.” Monk is a charter member of the Voice of the Wetlands band, originally formed by Tab Benoit to raise public awareness about the disappearing wetlands in southern Louisiana.

Some of the wetland territories are sacred grounds for Native Americans, and Monk has been an outspoken critic of the policies that are condemning these lands to submersion in the encroaching gulf.

Monk will be on the Jazz and Heritage stage at least twice this year, once leading the Golden Eagles, where he is sure to sing specialties like, “Shallow Water,” “They Don’t Know,” and “Dance with Me.” The second show will be a Boudreaux family tribute to Monk on closing day, set to include Monk’s new wife, Wynoka Boudreaux Myri Glammaw, and his grandson J’Wan Boudreaux, spyboy of the Golden Eagles and leader of his own Indian concert band, Cha Wa. Recently, Monk has also been singing with the 101 Runners, so don’t be surprised if he joins Honey Bannister with that group on Jazz Fest’s opening day.

—John Swenson

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Jazz Fest Guide: A TO Z

Cecilia won for Best Country/Folk/Singer-Songwriter artist and for their album Sing Me A Story.

Sweet Crude, 4/27, ACU, 12:40p: New Orleans indie pop septet Sweet Crude plays an energetic brand of percussion-driven, sparkly rock, often sung in French.

Tab Benoit, 4/26, ACU, 1:30p: The Bayou guitar slinger is equally adept at swamp grooves and sizzling blues. As a Voice of the Wetlands founder, he has also been one of the most outspoken advocates for preserving Louisiana’s wetlands.

Taj Mahal & the Phantom Blues Band, 4/25, BLU, 5:40p: Since the long-ago days at the Fillmore Taj Mahal has played the blues in just about every format, including a few that he made up. Perhaps his most rocking outfit, the Phantom Blues Band was formed partly as a New Orleans homage (their self-titled 1996 album has a couple of Jon Cleary covers), and only reunites once in a blue moon.

Tank and The Bangas, 5/4, ACU, 1:40p: This band, led by electrifying spoken word artist and soulful vocalist Tarriona Tank Ball. They broke out on the national scene after winning NPR’s Tiny Desk Contest.

TBC Brass Band, 5/4, GEN, 12:10p: If a brass band on Bourbon Street ever stopped you in your tracks, it was probably TBC Brass Band.

Terence Blanchard featuring the E-Collective, 4/26,

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JAZ, 4:10p: This Grammy Award-winning trumpeter and film score composer—whose acclaimed 2015 album Breathless was largely inspired by Eric Garner’s death and the events that followed it—returns home for his annual Jazz Fest stint.

Terrance Simien and the Zydeco Experience, 5/5, FDD, 4:15p: One of zydeco’s ambassadors and one of its most energetic performers, Simien has been present on the Jazz Fest stage for over three decades.

Terry & the Zydeco Bad Boys, 4/27, FDD, 11:20a: At age eight, Terry Domingue, received his first accordion and has been playing since. To keep tradition alive he sings many traditional zydeco songs in French as well as writing many new ones of his own. His CD Back on Track contains waltz and blues from Boozoo Chavis, John Delafose and other legends.

The Anointed Jackson Sisters, 5/5, GOS, 2:40p: Gospel group from North Carolina. The members of the group are Barbara Jackson-Pope, Marie Jackson-Bell, Carl Ann Darden, Doris Jackson-Toler, Pamela J. Ceesay, Catharina J. Mitchell and Catrina Jones. There latest release on the Malaco label is When God Is In The Building.

The Bahamas Junkanoos, 5/3, CEP, 11:30a; 5/3, PAR, 2:45p; 5/3, CEP, 3:10p; 5/4, PAR, 4p; 5/4, CEP, 4:25p: Junkanoo is the greatest cultural event in the Bahamas. It is

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a type of street carnival, which occurs on Boxing Day (December 26) and New Year’s Day (January 1). The main event happens in Nassau. The band employs the rich Bahamian tradition with drums, bells and whistles.

The Bahamas Revue Band, 5/3, CEP, 12:45p; 5/3, CON, 4:15p: Bahamian band with members from the Junkanoos.

The Bester Gospel Singers with The Smooth Family, 5/5, GOS, 6p: Evangelist Rosa Lee Smooth founded the Dynamic Smooth Family group three decades ago, and her daughter Cynthia Smooth Plummer now leads the group. A cappella gospel harmonies are the specialty of The Bester Singers, a Slidell, Louisiana-based group. Evangelist Rosa Lee Smooth founded the Smooth Family group three decades ago, and her daughter Cynthia Smooth Plummer now leads the group.

The Boudreaux Family Celebrates Big Chief Monk Boudreaux, 5/5, CEP, 12:40p: Not many people who participated in the first New Orleans Jazz and Heritage Festival are still active in the festival today, but one of the fest’s longest-running, most important players has been Joseph Monk Boudreaux. The Boudreaux family tribute to Monk on closing day will include Monk’s new wife, Wynoka Boudreaux Myri Glammaw, and his grandson J’Wan Boudreaux, spyboy of the Golden Eagles and leader of his own Indian concert band, Cha Wa. The Chosen Ones Brass Band, 5/2, PAR, 12:45p: The rock-steady members of the nine-piece Chosen Ones bring a hip hop-infused, high-energy style to traditional New Orleans back beats and horn sections.

The Circle of Chiefs, 4/28, J&H, 12:30p: Mardi Gras Indian chiefs have been celebrating the Circle of Chiefs annual Cha Wa for seven years. Chiefs from several tribes including Richard Turner, 2nd chief of the 9th Ward Black Hatchets parade on Super Sunday will gather at Jazz Fest.

The City of Love Music & Worship Arts Choir, 5/3, GOS, 6:05p: Singers from New Orleans’ City of Love ministry perform as part of the group’s arts focus.

The Creole Jazz Serenaders with Don Vappie, 4/28, ECO, 5:45p: Vappie is both a fine player and a scholar of the jazz banjo tradition, steeped in the music of King Oliver and Jelly Roll Morton and performing it with the original Creole inflections. He’s lately been playing the Sunday brunches and Friday happy hours at Brennan’s in the French Quarter.

The Cypress Band featuring Warren Storm & Willie Tee, 4/27, FDD, 12:25p; 4/27, AM, 2:45p: Drummer Warren Storm and long-time musical partner Willie Tee perform their brand of classic swamp pop. They are usually joined by singer T.K. Hulin and Gregg Martinez.

The Daiquiri Queens, 4/28, FDD, 11:20a: This femalefronted group brings influences ranging from early-era Cajun standards performs with twin fiddles and haunting vocal harmonies sung in Louisiana French to today’s Cajun hits.

The group comes from Lafayette.

The Deslondes, 5/3, LAG, 4:20p: Formerly the Tumbleweeds, this earthy songwriters ensemble describes itself

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as “country-soul swamp boogie.” The band’s leader is Sam Doores, a former traveler and companion of Hurray for the Riff Raff ’s Alynda Lee Segarra. Three players share composing duties; fiddle and pedal steel player John James is also a standout.

The Dirty Dozen Brass Band, 4/26, CON, 4:05p: This band was formed in 1977 by Benny Jones and introduced bebop and funk into the brass band sound. They’ve continued to evolve by adding drum kit and electric guitar.

The Django Festival Allstars of France, 4/25, CEP, 1:50p; 4/25, JAZ, 4:15p: Bringing the music of the legendary gypsy jazz guitarist Django Reinhardt into the 21st century the Django Festival Allstars continue to honor the traditions of “hot jazz.” The band features guitarist, violinist Dorado Schmitt and his two sons Samson and Amati. Addition members include violinist Pierre Blanchard, accordionist Ludovic Beier and guitarists DouDou Cuillerier, Francko Mehrstein, Antonio Licusati and Gino Roman.

The Don “Moose” Jamison Heritage School of Music Band, 5/5, LAG, 11:30a: Students from this Kidd Jordandirected, New Orleans Jazz & Heritage Foundation-sponsored free music program.

The Doobie Brothers, 4/25, ACU, 3:30p: They led an army of laid-back SoCal bikers in the Nixon era with anthems like “Listen to the Music,” “China Grove,” and “Without Love” (“...where would you be now?”) Then they somehow morphed into the epitome of smooth El Lay yacht-rock and slick Grammy-bait R&B with new frontman Michael McDonald. But if you like Doobies 1.0 or 2.0, or both, their Jazz Fest stint has got you covered.

The Earls of Leicester presented by Jerry Douglas, 5/4, AM, 1:30p; 5/4, FDD, 3:45p: This bluegrass quintet exists solely to remind the world of Lester Flatt and Earl Scruggs’ gift to music... and also to remind us of its power.

The Electrifying Crown Seekers, 5/5, GOS, 11:10a: Keep an ear peeled for this Marrero, Louisiana-based group’s rendition of “Walk Around Heaven,” featuring a soloist whose falsetto voice won’t preclude him from topping out on the tune’s highest-register notes.

The Furious Five SA & PC, 4/28, PAR, 1:30p: This acclaimed division of the Young Men Olympian, Jr. Benevolent Association is largely credited with changing the dance style of the SA&PC community’s annual parades, although its members look to Rebirth for providing the music that inspired them to innovate.

The Gathering of Chiefs: Walter Cook & The Creole Wild West MGI with Family and Friends, 5/4, J&H, 12:20p: Mardi Gras Indians take over the Jazz & Heritage stage with their dance, feathers, and chants.

The Gospel Inspirations of Boutte, 5/4, GOS, 11:10a: These Gospel Tent regulars, formed in 1979 by David Diggs Jr. and Kevin Drake, perform music of the spirit. Not related to the local Boutte singing family, the ensemble’s name derives from their hometown of Boutte, Louisiana.

The Gospel Soul of Irma Thomas, 5/5, GOS, 4:45p: If you heard 1993’s Walk Around Heaven, you know how OFFBEAT. COM

Jazz Fest Guide: A TO Z

stirring Thomas can be as a gospel singer. She has a personal rule against singing gospel during a secular set, but her sacred side feeds into everything the Soul Queen of New Orleans sings.

The Head and the Heart, 4/26, GEN, 3:30p: This Seattle outfit is the kind of classically-modeled modern act that tends to play well at Jazz Fest, Rooted in the indie-folk world, they’ve evolved into full-blown pop with occasional acoustic guitars and fiddles. Indeed, the production on their latest album “Loving Mirage” is so polished that it winds up underlining how much lead singer Jonathan Russell sounds like Lindsey Buckingham.

The Iceman Special, 5/3, LAG, 5:35p: The Iceman Special is 4 piece outfit transplanted from the swamps of Louisiana. They combine a sound of dirty funk and delicate groove with elements of disco and rock and roll to create danceable jams with plenty of edge and substance. Screeching yet smooth guitars, wandering yet punchy bass lines, electronic synth samples, driving drum beats and powerful vocals form one a kind soundscapes.

The Iguanas, 5/3, ACU, 11:20a: With Tex-Mex rock as their base, the Iguanas can swing freely into jazz, country, garage and Caribbean music.

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The Johnson Extension, 5/4, GOS, 1:50p: New Orleans spiritual leader and matriarch Rev. Lois Dejean leads four generations of family members in sacred song.

The Jones Sisters, 5/2, GOS, 12:20p: Grade school-aged sisters Kayla, Kiera, Dalia and Dejon Jones comprise this gospel quartet, which first performed when the youngest sister was only two.

The Kings of Zydeco: A Tribute to Clifton Chenier* and Buckwheat Zydeco featuring C.J. Chenier, Nathan Williams, and the Ils Sont Partis Band, 5/4, AM, 2:30p; 5/4, FDD, 5:30p: Clifton introduced zydeco to the world, Buckwheat brought it into the mainstream, and Nathan is one of the best zydeco artists still recording.

The Legendary Rocks Of Harmony, 4/27, GOS, 11:15a: New Orleans gospel in its purest form, this all-male group has been singing praises and spirituals for half a century.

The Magnolia Sisters, 5/5, LAG, 12:40p: A Cajun music band comprised of four diversely talented singers and musicians. The group’s musical collaboration gives a woman’s voice to Cajun music while maintaining a soulful, gutsy feeling to it. Each member brings her own rich individual experience as Louisiana musicians, parents, and women in the real world. The common ground is the music, the heritage and the feeling that comes across. The members of the group are Ann Savoy, Jane Vidrine, Anya Burgess, and Lisa Trahan.

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The Mavericks, 5/5, AM, 3:30p; 5/5, FDD, 5:45p: During the ‘90s the Mavericks were one of the most successful groups in the country/Americana world, showcasing Raul Malo’s soaring voice on a string of hits like “O What a Thrill” and “There Goes My Heart.” After splitting for over a decade, the band reunited.

Must See Three at Jazz Fest Melinda Koslowsky, OffBeat Sales Sunpie and the Louisiana Sunspots (April 27, 28) Lost Bayou Ramblers (May 3) New Orleans Classic R&B Legends (May 4) The Milk Carton Kids, 4/25, FDD, 5:45p: A married duo who forego the full-stage hootenanny of modern folk revivalists, their close harmonies and the gentle picking of their playing are perfect for the intimate nature of their approach.

The New Orleans Classic R&B Legends featuring The Dixie Cups, Wanda Rouzan, Clarence “Frogman” Henry, and Al “Carnival Time” Johnson with Bobby Cure & The Poppa Stoppas, 5/4, GEN, 2:35p: This annual revue (clearly copied from OffBeat’s Best of the Beat Award show) remains the only place to catch some of the originals of local R&B. Expect to hear essentials like “Chapel of Love,” “Carnival Time,” “Ain’t Got No Home” and the Rouzan Sisters’ “Man of War” direct from the sources.

The New Orleans Female Hip Hop Experience featuring Mia X, Ghetto Twins, 3D Na’Tee, Keedy Black, Briki Fa President, DJ Westbank Red, and Downtown Leslie Brown, 4/25, AM, 1:30p; 4/25, CON, 4:25p: Women who’ve played a significant role in creating a signature sound in New Orleans rap and bounce will showcase the variety of overlooked contributions they’ve made. From pioneering No Limit Records MC Mia X to Best of the Beat nominated rapper 3D Na’Tee, the Female Hip-Hop Experience will teach you a few things about the woman’s role in rap music.

The New Orleans Guitar Masters featuring John Rankin, Jimmy Robinson, and Cranston Clements, 5/2, AARP, 12:30p; 5/2, LAG, 3:45p: The New Orleans Guitar Masters is a collaboration between some of the best New Orleans guitarists John Rankin, Cranston Clements and Jimmy Robinson. The trio has been performing together for several years, and include in their concerts original compositions from each member, and interesting arrangements of cover material.

The New Orleans Jazz Orchestra’s Tribute to Aretha Franklin, 4/28, CON, 1:45p: Adonis Rose the artistic director of the New Orleans Jazz Orchestra reprises his successful tribute to Aretha Franklin. The tribute in November 2018 included vocalists Davell Crawford, Erica Falls and Jolynda “Kiki” Chapman. The orchestra’s own Nayo Jones, a flutist and singer will also take a turn out front.

The New Orleans Klezmer All Stars, 4/28, LAG, 5:30p: Innovators of a funked-up localized take on traditional Jewish music, this band’s past and present members include

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scions of the city’s jazz and funk scenes. They’ll celebrate their anniversary with prestigious guests.

The New Orleans Piano Professors: Celebrating Professor Longhair, James Booker, Jellyroll Morton, Fats Domino, Allen Toussaint, and Dr. John, 4/27, BLU, 1:25p: A roll-call of active New Orleans piano greats—Jon Cleary, Davell Crawford, Tom McDermott, Al “Lil Fats” Jackson, David Torkanowsky, and John “Papa” Gros—pay tribute to the ones who’ve passed or are currently MIA. A nutshell version of WWOZ’s annual piano nights at the HOB. The New Voices of Light, 5/2, GOS, 11:20a: From Slidell, Louisiana, this 8 member group will be spreading the word and having a hallelujah good time. Make sure to watch their latest video “You Can Bless Me Lord.”

The O’Jays, 4/28, AM, 1p; 4/28, CON, 3:45p: The embodiment of Philly soul, the O’Jays ruled the charts through the ’70s, beginning their run of hits with “Back Stabbers” and ending it with “Use ta Be My Girl.” In the middle they cut “Love Train” and “For the Love of Money,” the latter of which was the theme for a TV series starring someone who became President. Two of the original five members, Eddie Levert and Walter Williams, remain in the lineup.

The Palm Court Jazz Band featuring Sammy Rimington, 4/28, ECO, 12:25p: The house band from the Palm Court brings their brand of traditional New Orleans jazz to the Fest along with English reedman Rimington, a longtime proponent of the genre’s revival.

The Pfister Sisters, 5/2, ECO, 11:30a: Inspired by the close harmonies and lively personalities of New Orleans’ Boswell Sisters, the Pfister Sisters are all about the ‘30s in both sound and look.

The Radiators, 5/5, GEN, 3:50p: Groupie-spawning fish-head rockers the Rads are back after calling it quits in 2011. The band got together last year to record Welcome to the Monkey House the follow up to The Last Watusi, which turned out to be not the last. Expect a massive show of support for these long-beloved locals.

The Rance Allen Group, 4/28, GOS, 3p: One of the buried treasures at this year’s Fest, brothers Rance, Steve and Tom Allen began singing together in Detroit in 1970 and signed to the Stax-associated Gospel Truth label two years later. Their records from that era combined fervent gospel vocals with the funky Stax sound, one of the first such crossovers.

The Rayo Brothers, 5/4, LAG, 5:35p: The Rayo Brothers are Jesse Reaux the primary songwriter and Daniel Reaux lead vocalist. Expect impassioned folk-rock and modern alt-country with sweeping arrangements. Think Whiskeytown meets the Avett Brothers.

The Revelers, 4/25, FDD, 1:35p: An Acadian supergroup made up of founding members of Jazz Fest perennials the Red Stick Ramblers and the Pine Leaf Boys.

The Revivalists, 4/26, GEN, 5:25p: This increasingly popular New Orleans band has solid songs for the rock ’n’ rollers and free-flowing grooves for the jam band crowd. They were OFFBEAT. COM

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big winners at the OffBeat Best of the Beat Awards.

The Rising Stars Fife & Drum Band, 5/2, BLU, 1:50p; 5/2, CEP, 3:10p; 5/3, AARP, 1:15p: Fife and drum music has a long history in African-American folk culture. Many accounts survive of black fife and drum units accompanying soldiers during the Revolutionary War. Otha Turner, founder of the long-running Rising Star Fife & Drum Band, was born in rural Rankin County, Mississippi, around 1907, and began playing the fife as a boy. After his death his granddaughter Shardé Thomas took it over.

The Robert Cray Band, 4/26, BLU, 5:40p: The man who almost single-handedly resuscitated blues in the ’80s returns to grace Fest stages with his winning combination of Southern-Soul vocals, twangy Texas guitar, and deep lyrical confession. This five-time Grammy winner has played with Clapton and the Vaughan brothers and Buddy Guy and God knows who else, and if that all means anything to you, you’ve probably been with him since “Smoking Gun.” A master of smooth modern blues.

The Roots of Music Marching Crusaders, 4/26, PAR, 1:30p: Rebirth snare drum player Derrick Tabb’s program aims to support, teach, and protect at-risk youth through music education while preserving and promoting New Orleans’ musical heritage. Songwriter Ani DiFranco is on the board of directors.

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The RRAAMS, 4/27, KID, 4:05p: The River Road AfricanAmerican Museum Society in Donaldsonville presents an educational program for kids.

The Showers, 5/3, GOS, 5:15p: This family gospel group includes six daughters and one son of Bobby and Oralean Showers of Hammond. They recently called on their faith and their music to sustain them when their family home burned down last year.

The Soul Rebels, 5/4, ACU, 12:25p: Arguably one of the most popular brass bands in the city, the seven-piece Soul Rebels have performed with hip-hop giants like Rakim, Nas, and Talib Kweli and recently backed Wu-Tang Clan’s GZA at his Tiny Desk Concert. Their repertoire includes original material and covers of everything from Marilyn Manson to Chance The Rapper.

The Speakerbox Experiment, 4/25, CON, 3p: This local eight-piece ensemble performs a mix of soul, funked up rock and pop.

The Subdudes, 4/26, GEN, 1:50p; 4/26, AM, 4:30p: Known for using a tambourine player (Steve Amadee) instead of a drummer, this Tommy Malone-fronted roots rock outfit draws on a mix of New Orleans music styles along with plenty of groove.

The Swing Setters, 5/3, KID, 1:50p: Singer Jayna Morgan’s spirited new band covers standards, folk tunes and

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Disney songs with a jazz lilt.

The Wanting, 4/26, LAG, 11:30a: One of the newer local bands to play the Fest this year, the Wanting take their name and their inspiration from the high lonesome sound of Appalachian folk, and evoke that mood beautifully with an acoustic lineup and the harmonies of Chris Jacob and Cate Swan. They were a surprise hit at the Crescent City Blues & BBQ Festival last year and their debut CD Dark Road appeared last winter.

The War and Treaty, 5/4, BLU, 4:10p: From Albion, Michigan, husband and wife, Michael Trotter, Jr. and Tanya Blount are The War and Treaty. Their sound is a blend of roots music, blue grass, folk, gospel and soul. Their stage presence together with their voices will keep you mesmerized.

The Wimberly Family Gospel Singers, 4/25, GOS, 11:15a: This Marrero family group has been singing traditional gospel for nearly four decades.

Theatre on Tap, 5/3, KID, 4:10p: New Orleans’ premier rhythm tap dance company, whose mission is to celebrate, promote, and preserve America’s indigenous dance form.

Emmy Award-winning founder, artistic director and principal choreographer Heidi Malnar leads the company.

Tim Laughlin, 4/26, ECO, 3:05p: Clarinetist Laughlin’s compositions fit within the classic traditional jazz idiom, but his skill in bringing traditional New Orleans jazz into the 21st Century gives them a more modern feel. He was the first and only New Orleans clarinetist to write and record an entire album of originals.

Tin Men, 5/2, GEN, 11:20a: This rocking and swinging trio appears every Wednesday night at d.b.a. The band includes Alex McMurray, Matt Perrine and Washboard Chaz. In March 2019 Alex McMurray suffered a fall skiing. Please welcome him back after a two month recovery.

Tipitina’s Interns under the direction of Donald Harrison, Jr., 5/3, JAZ, 11:15a: Tipitina’s internship program is an after-school jazz program for high school students. The program focuses on instrumental performance, recording, music theory, and career professionalism. They are led by saxophonist Donald Harrison, Jr. T’Monde, 5/3, FDD, 11:15a; 5/3, AARP, 2:20p: Louisiana Cajun musicians Drew Simon, Megan Brown, and Kellii Jones brings influences ranging from early country music to ancient French and Creole ballads to present day Cajun music.

OffBeat called T’Monde “a creative fusion of classic country and out-of-the-way Cajun.” The band has received several Grammy nominations.

Tom Jones, 5/2, GEN, 5:40p: This Welshman started as a sexy pop icon shaking his hips to outrageously over-the-top songs like “What’s New Pussycat” and “Delilah,” but it’s the full-chested power of his booming baritone that’s actually outlasted his kitsch; and he’s got more than a few EDM hits stuck up his belt as well thanks to a late ’90s renaissance.

Throwing your panties is discouraged at this point, but it’s going to happen anyway.

Tom Leggett Band, 4/25, FDD, 12:40p: Leggett is a guitar slinger/roots-rocker who leans towards Texarkana blues with

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West Coast horns, but he often drops country, swamp-pop and even reggae into the mix.

Tom McDermott & Evan Christopher, 4/27, LAG, 3:05p: Virtuoso pianist whose skill and deep knowledge of music history allow him to play everything from New Orleans jazz and blues to Caribbean and classical music is joined by clarinetist Evan Christopher. As a duo they have released several CD including Danza in 2002 and Almost Native in 2011.

Tommy Sancton’s New Orleans Legacy Band, 5/3, ECO, 12:25p: This clarinetist served as Time Magazine’s Paris bureau chief for 22 years. As a child, he took music lessons from Preservation Hall Jazz Band’s George Lewis, an experience he documents in the book Song for My Fathers.

Tonia Scott & the Anointed Voices, 4/27, GOS, 4:15p: Primarily comprised of women, this local gospel choir has become a Jazz Fest regular.

Tonya Boyd-Cannon, 5/2, JAZ, 2:15p: This New Orleansbased singer boasts a powerful contralto voice. Her delivery is sharp yet inspirational, contemporary and authentic. She has lots of soul and a near-winning run on The Voice.

Topsy Chapman & Solid Harmony, 4/28, ECO, 2:50p: Topsy Chapman leads the all-female group with a gospelinspired vocal blend called Solid Harmony Tornado Brass Band in memory of Darryl Adams, 4/27, PAR, 2:10p; 4/27, KID, 2:30p: Tornado Brass Band leader Darryl Adams passed away on December 19, 2018 at age 61. The band performs a mix of tunes from traditional and modern brass band repertoires.

Toronzo Cannon, 4/25, BLU, 4:05p: Singer songwriter and blues guitarist Toronzo Cannon grew up on the South Side of Chicago. His influences include Albert Collins, B.B. King, Buddy Guy and Jimi Hendrix. His album The Chicago Way was nominated for a Blues Music Award.

Treces del Sur, 5/5, LAG, 1:55p: Latin music band from New Orleans.

Treme Brass Band, 4/28, ECO, 1:35p: Led by Benny Jones, the Treme Brass Band is one of the longest-running traditional brass bands in town. The Treme Brass Band contributed to the Carnival repertoire with “Gimme My Money Back.”

Tribute to Allen Toussaint with the Allen Toussaint Orchestra and special guests, 5/5, ACU, 1:25p: Allen Toussaint was one of the guiding lights of New Orleans music and a man whose songs virtually define New Orleans R&B. In the 1980s the Allen Toussaint Orchestra, produced

by Allen Toussaint and Marshal Seahorn, released several themed records including The Beatles, George Gershwin, Crescent City Christmas, The Themes of Andrew Lloyd Webber, etc. The Orchestra and special guests pay tribute to their leader who passed away in 2015.

Tribute to Alvin Batiste with Herman Jackson and Friends, 5/5, JAZ, 12:20p: New Orleans born jazz clarinetist and composer Alvin Batiste passed away in 2007.

He taught at Southern University in Baton Rouge. Several OFFBEAT. COM

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well-known musicians studied under Batiste including Branford Marsalis, Donald Harrison, Henry Butler and Randy Jackson. Pianist Herman Jackson, Randy’s brother, and also a music instructor at Southern University pays tribute to Alvin Batiste.

Tribute to Danny and Blue Lu Barker featuring Detroit Brooks and Jolynda “Kiki” Chapman, 4/26, ECO, 4:20p: Banjoist Danny Barker was rhythm guitarist for various bands including Cab Calloway and Benny Carter. He toured and recorded with his wife, singer Blue Lu Barker. Detroit Brooks, banjoist and founder of the Danny Baker Banjo and Guitar Festival in New Orleans is joined by vocalist Jolynda “Kiki” Chapman.

Tribute to Dave Bartholomew and Fats Domino with special guests Bonnie Raitt, Irma Thomas, Davell Crawford, Jon Cleary, and Al “Lil Fats” Jackson featuring the Fats Domino Orchestra, 4/28, ACU, 12:15p: One of those “only at Fest” situations where you can catch an all-star lineup early in the day, with Bonnie, Irma, Crawford and Cleary all playing in advance of their own sets—all this plus the great band that backed Fats at his own shows.

Tribute to GG Shinn featuring Gregg Martinez & the Delta Kings with guests TK Hulin & Charlene Howard, 5/5, FDD, 12:30p: Gregg Martinez (pronounced Mart-tinez) is one of the most powerful, knock-the-paint-off vocalists

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that Southwest Louisiana has ever produced. Swamp pop singer GG Shinn passed away on August 7, 2018. Close friend to GG Shinn, singer Charlene Howard will join Gregg Martinez.

Tribute to Jo “Cool” Davis with Cordell Chambliss & the Gospel All-Star Band featuring Barbara Shorts, Charles Moore and more, 4/28, GOS, 12:05p: Gospel singer, and Central City’s pride and joy, Jo “Cool” Davis passed away in August 2016. Davis programed and cohosted the popular Gospel Brunch at House of Blues. He was a tireless advocate for New Orleans, its culture and gospel music. After years singing with the Gospel Soul Children, Shorts left to play Big Bertha Williams in “One Mo’ Time.”

Shorts’ voice is powerful and deep and she often ends her shows with the spiritual “Down by the Riverside.” Guitarist Charles Moore is the brother of Deacon John Moore.

Tribute to Louis Prima featuring Louis Prima, Jr., John Boutté, Meschiya Lake, and Wendell Brunious, 4/28, ECO, 4:10p: The descendants of New Orleans’ favorite Sicilian carry on his “king of swing” tradition with a bandleader who was there when much of it happened.

Tribute to Raymond A. Myles featuring The RAMS with guest Davell Crawford, 5/5, GOS, 3:45p: Larger than life and full of flamboyance, Raymond Anthony Myles was a gospel star waiting to happen, and his 1998 murder

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Friday, May 3, Fais Do Do Stage, 11:15 a.m.

Photo courtesy of the artist

festfocus

T’Monde

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’Monde continues to expand its universe. In February, the Cajun trio of accordionist Drew Simon, fiddler Kelli Jones, and guitarist Megan Brown Constantin, played the Chicago Folk Festival for a second time. The band is now wrapping up its third album, which will be released at Balfa Camp, May 5 through10, 2019, where T’Monde will also serve as the host band. Not bad, considering that T’Monde is a side project for both Simon and Jones, whose primary bands are Pine Leaf Boys and Feufollet, respectively.

T’Monde was formed as a vehicle for Simon to play accordion more, something he couldn’t do with Pine Leaf since the accordion chair was held by Wilson Savoy.

Simon was already free-lancing on accordion at small gigs, had recognized that trios were a nimble way to go financially, and invited Jones and Constantin to form the band.

Originally they were the Creole Vampires, inspired by the vampire flick Twilight--a comical name that didn’t make sense in the long run. “We are not Creole and we are not vampires,” Simon says. “We started getting gigs for churches and weddings and I don’t think they would want a band called the Creole Vampires.” Since Joel [Savoy] and Jones used to joke about having a band of the best short Cajun musicians, T’Monde, meaning “little people,” stuck. “Kelli and I are the same height and if she wears heels, she’s slightly taller than me. Megan is 4’ 10,” says Simon. “It means little people, but it also means little world. It’s used in all the terms of endearment in Cajun music.”

Though T’Monde is a trio, there’s nothing little about its sound, which is heavily predicated on Jones and Constantin’s blood harmonies, inspired by the Davis Sisters and

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the Louvin Brothers. “We don’t really arrange [our harmonies] anymore,” says Constantin.

“The parts just show themselves to which person they belong to.”

In the last three years, T’Monde has incorporated ancient French a cappella ballads into its performances. In 2017, the ballad the trio sang at the Chicago Folk Festival was a key reason why it was invited back. “One of the managers came up and said, ‘Just to let you know, the president [of the university] really loved when the two ladies sang the ballad,’ ” says Simon.

Still, neither Simon nor Constantin ever thought this would last eight years. “We just enjoy each other‘s company and tastes in music,” Constantin explains about the group’s unexpected longevity. “As we continued to learn new music, whether that be Cajun, country or anything else, we incorporate that into this band. We’re all fairly open to any song anyone wants to bring. It’s just nice to be in company that is welcoming to your new ideas.”

—Dan Willging

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Jazz Fest Guide: A TO Z

was one of the sadder chapters in local music history.

The choir he led goes on and Davell Crawford seems an inspired choice to take his place.

Tribute to the Humphrey Brothers and Eureka Brass Band featuring Mark Braud, 5/3, ECO, 4:20p: New Orleans’ Eureka Brass Band was active from 1920 to 1975 and recorded prolifically. The group was founded by trumpeter Willie Wilson. Trumpeter Percy Humphrey led the band from the ’50s until 1975 but often revived the name when performing at festival with his brother clarinetist Willie Humphrey. Preservation Hall trumpeter and vocalist Mark Braud leads the tribute.

Trombone Shorty & Orleans Avenue with Nevilles, 5/5, ACU, 5:30p: Trombonist, trumpeter and singer Troy Andrews has become a member of New Orleans music royalty; his “supafunkrock” sets now close out Jazz Fest.

Trombone Shorty took the retired Neville Brothers spot but this year is joined by the Nevilles. Although Art Neville recently announced his retirement from performing he may make a surprise appearance.

Troy Turner, 5/4, BLU, 11:15a; 5/4, AARP, 1:45p: Blues guitarist from Baton Rouge, Troy first started singing in the Starhill Baptist Church choir at the age of five. Troy got to know harmonica master Raful Neal and was often performing at Tabby’s Blues Box run by Chris Thomas King’s father

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Tabby Thomas. People were taken with his youthful appearance the nicknamed him “baby face.” Troy was a huge Prince fan in high school. He dressed like the Purple One and thought of himself as a Southern version of the Minnesota superstar. He attacked songs with an aggressive style that earned him another moniker—Troy Turner, guitar burner.

Trumpet Mafia, 5/3, JAZ, 2:50p: Featured on OffBeat’s Satchmo Summerfest cover, skilled local trumpeter Ashlin Parker, of the New Orleans Jazz Orchestra, brings a hiphop sensibility to the modern jazz-rooted approach of his forward-thinking, multi-trumpet ensemble.

Tyronne Foster & the Arc Singers, 5/5, GOS, 1:45p: These Jazz Fest regulars formed in 1987 when Foster started working with St. Joan of Arc Youth and Young Adult Choir. In 1992, they opened their ranks to singers from all denominations.

Undefeated Divas & Gents SA, 5/4 & PC, 5/4, PAR, 12p: This downtown club paraded with the Young Fellaz Brass Band at their 2015 annual Sunday parade.

University of New Orleans Jazz All Stars, 4/26, JAZ, 11:15a: Student group from UNO’s jazz program, which was established by Ellis Marsalis in 1989.

Untouchables SA & PC, 4/28, PAR, 1:30p: The Untouchables represent a division of the historic Young Men Olympians.

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Uptown Warriors Mardi Gras Indians, 4/28, PAR, 3:25p: One of the younger Mardi Gras Indian tribes.

Val & Love Alive Choir, 4/28, GOS, 1:55p: Few things sound more spirited than 100 school-age kids singing praises. Valentine Bemiss-Williams directs this large choir Valley of Silent Men SA & PC, 5/4, PAR, 3:10p: This Uptown parade club has been hitting the streets for three decades.

Van Morrison, 4/28, ACU, 5:30p: It’s unlikely that any other singer will ever be able to capture the distinct Van Morrison “Celtic Soul” sound, which mixes Irish folk, classic New Orleans and Memphis R&B, and little twinges of country, all done with the touch of a true jazzmaster. This makes him more than his hit songs “Brown Eyed-Girl” or even “Moondance”: a rare bird indeed, and one that everyone should see at least once in their life. He’s not getting any younger, but can still command the stage with his sheer devotion to the healing power of music.

Versailles Lion Dance Team, 4/27, KID, 12:25p; 4/27, KID, 2:05p: Strength, endurance, motivation and respect are the calling cards of this local performance group, specializing in traditional Vietnamese lion dance.

VIP Ladies SA & PC, 5/2, PAR, 12:45p: This Uptown social aid and pleasure club usually rolls with all women and children at its annual Sunday parade.

Voice of the Wetlands All-Stars, 5/3, ACU, 2:05p: Guitarist and activist Tab Benoit leads a troupe of environmentally conscious musical heavyweights, including Cyril Neville, Anders Osborne, Big Chief Monk Boudreaux, Cajun fiddler Waylon Thibodeaux and more.

Voices of Peter Claver, 5/4, GOS, 4:10p: This adult choir is based at St. Peter Claver Church on St. Philip Street.

Walter Wolfman Washington & The Roadmasters, 4/28, CON, 12:20p: A local institution, the Wolfman puts plenty of hot guitar and soulful horns into his funky brand of blues. His latest CD My Future is My Past received OffBeat’s Best of the Beat Award for Album of the Year in 2018.

Washboard Leo Thomas, 4/28, KID, 12:40p: “Washboard” Leo Thomas, the inventor of the electric washboard was born and raised in New Orleans. He has 40 years of experience playing everything from classical jazz to rock.

He played at President Clinton’s 53rd birthday party and with David Allen Coe, Earl Scruggs, John Prine, Willie Nelson and others.

Washitaw Nation Mardi Gras Indians, 4/27, PAR, 3:45p: This Indian tribe takes its name from a group of multi-cultural, yet traditionally black, Americans who claim Native American sovereignty over their nation.

Watson Memorial Teaching Ministries, 4/27, GOS, 6:05p: Based in Algiers and the Garden District, these singers are led by Pastor Tom Watson.

Wayne Toups, 5/3, ACU, 3:30p: This Crowley singer/

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accordionist was one of the first Cajun/zydeco artists to sign with a major label in the ‘80s. While his band draws strongly from rock onstage, Toups has also embraced his roots, most recently on a trio album with Wilson Savoy and Steve Riley.

We Are One SA & PC, 4/26, PAR, 12:20p: We Are One Social Aid and Pleasure Club is based Uptown.

Wendell Brunious & the New Orleans All Stars, 4/26, ECO, 5:45p: Trumpeter Brunious took over as the leader of the Preservation Hall Jazz Band in 1987 and remained a Hall regular for many years (his nephew Mark Braud is the current leader). Brunious has played regularly with Lionel Hampton, Linda Hopkins and Sammy Rimington.

Westbank Steppers SA & PC, 5/4, PAR, 3:10p: This social aid and pleasure club hails from New Orleans’ West Bank just across the river.

Widespread Panic, 5/2, ACU, 4:30p: Athens’ famous neo-hippies return with two-plus hours of extended jams for their massive following. Hopefully, Acura will double as a lost-and-found for your missing stoner roommate. They replace the ailing Fleetwood Mac who replaced the ailing Rolling Stones. What a drag it is getting old.

Wild Apaches Mardi Gras Indians, 4/26, PAR, 11:30a: Big Chief Ray Blazio leads the Wild Apaches Mardi Gras Indians tribe.

Wild Mohicans Mardi Gras Indians, 4/26, PAR, 11:30a: A family tribe founded in 1996 by Big Chief Kentrell and Big Queen Zen, the Mohicans added Wild Man Ivory to their crew after his near-death experience in combat in North Korea left him determined to mask Indian upon his return home.

Wild Red Flames Mardi Gras Indians, 4/27, PAR, 1:10p: This tribe made its Jazz Fest debut just a few years ago with Big Chief Thunder and the Cherokee Hunters.

Wild Squatoulas Mardi Gras Indians, 5/4, PAR, 1p: This Mardi Gras Indian tribe has gotten multiple musical shout-outs from the likes of Big Chief Monk Boudreaux.

Wild Tchoupitoulas Mardi Gras Indians, 5/3, PAR, 3:30p: Allen Toussaint recorded the original eponymous album by the tribe led by Big Chief Jolly. Today, their call and response remains influenced by that early funk-steeped disc, which featured appearances by members of the Meters and the Neville brothers.

Women of Class SA PC, 4/25, PAR, 2:30p: Social Aid and Pleasure Club parade.

Xavier University Jazz Ensemble, 5/5, JAZ, 11:15a: Student group from one of New Orleans’ great jazz training grounds.

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Young Audiences Performing Arts Showcase, 4/25, KID, 11:30a: This top arts education and integration program offers a review of its latest work.

Young Brave Hunters Mardi Gras Indians, 4/28, PAR, 3:25p: Big Chief James Battiste leads this Indian tribe.

Young Cherokee Mardi Gras Indians, 4/26, PAR, OFFBEAT. COM

2:20p: Parading Mardi Gras Indians.

Young Fellaz Brass Band, 5/4, PAR, 12p: One of the city’s newer brass bands, the Young Fellaz add plenty of youthful swagger to traditional brass-band instrumentation.

Young Guardians of the Flame, 4/27, KID, 11:30a: Big Queen Cherice Harrison Nelson, co-founder of the Mardi Gras Indian Hall of Fame, tailors this educational look at Indian culture to a kids’ audience.

Young Magnolias Mardi Gras Indians, 5/4, PAR, 2p: Eric Yetti Boudreaux’s flexible rhythm section frequently backs Gerard “Lil Bo” Dollis and his Young Magnolias during pre-Mardi Gras Indian practices Uptown.

Young Men Olympia Aid SA & PC, 4/28, PAR, 2:40p: The Aide or first division of the Young Men Olympian Jr. Benevolent Association handles the governing responsibilities for the organization.

Young Pinstripe Brass Band, 5/5, J&H, 12p: Formed in 2009 and led by fourth-generation musician Herbert McCarver IV, the group puts a funk and hip-hop spin on the brass band sound.

Young Seminole Hunters Mardi Gras Indians, 4/25 Yvette Landry & The Jukes, 5/5, FDD, 1:50p: Singer/ guitarist Landry is part of the Cajun supergroup Bonsoir Catin, and her own sets are solid, swinging honky tonk with Richard Comeaux on pedal steel guitar.

Yvette Landry, 4/26, KID, 4p: Singer songwriter and guitarist Yvette Landry breaks away the Jukes to perform her kid friendly set.

Zeke Fishhead and Los Reyes de Lagartos, 4/28, LAG, 4:15p: Zeke Fishhead is singer songwriter and keyboardist Ed Volker of the Radiators.

According to Volker; “Ain’t no fool of a human bean got the power to hold back the flood. There’s only one way out: become a fish head.”

Zena Moses & Friends, 5/2, CON, 11:20a: A musical gumbo, soul, funk, jazz, reggae and blues. Vocalist Zena Moses is joined by friends that usual feature Kashonda Bailey on piano; Seizo Shibayama on guitar; Jerry Henderson on bass; Terry Scott Jr. on drums; Jeremy Phipps on trombone; Natasha Harris on saxophone.

Ziggy Marley, 5/2, CON, 5:25p: It took a long time, but Bob Marley’s son has finally escaped his father’s monumental shadow with his own reggae career. And it’s a long career to pick and choose from: will we hear those old Melody Makers hits like “What a Plot” and “Tomorrow People”? His mid-’90s dip into children’s music? His stunning new political stance, perhaps even more uncompromising than his father’s? Only one way to be sure.

Zulu Go Getters SA & PC, 4/26, PAR, 3:15p: A downtown-based Social Aid & Pleasure Club.

Zulu Gospel Male Ensemble, 4/28, GOS, 11:15a: Local New Orleans singing group performs gospel music through an R&B and soul filter. O

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Restaurants We Love

A Jazz Fest guide to places we like to keep to ourselves.

by Michael Dominici

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he Jazz Fest restaurant guide is not meant to be a “best of” list, because at this point, if you haven’t made arrangements to dine at Bayona, Brigsten’s, Gautreau’s, Emeril’s, Peche, SABA, Commander’s Palace, and/or Brennan’s, you’re probably not going to get a reservation this Jazz Fest. The following list also does not include many of the most popular restaurants where folks often wait in lines for hours. Many of these spots do not require reservations. What this list does include is many places that locals like to keep to themselves.

Banana Blossom This unassuming Thai restaurant is worth a special trip. BBQ shrimp and roti bread, lamb panang curry, pineapple fried rice, pad Thai, shrimp with green curry, coconut shrimp with sweet-chili sauce, and the voodoo noodles, are all among this local staple’s myriad of flavorful dishes. 500 9th St., Gretna, 504-500-0997.

The Blue Crab Restaurant and

Nola Cantina

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Oyster Bar The Blue Crab Restaurant and Oyster Bar offers a wide range of classic New Orleans seafood offerings in a casual setting, overlooking sweet Lake Pontchartrain. 7900 Lakeshore Dr., 504-284-2898.

BOIL Seafood House BOIL specializes in boiled seafood, with the twist being the sauce offerings, including Cajun, Asian, garlic butter, and Caribbean citrus sauces. 3340 Magazine St., 504-309-4532.

Costera Chef Donald Link Restaurant Group alumnus chefs, Brian Burns and Reno De Ranieri, teamed up to create this uptown hotspot inspired by the cuisine and culture of coastal Spain.

Shrimp with garlic, lemon, sherry, and oregano, Iberico Bellota ham with almonds and arugula, and red wine braised lamb shank with chickpeas and yogurt are among the highlights. The wines are mostly from Spain as well.

4938 Prytania St., 504-302-2332.

Drago’s Seafood Restaurant Signature charbroiled oysters, here topped with garlic, parsley, Parmesan cheese and butter, remain absolute must-haves!

Hilton New Orleans Riverside, 2 Poydras St., 504-584-3911; 3232 N. Arnoult Road, Metairie, 504-888-9254.

El Pavo Real I hesitate to mention this delightful Mexican restaurant because locals like to keep the very best to themselves. El Pavo Real brings the motherlode, everything from tamales to empanadas, to chilaquilles, mole poblanos, enchiladas, and of course, some of the best tacos in town. 4401 S. Broad Ave., 504-266-2022.

Fiorella’s Café, The Original Besides their award winning fried chicken, Fiorella’s serves excellent po’boys, daily specials, and New Orleans-Italian classics in a casual setting. 5325 Franklin Ave., 504-309-0352.

Francesca Deli The folks from Katie’s recently

Costera

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opened this casual deli in Lakeview that specializes in classic overstuffed New Orleans po’boys, alongside American staples including pizza, wings, salads, and sides such as crispy fried okra. 515 Harrison Ave, 504-266-2511.

Gabrielle Restaurant Chef Greg Sonnier began his career with Chef Paul Prudhomme and has been elevating New Orleans cuisine ever since with offerings such as “panic fried” andouille sausage, and boudin links served with honey-lavender creole mustard.

Or try smoked quail gumbo and braised rabbit with rose-petal syrup sliced grapes, wilted greens, caramelized onions, and Stilton cheese fries. Reservations are highly recommended. 2441 Orleans Ave., 504-603-2344.

The High Hat Café The High Hat offers a wide range of offerings from Gumbo Ya-Ya, to BBQ shrimp, and spicy gulf fish with shrimp and potato hash. Expect casual dining in a spaced filled with light—in short, a modern classic. 4500 Freret St., 504 754-1336.

The Joint In the not too distant past, New Orleans severely lacked any decent BBQ options. Now, there exist about a dozen respectable spots. Still, none top The Joint.

The Joint provides most everything you want in a BBQ joint: laid back vibe, welcoming, soulful, and deeply satisfying. The Joint is always worth the ride, and worth the wait. 701 Mazant St., 504-949-3232.

Justine Justine is possibly the hottest and hippest restaurant in New Orleans right now. Classic OF F B E AT. COM

Meril

Pascal’s Manale

French bistro fare is served in a beautifully lit, upscale, chic, sexy space that features DJs and burlesque performers in the evening, going on up until 1 a.m. on weekends. Reservations are highly recommended. 225 Chartres St., 504-218-8533.

Marjie’s Grill Located near the Jazz Fest, Marjie’s is a casual spot that features dishes inspired by Asian street food. Local mirliton squash are served in a salad with root vegetables and garlic-chili vinaigrette and dried shrimp.

Crispy pig knuckles are tossed in pepper and garnished with lime and chili. And who can resist the grilled honey buttered pasture raised chicken? 320 S. Broad Ave., 504-603-2234.

Meril Chef Emeril Lagasse’s latest dining destination is small-plate heaven. This place is the most!

Boudin tamales, you say? Crispy chicken livers with pepper jelly?

Most certainly! Fried oysters with tomato bacon jam! Bam! Muffaletta flatbread, linguini and clams, lasagna, crawfish étouffée, Korean short ribs, kielbasa on a pretzel bun, seriously, what doesn’t this place NOT have? If you had to pick just one place, this is the one! Reservations are recommended. 424 Girod St.,

504-526-3745.

NOLA Cantina NOLA Cantina is a fun, sprawling, ambitious, Mexicaninspired hot-spot with offerings such as the “Smoke & Mirrors Margarita” with mezcal, lemon, chamomile, and lavender.

Creative taco offerings abound, such as the Flower Power with cauliflower, smoked paprika, blistered scallions, hibiscus pickled onions, chimichurri, and the Passionately Hot Shrimp with passion fruit, habanero glazed shrimp, jicama sticks, coconut and turmeric yogurt, scallions, and mint. These mouthwatering treats are accompanied by live music during lunch, and DJ’s on into the wee hours on weekends, plus burlesque brunch on the last Sunday of each month. 437 Esplanade Ave., 504-266-2848.

Pascal’s Manale There exist a handful of restaurants that will make you fall in love with New Orleans forever: Casamento’s, Galatoire’s, Gautreau’s, Clancy’s, and I wouldn’t hesitate to add Pascale’s Manale to that list. The wait includes cocktails and a visit to the oyster bar, to get things started off right. Pascal’s Manale is filled with memorabilia from its century of history, and tons of

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New Orleans charm. The menu is peppered with homespun local classics and several ItalianCreole offerings, but the place is famous for its BBQ Shrimp. 1838 Napoleon Ave., 504-895-4877.

Rosedale Restaurant Susan Spicer’s Rosedale is the quintessential word-of-mouth sweet-spot located just off the beaten path. Patio dining compliments delicious turtle soup, BBQ shrimp, cochon de lait po’boys, smoked brisket, and the duck pastrami sandwich, among other highlights. 801 Rosedale Dr., 504-309-9595.

Seaworthy Seaworthy offers exquisite seafood at one of the hippest dining destinations downtown.

630 Carondelet St., 504-9303071.

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The Silver Whistle Café Located in the historic Pontchartrain Hotel on St. Charles Ave., this charming breakfast spot offers upscale classics such as a po’boy with scrambled eggs white cheddar, andouille, aioli, all atop the classic Pontchartrain Benedict biscuit, poached eggs, ham, and hollandaise. 2031 St. Charles Ave., 504-323-1455.

Station 6 Great seafood dishes at the hottest restaurant in Bucktown.

105 Metairie-Hammond Hwy, Metairie, 504-345-2936.

Tableau Dickie Brennan’s latest dining destination features signature items such as Crystal Shrimp, with Crystal hot sauce brand honey-butter sauce. Classics like BBQ shrimp and grits are

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served in cozy dining rooms, while balcony dining overlooks picturesque Jackson Square. 616 St. Peter St., 504-934-3463.

Zasu James Beard Award-winning Chef Sue Zemanick’s jewel box-sized restaurant is inspired

by Sue’s Slovak heritage. Menu highlights include artichoke and goat cheese agnolotti with crispy sunchokes and preserved lemon; saltine crusted grouper is served with braised greens, crawfish and bacon, then loved-up with a spicy butter sauce. Also, try the soulful wild mushroom and potato perogies, garnished with caramelized Vidalia onions. Zasu has become a recent hot spot, so we definitely recommend reservations! 127 N. Carrollton Ave., 504-267-3233. O

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diningout

Molly’s Rise and Shine Review by Theo Schell-Lambert

Photo by Theo Schell-Lambert

Deviled egg tostada

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hen Turkey and the Wolf opened, a couple years back and too far riverside of the Lower Garden District strip, reasonable minds had doubts.You’re going to ask someone hungry for a sandwich at the corner of Jackson and Magazine to walk three blocks away from Stein’s? The question wasn’t: Is this the best new restaurant in America (as Bon Appétit would later, game-changingly claim). It was: Is this the best sandwich shop within a quarter-mile?

Then there was the menu. What looks now like a particularly inclusive kind of mad genius from chef Mason Hereford, a deadpan deployment of fine-dining ingredients and tactics (lamb neck roti, “tacos inauthenticos” with hogs headcheese) in the service of the totally likable, seemed likely to come out either half- or overbaked. Didn’t it?

But what sounded indiscriminate turned out to be undiscriminating. Everything was the best as long as it tasted the best. One sandwich starred arugula and aged cheddar; the next teased the first with American cheese and “shrettuce.” There was no shame in admitting jarred mayo was unimprovable

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(if it was Duke’s), and the sandwiches also oozed confidence and technique, Hereford & Co. applying classical lessons about texture and seasoning to the likes of a fried bologna on white.

The collard green melt, the planet’s least perfunctory vegetarian sandwich, remains a case study in “salt, fat, acid, heat,” pickled cherry pepper dressing clanging against creamy swiss, crunchy slaw and a field of greens—plus a third slice of rye to sop it all up. It was the food chefs wanted to eat after work, as the work itself.

And now there is Molly’s Rise and Shine, the micro-empire’s giddy new outpost, housed in a former po-boy shop at 1st Street and Magazine Street (notable midpoint of the commonwealth: Stein’s). The point here is breakfast, ostensibly, or lunch, maybe (but surely not brunch). Though another rule Hereford’s joints like to break is: what meal this is that you’re eating right now.

Dinner sandwiches, afternoon pasta bowls, whirled peas on toast after you roll about of bed.

On a recent visit, on a mellow mid–Mardi Gras morning, the airy new room was in full unassuming swing. Off-menu PB&J king cake slices and fists of monkey bread were on the counter, in case the menu (labneh with “everything bagel crunchy stuff ”; a middle-school bagel bite tray rebuilt with slow-cooked tomato cream cheese and fennel seeds; a soon-to-be-stunning yogurt and granola bowl, slick with carrot marmalade) somehow didn’t make you want to order everything already.

We merrily added the pastries. Stevie Nicks wafted through, a shelf of Smurfs lunchboxes sat across from framed Newport ads full of athletic menthol smokers looking Alive with Pleasure! (Hereford is an archivist of 1990s glory.) A leaf blower played hand dryer in the bathroom, where wall art subtly celebrated O F F B E AT J A Z Z F E S T B I B L E 2 0 1 9

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Turkey and the Wolf ’s most infamously not-useful Yelp review (2 stars, from someone who’d only seen it from the bus).

The winning food that arrived—on cafeteria tables, of course—let you think as hard as you wanted. Up for mulling deeply what makes this collard greens and grits bowl delicious? Something about the deft way the crunchy peanuts, the sharp lime, the slow-burn macha all worked into that rich grits/greens/eggs trio. Want to close your eyes and space out on the Grand Slam McMuffin sandwich with the sage pork patties and the little American flag? That, too.

The thought occurred, as Nicks wafted: If Turkey and the Wolf is Hereford’s Rumours, Molly’s Rise and Shine is his Tusk, a vibey pleasure palace that manages to seem both more playful and more adult. You wished you’d had too many at the Saint just so the place could help you feel better.

And it will. In an age in which “upscale comfort food” is hopefully aging out, Hereford is making a delightful opposite: downplayed fine food, which takes seriously the joys of McDonald’s, Doritos, soft serve, and reconstructs them as if the chef

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wished he had crap ingredients available but had to settle for the best. Here “upscale” as a notion is nothing to be proud of—actually it’s a little embarrassing. Molly’s dreams up an ambitious deviled egg tostada, then rather than boasting about it, shrugs off its ambition as “cotija whipped egg mousse stuff.”

While we were eating, Hereford arrived (in a ’90s-era Chicago Bulls sweatshirt) and opened his laptop in the kitchen. Moments later, a cheer from the staff; then, applause from the whole restaurant.

Hereford had just found out he’d been nominated for a James Beard award for Best Chef: South, and what wasn’t there to be happy about? And what isn’t there, these days, if you want low-key great food at odd times in the Lower Garden District? There is Turkey and the Wolf. There is Stein’s Deli. There is Molly’s Rise and Shine. At the last of these—not the second—there is the “Dan Stein Breakfast,” a bagel situation tricked out with advanced deli meats. There is reason to cheer. O Molly’s Rise and Shine, 2368 Magazine St., New Orleans. (504) 302-1896. Open 8 a.m.–3 p.m.

Wed–Mon; closed Tuesdays. mollysriseandshine.com.

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reviews CDs reviewed are available now at Louisiana Music Factory 421 Frenchmen Street in the Marigny 504-586-1094 or LouisianaMusicFactory.com

A Little Love Goes a Long Way

Quiana Lynell A Little Love (Concord Jazz)

A Little Love represents vocalist Quiana Lynell’s muchanticipated recording debut.

The Texas-born, New Orleans transplant has been teasing audiences with her remarkable talents for some time now, particularly at her regular appearances at jazz clubs and festivals in her new hometown.

As the winner of the 2017 Sarah Vaughan International Voice Contest, which landed her the opportunity to record on the prestigious Concord Jazz label, Lynell has also sparked continued interest beyond the Big Easy.

Here, Lynell turns to a variety of composers both contemporary and legendary, to aid in express her musical interests, stylistic capabilities, and remarkable vocal range. A Little Love begins with the lyrically philosophical and effortlessly delivered “We Are,” which

also touches on her gospel background. At the album’s end, she goes to church on “Sing Out, March On,” a song that also speaks of her classical voice training, and her passion for sending messages through song.

Romance swirls through much of the album, a vibe enforced by her band, which features the brilliant pianist Cyrus Chestnut, bassist George DeLancey, guitarist Ed Cherry, and New Orleans drummer Jamison Ross, plus guest vibraphonist and keyboardist Monty Croft on several tunes.

These songs of love come from the pens of giants of the genre. George and Ira Gershwin’s “They All Laughed” is performed in the standard format, with a slowly-offered verse introducing the swing element, which includes Ross stepping up to the mic for a duo with Lynell.

The vocalist gives New Orleans a bow by covering Irma Thomas’ “Hip Shakin’ Mama.”

A highlight of the release is Donny Hathaway and Leroy Ragovoy’s memorable “Tryin’ Times,” a song that was a hit for Hathaway, as well as for singer Roberta Flack. The song suits Lynell well in its hip, socially conscious lyrics and groove.

It shows an edgier side of the vocalist, which allows her to express the album’s theme that

A Little Love, in whatever form, can go a long way.

—Geraldine Wyckoff

Tom McDermott Tom McDermott Meets Scott Joplin (Arbors Records)

In the early 1970s, ragtime jazz was considered about as cool as Mantovani. Marvin Hamlisch, whose interpretation of Scott Joplin’s “The Entertainer” reached number one on the Billboard charts, was Lisa Loopner’s (Gilda Radner) favorite artist in the Saturday Night Live sketch “The Nerds.”

But ragtime was far more than just a Neanderthal music waiting for the missing link that would turn it into the homo sapiens of jazz; we just didn’t know much about it because none of it was recorded in the time that it was written, and the sheet music offered no insight into what might have been happening to those rags when

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the real-life fingers of ragtime’s fierce competitors engaged in night-long cutting contests in the latter years of the 19th century. It took visionaries to see past the formal limitations of notation, and animate this music in a more dynamic sense.

St. Louis native Tom McDermott was hard wired to the ragtime culture that flourished in his hometown, and mastered the nuances of the form before the lure of James Booker brought him downriver to New Orleans for good. McDermott’s deconstruction of pan-African music forms led him to see similarities between rags and Brazilian choros, and his work

has been rife with instructive comparisons between the two that suggest how much more vital ragtime must have been than the nostalgia music it was once considered . McDermott is not alone in these pursuits, of course, but he has shown a singular ability to animate this music in a contemporary context while remaining true to its foundations. We’ve seen examples of this on previous albums, but Tom McDermott Meets Scott Joplin is his first full recording to really dive into ragtime, and it’s a bit of a revelation.

The record is a love song to Joplin that mixes right-offthe-page renditions of Joplin

classics with McDermott’s own interpretations and variations on other pieces. The opening piece, “Easy Winners,” as well as “Gladiolus Rag,” “Magnetic Rag,” and “Fig Leaf Rag,” all offer a look at the bright melodies and verse-to-verse progressions of Joplin’s written work. The internal rhythm, McDermott points out, owes much to Cuban habaneros, which were first published in 1805.

But McDermott takes it further. He closes the album with three songs from his 2004 release Choro do Norte—“Swipesy Cakewalk,” “Heliotrope Bouquet,” and “The Chrysanthemum,” a spectacular piece with a New

Accordion Pumping Dwayne Dopsie & the Zydeco Hellraisers Bon Ton

(Louisiana Red Hot Records)

Dwayne Dopsie gets right to it with his accordion pumpin’ on his original, “Andree Jones,” the opener of Bon Ton. The tune has all the zydeco essentials, including hilarious lyrics delivered with a sense of fun by the powerful leader of the Zydeco Hellraisers.

The son of the late, great Alton “Rockin’ Dopsie” Rubin, Dwayne keeps tradition close to his heart and in the music. He sings “Hey La Ba” in Creole French, while his solo accordion blasts demonstrate his hip take on the tradition. The instrumental number, “Louisiana Morning,” reflects back on a time when an accordionist and a rubboard player would often play an entire tune as a duo—think Clifton Chenier and his brother Cleveland, or Rockin’ Dopsie and his longtime rubboard

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man Chester Zeno. Here, Dwayne and his rubboard player, Paul Lafleur, give it their all, and that’s a lot.

Dwayne loves the blues— another influence he absorbed from his father. He performs a beautiful blues on his selfpenned song, “Such a Good Man.” The song sways with sadness and sentiment, all made complete with a soulful saxophone solo. The accordionist really squeezes the teardrops out of the instrument.

He later takes the album out with a similar bluesy texture on “Was My Girl,” bringing a raspy edginess to his voice that’s gives it a down home feel. He makes the painful past real.

Bon Ton lives up to its title, which promises a good time. The always-energetic Dwayne Dopsie delivers the goods with his stunning, one-of-akind, modernly intricate accordion workouts, while also remembering zydeco’s blues roots, and the genre’s downhome, party attitude.

—Geraldine Wyckoff

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Orleans-Brazilian band featuring Evan Christopher on clarinet, Rick Trolsen on trombone, Segio Krakowski on pandeiro, Henry Lentino on bandolin and Ciao Marcio on guitar. On “Rosebud March,” McDermott’s predilection for James Booker improvisations shows itself in his left hand. “The Entertainer” is similarly Bookerized. Jelly Roll Morton’s take on ragtime is evident on McDermott’s versions of “The Strenuous Life,” and “Searchlight Rag.” The crowning moment of this record comes when McDermott lets it all hang out, by bringing his improvisational wit and technique to bear on Joplin’s most famous composition, “Maple Leaf Rag,” a joyous

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romp that makes Joplin sound as contemporary as a sunny afternoon.

—John Swenson

Woodenhead Live at Chickie Wah Wah (Independent)

Could it be that Woodenhead has finally made

its commercial album? Not that the band has changed its style or anything; the group maintains its virtuosity, and time signatures fly in all directions. But the material on this live CD—their first collection of new songs in 15 years—ranks with the most accessible, and even most fun, of the band’s four-decade career.

The songs, which all land within the five-minute range, are as concise as it gets for a prog-fusion band. And though you usually can’t hear the live audience, you can feel the immediacy: “Bubblehead” and “Strut No. 1” both show how aggressive the 43-year-old band can get, both opening with barrages of heavy riffage.

The latter song also includes

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a fiery guitar/drum duel between Jimmy Robinson and Mark Whitaker. As usual, Robinson provides many of the thrills here. One of his subtler moments, the opening statement on “New Jinah,” is an understated beauty. This same track builds to a climactic middle solo, framed by Fran Comiskey’s stately organ chords.

But everybody gets a chance to shine: Comiskey with a Soft Machine-styled organ solo on “La Bete” and some ethereal strong synth on “B7,” bassist Paul Clement with some lovely fretless playing on the Brazilian-

styled “Mosaico.” The tune “Dance No. 1” calls on all four members to keep the energy churning and building. You can indeed dance to it, providing you’ve got three feet and great coordination. There’s also the nice moment at the end where Robinson tells the crowd they’re free to yell “Free Bird.”

Somebody, of course, does.

—Brett Milano

Soul Brass Band Levels (Independent)

Philosophical musings are nothing new in brass band

music, and the debut album from the Soul Brass Band is no exception. What sets the record apart from many of its contemporaries and antecedents is the addition of numerous guest vocalists and rappers amid killer production from Galactic’s Ben Ellman, and co-producer and bandleader/ drummer Derrick Freeman.

Ivan Neville sings lead on the first cut, “Open Your Eyes.” Written by saxophonist James R. Martin, Freeman and local singer/songwriter Jamie Bernstein, the tune has a jaunty, circus-like feeling with

Sex-Positive Grandma Cabaret Valerie Sassyfrass Blast Off! A Cosmic Cabaret (Independent)

We’ve seen this before: A talented musician toils in obscurity for lo these many years, until suddenly, almost accidentally, she trips over her formula for success. But in just that moment, when all the dreams are coming true, scandal erupts—and our musician needs to mature, fast, before her 15 minutes are up.

Yes, Valerie Sassyfrass was singled out on “Ellen” for doing her butt dance at a children’s parade. But even though this may not be “A Star is Born,” matured Sassy has: her second album is cohesive, coherent, and more importantly, as fun as the first one. These ten songs are not performance art, not stage directions, not novelties. You don’t have to enjoy her ironically anymore.

Loosely centered on a space theme, Sassyfrass takes her sex-positive Grandma cabaret bit to the stars as a goodwill ambassador of sorts, doing gigs on Mars, dating in the Sea of Tranquility (dinner was solar flares and Halley’s

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Comet wine, if you must know), stopping off at Roswell, hanging out with a T. Rex for some reason and ending up as a cocktail waitress. As you do. Yes, anyone can write a song called “Women Are From Venus, Men Are From Mars,” but would you stick a cha-cha-cha in between the two phrases? You would

not.

Half the songs echo the retro-futuristic sound of early ’80s synth-pop (A Flock of Seagulls, ELO’s classic album Time) mixed in with arcade noises. (This makes Sassyfras’s deadpan raps sound like Laurie Anderson, I shit you not). The rest of her tunes here are sort of cosmic country, which makes sense if you know she cut her teeth on C&W as part of a duo with her late husband.

There’s even a bygod instrumental that works with the rest of the album, and a streamlined version of “Space Oddity” that doesn’t lose any of the originals’ majesty. Buy this record now if you can’t make it to one of Sassyfrass’s overthe-top live shows, and help support the city’s stranger side.

—Robert Fontenot

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great lines such as, “Stand tall, respect your elders, ’cause it’s what you will become.” The tune goes on to name check the skeletons, those early Carnival morning harbingers of doom, and cautions, “you better check your head or

Sam Price & the True Believers Dragonfly

that the details seem negligible. The title track is the real standout, however, a mixture of light Afrobeat percussion and acoustic Delta blues that really makes you feel like you’re lying in the tall grass. Lazy summer mornings will soon be upon us again, and this warm embrace of a record might be your perfect backdrop.

—Robert Fontenot

(Independent)

you’ll be next.”

The Soul Brass Band has an interesting history. Initially created by Freeman as a fictitious brass band for a CeeLo Green video shoot, the group morphed into a real band, playing mostly cover songs. Levels is an all-original recording (save a great cover of “Ease on Down the Road,” featuring soul songstress Erica Falls, and an instrumental tune by local trumpeter Leroy Jones) that has depth, passion and yes, soul in abundance.

The group features some of the best musicians in the city, too many to name in a short review, but it is more than sufficient to say that the band’s new album features great ensemble work and strong soloing across the board. The Soul Brass Band has gelled into a solid unit with songs that will keep you coming back for another listen, and another, and another.

—Jay Mazza

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Roots-rocker Sam Price leads his outfit into its first full album a little less eager to make you dance. Still, Sam’s True Believers prove plenty capable of moving feet with this record’s opening track, “Nothing But Love,” and the Meters homage “Stand Up.” Otherwise, this is less of a playlist for Saturday night than it is for Sunday morning. It allows the group to indulge not just in their mellow side, but also to stretch out in the sun and show what the band is really capable of, stylistically. Keyboardist Phil Breen provides plenty of local flavor—using what sounds like a Wurlitzer electric piano to play brilliant Fess licks—and Sam’s voice comes off as comforting, and as welcoming as a coffee commercial.

Lyrically, the True Believers are a little more standoffish, though. “Old Jim Crow” moves so well that it succeeds despite itself: It offers up no insights on racism’s recent rebound, but it certainly feels like a hex to ward it off. Likewise, “God’s Song” indicates our Fall From Paradise, even as “I’ll Meet You There” indicates our return. Still, it’s got such a cozy country-soul glow

Herlin Riley Perpetual Optimism (Mack Avenue)

Those who have seen drummer Herlin Riley play know just how suitable the title of his latest release, Perpetual Optimism, really is. Riley often bounds onto a stage with big smile for all. This sense of the joy can also be immediately realized on the album’s first cut, “Rush Hour,” one of five Riley originals. Hand clapping accentuates the spirit of the tune, as does its bright melody. Fine horn arrangements and solos swapped between trumpeter Bruce Harris and Godwin Louis, highlight the song, with the rhythm section suggesting multiple textural tempos.

Next, Riley selects another rapid-paced original number, “Borders Without Lines,” by

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Victor Goines, a fellow New Orleanian and longtime bandmate in the Lincoln Center Orchestra. Cohn’s fingers fly over the piano keys, and he, bassist Russell Hall, and Riley, all take some stunning solo bars for themselves. Despite the high-flying pace, these guys land with perfect precision.

A certain whimsy permeates the Latin-tinged song, “Wings and Roots,” to which everybody adds their own personal touches. As always, Riley uses all the resources of his drum set for tonal variations.

The album closes with “Twelve’s It,” with Riley doin’ a little rap to explain the song’s origins: “A great musician who taught a whole lot of fellas. He wrote this tune, his name is Ellis Marsalis.”

Perpetual Optimism sonically projects Riley’s love of jazz music, and the music’s richness when shared with like-minded musicians and listeners.

—Geraldine Wyckoff

Marc Stone Live at Tipitina’s (Independent)

Stripping his sound down to the basics—his voice, his guitar and his trusty slide—Marc Stone’s latest release, which was recorded at Tipitina’s back in

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May 2018, is a strong statement and a timely testimonial to the blues. Featuring an older tune from his first album, a few choice covers, and one of his most recent original songs, Stone presents the album as if you were hanging on his front porch with a bottle of whiskey by your side.

Best known as a versatile blues guitarist and an erudite programmer on WWOZ, Stone is not as well known for his remarkably emotive singing voice.

That should change with this record. From the opening cut, an up-tempo, foot-stomping version of Bob Dylan’s “It Takes a Lot To Laugh, It Takes a Train to Cry,” he fully inhabits every song.

When the album closes (after a heartfelt tribute to OffBeat writer John Swenson) with Stone’s latest single, “Digitized,” the listener has been through a journey into the soul of a stellar performer who has matured right before our eyes.

In the middle of the album is a cut, “Pimpin’ Green,” which showcases Stone’s deft touch on the slide guitar. As he tells the story of a road trip to Muscle Shoals, Alabama, you can feel the wheels of the car gliding along, as well as the longing in the heart of the protagonist.

Live albums belong to a special breed. Unbeknownst to the average listener, many of our favorites feature parts that were re-recorded or overdubbed on the down low. On this effort, however, you get the real deal, complete with vocal asides and audience shout outs, all of which were expertly mixed and mastered by Matt Troja. Pick this record up now.

—Jay Mazza

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Branford Marsalis Quartet The Secret Between the Shadow and the Soul (Okeh/Sony Masterworks)

The Secret Between the Shadow and the Soul opens with a sense of playfulness and a lyrical yet chaotic atmosphere, on “Dance of the Evil Toys,” a tune written by the Branford Marsalis Quartet’s bassist Eric Revis. It’s easy to envision that it’s Marsalis and his tenor saxophone , which have initially escaped from the toy chest, along with the rest of his talented band .

The quietude of pianist Joey Calderazzo’s “Conversations Among the Ruins” follows, providing an unexpected yet lovely contrast, provided

by Calderazzo’s delicately thoughtful touch. The song pairs well tonally and emotionally with the warmth of Marsalis’ soprano sax.

Marsalis takes pen in hand for “Life Filtering from the Water Flowers,” which finds the saxophonist calling out for the others to gather. At first they softly appear, and become increasingly invigorated, until finally Marsalis just stands up and blows—yeah! Now it’s time to dance and spin with the splash of drummer Justin Faulkner’s cymbals.

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For some plain fun, the quartet covers pianist Keith Jarrett’s lively “The Windup.” It’s a good choice for this group that knows how to swing, and how to enjoy. Calderazzo and Faulkner respectively throw in some classic New Orleans style piano licks and back-beating drums, both of which offer a new perspective on the tune.

As for Marsalis, he gets in some funky honkin’.

The Branford Marsalis Quartet’s The Secret Between the Shadow and the Soul is a superb album that stands proudly alongside the saxophonist’s last killer studio release, Four MFs Playin’ Tunes.

—Geraldine Wyckoff

Noah Young Splinter

(Bubble Bath Records)

Modern NOLA jazz bands often come in one of three flavors: your studious post-bop types, who approach the music purely from a technical perspective (lots of solo

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spotlights), the acid-jazz freaks, who like to pin things down with a heavy funk beat and then incorporate a lot of the city’s other musical traditions on top, and the possessed fusion types, who just let loose and fly off into the atmosphere, eight sets of hands and three sets of lips operating as one.

Noah Young (who also holds down the bottom end of celebrated jazz-funk whatevers Naughty Professor), now fronts a combo that moves in all three directions at once, the music conducted in almost orchestral fashion by Young himself. He’s the least flashy musician here, but when the whirlwind stops and resets itself (which is often),

his rubbery tone is always the element leading the others back out.

If you’ve heard the band’s debut Start the Reactor, you know how it operates: Walter Lundy’s almost martial fusillades storm in and begin bending everything into impossible angles, while Sam Kuslan gets cosmic with his synths, and his soloists experiment with color washes.

The horn section is a little fuller and more polished this time out.

The two tenors and trumpet that used to sound a little stuffy, now sound balanced, glowing, and all of a piece. The appropriately named title track feels like getting caught in a math-jazz tornado of time signatures, until your feet hit the ground and a pure funk workout walks you out. It’s an approach the band takes a lot, pitting chaos against the familiar.

There’s also less of a direct R&B worship going on this time out. “Six Million Ways to Die” has an Blaxploitation soundtrack feel, and it’s hard not to dance to “Testify” if you’re contortionist enough, but “Exploding Heads” is

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the literal epic; when was the last time you heard studio echo used as a jazz instrument? This party goes on in your head and feet at the same time. Try to keep your balance.

—Robert Fontenot

Junior Dugas Your Love Captured Me (Jin Records)

Veteran swamp pop sideman Junior Dugas recorded these dozen tracks

as something intended only for friends and family. That is, until swamp pop legends Tommy McLain, Warren Storm

and Johnnie Allan urged him to put it out. His unexpected debut reveals a deep affinity for classic swamp pop, with bouncy beats and rolling horns, while breathing new life into such chestnuts as Guitar Gable’s “Irene” and Tommy McLain’s “I’ll Change My Style.”

And speaking of McLain, he certainly has a presence here.

Not only did Dugas thump the bass for McLain for a spell, he also pays homage to him with “Tribute to Tommy

Gros / Yamagishi Magic Funk on Da Table Live at Tipitina’s (Coastline)

June Yamagishi is the most celebrated electric guitarist in Japanese music history.

His move to New Orleans in search of a higher level of musical enlightenment was something like British guitarist Eric Clapton’s decision, at the high point of his popularity with the supergroups Cream and Blind Faith, to become a sideman in the American blues and R&B band of Delaney and Bonnie. Yamagishi played with the Wild Magnolias before forming a New Orleans supergroup with John Gros on keyboards, called Papa Grows Funk, and when PGF returned to Japan, Yamagishi and the band were treated like royalty.

So it is that the Japanese label Coastline has issued a live record of Gros and Yamagishi in a new band, recorded live in New Orleans at Tipitina’s, several years after PGF disbanded (although the band still reunites for an occasional show, like this year’s May 6 reunion concert). Gros and Yamagishi’s fiery and funkified interaction is in its full glory on this set, with bassist KenKen and drummer Nikki Glaspie pouring jet fuel on the conflagration.

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Gros and Yamagishi are in top form on the electrifying opener “Pass it!,” one of PGF’s signature tunes from the 2007 album Live at the Leaf, here played at breakneck speed.

The band slows down the groove for the funky R&B of Billy Preston’s “All That I’ve Got,” featuring Gros singing in a nasty baritone. Yamagishi contributes a beautifully composed solo. Gros then lets up on the gas for “Cocaine and Chicken Fricassee,” the most PGF-like track from Gros’s most recent solo album, River’s on Fire. A terrific cover of the Gros favorite “Come Together” is then followed by Titus Turner’s “All Around the World.”

The Tipitina’s set ends with an apocalyptic medley of Meters funk and Led Zeppelin hard rock, moving from Leo Nocentelli’s “The Hype and the Hoopla,” through “Good Times Bad Times,” and the Meters’ “Funky Miracle.”

The record adds a little lagniappe from a live set at Tokyo’s Club Quattro, a showcase for June’s gorgeous invocation of the Mardi Gras Indian tradition, “June’s Spirit,” which breaks into the Meters’ “Ain’t No Use.” The Gros/Yamagishi magic is a classic New Orleans sound that’s always welcome in any context.

—John Swenson

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McLain,” an original that strings together lyrics from 27 of his songs. Dugas goes further by being the first to record McLain’s “We Have a Party Here,” which previously was only a live show staple.

For a debut record, Dugas sure comes up with some dandies, like spinning the crossover standard “Release Me” with a jitterbug tempo.

Gene Autry’s WWII hit “At Mail Call Today” is given royal swamp pop treatment.

There’s even a song attributed to Aldus Roger, “Be Careful You’re Breaking My Heart,” which fuses trad dancehall Cajun with swamp pop keyboards.

Of Dugas’ three originals, the title track is indeed the deepest—a sincere profession of love that conceivably could become a regional wedding day staple. With this, the horse has been let out of the barn and it’ll be interesting to see where it trots next.

—Dan Willging

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Christian Scott ATunde Adjuah Ancestral Recall (Stretch Music)

Trumpeter Christian Scott aTunde Adjuah is the purveyor of a style he calls “stretch music,” which, as the name implies, allows for flexibility in all aspects of musical creation.

Ancestral Recall marries the music of the past, present and future, particularly as it relates to jazz.

The album’s African roots are primarily remembered through rhythm and a generous array of traditional drums.

Scott’s trumpet, the flute of his long-time associate Elena

Pinderhughes, and other “modern” instruments including bass, piano, sax and a drum set, seem to represent today.

Meanwhile, a ton of electronic devices, many of which are manned by Scott, take the sound to newer places The album opener, “Her Arrival,” begins with drumming and a cacophony of extraneous voices as, apparently, people start to gather. It is Scott’s heralding trumpet that sends out the invitation to celebration.

The event continues on the next cut, “I Own the Night,” with vocalist and spoken-word artist Saul Williams in the center of the imagined circle.

It’s odd, though somehow refreshing, to hear a drum playing the march rhythm that introduces “Overcomer.” Scott’s soulful horn, which often boasts both a triumphant and mournful tone, rings out from above what sounds like an African choir singing and chanting. The song is a beauty, as is the next cut, the quiet, love-filled ballad,

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“Songs She Never Heard,” that features alto saxophonist Logan Richardson. Its quietude offers the opportunity to hear the fine piano of Lawrence Fields.

Credit goes to the many talented drummers who set the rhythm and atmosphere of the album, including New Orleans’ Joe Dyson and Weedie Braimah plus Corey Fonville, who’s deeply associated with this city.

Scott’s Ancestral Recall, which is filled with his original compositions, challenges listeners to accept his sometimes thoughtprovoking, often moving and occasionally perplexing visions.

No one ever said Christian Scott aTunde Adjuah was easy.

—Geraldine Wyckoff

Alexey Marti Mundo (Independent)

Cuban-born New Orleans resident Alexey Marti delivers a wonderfully comprehensive album of Latin flavors that moves seamlessly through a range of rhythms and moods.

Remarkably, the talented percussionist stands as the creator of all of the material heard on Mundo, a feat that displays his breadth of understanding about the nuances that tie the music

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together, while also maintaining its individual qualities. Marti brings his adopted country and city into the mix as well, while demonstrating his jazz sensibilities.

“Ya la fiesta Comenzo” welcomes listeners to the disc with its uplifting, danceable beat, the fine flute of guest Jose Valentino, and dazzling piano of Oscar Rossignoli—all three musicians are driven by Marti’s exciting congas. The core band members heard here and throughout the program, all hail from New Orleans and include Rossignoli, drummer Julian Addison, bassist Pat Casey, saxophonist Brent Rose, plus Brazilian percussionists Curtis and Bomani Pierre. An array of contributors augments the sound with horns, a guitar, and percussion.

Each cut holds its own in representing an ever-varying display of styles and specific approaches to rhythm and melody. That’s accomplished first by Marti’s exquisite writing, and the talented musicians who accomplish his visions, whether those visions are celebratory or romantic.

The beauty of the melancholy ballad “I Miss You,” performed by the combo, remains comfortably set next to the friendly, softly rhythmic “Good Night,” and are also not too distant from the bright, trumpet-infused salsa of “Salt and Pepper,” with guest bassist John Benitez. Everything seems so at home here, including the lovely flamenco guitar of Maurizio Delrio on the title cut.

Mundo is a totally satisfying album that can be thoroughly

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enjoyed over and over.

—Geraldine Wyckoff

One South Lark Japanese Soda / Excuses (Independent)

The ghost of the Smiths, or rather whatever’s left of Morrissey’s muse at this point, haunts this single from last summer: Track one has the punky energy of the Vapors’ “Turning Japanese,” but lead singer Robert Freeman is having none of it, moping at the pool party in a perfect replication of the Moz’ claustrophobic social awkwardness.

Track two isn’t much brighter emotionally: It’s slower (and still owes a heavy generic debt to the ’80s), yet Freeman is still numb to the summer fun.

The anomie is perfect and catchy, so if you’re feeling like a nerd in a John Hughes movie next summer, you can always program these two for the beach.

—Robert Fontenot

Alex Chilton From Memphis to New Orleans (Bar None)

Celebrity history is filled with people who are victims of their own success. Rock OFFBEAT. COM

and roll history has produced a curious corollary: musicians who fall victim to their own legends. Alex Chilton is the king of this ruined landscape, a talented kid who shot to fame on the back of hit singles with the Box Tops in the 1960s, and was later lionized by several generations of taste-making rock poobahs for his work with Big Star, one of the great crash-and-burn flameouts of the power-pop genre. The tale of Chilton’s fall into addiction and dysfunction mirrors that of countless other celebrity heroes brought down by the slings and arrows of their “admirers,” but the part of the story fewer people know about is how Chilton made himself whole again by moving to New Orleans to lose his ambition and find himself in a place where people made music for their neighbors and themselves.

Chilton’s talent was never in question. It was he who questioned the negative

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vectors of the music industry and the star system, a contradiction obviously built into the cynical name Big Star itself. Chilton wanted to be free of these shackles and play the music he wanted to play, and while it didn’t have the power-pop snazziness of the Big Star sound, his solo projects went deep. The great Hoboken label Bar None Records had released two albums that show this other side of Chilton. One, Songs from Robin Hood Lane, shows his roots in jazz and the Great American Songbook, stretching back to his childhood fascination with trumpeter/vocalist

Chet Baker.

But it’s the other disc, From Memphis to New Orleans that shows where Chilton was headed later in life. These 1980s recordings, made with several bands over numerous sessions, include his New Orleans-based rhythm section of Rene Coman on bass and Doug Garrison on drums.

With a solid roots groove behind him, Chilton plumbs his soul music depths on the Isaac Hayes/David Porter classic “B-A-B-Y,” the Dan Penn/Bobby Emmons chestnut “Nobody’s Fool,” and Willie T’s “Thank You John.” Chilton’s own compositions during this time offer a matter-of-fact view of his circumstances, telling stories like “Lost My Job,” “No Sex,” and “Underclass.” It’s great music by a truly eccentric figure that has not escaped critical notice but has been deeply misunderstood over the years. He was one of those musicians who understood what New

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Orleans could offer you when every other avenue had been exhausted.

—John Swenson

The HooDoo Loungers Head & Heart & Hips (Independent)

With their latest release, Head & Heart & Hips, East Coast–based the HooDoo Loungers effectively combine many of the musical styles that grace the local clubs (and streets) of New Orleans.

Whether it’s gospel, traditional jazz, brass band–infused funk, or straight-up rhythm and blues, you’ll find it on Head & Heart & Hips.

The Hoodoo Loungers waste no time as the gospelinfused rocker “Down, Down, Down” gets things started in a lively Blues Brothers fashion.

Michael Schiano’s dreamlike guitar tone kicks off “Louisiana Lullaby” and he is tastefully joined by muted trumpet and piano (David Deitch) which sits in sharp contrast to the no-holds-barred opening track.

What is consistent, however, is the killer horn work. Actually, the entire record is filled with great horn work from John Brierly, Gary Henderson and Mike Rubenstein (trumpet);

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Bob Hovey and Ed Leone (trombone); Brian Sears and Stefan Zeniuk (sax, clarinet); and Morris Goldberg (clarinet and penny whistle). With a slamming horn section like that it is hard not to have a swinging time.

“Glutton for Punishment” features humorous lyrics describing the work week and it is clear that the Hoodoo Loungers obviously enjoy what they do. “Pallet on the Floor” starts with just Dawnette Darden (vocals) and guest Tom McDermott (piano) before getting the full band treatment that just oozes with the sound, texture and feel of Preservation Hall. Joe Lauro’s bass playing is impeccable and allows just the right amount of space for some cascading clarinet leads. Yeah, this is downright beautiful.

Just when you think you might have this record figured out, the HooDoo Loungers unleash “The Silliest Man.” If Disney’s The Little Mermaid had been set during Mardi Gras under Lake Pontchartrain, this would undoubtedly have been the theme song.

“Down in New Orleans” is up next and is highlighted by Dave Giacone’s understated drumming and Lauro’s elastic bass lines. The swaggering yet mellow funky groove will induce toe tapping and head bopping.

Surely to make your next Halloween playlist is “Runnin’ from the Loup Garou.”

The imagery conjured with background howls and lyrics describing the mythical creature “prancing all around

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like Mick and Keith” fits perfectly with the intro that brings to mind ol’ Morgus the Magnificent.

No matter whether music typically moves your head or heart or hips (or any combination thereof) you will find it here. All in all the HooDoo Loungers have captured the spirit of New Orleans and infused it with their own sensibilities, resulting in a thoroughly enjoyable listen.

—Christopher Weddle

Various Artists Cover Me: The Eddie Hinton Songbook

(Ace)

In reissuing the crème de la crème from Eddie Hinton’s catalog, Ace has again mined the Muscle Shoals music catalogue. A talented songwriter, producer and guitarist, the late Hinton might not be as acclaimed as others in his peer group such as Dan Penn and Sooner Oldham, but he accounted for several classics. The number of big-name artists included in this collection—Aretha Franklin, The Box Tops, LuLu, Percy Sledge, Mink Deville and Cher, among others—proves how well respected he was as OFFBEAT. COM

a songwriter.

Interestingly, while the 1971 title track “Cover Me” sung

by Jackie Moore is epic, it pales in comparison to Percy Sledge’s intoxicating hit version.

(I once got in a Budweiserfueled debate with my buddy ‘The Nuge’ about which was the greatest soul song ever.

After the second round, we both came to the conclusion that “Cover Me” just might be that song.) Another song Hinton targeted for Sledge was the telling “It’s All Wrong But It’s Alright.” Again Sledge’s hit version is passed over in a trade-off with Hinton’s tearinducing original demo.

Adept at writing material from a woman’s perspective, Candi Staton’s “Sure As Sin”

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especially stands out. Granted, Staton has never made a bad record—even her disco LPs were appealing—but she was especially adept at handling material dealing with infidelity.

The funky soulfulness of 1974’s “Every Natural Thing” was the perfect vehicle for Aretha.

Hard to believe Atlantic never released this as a single.

A Hinton composition which did get released on a single was the sultry “Breakfast in Bed,” voiced by the UK’s Dusty Springfield—Jerry Wexler thought the song would be a good fit for Springfield when she came to Memphis to record.

On a somewhat local note, one-time Quarter resident Willy Deville recorded “Help

Me Make It,” which appeared on the acclaimed 1981 LP Coupe De Grace. Other Hinton compositions especially worth mention are Oscar Toney Jr.’s version of “Down In Texas,” “Where’s Eddie” by LuLu, “300 Pounds of Hongry” by Tony Joe White, “Satisfaction Guaranteed” by Judy White and “Seventeen Year Old Girl” “Too old to spank, too young to be the milkman’s wife” by Mickey Buckins.

This is a superior collection that was well thought out with a wonderful informative presentation. Even listeners with a passing interest in classic soul will dig Cover Me a fitting tribute to a brilliant, yet underrated songwriter.

—Jeff Hannusch

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Music 24-7

The 24-Hour Jazz Fest Challenge

S

by Brett Milano prefer to take a rest, is also one that offers plenty of musical opportunities. So, we’re going to start bright and early, and see how long we can keep it up. And we suggest you start this challenge with a large group of various runnin’ partners, since some are bound to stay at one location for much of the duration.

11 a.m.: We’ve allowed you time to stock up with a good brunch, but this is traditionally when Illustration by L. Steve Williams

o you’re in town for Jazz Fest and want to spend every waking moment seeing live music? Hell, that’s easy. What we’re offering here is a timetable for the truly intrepid, those who prefer not to sleep at all. Is it possible to go 24/7, and literally rock around the clock?

The day we’ve picked for our 24-hour challenge is the Wednesday between Fest weekends—the day when some Fest-goers

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Music 24-7

the stage starts heating up at the Louisiana Music Factory. The Frenchmen Street store’s schedule was not available as of this writing (see their ad elsewhere in this issue), but all three days between Fest weekends are full of hourly performances by recognizable local names; and they’ll all have new CD’s to promote, since they do this gig for free. It’s no crime to plant yourself here until the evening, with intermittent jaunts over to your favorite Frenchman spot for libations.

Speaking of Frenchmen, the music also gets going there at around 12 p.m. Or you can take a side trip into the Marigny to see Raphael Bas, the singer, guitarist, and harmonica player (and leader of the currently-dormant band Harmonouche) holds court. His fluid acoustic playing is a perfect tonic for this time of day, and Bacchanal’s rustic courtyard may be the most relaxing place you’ll find yourself all day.

Some of this week’s offerings are mighty ambitious, and one starts at 1 p.m., when the music begins at NOLA Brewing’s Cosmic Crawfish Ball. They’ve got a full lineup that begins with Billy Iuso—the roots-rocking guitarist/ songwriter who’s been on fire for quite a few years now—and winds up long after sunset with DMD, a jam band with Daru Jones of Jack White’s band, Doug Wimbush of Living Colour, and lots of other heavy hitters. Like many of the jam bands that form at this time of year, DMD can be counted on to stretch out at length.

Yet another mini-festival opens at 3 p.m., at the Central City BBQ. Their “NOLA Crawfish Festival” has a mighty lineup including Samantha Fish and Anders Osborne. Plus you’ve got the double whammy of crawfish boil plus BBQ joint, meaning your food intake for the next 24 hours will be well taken care of.

Once you get into the mid-afternoon, you don’t have to work too hard to catch some local headliners. Blues wailer Johnny Sansone starts up at SideBar at 3 p.m., and Davis Rogan, a.k.a.

DJ Davis, a sharp and witty songwriter, plays Starlight at 5 p.m. Or go back to Frenchmen and plop yourself at d.b.a., where the Tin Men (Alex McMurray, Washboard Chaz and Matt Perrine) play one of their always hot sets at 4 p.m., before the Iguanas rock the house starting at seven. In between those sets, you can run over to Bamboula’s, where world-class bluesman Mem Shannon holds court starting at 6 p.m.

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Meanwhile, doors open around 7:30 p.m. at the House of Blues for Trombone Shorty’s Shortyfest, which features an all-star, brass bandcentric lineup including the Soul Rebels, New Breed, and Erica Falls, plus students from Shorty’s own music academy, and a funk/Indian collaboration between the New Orleans Suspects and the Golden Comanches. With Shorty playing his own set to conclude the show, this one should last well into the wee hours. And if you want to get away from a club situation, the terrific alt-Cajun band Sweet Crude plays at the Ogden Museum at 7 p.m. You can even get some fresh air and daylight with your music if you go see Deacon John who played on a stack of classic vinyl, at Lafayette Square.

So, now that you’ve been at this for a good 12 hours, prime time at the clubs is just about to come around. The venerable Radiators are at the Civic—that show sold out months ago though, so good luck. More accessible options include funky pianist Jon Cleary doing a lower-key solo show at Chickie Wah Wah, or the Creole String Beans, who possess an endless repertoire of buried swamp-pop treasures and similarly-styled originals, at the Rock ’n’ Bowl.

By now you’ve stretched it well into the a.m., but you’re still determined to stay out all damn night? No problem. The Honey Island Swamp Band are headlining the Rock ’n’ Bowl, and they’re always at their best when they take the opportunity to stretch out. Not only that, they’ve got an opening band (the Cris Jacobs Band), so this 12:30 a.m. show should easily last all-night. Also at the Rock ’n’ Bowl, the Bayou Gypsies—yet another jam-based supergroup, this one a trio with Terence Higgins, Tony Hall, and Roosevelt Collier—is set to start at 2 a.m., to carry you on until daylight.

Between roughly 6-10 a.m., the first band should be hitting the stage at the Seahorse Saloon, across the street from the Fair Grounds, while the rest of the city’s clubs shut down for a few hours to clean up. If you’re determined to stretch this for the full 24 hours, you best options are probably to prowl the Quarter for the first buskers that set up, or sit by the river and listen to the calliope. But since you’ve been clubbing since yesterday morning, isn’t it time to duck home for a quick shower? Nah, you’re headed straight back to the fairgrounds, where nobody’s going to care. O O F F B E AT J A Z Z F E S T B I B L E 2 0 1 9

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Express These listings are abbreviated. For complete daily listings, go to offbeat.com. These listings were verified at the time of publication, but are of course subject to change. To get your event listed, go to offbeat.com/add-new-listings or send an email to listings@offbeat.com.

AF African AM Americana BL Blues BU Bluegrass BO Bounce BB Brass Band BQ Burlesque KJ Cajun CL Classical CR Classic Rock CO Comedy CW Country CB Cover Band DN Dance DX Dixieland DB Dubstep EL Electro FO Folk FK Funk GS Gospel GY Gypsy HH Hip-Hop HS House IN Indian Classical ID Indie Rock IL Industrial IR Irish JB Jam Band SUNDAY APRIL 21 Buffa’s: Some Like It Hot (JV) 11a, Nattie Sanchez Songwriter Circle (VR) 4p, Steve Pistorius Jazz Quartet (JV) 7p Café Beignet (Musical Legends Park): Steamboat Willie Jazz Band (TJ) 10a Café Negril: Lilli Lewis (VR) 6p, Vegas Cola (JV) 10p Carousel Bar (Hotel Monteleone): Amanda Ducorbier Jazz Quartet (JV) 8:30p Circle Bar: Dick Deluxe (FO)

MJ Jazz Contemporary TJ Jazz Traditional JV Jazz Variety KR Karaoke KZ Klezmer LT Latin MG Mardi Gras Indian ME Metal RB Modern R&B PO Pop PK Punk RE Reggae RC Rockabilly RK Rock RR Roots Rock SS Singer/ Songwriter SK Ska PI Solo Piano SO Soul SW Spoken Word SP Swamp Pop SI Swing VR Variety ZY Zydeco

Kermit’s Mother-in-Law Lounge: TBC Brass Band (BB) 7p

Circle Bar: Dem Roach Boyz (RB) 7p, Hugh Morrison (FO) 9:30p

Kerry Irish Pub: Patrick Cooper (FO) 8p

d.b.a.: Robert Hunter (VR) 4:30p, John Boutte (JV) 7p, Panorama Brass Band (BB) 10p

Music Box Village: Teddy’s Twilight Serenade (VR) 7p NOLA Cantina: Geovane Santos (JV) 10a, Chance Bushman (JV) 9p Palm Court Jazz Café: Mark Braud and Sunday Night Swingsters (JV) 8p Rock ‘n’ Bowl: Amanda Shaw (KJ) 10:30a Siberia: Zoe Boekbinder, Julie Odell, Meschiya Lake (SS) 9p Snug Harbor: Clarence Johnson III Quartet (JV) 8 & 10p Spotted Cat: Jamey St. Pierre and the Honeycreepers (JV) 2p, Robin Barnes and the FiyaBirds (JV) 7p, Pat Casey and the New Sound (JV) 10p Starlight: Heidijo (RB) 5p, Gabrielle Cavassa Band (JV) 8p, Gabrielle Cavassa Jazz Jam (JV) 10p Three Muses: Raphael et Pascal (JV) 5p, the Clementines (JV) 8p

5p, Micah McKee, Blind Texas Marlin (FO) 7p

Tropical Isle Bourbon: Rhythm and Rain (RK) 5p, Debi and the Deacons (RK) 9p

d.b.a.: Palmetto Bug Stompers (SI) 6p, the Catahoulas (JV) 10p

MONDAY APRIL 22

Gasa Gasa: Emotional Rescue, Rolling Stones Takeover (VR) 8p House of Blues (Foundation Room): Requiem with DJ Raj Smoove (RB) 10p House of Blues (the Parish): Plini with Mestis, David Mackay (RK) 7p Howlin’ Wolf (the Den): Hot 8 Brass Band (BB) 11p

Buffa’s: Arsene DeLay (VR) 5p, Antoine Diel (VR) 8p Café Beignet (Musical Legends Park): Steamboat Willie Jazz Band (TJ) 10a Café Negril: Noggin (VR) 6p, Soul Project (VR) 10p Carousel Bar (Hotel Monteleone): Chucky C Band (JV) 8:30p

Howlin’ Wolf (the Den): Honest Men, Vacation Manor (ID) 9p Jazz Playhouse: Gerald French and the Original Tuxedo Jazz Band (JV) 8p Kermit’s Mother-in-Law Lounge: Kermit Ruffins and the BBQ Swingers (JV) 7p Kerry Irish Pub: Beth Patterson (FO) 8:30p Maple Leaf: George Porter Jr. Trio (FK) 10p One Eyed Jacks: the Scientists, Chicken Snake (VR) 8p, Blind Texas Marlin (VR) 10p Rock ‘n’ Bowl: NOLA Swing with DJ Twiggs (SI) 7p Snug Harbor: Charmaine Neville Band (JV) 8 & 10p Spotted Cat: Royal Street Winding Boys (JV) 2p, Dominick Grillo and the Frenchmen St. All-Stars (JV) 6p, New Orleans Swinging Consensus (JV) 10p Starlight: Lulu and the Broadsides feat. Dayna Kurtz and Glenn Hartman (JV) 6p, Shawn Williams (CW) 9p; Keith Burnstein, Amanda Walker and Kelcy Mae (SS) 10p Three Keys (Ace Hotel): Simple Play Networking Happy Hour (VR) 5p Three Muses: Russell Welch (JV) 5p, Washboard Rodeo (JV) 8p Tropical Isle Bayou Club: Cajun Drifters (KJ) 7p Zeitgeist Theatre and Lounge: Helen Gillet and Wazozo (MJ) 9p

Find complete listings at offbeat.com—when you’re out, use offbeat.com/mobile for full listings on any cell phone.

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TUESDAY APRIL 23 Buffa’s: Lynn Drury (VR) 7p Café Beignet (Musical Legends Park): Steamboat Willie Jazz Band (TJ) 10a Café Negril: 4 Sidemen of the Apocalypse (VR) 6p, John Lisi and Delta Funk (FK) 10p Carousel Bar (Hotel Monteleone): Robin Barnes Jazz Quartet (JV) 8:30p Circle Bar: Alexander Pian (FO) 7p Columns Hotel: the New Orleans Guitar Masters with Jimmy Robinson, Cranston Clements and John Rankin (JV) 8p d.b.a.: Dinosaurchestra (JV) 7p, Treme Brass Band (BB) 10p Gasa Gasa: Toast Tuesday: Latin Dance Party with DJ Super Toast (VR) 9p Hi-Ho Lounge: CommonTone Music Series feat. Banjovi, On the Corner (MJ) 10p House of Blues (Foundation Room): DJ Doug Funnie (VR) 6p Howlin’ Wolf (the Den): Comedy Beast (CO) 8:30p Kerry Irish Pub: Jason Bishop (FO) 8:30p New Orleans Jazz Museum (Old U.S. Mint): Ranger Session with Jon Beebe and guest (JV) 2p One Eyed Jacks: J and the Causeways (VR) 9p Prime Example: Arthur Mitchell Quintet (JV) 8p Siberia: Trapper Keeper, Nutria, Extended Trio (JV) 9p SideBar NOLA: Mike Dillon and Phil DeGruy (VR) 9p Snug Harbor: Stanton Moore Trio (JV) 8 & 10p Spotted Cat: Andy Forest Band (JV) 2p, Meschiya Lake and the Little Big Horns (JV) 6p, Smoking Time Jazz Club (JV) 10p Starlight: Dayna Kurtz and Aurora Nealand (JV) 6p, Stephen El Rey and Romy

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Kaye (JV) 9p Three Muses: Davis Rogan (VR) 5p, Salvatore Geloso (JV) 8p Tropical Isle Bourbon: Wild Card (RK) 5p, Jezebels Chill’n (RK) 9p

WEDNESDAY APRIL 24 Buffa’s: Open Mic Night with Nattie Sanchez (SS) 7p Café Beignet (Musical Legends Park): Steamboat Willie Jazz Band (TJ) 10a Café Negril: Maid of Orleans (VR) 6p, Another Day in Paradise (VR) 10p Carousel Bar (Hotel Monteleone): James Martin Band (JV) 8:30p Chickie Wah Wah: Dan Penn (VR) 8p Circle Bar: Joel Willson, Daniella (ID) 7p, the Iguanas (VR) 9:30p Cove at UNO: Jazz at the Sandbar feat. Dr. Lonnie Smith (JV) 7p d.b.a.: Tin Men (RK) 7p, Walter “Wolfman” Washington and the Roadmasters (BL) 10p House of Blues (Foundation Room): Michael Liuzza (BL) 6p Howlin’ Wolf (the Den): Mikayla Braun, Chris Ibert, Alex Bosworth (SS) 9p Jazz Playhouse: Nayo Jones Experience (JV) 8p Kermit’s Mother-in-Law Lounge: Karaoke with Miss Angie (VR) 6p Kerry Irish Pub: Tom Marron and Kevin Specht (FO) 8:30p Lafayette Square: Wednesday at the Square feat. Marc Broussard, the Iceman Special (VR) 5p Little Gem Saloon: Cynthia Girtley (GS) 7p; Ramp Room: Josh Hyde (BL) 7p Little Tropical Isle: Mark Parsons (RK) 5p, Reed Lightfoot (RK) 9p Louisiana Music Factory: Chip Wilson (FO) 12p, Josh

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Hyde (SS) 1:30p, Michael Doucet (KJ) 3p, New Orleans Suspects (FK) 4:30p, Little Freddie King (BL) 6p Maple Leaf: Jon Cleary and the Phantom Blues Band (VR) 9p New Orleans Jazz Museum (Old U.S. Mint): Patrice Fisher and ARPA (JV) 2p NOLA Cantina: Big Mike (VR) 9p One Eyed Jacks: Vixens and Vinyl (VR) 10p Palm Court Jazz Café: Lars Edegran and Topsy Chapman with Palm Court Jazz Band (JV) 8p Prime Example: Roderick Paulin Quintet (JV) 9p Rivershack Tavern: Casey Saba (VR) 7p Rock ‘n’ Bowl: Jonathon Long, Amanda Shaw (BL) 8p Santos: Swamp Moves with the Russell Welch Quartet (SI) 10:30p Siberia: Noelle Tannen, Pony Hunt, Ryan Baer (ID) 9p SideBar NOLA: Helen Gillet and Mike Dillon (VR) 7p, Aurora Nealand and James Singleton (VR) 10p Snug Harbor: Uptown Jazz Orchestra with Delfeayo Marsalis (JV) 8 & 10p Spotted Cat: Chris Christy (JV) 2p, Shotgun Jazz Band (JV) 6p, Antoine Diel and the New Orleans Power Misfits (JV) 10p Starlight: Davis Rogan (PI) 5p, Tuba Skinny (JV) 8p, Nahum Zdybel’s Hot Jazz Band (JV) 11p Three Muses: Joshua Gouzy (JV) 5p, Matt Bell and Joy Patterson (JV) 8p Tropical Isle Bourbon: Jezebels Chill’n (RK) 5p, Debi and the Deacons (RK) 9p

THURSDAY APRIL 25 Botanical Garden (City Park): Threadhead Thursday feat.

Jamaican Me Breakfast Club, Johnny Sketch and the Dirty Notes (VR) 7p

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Brooks’ Seahorse Saloon: Po Boyz Organ Group with Simon Lott (JV) 10a & 5:30p Buffa’s: Paul Sanchez (RR) 5p, Tom McDermott and Aurora Nealand (JV) 8p Café Beignet (Musical Legends Park): Steamboat Willie Jazz Band (TJ) 10a Cafe Istanbul: Honey Island Swamp Band (RR) 10p, Golden Gate Wingmen and Brad Walker (FK) 1:30a Café Negril: Claude Bryant and the All-Stars (VR) 6p, Sierra Green and the Soul Machine (VR) 10p Carousel Bar (Hotel Monteleone): Antoine Diel (JV) 5p, Nayo Jones Experience (JV) 8:30p Central City BBQ: Soul Brass Band (FK) 10p; Funk Monkey (FK) 12a Chickie Wah Wah: Beausoleil (KJ) 8p, Michot’s Melody Makers (KJ) 11p Circle Bar: Dark Lounge feat. Rik Slave (VR) 7p, Gun Outfit, Guts Club, FR, Proud/ Father (VR) 9:30p Civic Theatre: Shovels and Rope, Frank Turner and the Sleeping Souls, Indianola (CW) 9p d.b.a.: Alexis and the Samurai (ID) 7p, Little Freddie King (BL) 10p, Soul Brass Band (BB) 1a House of Blues (Foundation Room): Jake Landry (BL) 7p House of Blues (the Parish): Michal Menert, Exmag (EL) 8p

Rebels (BB) 11p Live Oak Cafe: Jamie Bernstein and Dave Easley (VR) 10:30a Maison: Reid Poole’s Boppin’ 5, Good For Nothin’ Band (VR) 4p, Stanton Moore Trio feat. Stanton Moore, Robert Walter and Wil Blades (FK) 10p Maple Leaf: Fareed Haque and friends (VR) 8p, Eric Krasno, George Porter Jr. and Johnny Vidacovich (FK) 10p, Nicholas Payton with Roland Guerin and Alfred Jordan (FK) 1a NOLA Cantina:Y Ocho (LT) 9p Ogden Museum of Southern Art: Ogden After Hours feat.

Ben Hunter (RE) 6p Old Point Bar: Hanna Mignano Trio (RK) 8p One Eyed Jacks: Tasche and the Psychedelic Roses, Tumbling Wheels, Maggie Belle Band (VR) 8p, Fast Times ‘80s and ‘90s Night (VR) 10p Palm Court Jazz Café: Tim Laughlin and Crescent City Joymakers (JV) 8p Prime Example: Delfeayo Marsalis (JV) 8p Rock ‘n’ Bowl: Geno Delafose and Chubby Carrier (ZY) 8p SideBar NOLA: Michael Ray and the Side-Krewe feat. Josh Paxton, Jimbo Walsh and Jonathan Freilich (VR) 11p SideBar NOLA: Mike Dillon and James Singleton (VR) 8p

House of Blues:Yngwie Malmsteen (ME) 8p

Snug Harbor: Dr. Lonnie Smith with Donald Harrison Trio (JV) 9 & 11p

Howlin’ Wolf (the Den): Comedy Gumbeaux (CO) 8:30p

Spotted Cat: Up Up We Go (JV) 2p, Miss Sophie Lee (JV) 6p, Jumbo Shrimp (JV) 10p

Jazz Playhouse: Brass-AHolics (BB) 8:30p

Starlight: Keith Burnstein (SS) 5p, Josh Paxton (JV) 8p, Bon Bon Vivant (FK) 10p

Joy Theater: Phil Lesh and the Terrapin Family Band (VR) 8p Kermit’s Mother-in-Law Lounge: Kermit Ruffins and the BBQ Swingers (JV) 7p Kerry Irish Pub: Will Dickerson (FO) 8:30p Le Bon Temps Roule: Soul

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Three Keys (Ace Hotel): Soul in the Horn with Natasha Diggs, Dprosper, Big Easy Brawlers (BB) 9p Three Muses: Tom McDermott (JV) 5p, Luke Winslow King (JV) 8p Tipitina’s: Anders Osborne

Album-release show with Dave Malone, Amy Helm (RR) 9p, Knower (VR) 2a Tropical Isle Bayou Club: Cajun Drifters (KJ) 5p, Faubourg Ramblers (KJ) 9p Vaughan’s Lounge: DJ Black Pearl (VR) 9p, Corey Henry and the Treme Funktet (FK) 10:30p

FRIDAY APRIL 26 Blue Nile: Kermit Ruffins and the BBQ Swingers (JV) 10:30p, Marco Benevento (FK) 2a Brooks’ Seahorse Saloon: Po Boyz Organ Group with Simon Lott (JV) 10a & 5:30p Buffa’s: Klezmervation Hall (JV) 6p, Eva Luvollo and the Frishberg Family Band (VR) 9p, Keith Burnstein (SS) 11:59p Bullet’s: Original Pinettes Brass Band (BB) 9p Café Beignet (Musical Legends Park): Steamboat Willie Jazz Band (TJ) 10a Cafe Istanbul: George Porter Jr. and his Runnin’ Pardners (FK) 10:30p, Jason Crosby and Friends with Leo Nocentelli, Eric Krasno and Jason Hann (FK) 1:30a Carousel Bar (Hotel Monteleone): Robin Barnes Jazz Quartet (JV) 5p, Lena Prima Band (JV) 9p Check Point Charlie: Caveman Dave (SS) 4p, Woodenhead (RK) 8p, Shawn Williams (CW) 11p Chickie Wah Wah: Jonathan Long (BL) 8p Circle Bar: Natalie Mae (CW) 7p, Woven In (PK) 10p d.b.a.: Meschiya Lake and the Little Big Horns (JV) 6p, Honey Island Swamp Band (RR) 10p, Lightnin’ Malcolm and Luther Dickinson (BL) 2a Dragon’s Den: Comedy Fuck Yeah (CO) 7p, the Tipping Point with DJ RQ Away (HH) 11p Fillmore: the Disco Biscuits, Tauk (VR) 10p

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Funky Pirate: Mark and the Pentones (BL) 4p, Blues Masters (BL) 8:30p Gasa Gasa: Frass Fest with Valerie Sassyfras, J and the Causeways (FK) 10p Gattuso’s: the Instigators (VR) 7p House of Blues: Allman Betts Band, JD Simo (RK) 8p Howlin’ Wolf (the Den): the Raw Deal performing Earth, Wind and Fire (FK) 10p Howlin’ Wolf: Dumpstaphunk presents Dumpstafly: A Tribute to Curtis Mayfield and the Isley Brothers, the Motown Getdown feat.

George Gekas, Lyle Divinsky, Nikki Glaspie, Raw Deal (FK) 10p Jazz Playhouse: Big Sam’s Crescent City Connection (FK) 7:30p, Trixie Minx’s Burlesque Ballroom feat.

Romy Kaye and the Mercy Buckets (BQ) 11p Joy Theater: Phil Lesh and the Terrapin Family Band (VR) 8p Kerry Irish Pub: Chip Wilson (FO) 5p, Patrick Cooper and Mark Carroll (FO) 9p Le Bon Temps Roule: Joe Krown (PI) 7p, Dave Jordan and the NIA (RR) 10p, Colin Davis and Night People (VR) 1a

with members of the Revivalists (VR) 1a Orpheum Theater: JJ Grey and Mofro (RK) 9p Palm Court Jazz Café: Kevin Louis and Palm Court Jazz Band (JV) 8p Prime Example: Bill Summers Sextet (JV) 9p Rivershack Tavern: Johnny Barbato and the Lucky Doggs (VR) 10p Rock ‘n’ Bowl: Bonerama, Flow Tribe (FK) 8:30p SideBar NOLA: Reggie Scanlan, Tom Worrell and Lionel Batiste Jr. (VR) 8p, James Singleton Rough Babies (VR) 11p Snug Harbor: Ellis Marsalis Quintet (JV) 9 & 11p Spotted Cat: Andy Forest Treeaux (JV) 2p, Washboard Chaz Blues Trio (JV) 6p, Soul Brass Band (JV) 10p Starlight: Shaye Cohn and Coleman Akin (JV) 5p, Michael Watson and the Alchemy (JV) 8p, Davis Rogan Band (VR) 11p Three Keys (Ace Hotel): DJ Raj Smoove feat. Pell, Chase N Cashe, the GRiD Band (RB) 9p Three Muses: Matt Johnson (JV) 5:30p, Doro Wat Jazz Band (JV) 9p

Little Gem Saloon: Ladies of Soul feat. Naydja Cojoe, Rechell Cook and Sharon Martin (SO) 8 & 10p; Ramp Room: Creole String Beans (FO) 11p

Tipitina’s: Karl Denson’s Tiny Universe, Naughty Professor (FK) 9p, the M&Ms feat. John Medeski, Papa Mali, Stanton Moore and Robert Mercurio (FK) 2a

Maple Leaf: Mikey B3 (FK) 8p, Medeski, Bernard, Skerik, Vidacovich (FK) 10p, Swampgrease (FK) 1a

Tropical Isle Bourbon: Wild Card (RK) 5p, Debi and the Deacons (RK) 9p

Mardi Gras World: Joe Russo’s Almost Dead (FK) 8p

SATURDAY APRIL 27

Music Box Village: Call and Response feat. Martin Perna and Mike Dillon’s Punk Rock Percussion Consortium (VR) 7p NOLA Cantina: Bywater Skanks (VR) 3p, DJ Nice Rack (VR) 9p One Eyed Jacks: Maggie Koerner, the Suffers, Julie Odell (VR) 8p, Boyfriend

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Blue Nile: Washboard Chaz Blues Trio (JV) 7p, Nigel Hall with Raquel Rodriguez (FK) 10:30p, Megawatt Vol. 3 feat.

Adam Deitch, Borahm Lee, Raja Kassis (FK) 2a Brooks’ Seahorse Saloon: Po Boyz Organ Group with Simon Lott (JV) 10a & 5:30p Buffa’s: Warren Battiste (JV) 11a, Marla Dixon Blues

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Project (JV) 6p, Molly Reeves and Nahum Zdybel (VR) 9p, Arsene DeLay (VR) 11:59p

Le Bon Temps Roule: Miss Mojo (VR) 10p, Gravy (VR) 1a

Café Beignet (Musical Legends Park): Steamboat Willie Jazz Band (TJ) 10a

Lighthouse Bar and Grill: Hot Sauce Band (KJ) 6:30p

Cafe Istanbul: Gatorators (VR) 10p, Voyager and Leo Nocentelli (FK) 1:30a Café Negril: Lilli Lewis (VR) 4p, Jamey St. Pierre and the Honeycreepers (SO) 7p, Soul Project (SO) 10p Carousel Bar (Hotel Monteleone): Luther Kent Jazz Quartet (JV) 9p Carrollton Station: Andrew Duhon Trio (SS) 9p Central City BBQ: Where Y’acht (RK) 8p Chickie Wah Wah: Jon Cleary and the Absolute Monster Gentlemen (VR) 8p Circle Bar: Dick Deluxe (FO) 5p, Mod Dance Party presents Mighty Fine with DJs Matty and Kristen (RB) 10p d.b.a.: Frog and Henry (JV) 5p, Tuba Skinny (JV) 6p, Dirty Dozen Brass Band (BB) 10p, King James and the Special Men (RB) 2a Fillmore: the Disco Biscuits (VR) 10p Funky Pirate: Mark and the Pentones (BL) 2p, Blues Masters (BL) 8:30p Gasa Gasa: Khris Royal and Dark Matter, P.Y.M.P. (FK) 10p House of Blues: Foundation of Funk with Zigaboo Modeliste, George Porter, Jr., Eric Krasno, John Medeski (FK) 8p, Motet and friends (FK) 11:59p Howlin’ Wolf: Bonerama Gets the Led Out, Rebirth Brass Band, the Neville Was Brothers, Big Sam’s Funky Nation, Hot 8 Brass Band (FK) 9p Jazz Playhouse: Cyril Neville and Swamp Funk (JV) 8:30p Kermit’s Mother-in-Law Lounge: Neshia Ruffins (RB) 9 & 11p Kerry Irish Pub: Dave Hickey (FO) 5p, Hurricane Refugees (FO) 9p

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Little Gem Saloon: Kermit Ruffins and the BBQ Swingers (JV) 8 & 10p; Ramp Room: Meschiya Lake and the Little Big Horns (JV) 11p Live Oak Cafe: Lilli Lewis (VR) 10:30a Maison: Chance Bushman and the Ibervillainaires, Eight Dice Cloth, Smoking Time Jazz Club (JV) 1p, Blue Plate Special feat. Will Bernard, Stanton Moore, John Medeski, Andy Hess and DJ Logic (FK) 2a Maple Leaf: the Straight Dope (FK) 8p, Leafopotomus (FK) 10p, Alvin Ford Jr., MonoNeon, Brandon Butler, Ari Teitel and Naughty Professor Horns (FK) 1a

Duo (VR) 11p Snug Harbor: Herlin Riley All-Stars (JV) 9 & 11p Spotted Cat: Jazz Band Ballers (JV) 2p, Panorama Jazz Band (JV) 6p, Dominick Grillo and the Frenchmen St. All-Stars (JV) 10p Starlight: Shea Pierre Tribute to James Booker (PI) 5p, Shawan Rice (SO) 8p, Kings of Small Time feat.

Alex McMurray and Glenn Hartman (RK) 11p Three Keys (Ace Hotel): Nicholas Payton and 2MB feat. Mister Smif (JV) 9p, Hustle! With DJ Soul Sister (FK) 11:30p Three Muses: Chris Christy (JV) 5p, Debbie Davis (JV) 6p, Shotgun Jazz Band (JV) 9p Tipitina’s: Galactic, Roosevelt Collier (FK) 9p, Marco Benevento (FK) 2a

Mardi Gras World: Joe Russo’s Almost Dead (FK) 8p

Vaughan’s Lounge: Jackson and the Janks (RK) 9p, Dairy Queens (KJ) 10:30p

NOLA Cantina: Danielle Ryce Duo (SS) 3p, ACE Brass Band (BB) 9p

SUNDAY APRIL 28

One Eyed Jacks: Soul Rebels (BB) 8p Orpheum Theater: Gov’t Mule (RK) 9p Palm Court Jazz Café: Will Smith and Palm Court Jazz Band with Tom Sancton and Sammy Rimington (JV) 8p Prime Example: Joe Dyson Quintet (JV) 9p Republic: Tab Benoit and Samanthan Fish with Eric McFadden and Eric Johanson (BL) 9p, Ghost Light (VR) 11:59p Rivershack Tavern: Soul Express (VR) 9p Rock ‘n’ Bowl: Louis Prima Jr. (JV) 8:30p Saenger Theatre: Treme Threauxdown feat.

Trombone Shorty and Orleans Avenue, Shaggy and Anthony Hamilton (JV) 8p SideBar NOLA: Helen Gillet and Michael Ray from the Cosmic Krewe (VR) 8p, Papa Mali and Bobby Vega

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Brooks’ Seahorse Saloon: Po Boyz Organ Group (JV) 10a, Po Boyz Organ Group with Simon Lott (JV) 5:30p Buffa’s: Some Like It Hot (TJ) 11a, Jeanne-Marie Harris (JV) 4p, Steve Pistorius Jazz Quartet (JV) 7p, Marc Stone (BL) 10p Café Beignet (Musical Legends Park): Steamboat Willie Jazz Band (TJ) 10a Cafe Istanbul: Rebirth Brass Band (BB) 10p, Golden Gate Wingmen and Jason Hann (VR) 1:30a Café Negril: Ecirb Muller’s Twisted Dixie (JV) 6p, Vegas Cola (JV) 10p Carousel Bar (Hotel Monteleone): Amanda Ducorbier Jazz Quartet (JV) 8:30p Chickie Wah Wah: Meschiya Lake and Tom McDermott (JV) 8p, Johnny Sansone Band (VR) 11p Circle Bar: Dick Deluxe (FO) 5p, Mutant Strain, Whispering Man (PK) 7p, M.A.Z.E.,

B.B.Eye, Giorgio Murderer, Tuffy (PK) 9:30p d.b.a.: Jazz Vipers (JV) 6p, Funk and Chant with John “Papa” Gros and Big Chief Monk Boudreaux (MJ) 10p, John Medeski’s Mad Skillet feat. Will Bernard, Kirk Joseph, Terence Higgins (FK) 1a Funky Pirate: Mark and the Pentones (BL) 4p, Willie Lockett Band (BL) 8p Gasa Gasa: Steve Kelly’s the Straight Dope (FK) 8p, Midnight North (CW) 11:59p House of Blues (the Parish): Sylar (ME) 7p House of Blues: Boomshakalaka: the Motet Does ‘90s Funk (FK) 8p Howlin’ Wolf (the Den): Hot 8 Brass Band (BB) 11p Howlin’ Wolf: Psychatomic Funk Orchestra feat. George Porter Jr., Terrence Houston, Papa Mali, Billy Iuso and Slugger (FK) 10p Kermit’s Mother-in-Law Lounge: Kermit Ruffins and the BBQ Swingers (JV) 7:30p, TBC Brass Band (BB) 8:30p Kerry Irish Pub: Will Dickerson (FO) 8:30p Le Bon Temps Roule: Jermal’s Badass Brass Band feat. original members of MainLine and members of Soul Rebels (BB) 10p, the Will Rast Quartet (VR) 1a Little Gem Saloon: Topsy Chapman (JV) 7:30 & 9:30p; Ramp Room: Worship My Organ feat. Robert Walter, Marco Benevento, Adam Deitch, Skerik, DJ Logic (MJ) 8p Maison: NOLA Jitterbugs, Sidewalk Swing (JV) 10a, Tuba Skinny, Opulence Hour Burlesque (VR) 7p, Star Kitchen feat. Eric Krasno, Shira Ellis, Aron Magner and Khris Royal (FK) 10p, Lett Us in the Dumpsta feat. members of Lettuce and Dumpstaphunk (FK) 2a NOLA Cantina: Burlesque Brunch Jazz Band (VR) 10a, Chance Bushman (JV) 9p

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One Eyed Jacks: Eric Lindell (BL) 8p, Boom Boom Room presents David Bowie Glitter Glam Bam Spectacular (VR) 1a

Spencer Bohren (VR) 9p, Stanton and Skerik’s 20th Jazz Fest feat. Robert Walter, Scott Metzger, Andy Hess (FK) 2a

Palm Court Jazz Café: Mark Braud and Sunday Night Swingsters (JV) 8p

Tropical Isle Original: the Hangovers (RK) 5:15p, Late As Usual (RK) 9:15p

Prime Example: Maurice “Mo Betta” Brown (JV) 9p Rock ‘n’ Bowl: Sonny Landreth, Tab Benoit, Jonathon Long (BL) 8p Saenger Theatre: Melissa Etheridge (RR) 8p Siberia: Valparaiso Men’s Chorus (FO) 9p SideBar NOLA: Klyph and Combsy (VR) 8p, Nolatet Trio feat. Mike Dillo, Brian Haas and James Singleton (VR) 11p Snug Harbor: Jason Marsalis Ensemble with Davell Crawford (JV) 9 & 11p Spotted Cat: John Lisi and Delta Funk (JV) 2p, Robin Barnes and the FiyaBirds (JV) 7p, Pat Casey and the New Sound (JV) 10p Three Keys (Ace Hotel): Bang Like an 808 with the GRiD Band, Nigel Hall, Khris Royal, Chrishira Perrier, DJ Dynamite Dave Soul (VR) 9p Three Muses: Raphael et Pascal (JV) 5p, the Clementines (JV) 8p Tipitina’s: the Subdudes,

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MONDAY APRIL 29 Buffa’s: Arsene DeLay (VR) 5p, Antoine Diel (VR) 8p Café Beignet (Musical Legends Park): Steamboat Willie Jazz Band (TJ) 10a Cafe Istanbul: Delvon Lamarr and disORGANized, Roland Guerin Band (VR) 8:30p Café Negril: Noggin (VR) 6p, Soul Project (VR) 10p Carousel Bar (Hotel Monteleone): Chucky C Band (JV) 8:30p Central City BBQ: New Orleans Crawfish Festival (VR) 3p Circle Bar: Dem Roach Boyz (RB) 7p, QWAM, Trampoline Team (PK) 9:30p d.b.a.: Swampede III: Our Swamp Pop Songbook wth Tommy Mclain, CC Adcock, Steve Riley and Dave Ranson, Curley Taylor and Zydeco Trouble feat. Lil’ Buck Sinegal (KJ) 2p, John Boutte (JV) 7p, Johnny Vidacovich Trio feat.

John Medeski and Eric Benny Bloom (RR) 10p, Mike Dillon’s

Sump Vibes feat. Robert Walter, James Singleton and Terence Higgins (MJ) 1a House of Blues: WWOZ’s Annual Piano Night feat.

Ellis Marsalis, Marcia Ball, Jon Cleary, Joe Krown, Tom McDermott and others (PI) 6:30p Howlin’ Wolf: Club d’Elf ’s Moroccan Trance Party feat.

John Medeski and Skerik (FK) 9p Joy Theater: Kanaval Soundklash (VR) 7p Kermit’s Mother-in-Law Lounge: Kermit Ruffins and the BBQ Swingers (JV) 12p & 6p Kerry Irish Pub: Beth Patterson (FO) 8:30p Little Gem Saloon: Evan Christopher’s Clarinet Road (JV) 7p, Michael Ray and Cosmic Krewe (JV) 11p; Ramp Room: Luther Dickinson (BL) 7:30p Louisiana Music Factory: Spencer Bohren (VR) 12p, Uncle Nef (VR) 1:30p, Shamarr Allen (FK) 3p, Cyril Neville (FK) 4:30p, Anders Osborne (RR) 6p Maison: Kaladeva Quartet, Chicken and Waffles, Aurora Nealand and the Royal Roses, Sierra Green and the Soul Machine (JV) 1p Maple Leaf: Erica Falls (JV) 8p, George Porter Jr. Trio (FK) 10p

New Orleans Jazz Museum (Old U.S. Mint): Relix: A Conversation with Ben Jaffe and Walter Isaacson (VR) 3p One Eyed Jacks: Frequinox wth Nicholas Payton (FK) 8:30p, Neon-Ghost (FK) 1a Republic: FKJ (EL) 8p Rock ‘n’ Bowl: NOLA Swing with DJ Twiggs (SI) 7p Santos: Mdou Mocta (RK) 9p SideBar NOLA: SWOTT Team feat. Kevin Scott, Brad Walker and Simon Lott (VR) 7p, Mike Dillon, Brad Houser and Doug Belote (VR) 10p, Mike Gamble, Brian Haas and Justin Peake (VR) 11:59p Snug Harbor: Charmaine Neville Band (JV) 8 & 10p Spotted Cat: Royal Street Winding Boys (JV) 2p, Dominick Grillo and the Frenchmen St. All-Stars (JV) 6p, the Rhythm Stompers (JV) 10p Starlight: Lulu and the Broadsides feat. Dayna Kurtz and James Singleton (JV) 6p, Noelle Tannen and Ian Wellmen (SS) 9p, Amanda Walker and Keith Burnstein (SS) 10p Three Keys (Ace Hotel): SONO presents Jeff Albert’s Unanimous Sound (JV) 9p Three Muses: Monty Banks (JV) 5p, Luke Winslow King (JV) 8p Tropical Isle Original:

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Graham Robertson (RK) 5:15p, Trop Rock Express (RK) 9:15p Zeitgeist Theatre and Lounge: Helen Gillet and special guests (MJ) 9p

TUESDAY APRIL 30 Blue Nile: Adam Deitch Quartet (FK) 10:30p Bombay Club: Matt Lemmler (PI) 8p Buffa’s: Tender Moments with Andre Bohren and and Harry Hardin (VR) 7p Café Beignet (Musical Legends Park): Steamboat Willie Jazz Band (TJ) 10a Café Negril: 4 Sidemen of the Apocalypse (VR) 6p, John Lisi and Delta Funk (FK) 10p Carousel Bar (Hotel Monteleone): Robin Barnes Jazz Quartet (JV) 8:30p Central City BBQ: New Orleans Crawfish Festival (VR) 3p Chickie Wah Wah: Anders Osborne, John Fohl and Johnny Sansone (VR) 8p Circle Bar: Alexander Pian (FO) 7p, Tremble Weeds (RK) 9:30p d.b.a.: Dinosaurchestra (JV) 2p, Esther Rose (SS) 5p, Alex McMurray Band (RK) 8p, Treme Brass Band (BB) 11p Deutsches Haus: Threadhead Patry feat. Dr. Michael White, Sam Price and the True Believers, Iceman Special and others (VR) 11a Dragon’s Den: Frog and Henry (JV) 9p; Upstairs: the All-Star Covered-Dish Country Jamboree (CW) 9p Funky Pirate: Blues Masters (BL) 8:30p House of Blues (Foundation Room): DJ Doug Funnie (VR) 6p

Tribute to D’Angelo, Common, J Dilla and Erykah Badu feat. Big Sam, Daru Jones, the GRID (SO) 10:30p Jazz Playhouse: James Rivers Movement (JV) 8p Kermit’s Mother-in-Law Lounge: Kermit Ruffins and the BBQ Swingers (JV) 12p & 6p

Three Keys (Ace Hotel): SONO presents A tribute to Alvin Fielder led by Amari Ansari, Joe Dyson and Ben Lamar Gay (JV) 9p

Fillmore: Foundation of Funk feat. Zigaboo Modeliste, George Porter Jr., Ivan Neville, Tony Hall, Ian Hall, Oteil Burbridge (FK) 8p

Three Muses: Sarah Quintana (JV) 5p, Andrew Duhon (JV) 8p

Funky Pirate: Blues Masters (BL) 8:30p

Tipitina’s: Toubab Krewe, the Nth Power (FK) 9p

Louisiana Music Factory: Tom McDermott (JV) 12p, Kevin Gordon (VR) 1:30p, Sam Price and the True Believers Vinyl-release show (VR) 3p, Tuba Skinny (JV) 4:30p, Jon Cleary (PI) 6p

Tropical Isle Bourbon: Wild Card (RK) 5p, Jezebels Chill’n (RK) 9p

Maple Leaf: Herlin Riley, Eric Struthers, Joe Ashlar (FK) 8p, Rebirth Brass Band (FK) 10p New Orleans Jazz Museum (Old U.S. Mint): International Jazz Day with live performances (JV) 10a, Relix: A Conversation with Jon Cleary (VR) 2p One Eyed Jacks: Boom Boom Room presents Dragon Smoke (FK) 8:30p Republic: Dance Gavin Dance with Dead Bronco, Hail the Sun, Covet, Thousand Below (VR) 6p Rock ‘n’ Bowl: AsheSon (LT) 8p Santos: Xeno and Oaklander, Plastic Ivy (EL) 9p Siberia: Little Freddie King (BL) 9p

Vaughan’s Lounge: the Fortifiers (RK) 9p, Jamaican Me Breakfast Club (RE) 10:30p

WEDNESDAY MAY 1 Blue Nile: Game of Bones feat. Big Sam Williams, Corey Henry (FK) 10:30p

House of Blues: Trombone Shorty Foundation’s Shorty Fest (JV) 7:30p

Jazz Playhouse: Nayo Jones Experience (JV) 8p

Bullet’s: Treme Brass Band (BB) 7:30p

Joy Theater: Shakey Graves, lliterate Light (RK) 9p

Café Beignet (Musical Legends Park): Steamboat Willie Jazz Band (TJ) 10a

Kermit’s Mother-in-Law Lounge: Kermit Ruffins and the BBQ Swingers (JV) 12p & 6p

Café Negril: Maid of Orleans (VR) 6p, Another Day in Paradise (VR) 10p Candlelight Lounge: Andrews Brass Band (BB) 8:30p

Circle Bar: 99 Playboys (KJ) 9:30p

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House of Blues (Foundation Room): Michael Liuzza (BL) 6p

Buffa’s: Open Mic Night with Nattie Sanchez (SS) 7p

Snug Harbor: Tribute to Roy Hargrove: Trumpet Mafia Summit with Ashlin Parker and Maurice Brown (JV) 8 & 10p

Starlight: Dayna Kurtz and Robert Mache (RB) 6p,

Hi-Ho Lounge: Beardsley (BL) 6p, Plastic Bouquet feat.

Papa Mali and Will Bernard (FK) 8p, Calvin Johnson’s Super Jam (FK) 10p

Bombay Club: Josh Paxton (JV) 8p

Carousel Bar (Hotel Monteleone): James Martin Band (JV) 8:30p

Howlin’ Wolf: the Soulaquarian’s Salute: A

Gasa Gasa: Oh Sleeper, the Agony Scene, Earth Groans, Weeping Hour (ME) 8p

Howlin’ Wolf: Megalomaniacs Ball 2019 feat. Steel Punk, Mike Dillon’s Punk Rock Percussion Ensemble, NOLAtet Trio (FK) 9p

SideBar NOLA: Gordon Grdina and Dave Easley (VR) 5p, Cyrille Aimee and Jamison Ross (VR) 7p, RedRawBlak with Brad Walker, Aurora Nealand and Paul Thibodeaux (VR) 9p, Gordon Grdina, Kevin Scott and Doug Belote (VR) 11p

Howlin’ Wolf (the Den): Comedy Beast (CO) 8:30p

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Bayou Gypsys feat. Roosevelt Collier, Tony Hall (FK) 2a

Kerry Irish Pub: Hugh Morrison (IR) 8:30p

Spotted Cat: Andy Forest Band (JV) 2p, Meschiya Lake and the Little Big Horns (JV) 6p, Smoking Time Jazz Club (JV) 10p

House of Blues: Smino (RB) 7p

Hanna Mignano Gypsy Jazz (GY) 9p

Central City BBQ: New Orleans Crawfish Festival (VR) 3p Chickie Wah Wah: Jon Cleary (PI) 8p

Civic Theatre: the Radiators (RK) 10p Cove at UNO: Jazz at the Sandbar feat. Peter Bernstein (JV) 7p d.b.a.: Tin Men (RK) 4p, the Iguanas (RK) 7p, Walter “Wolfman” Washington and the Roadmasters (BL) 10p,

Kerry Irish Pub: Patrick Cooper (FO) 8:30p Lafayette Square: Wednesday at the Square feat. Deacon John, Trumpet Mafia (VR) 5p James Rivers Movement (JV) 7 & 9p, the Midnight Ramblers (BL) 12:30a; Ramp Room: Honey Island Swamp Band with Cris Jacobs Band (RR) 11p Louisiana Music Factory: Bonerama (FK) 12p, Dr. Michael White (JV) 1:30p, Lena Prima (JV) 3p, Bryan Lee (VR) 4:30p, Eric Lindell (BL) 6p Maison: Jazz Vipers (JV) 6:30p Maple Leaf: Iko All-Stars (FK) 4p, Adam Deitch, Big Chief Donald Harrison and Will Blades (FK) 8p, Stanton Moore, Robert Walter, June Yamagishi and Johnny Vidacovich (FK) 10p

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Music Box Village: Buckjumping and Creole Cowboys Film/Dance Party with Kings of Brass (VR) 7p

Starlight: Davis Rogan (PI) 5p, Tuba Skinny (JV) 8p, Nahum Zdybel’s Hot Jazz Band (JV) 11p

New Orleans Jazz Museum (Old U.S. Mint): Relix: A Conversation with Stanton Moore and George Porter Jr. (VR) 3p, Sweet Crude (ID) 7p

Three Keys (Ace Hotel): SONO presents Brandee Younger’s Afro-Harp Ensemble (VR) 9p

NOLA Brewing: Cosmic Crawfish Ball feat. DMD, the Little Baby Jesus Peasant Party, Rumplesteelskin and Naughty P Horns, Roosevelt Collier’s NOLA Get Down, Corey Henry’s Treme Funktet and many others (VR) 1p NOLA Cantina: Midnight Lemon Bucket Orchestra (VR) 9p One Eyed Jacks: Daze Between Band feat. Eric Krasno, Nigel Hall, Robert “Sput” Searight, MonoNeon, Ryan Zoidis, Jennifer Hartswick and Weedie Braimah (FK) 10p Palm Court Jazz Café: Lars Edegran and Topsy Chapman with Palm Court Jazz Band (JV) 8p Prime Example: Max Moran Trio (JV) 9p Rivershack Tavern: Adam Pearce (VR) 7p Rock ‘n’ Bowl: Creole String Beans (SI) 8p Santos: Cleopatrick (ID) 9p, Swamp Moves with the Russell Welch Quartet (SI) 10:30p Siberia: Debauche, Bon Bon Vivant (VR) 9p SideBar NOLA: Johnny Sansone (VR) 3p, Dave Easley (VR) 5p, Eric McFadden, Wally Ingram and Glenn Hartman (VR) 7p, Skerik and Helen Gillet Duo (VR) 9p, Todd Sickafoose, Gordon Grdina and Mike Gamble (VR) 11p Snug Harbor: Piano Summit feat. Marcia Ball, Tom McDermott and Joe Krown (JV) 8 & 10p Spotted Cat: Chris Christy (JV) 2p, Shotgun Jazz Band (JV) 6p, Antoine Diel and the New Orleans Power Misfits (JV) 10p

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Three Muses: Leslie Martin (JV) 5p, Hot Club of New Orleans (JV) 8p Tipitina’s: Billy Strings with Cedric Burnside (VR) 9p Tropical Isle Original: Debi and the Deacons (RK) 5:15p, Late As Usual (RK) 9:15p

THURSDAY MAY 2 Blue Nile: Sputacular’s ‘80s JF Jam Party feat. Sput, MonoNeon, Shaun Martin, the Ghost-Note Horns (FK) 10:30p Bombay Club: Kris Tokarski with Evan Christopher (JV) 8p Brooks’ Seahorse Saloon: Po Boyz Organ Group with Simon Lott (JV) 10a & 5:30p Buffa’s: Gumbo Cabaret (VR) 5p, Tom McDermott and Aurora Nealand (JV) 8p, Debbie Davis and Josh Paxton (VR) 11p Bullet’s: Shamar Allen and the Underdawgs (JV) 7p Café Beignet (Musical Legends Park): Steamboat Willie Jazz Band (TJ) 10a Cafe Istanbul: Axial Tilt with Joan Osborne and others (VR) 10p Café Negril: Claude Bryant and the All-Stars (VR) 6p, Sierra Green and the Soul Machine (VR) 10p Carousel Bar (Hotel Monteleone): Antoine Diel Jazz Quartet (JV) 5p, Nayo Jones Experience (JV) 8:30p Carrollton Station: Grayson Capps and friends (RR) 9p Check Point Charlie: Kenny Claiborne (BL) 8p, Ron Hotstream and the Mid-City Drifters (RC) 11p Chickie Wah Wah: Andrew Duhon (SS) 8p Circle Bar: Dark Lounge feat.

Rik Slave (VR) 7p, Rockabilly

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Nite with Johnny J., the Louisiana Hellbenders and special guests (RC) 9:30p

Colonel Bruce Tribute with Marcus King, Taz and others (FK) 1a

Civic Theatre: the Claypool Lennon Delirium, Uni (RK) 9p

NOLA Cantina: City of Trees (BB) 5p, Chris Butcher (VR) 9p

d.b.a.: Aurora Nealand and the Royal Roses (JV) 5p, Jon Cleary (PI) 8p, George Porter Jr. and his Runnin’ Pardners (FK) 11p, Cedric Burnside Project (BL) 2a

Ogden Museum of Southern Art: Ogden After Hours feat.

Jimbo Mathus (BL) 6p

Dos Jefes: Afrodiziac’s Jazz (JV) 9p

One Eyed Jacks: Robert Glasper (FK) 10p & 2a Orpheum Theater: the String Cheese Incident (FK) 9p

Dragon’s Den: Crescent Fresh Stand-Up (CO) 7p, Ladies Night with DJ Jess (VR) 10p; Upstairs: Hasizzle Bounce Night (BO) 10p

Palm Court Jazz Café: Clive Wilson and N.O. Serenaders (JV) 8p

Fillmore: the Revivalists (RK) 8p

Republic: Dead Feat (VR) 9p, All-Star Steely Dan Tribute (VR) 2a

Funky Pirate: Mark and the Pentones (BL) 4p, Blues Masters (BL) 8:30p Gasa Gasa: Camp Cope, Thin Lips, Oceanator (RK) 9p Hi-Ho Lounge: John Paul Carmody: Unpluggery (VR) 6p, Erica Falls and Phantom Vanity (SO) 8p, Davis Rogan’s All That (VR) 11p House of Blues (Foundation Room): Nebula Rosa (RK) 8p House of Blues: Deerhunter, TIMKOH (ID) 7p Howlin’ Wolf: Samantha Fish and Marc Broussard with Brandon “Taz” Niederauer, Southern Avenue (BL) 9p Jazz Playhouse: Brass-AHolics (BB) 8:30p

Prime Example: Alexey Marti Quintet (JV) 9p

Rock ‘n’ Bowl: Geno Delafose and French Rockin’ Boogie (ZY) 8p, Stones Fest (CR) 10p SideBar NOLA: Dirty Duo feat. Marc Paradis and Sage Rouge (VR) 8p, Mike Dillon, James Singleton and Brad Walker (VR) 11p Snug Harbor: Peter Bernstein Quartet feat. Steve Masakowski (JV) 9 & 11p Spotted Cat: Up Up We Go (JV) 2p, Miss Sophie Lee (JV) 6p, Jumbo Shrimp (JV) 10p Starlight: Peter Nu (PI) 5p, Gal Holiday and the Honky Tonk Revue (CW) 7p, Lynn Drury Band (SS) 9p, Bon Bon Vivant (JV) 11p

Joy Theater: Rage!fest feat.

Lettuce, Oteil Burbridge, Soul Rebels (FK) 10p

Three Keys (Ace Hotel): Nicholas Payton and Cyrille Aimee with DJ Abibas (VR) 9p

Kermit’s Mother-in-Law Lounge: Kermit Ruffins and the BBQ Swingers (JV) 8p

Three Muses: Tom McDermott (JV) 5p, Leo Forde (JV) 8p

Kerry Irish Pub: Chip Wilson (FO) 8:30p

Tipitina’s: North Mississippi All-Stars, A Funk and Soul Set by Quickie Mart (VR) 9p, California Honeydrops, DJ Doug Funnie (VR) 2a

Le Bon Temps Roule: Soul Rebels (BB) 11p Maison: Good For Nothin’ Band, Sweet Substitute, Dysfunktional Bone (VR) 4p, Fiyapowa (VR) 2a Maple Leaf: All Damn Day Fest (FK) 1p, Sonny Landreth, David Ranson, Johnny Vidacovich with Taz (FK) 10p,

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FRIDAY MAY 3 Audubon Zoo: Zoo-to-Do (VR) 7p Blue Nile: Kermit Ruffins and the BBQ Swingers (JV) 10:30p, Big Sam’s Funky Nation (FK) 2a Brooks’ Seahorse Saloon: Po Boyz Organ Group with Simon Lott (JV) 10a & 5:30p Buffa’s: Bywater Skanks (VR) 6p, Davis Rogan (VR) 9p, Carolyn Broussard’s Revival (VR) 11:59p Café Beignet (Musical Legends Park): Steamboat Willie Jazz Band (TJ) 10a Cafe Istanbul: Axial Tilt with Joan Osborne and others (VR) 10p Café Negril: Shawn Williams (VR) 4p, Dana Abbott (VR) 7p, Higher Heights (RE) 10p Carousel Bar (Hotel Monteleone): Robin Barnes Jazz Quartet (JV) 5p, James Martin Band (JV) 9p Carrollton Station: Grayson Capps and friends (RR) 9p Check Point Charlie: Frenchie Moe (BL) 4p, Lynn Drury (FO) 8p Chickie Wah Wah: Jerry Douglas Trio (VR) 8p, Jason Ricci Band with John Fohl, Joe Krown and Doug Belote (VR) 11p Circle Bar: Natalie Mae (CW) 7p, Helen Gillet (MJ) 10p Civic Theatre: Oteil and friends (RK) 10p d.b.a.: Rickie Lee Jones and friends (SS) 7p, Soul Rebels (BB) 10p, Robert Walter’s 20th Congress (FK) 2a Dos Jefes: Panorama Jazz Band (JV) 10p Dragon’s Den: Comedy Fuck Yeah (CO) 7p, the Tipping Point with DJ RQ Away (HH) 11p

Tropical Isle Original: the Hangovers (RK) 5:15p, Late As Usual (RK) 9:15p

Fillmore: the Cult (VR) 8p

Vaughan’s Lounge: DJ Black Pearl (VR) 9p, Corey Henry and the Treme Funktet (FK) 10:30p

Gasa Gasa: Flow Tribe, Roadside Glorious (FK) 10p

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French Market: Johnette Downing (SS) 11a

Hi-Ho Lounge: River Dragon (RK) 6p, Jimbo Mathus

CD-release show (FO) 8p, MainLine (BB) 10p House of Blues (Foundation Room): the Quickening (SO) 9p House of Blues (the Parish): RC and the Gritz (RB) 8p House of Blues: the New Mastersounds, Cha Wa (FK) 8p, Grateful Shred: Grateful Dead Tribute (CR) 11:59p Howlin’ Wolf: Bayou Rendezvous feat. Dr. Klaw feat. the Shady Horns, members of Lettuce and Dumpstaphunk, Papa John Gros plays a Tribute to Dr. John, Andy Frasco and the UN, Good Enough for Good Times, NOLAtet, Mungion, Eric McFadden Trio, Delvon Lamarr Organ Trio, Neal Francis (FK) 9p Jazz Playhouse: Shannon Powell Jazz Quartet (JV) 7:30p, Trixie Minx’s Burlesque Ballroom feat. Romy Kaye and the Mercy Buckets (BQ) 11p Joy Theater: Mike Gordon (RK) 9p, Les Claypool’s Bastard Jazz (MJ) 2a Kerry Irish Pub: Will Dickerson (FO) 5p, Beth Patterson (FO) 9p Le Bon Temps Roule: Joe Krown (PI) 7p, Derrick Freeman and James Martin present Soul Brass Band (BB) 10p, Slugger (VR) 1a Maison: Rhythm Stompers, Swinging Gypsies, Shotgun Jazz Band (JV) 1p, Dirty Dozen Brass Band, Buena Vista Social Latin Night (VR) 10p Maple Leaf: J and the Causeways (VR) 8p, James Brown Birthday Bash (FK) 10p, the Iceman Special, the Magic Beans (FK) 1a Mardi Gras World: the String Cheese Incident (FK) 8p Music Box Village: GhostNote’s Junk Yard Funk Jam (FK) 7p New Orleans Jazz Market: the New Orleans Jazz Orchestra presents a Tribute to Whitney Houston (JV) 9p NOLA Cantina: Marty Peters and the Party Meters (VR)

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3p, Chance Bushman and the Rhythm Stompers (JV) 6p, Ed Wills and Blues4Sale (BL) 10p One Eyed Jacks: NOLA 50: Celebrating the Music of New Orleans feat. George Porter Jr., Ivan Neville, Ian Neville, Alvin Ford Jr., Walter “Wolfman” Washington, Eric “Benny” Bloom, Adam “Shmeeans” Smirnoff, Skerik (FK) 8p, J.E.D.I.: Jazz Electronic Dance Improvised feat. Aaron Johnston, Marc Brownstein, Borahm Lee, Nate Edgar, DJ Logic with Michael Kang and Jason Hann (EL) 1a Orpheum Theater: Karl Denson’s Tiny Universe (FK) 9p Palm Court Jazz Café: Kevin Louis and Palm Court Jazz Band (JV) 8p Republic: Freedia Fest with Boyfriend, Kris Royal and Dark Matter (BO) 8p, Marcus King Band (FK) 11:59p Rivershack Tavern: Bryan Lee (VR) 10p Rock ‘n’ Bowl: Cowboy Mouth, Bonerama (VR) 9p Saenger Theatre: Nathaniel Rateliff and the Night Sweats with Foundation of Funk (RK) 9p

Tropical Isle Original: the Hangovers (RK) 5:15p, Late As Usual (RK) 9:15p Vaughan’s Lounge: Klezmer All-Stars (KZ) 9p, the Iguanas (RK) 10:30p

SATURDAY MAY 4 Brooks’ Seahorse Saloon: Po Boyz Organ Group with Simon Lott (JV) 10a & 5:30p Buffa’s: Calvin Johnson and Native Son (JV) 11a, Dapper Dandies (JV) 6p, Soul O’ Sam with Sam Price (VR) 9p, Charlie Wooton Trio (VR) 11:59p Café Beignet (Musical Legends Park): Steamboat Willie Jazz Band (TJ) 10a Cafe Istanbul: Super Jam! with Leo Nocentelli, Eric Krasno, Johnny Vidacovich, Will Bernard, Wil Blades, Mark Brooks and others (FK) 1:30a Cafe Istanbul: Leo Nocentelli (FK) 10p Café Negril: Joy Clark (VR) 4p, Jamey St. Pierre and the Honeycreepers (SO) 7p, Another Day in Paradise (VR) 10p Carousel Bar (Hotel Monteleone): Shannon Powell Jazz Band (JV) 9p

SideBar NOLA: Steve, Sasha and Martin Masakowski (VR) 8p, Will Bernard, James Singleton and Justin Peake (VR) 11p

Carrollton Station: Grayson Capps and friends (RR) 9p

Snug Harbor: Ellis Marsalis Quintet (JV) 9 & 11p

Chickie Wah Wah: Jimmie Dale Gilmore and Bill Kirchen (VR) 8p

Spotted Cat: Andy Forest Treeaux (JV) 2p, New Orleans Cottonmouth Kings (JV) 6p, Doro Wat (JV) 10p Starlight: Shaye Cohn (JV) 5p, Michael Watson and the Alchemy (JV) 8p, Jonathan Freilich Trio (JV) 11p Three Keys (Ace Hotel): Davell Crawford and Pedrito Martinez, Muevelo (LT) 9p Three Muses: Royal Roses (JV) 5:30p, Esther Rose (JV) 9p Tipitina’s: St. Paul and the Broken Bones, 79rs Gang (VR) 9p, Turquaz (FK) 2a

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Check Point Charlie: Jamie Lynn Vessels (RK) 8p, Troy Turner (BL) 11p

Circle Bar: Dick Deluxe (FO) 5p, DiNola, Gools (PK) 10p Civic Theatre: Spafford (RK) 10:30p d.b.a.: Tuba Skinny (JV) 6p, Lost Bayou Ramblers, Tommy Mclain and CC Adcock (KJ) 10p, Quintron and Miss Pussycat, Michot’s Melody Makers (VR) 1a Dragon’s Den: Mahmoud Chouki (JV) 7p, Primetime feat. DJ Legatron Prime (VR) 10p Funky Pirate: Mark and the Pentones (BL) 2p, Blues

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Masters (BL) 8:30p Gasa Gasa: Community Records 11th Year Anniversary with All People, Slingshot Dakota, Hikes (RK) 9p Green Zebra Bar: the Deft Funk DJ’s Uptown Getdown (FK) 9p Hi-Ho Lounge: Honey Island Swamp Band (RR) 8p, Set de Flo (VR) 11p House of Blues (Foundation Room): Juan Tigre (VR) 9p House of Blues (the Parish): Shamarr Allen, Erica Falls (FK) 8p House of Blues: Architects (ME) 6:30p, the New Mastersounds (FK) 11:59p Howlin’ Wolf (the Den): the Magic Beans (FK) 11p Howlin’ Wolf: Marcus King Band, Naughty Professor (FK) 10p, Circles Around the Sun (RK) 2a Jazz Playhouse: Lena Prima Band (JV) 8:30p Joy Theater: Anders Osborne and Friends Birthday Bash with Tim Reynolds and TR3 (RR) 9p, Kamasi Washington (JV) 2:30a Kerry Irish Pub: Patrick Cooper (FO) 5p, Will Dickerson and Van Hudson (FO) 9p Lazy Jack: the Topcats (VR) 4p Le Bon Temps Roule: Simon Lott’s We Gon Do Dis (MJ) 10p, Alvin Ford, Khris Royal, Noah Young and Shaun Martin (VR) 1a Maison: Chance Bushman and the Ibervillainaires, Smoking Time Jazz Club (JV) 1p, Rebirth Brass Band (BB) 10p ,Galactiphunk (FK) 2a Maple Leaf: Jon Cleary and the Absolute Monster Gentlemen, Nigel Hall and the Absolute Monster Horns (VR) 10p Maple Leaf: Radio Zydeco (ZY) 8p, Benny and the Late Bloomers (FK) 1a

Cookery: Ed Barrett Trio (JV) 6p NOLA Cantina: Carl Leblanc (JV) 7p, Guitar Slim Jr. (BL) 11p One Eyed Jacks: Ghost-Note plays Swagism (VR) 8p, Break Science (VR) 1a Orpheum Theater: Gov’t Mule (RK) 9p Palm Court Jazz Café: Will Smith and Palm Court Jazz Band (JV) 8p Pontchartrain Vineyards: Jazz’n the Vines feat. Gal Holiday and the Honky Tonk Revue (CW) 6:30p

Vaughan’s Lounge: Derek Freeman and Soul Brass (BB) 10p

SUNDAY MAY 5 AllWays Lounge: Smoking Time Jazz Club (TJ) 9p Banks Street Bar: Origami Ghosts, Slow Coyote, Simple Sound Retreat (ID) 10p

Rivershack Tavern: Super Nova (VR) 9p

Blue Nile: Funky But Better feat. Big Sam Williams, Roosevelt Collier, Maurice Brown, Robert “Sput” Searight, MonoNeon (FK) 10:30p

Rock ‘n’ Bowl: Tab Benoit, Carolyn Wonderland (BL) 8p

Bombay Club: Kris Tokarski with Duke Heitger (JV) 8p

Saenger Theatre: Nathaniel Rateliff and the Night Sweats with Foundation of Funk (RK) 9p

Brooks’ Seahorse Saloon: Po Boyz Organ Group with Simon Lott (JV) 10a, Po Boyz Organ Group (JV) 5:30p

Siberia: Rotary Downs, Mike Dillon Band (RK) 9p

Buffa’s: Some Like It Hot (JV) 11a, Pfister Sisters Reunion Show (JV) 4p, Steve Pistorius Jazz Quartet (JV) 7p; Burthena and Joe Welnick Jazz Quartet (JV) 10p

SideBar NOLA: New Orleans Klezmer All-Stars (VR) 9p, Sam Shahin, Cliff Hines and others (VR) 11:59p Snug Harbor: Singer Showcase feat. Cyrille Aimee, Germaine Bazzle and Yolanda Robinson (JV) 9 & 11p Spotted Cat: Jazz Band Ballers (JV) 2p, Panorama Jazz Band (JV) 6p, the Catahoulas (JV) 10p Starlight: Tom McDermott (PI) 5p, Heidijo (JV) 8p, Ghalia and Gina Leslie (BL) 10p, Elise Wunder (FO) 11p, R.Ariel (EL) 11:59p Sugar Mill: Sugar Ball feat.

Tank and the Bangas, St. Paul and the Broken Bones, Sweet Crude (VR) 9p Three Keys (Ace Hotel): the Do Over (RB) 9p Three Muses: Chris Christy (JV) 5p, Keith Burnstein (JV) 6p, Shotgun Jazz Band (JV) 9p

Mardi Gras World: the String Cheese Incident (FK) 8p

Tipitina’s: Galactic, Jupiter Okwess (FK) 9p, Greyboy All-Stars (FK) 2a

New Orleans Creole

Tropical Isle Bayou Club:

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the Troubadour (KJ) 1p, Faubourg Ramblers (KJ) 5p, T’Canaille (KJ) 9p

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Café Beignet (Musical Legends Park): Steamboat Willie Jazz Band (TJ) 10a Cafe Istanbul: the Brecker Brothers Band (VR) 10p Café Negril: Ecirb Muller’s Twisted Dixie (JV) 6p, Vegas Cola (JV) 10p Carousel Bar (Hotel Monteleone): Jenna McSwain Jazz Quartet (JV) 8:30p Chickie Wah Wah: Nicholas Payton (JV) 8 & 10p Circle Bar: Dick Deluxe (FO) 5p, Micah McKee, Blind Texas Marlin (FO) 7p, the Iguanas (RK) 9:30p

Hi-Ho Lounge: WHIV JazzFest Benefit Band (VR) 8p, Quintron and Miss Pussycat and friends (VR) 10p House of Blues (the Parish): Bonerama Plays Led Zeppelin feat. AJ Hall, Darcy Malone, Michael Mullins (RK) 8p House of Blues: James Brown Dance Party (FK) 8p Howlin’ Wolf (the Den): Hot 8 Brass Band (BB) 11p Howlin’ Wolf: Zigaboo Modeliste’s Funk Revue 20th Anniversary Celebration and Jesus’s Peasant Party (FK) 10p Joy Theater: Jim James, Amo Amo (RK) 9p Kermit’s Mother-in-Law Lounge: Kermit Ruffins and the BBQ Swingers (JV) 7:30p, TBC Brass Band (BB) 8:30p Kerry Irish Pub: Patrick Cooper (FO) 8:30p Le Bon Temps Roule: Watson’s Theory (FK) 10p, Jazz Fest Wrap-Up Party with the Straight Dope (VR) 1a Little Gem Saloon: Topsy Chapman with her Seven Piece Band (JV) 7:30 & 9:30p Maison: NOLA Jitterbugs (JV) 10a, Opulence Hour Burlesque (BQ) 7p, Andy Frasco and the U.N. (FK) 10p, Purple Party: A Tribute to Prince feat. members of Prince, TAB, the Motet (FK) 2a Maple Leaf: Joe Krown Trio feat. Walter “Wolfman” Washington (FK) 8p, Nikki Glaspie and the Homies (FK) 10p, Johnny Sketch and the Dirty Notes (FK) 1a

d.b.a.: Palmetto Bug Stompers (JV) 6p, Stanton Moore Trio feat. Robert Walter and Will Bernard (FK) 10p, Xoniuqerf feat.

Stanton Moore, Donald Harrison Jr., Robert Walter, Rob Mercurio and Will Bernard (FK) 1a

New Orleans Jazz Museum (Old U.S. Mint): Brass Band Festival (BB) 6p

Funky Pirate: Mark and the Pentones (BL) 4p, Willie Lockett Band (BL) 8p

Portside Lounge: Mike Dillon Band (RK) 6p

One Eyed Jacks: Rising Appalachia (FO) 8p Palm Court Jazz Café: Mark Braud and Sunday Night Swingsters (JV) 8p

Rock ‘n’ Bowl: Sonny

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Landreth, Tab Benoit and Kenny Neal (BL) 8p Siberia: Tall Pines, Loose Cattle, Paul Sanchez (FO) 9p SideBar NOLA: New Orleans Guitar Masters feat.

Jimmy Robinson, Cranston Clements and John Rankin (VR) 8p, Mahmoud Chouki, Mike Gamble and Byron Asher (VR) 11p Snug Harbor: Davell Crawford and Company (JV) 9 & 11p Spotted Cat: Aurora Nealand and the Royal Roses (JV) 2p, Robin Barnes and the FiyaBirds (JV) 7p, Pat Casey and the New Sound (JV) 10p Starlight: Heidijo (JV) 5p, Gabrielle Cavassa Band (JV) 8p, Gabrielle Cavassa Jazz Jam (JV) 10p Three Keys (Ace Hotel): Deva Mahal and the Nth Power (VR) 9p Three Muses: Raphael et Pascal (JV) 5p, the

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Clementines (JV) 8p Tipitina’s: Dumpstaphunk with guest Marcus King, New Orleans Suspects Tribal Gold (FK) 9p Tropical Isle Bayou Club: Roland Cheramie and friends (KJ) 5p, Faubourg Ramblers (KJ) 9p

MONDAY MAY 6 Blue Nile: the Nth Power (FK) 10:30p Buffa’s: Arsene DeLay (VR) 5p, Antoine Diel (VR) 8p Café Beignet (Musical Legends Park): Steamboat Willie Jazz Band (TJ) 10a Cafe Istanbul: Chuck Perkins and Friends: Small Talk From St. Claude and St. Roch (VR) 8:30p Café Negril: Noggin (VR) 6p, Soul Project (VR) 10p Chickie Wah Wah: Jon Cleary’s High-Class Three Piece Symphony Orchestra

feat. James Rivers (VR) 8p, Eric Benny Bloom and the Melodies (VR) 11p Circle Bar: Dem Roach Boyz (RB) 7p d.b.a.: John Boutte (JV) 7p, Jazz Fest Jerry feat. Jermal Watson, Joe Marcinek, Terence Higgins, Mike Doussan, Charlie Wooton (FK) 10p Dragon’s Den: AudioDope with DJ Ill Medina (VR) 9p; Upstairs: Monday Night Swing (JV) 8p Fillmore: Shinedown (VR) 7:30p House of Blues (the Parish): Circa Survive, Suburban Living (RK) 7p House of Blues: Jim Breuer Live (RK) 7p

Mitch Woods (JV) 12p, Alexey Marti (JV) 1:30p, Soul Brass Band (BB) 3p, John Boutte (JV) 4:30p, Galactic (FK) 6p Maple Leaf: Corey Henry and the Treme Funktet (FK) 8p, Porter Jr. and his Runnin’ Pardners (FK) 10p One Eyed Jacks: the Murlocs, Moonwalks (VR) 8p Rock ‘n’ Bowl: NOLA Swing Dance Connection (VR) 7p SideBar NOLA: Mike Gamble and James Singleton (VR) 5p, Jeff Coffin and Helen Gillet (VR) 7p, Steven Bernstein, Mike Dillon, Erik Lawrence and James Singleton (VR) 9p Snug Harbor: Charmaine Neville Band (JV) 8 & 10p

Kerry Irish Pub: Will Dickerson (FO) 8:30p

Spotted Cat: Royal Street Winding Boys (JV) 2p, Dominick Grillo and the Frenchmen St. All-Stars (JV) 6p, Hot Club of New Orleans (JV) 10p

Louisiana Music Factory:

Starlight: Lulu and the

Kermit’s Mother-in-Law Lounge: Kermit Ruffins and the BBQ Swingers (JV) 7p

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Broadsides feat. Dayna Kurtz and Glenn Hartman (RB) 6p, Craig Greenberg, Izo Fitzroy (SS) 9p, Keith Burnstein and Amanda Walker (SS) 10p Three Muses: Monty Banks (JV) 5p, Miss Sophie Lee (JV) 8p Tipitina’s: Papa Grows Funk 2019 Reunion, Billy Iuso and Restless Natives (FK) 9p Tropical Isle Bayou Club: Cajun Drifters (KJ) 7p

TUESDAY MAY 7 Buffa’s: Tacos, Tequila and Tiaras with Vanessa Carr (VR) 7p Café Beignet (Musical Legends Park): Steamboat Willie Jazz Band (TJ) 10a

(Old U.S. Mint): Down on their Luck Orchestra (JV) 2p Saenger Theatre: Evanescence, Veridia (RK) 8p Siberia: Piano Night with Andre Bohren (CL) 8p SideBar NOLA: Johnny Vidacovich and Mahmoud Chouki (VR) 9p Snug Harbor: Stanton Moore Trio (JV) 8 & 10p Spotted Cat: Andy J. Forest Band (JV) 2p, the Little Big Horns (JV) 6p, Smoking Time Jazz Club (JV) 10p Starlight: Dayna Kurtz and Robert Mache (BL) 6p, Toonces with Asher Danziger (BL) 9p Three Muses: Gary Negbaur (JV) 5p, Leo Forde (JV) 8p

Jazz Playhouse: Big Sam’s Crescent City Connection (FK) 8:30p Kerry Irish Pub: Beth Patterson (FO) 8:30p Lafayette Square: Wednesday at the Square feat. Cyril Neville’s Swampfunk, Miss Mojo (VR) 5p One Eyed Jacks: Vixens and Vinyl (VR) 10p Palm Court Jazz Café: Lars Edegran and Topsy Chapman with Palm Court Jazz Band (JV) 8p

Rock ‘n’ Bowl: Horace Trahan and Ossun Express (VR) 8p

Columns Hotel: the Neoclassic Jazz Trio with Tom Sancton, Clarence Johnson III and John Rankin (JV) 8p

WEDNESDAY MAY 8

d.b.a.: Dinosaurchestra (JV) 7p, Treme Brass Band (BB) 10p

Bullet’s: Treme Brass Band (BB) 7:30p

Gasa Gasa: Blac Rabbit, the Head, Doctors (RK) 9p Hi-Ho Lounge: CommonTone Music Series (MJ) 10p House of Blues (Foundation Room): DJ Doug Funnie (VR) 6p House of Blues (the Parish): Boogie (HH) 7p Jazz Playhouse: James Rivers Movement (JV) 8p Kerry Irish Pub: Jason Bishop (FO) 8:30p Little Tropical Isle: Mark Pentone (RK) 5p, Frank Fairbanks (RK) 9p Maple Leaf: A Tribute to Eric Traub (FK) 6p New Orleans Jazz Museum

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Café Negril: Maid of Orleans (VR) 6p, Another Day in Paradise (VR) 10p Carousel Bar (Hotel Monteleone): James Martin Band (JV) 8:30p Circle Bar: the Iguanas (RK) 7p, Cardboard Cowboy (CW) 10p d.b.a.: Tin Men (RK) 7p, Walter “Wolfman” Washington and the Roadmasters (BL) 10p Fillmore: Rob Zombie (VR) 7p Gasa Gasa: Sean McConnell with Caleb Elliott, Pet Fangs (FO) 9p

Three Muses: Leslie Martin (JV) 5p, Hot Club of New Orleans (JV) 8p Tropical Isle Bayou Club: the Troubadour (KJ) 7p

THURSDAY MAY 9 Buffa’s: Kitt Lough (JV) 5p, Tom McDermott and Aurora Nealand (JV) 8p Bullet’s: Shamar Allen and the Underdawgs (JV) 7p Café Beignet (Musical Legends Park): Steamboat Willie Jazz Band (TJ) 10a Circle Bar: Dark Lounge feat. Rik Slave (VR) 7p; the Excelleauxs (RC) 9:30p d.b.a.: Khris Royal and Dark Matter (FK) 10p House of Blues (Foundation Room): Kelsi (SS) 6p House of Blues: the Winery Dogs (VR) 7p

House of Blues (Foundation Room): Michael Liuzza (BL) 6p

Kermit’s Mother-in-Law Lounge: Kermit Ruffins and the BBQ Swingers (JV) 7p

House of Blues (the Parish): Sum 41 (RK) 7p

Kerry Irish Pub: Hugh Morrison (IR) 8:30p

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Ogden Museum of Southern Art: Ogden After Hours feat. Indigo Strings (VR) 6p

Palm Court Jazz Café: Crescent City Joymakers (JV) 8p

Starlight: Tuba Skinny (JV) 8p, Nahum Zdybel’s Hot Jazz Jam (JV) 11p

Fillmore: Meshuggah (VR) 7p

NOLA Cantina: Guitar Slim (BB) 5p

Snug Harbor: Uptown Jazz Orchestra with Delfeayo Marsalis (JV) 8 & 10p Spotted Cat: Chris Christy (JV) 2p, Shotgun Jazz Band (JV) 6p, Antoine Diel and the New Orleans Power Misfits (JV) 10p

Ellis Marsalis Center For Music: Ashlin Parker (JV) 6p

New Orleans Jazz Museum (Old U.S. Mint): Stephanie Jordan Band (JV) 12p

One Eyed Jacks: Lucy Dacus, Mothers (VR) 8p, Fast Times ‘80s and ‘90s Night (VR) 10p

Tropical Isle Original: the Hangovers (RK) 5:15p, F.A.S.T. (RK) 9:15p

Café Beignet (Musical Legends Park): Steamboat Willie Jazz Band (TJ) 10a

Little Tropical Isle: Allen Hebert (RK) 5p, Jezebels Chill’n (RK) 9p

Rock ‘n’ Bowl: Hyperphlyy (VR) 8p

Café Negril: 4 Sidemen of the Apocalypse (VR) 6p, John Lisi and Delta Funk (FK) 10p

Buffa’s: Open Mic Night with Nattie Sanchez (SS) 7p

Le Bon Temps Roule: Soul Rebels (BB) 11p

SideBar NOLA: James Singleton Rough Babies (VR) 9p Snug Harbor: Joe Dyson and Company (JV) 8 & 10p Starlight: Heidijo (BL) 5p, Chloe V. and Kathryn Rose Wood (SS) 8p, Shawan Rice (SO) 10p Three Muses: Tom McDermott (JV) 5p, Arsene DeLay (JV) 8p Tropical Isle Original: the Hangovers (RK) 5:15p, Late As Usual (RK) 9:15p

FRIDAY MAY 10 Bombay Club: Leroy Jones (JV) 8:30p Buffa’s: Larry Scala Quartet (JV) 6p, Dr. Sick and the Late Greats (JV) 9p Café Beignet (Musical Legends Park): Steamboat Willie Jazz Band (TJ) 10a d.b.a.: Aurora Nealand and the Royal Roses (KJ) 6p, Dwayne Dopsie and the Zydeco Hellraisers (ZY) 10p House of Blues (Foundation Room): Murali Coryell and guests (VR) 7p Jazz Playhouse: Nayo Jones Experience (JV) 7:30p, Trixie

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Minx’s Burlesque Ballroom feat. Romy Kaye and the Mercy Buckets (BQ) 11p

Three Muses: Matt Johnson (JV) 5:30p, Doro Wat Jazz Band (JV) 9p

Kerry Irish Pub: Will Dickerson (FO) 5p, Paintbox with Dave James and Tim Robertson (FO) 9p

Tipitina’s: DJ Soul Sister Presents Steppin’ Out (FK) 10p

Le Bon Temps Roule: Joe Krown (PI) 7p, Soul Project (FK) 11p New Orleans Creole Cookery: the Rik-Tones (JV) 6p New Orleans Jazz Museum (Old U.S. Mint): Piano Music of Gottschalk performed by Peter Collins (PI) 7p Rock ‘n’ Bowl: the Mixed Nuts Tiki Bar Luau (VR) 9:30p Snug Harbor: Ellis Marsalis Quintet (JV) 8 & 10p Spotted Cat: Washboard Chaz Blues Trio (JV) 6p Starlight: Shaye Cohn and guest (CL) 5p, Anais St. John and Daniel Meineke (JV) 8p, John Zarsky Trio (JV) 11p

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Tropical Isle Bourbon: Wild Card (RK) 5p, Debi and the Deacons (RK) 9p

SATURDAY MAY 11 Buffa’s: Live Jazz Group feat. Rhodes Spedale, Lil Josephine and Gingerbread Tanner (JV) 11a, Freddie Blue and the Friendship Circle (VR) 6p, Cole Williams (VR) 9p Café Beignet (Musical Legends Park): Steamboat Willie Jazz Band (TJ) 10a Circle Bar: Dick Deluxe (CW) 5p, Spookey Ruben (RK) 9:30p d.b.a.: Tuba Skinny (JV) 7p, Little Freddie King (BL) 11p Dew Drop Social and

Benevolent Hall: Lost Bayou Ramblers (KJ) 6:30p House of Blues (Foundation Room): Brigette Bruno (VR) 9p House of Blues (the Parish): Inferno Burlesque (BQ) 8p House of Blues: Appetite for Destruction: Guns N Roses Tribute (CR) 8p Howlin’ Wolf (the Den): Bianca Love and Champion Swag (JV) 10p Jazz Playhouse: Cyril Neville and Swamp Funk (FK) 8:30p Kermit’s Mother-in-Law Lounge: Neshia Ruffins (RB) 9p Kerry Irish Pub: Speed the Mule (FO) 5p, Roux the Day (FO) 9p

New Orleans Creole Cookery: the Cookery Three (JV) 6p One Eyed Jacks: PUP, Ratboys, Casper Skulls (VR) 9p Palm Court Jazz Café: Will Smith and Palm Court Jazz Band (JV) 8p Rock ‘n’ Bowl: Crescent City Soul (VR) 10p Saenger Theatre: Cody Jinks, the Steel Woods (CW) 7p Santos: Hexist, Morbid Torment (ME) 9p Snug Harbor: Topsy Chapman and Solid Harmony (JV) 8 & 10p Spotted Cat: James Martin Band (JV) 10p

Le Bon Temps Roule: the Chandeleurs (VR) 11p

Three Muses: Chris Christy (JV) 5p, Russell Welch (JV) 6p, Shotgun Jazz Band (JV) 9p

Music Box Village: Lumiere Premiere: An Inaugural Beaux Arts Ball (VR) 7p

Tipitina’s: Jonathon Long and Damon Fowler (BL) 10p

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Tropical Isle Bourbon: Rhythm and Rain (RK) 5p, Debi and the Deacons (RK) 9p

SUNDAY MAY 12 AllWays Lounge: Frog and Henry Jazz Band (TJ) 9p Audubon Zoo: Mother’s Day Celebration feat. Irma Thomas (SO) 10a Bacchanal: the Tangiers Combo (JV) 12p, John Zarsky and the Tradstars (JV) 4:30p, Roamin’ Jasmine (JV) 7:30p Banks Street Bar: Buke and Gase, Matron, Mosquito Eater (RK) 10p Bombay Club: Tim Laughlin Trio (JV) 8p Buffa’s: Some Like It Hot (JV) 11a, Steve DeTroy (JV) 4p, Steve Pistorius Jazz Quartet (JV) 7p Café Beignet (Musical Legends Park): Steamboat Willie Jazz Band (TJ) 10a Candlelight Lounge: Corey Henry and 6th Ward AllStars (BB) 8p d.b.a.: Palmetto Bug Stompers (JV) 6p, Valerie Sassyfras (VR) 10p Funky Pirate: Mark and the Pentones (BL) 4p, Willie Lockett Band (BL) 8p Gasa Gasa: TV Girl, Yohuna (ID) 9p House of Blues (Foundation Room): Requiem with DJ Raj Smoove (RB) 10p House of Blues: Whitechapel, Dying Fetus, Revocation, Fallujah (ME) 5p Jazz Playhouse: Germaine Bazzle (JV) 8p Kermit’s Mother-in-Law Lounge: TBC Brass Band (BB) 7p Kerry Irish Pub: Will Dickerson (FO) 8:30p Lazy Jack: Triple Threat (VR) 3p Palm Court Jazz Café: Mark Braud and Sunday Night Swingsters (JV) 8p Portside Lounge: Jeff Pinkus

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(FO) 6p

Express (RK) 9:15p

Snug Harbor: Mahmoud Chouki’s International String Trio (JV) 8 & 10p

cuisine and an arts market.

FestivalInternational.org

TUESDAY MAY 14

April 25-28 & May 2-5 The 50th Annual New Orleans Jazz and Heritage Festival takes place at the Fair Grounds. NOJazzFest. com

Starlight: Keith Burnstein (SS) 5p, Gabrielle Cavassa Band (JV) 8p, Gabrielle Cavassa Jazz Jam (JV) 10p Three Muses: Raphael et Pascal (JV) 5p, the Clementines (JV) 8p Tropical Isle Bourbon: Rhythm and Rain (RK) 5p, Debi and the Deacons (RK) 9p

MONDAY MAY 13 Bombay Club: David Boeddinghaus (PI) 8p Buffa’s: Arsene DeLay (VR) 5p, Antoine Diel (VR) 8p Café Beignet (Musical Legends Park): Steamboat Willie Jazz Band (TJ) 10a Circle Bar: Dem Roach Boyz (RB) 7p, Slow Coyote, Smokestack Relics (RK) 9:30p d.b.a.: John Boutte (JV) 7p House of Blues (the Parish): Lovelytheband (ID) 7p Jazz Playhouse: Gerald French and the Original Tuxedo Jazz Band (JV) 8p Kermit’s Mother-in-Law Lounge: Kermit Ruffins and the BBQ Swingers (JV) 7p Kerry Irish Pub: Beth Patterson (FO) 8:30p Lafitte’s Blacksmith Shop: Lucky Lee (SS) 9p One Eyed Jacks: Blind Texas Marlin (VR) 10p Rock ‘n’ Bowl: NOLA Swing Dance Connection (VR) 7p Snug Harbor: Charmaine Neville Band (JV) 8 & 10p Starlight: Lulu and the Broadsides feat. Dayna Kurtz (RB) 6p, Geovane Santos and Allison Garcia (LT) 9p Three Muses: Bart Ramsey (JV) 5p, Washboard Rodeo (JV) 8p Tropical Isle Original: Graham Robinson Band (RK) 5:15p, Trop Rock

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Buffa’s: Loose Cattle with Michael Cerveris and Kimberly Kaye (VR) 7p Café Beignet (Musical Legends Park): Steamboat Willie Jazz Band (TJ) 10a Columns Hotel: the NOLA String Kings with Don Vappie, Matt Rhody and John Rankin (JV) 8p d.b.a.: Dinosaurchestra (JV) 7p, Treme Brass Band (BB) 10p Funky Pirate: Blues Masters (BL) 8:30p House of Blues (Foundation Room): DJ Doug Funnie (VR) 6p Jazz Playhouse: James Rivers Movement (JV) 8p Kerry Irish Pub: Jason Bishop (FO) 8:30p Little Tropical Isle: Mark Pentone (RK) 5p, Frank Fairbanks (RK) 9p New Orleans Jazz Museum (Old U.S. Mint): Down on their Luck Orchestra (JV) 2p Rock ‘n’ Bowl: Latin Night (LT) 7p SideBar NOLA: Mahmoud Chouki’s Birthday Bash (VR) 9p Snug Harbor: Evan Christopher’s Sidney Bechet Birthday Tribute (JV) 8 & 10p Starlight: Dayna Kurtz and Robert Mache (BL) 6p, Duke Aeroplane and the Ampersand Band (BL) 9p, Goodnight Starlight with Asher Danziger (BL) 10p Three Muses: Sam Cammarata (JV) 5p, Salvatore Geloso (JV) 8p Tropical Isle Bayou Club: Cajun Drifters (KJ) 7p

FESTIVALS April 24-28 Festival International de Louisiane in downtown Lafayette includes live music on multiple stages, regional

April 29-30 & May 1 The New Orleans Crawfish Festival at Central City BBQ features three days of live music, beer and crawfish.

NolaCrawfishFest.com May 31-June 1 The Cathead Jam music festival takes place in Jackson, Mississippi at the Cathead Distillery with live music and food and drink vendors. CatheadJam.com

SPECIAL EVENTS April 24, May 1, 8 The Crescent City Farmers Market holds a weekly produce market with live music every Wednesday at Piety and Chartres streets (foot of Rusty Rainbow bridge) from 3 p.m. to 7 p.m. FrenchMarket.org April 26-May The “Relix Celebrates 50 Years of New Orleans Music & Culture” exhibit at the New Orleans Jazz Museum opens on April 26th. There also will be conversations on April 29thMay 1st with local music icons. Relix.com/nola50 May 1 NOLA Brewing presents the Cosmic Crawfish Ball featuring crawfish, McClure’s BBQ, an arts market and live music on two stages.

NolaBrewing.com May 4 Jammin’ on Julia in the Warehouse District presents open galleries, food and drink vendors and live music.

ArtsDistrictNewOrleans. com Ongoing The “Drumsville!: Evolution of the New Orleans Beat” exhibit is on display at the New Orleans Jazz Museum.

NolaJazzMuseum.org

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backtalk

Photo courtesy of the artist

Thursday May 2, Blues Tent, 2:50 p.m.

Mavis Staples

T

here is no more fitting

by John Swenson doesn’t remember that particular talent to celebrate the show. She does have precious 50th anniversary of Jazz Fest than memories of Mahalia Jackson, a family friend Mavis Staples, who at 80 years of age is who she knew since childhood, and emulated celebrating a total career revitalization. Her all her life. In 1998, and then again in 2009, second album of 2019, the Ben HarperMavis got a chance to lead a tribute to her produced We Get By, comes out May 10, only mentor at the Gospel Tent. months after the acclaimed Live in London, her first live album in a decade.

Congratulations on becoming an A veteran of several Gospel Tent appearoctogenarian, 80 years old. ances over the years as well as shows at All right, I’ll have to remember that word. the Blues Tent and Congo Square, Mavis’ You’re still going strong. You sound participation in Jazz Fest activities goes back 40 great on the Live in London record. We’ve years, to a 1979 performance at the Municipal lost a lot of people from your generation.

Auditorium with her family band, the Staples I guess you were pretty tight with Aretha, Singers, led by her father the legendary Pops right?

Staples. Mavis has a good memory, but she Aretha and I grew up together. We’ve

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The songs are so powerful. Ben, he’s a great known each other from teenagers, like 13, 14. writer, and the songs that he’s written for me, Her family and my family, we just combined I love them all. I can’t stop listening to them: the two families. We were one family. The “We Get By,” and there’s another one called Franklins and the Staples, all one family.

“Strong,” which describes the whole album, Did you ever sing with her? because every song gets stronger than the I’m singing with her on one of her albums, last. My message for Ben’s album is strong and we’re singing “Oh Happy Day.” We did this at powerful because that’s what the album is. I’m her father’s church. It’s a live album. so honored and proud that The albums of his Ben wrote all of these songs sermons are really “My message for just for me. For a young and amazing.

Ben’s (Harper) gifted young man like him to Oh my God, he was want to write for me--I’m the best. He was the best album is strong and the happiest old girl in the at sermons. My favorite powerful because world. All of my producers was, “The Eagle Stirred the been geniuses. And Nest.” that’s what the album have then here comes Ben. I Of course when it is. I’m so honored think Ben is my youngest comes to the musical since Curtis sermons, nobody beats and proud that Ben producer Mayfield. I’m so blessed, so Pops Staples. wrote all of these grateful to still be here living You got that right. Pops time. My work is still was the baddest. Pops was songs just for me. For innotthisdone yet, but this young so smooth, y’know? I used a young and gifted man has written me some to love to hear Pops sing. that will help me get I still love to hear him sing. young man like him songs over the hump.

He was so laid back and to want to write for He seems inspired by cool. My voice, people say I your get it from Pops, but I think me—I’m the happiest Yes.message.

He’s been wanting to it’s the musical part of my old girl in the world.” produce me for a while. He life that I get from Pops, wrote a song for me a while while my voice comes from my mother. My mother had a strong voice, and back, for my Livin’ On a High Note album.

Right. “Love and Trust.” her mother had a strong voice. Pops’s voice is When I heard that song I said, “Ben is ready. like velvet, it’s soft and smooth.

Let’s try and see if he will work with us.” It was What stage will you be playing at Jazz just great. It was a fun session. He’s comical, Fest? and he keeps you happy. I’m happy-go-lucky I don’t know. I’m just honored to be playing anyhow. It doesn’t take much to make me at Jazz Fest, I’ve been there so many times. I happy, just to know that someone cares and remember I’ve done the Congo stage, and I’ve someone is interested in me moving on done the Gospel Tent. forward.

You’ve also done the Blues Tent.

Are you going to play material from We That might be where they have me this Get By at Jazz Fest? time, because those songs by Ben Harper, We’re already doing that. We’re singing four they’re my style, but when you get down in of the songs. We’re singing “We Get By,” we there, they’re bluesy. sing “Change,” “Anytime, Anyway, Anywhere,” Who’s in your band? and “Strong.” We’ve been singing them I’ve got Rick Holmstrom on guitar, Jeff because we love ’em so much. And they need Turmes on bass, Stephen Hodges on drums, to be heard right now. So I can’t wait for the and the backing singers are Donny Gerrard album to be released. and Sandra Williams. Sandra is new. Sandra Back in the ’60s and ’70s your family sang background for Sharon Jones. I’ve got a major team around me. That’s the band on the band was very important in the Civil Rights movement, and now at a time Ben Harper [record], We Get By. OF F B E AT. COM

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when all of these issues are suddenly addresses. presented to us again, you seem to have It’s unbelievable how people think they can stepped out. You sing, “Things are gonna just get out of their cars and shoot somebody. change around here.” Once again that And they don’t even know the people. That message comes through. tells me there’s just some hate being buried That’s right. I’m still in the same category into these people’s minds. And I know where that I was with my family. We were singing it’s coming from. I’m not saying the name, but songs of faith and hope and love and I’m still he’s putting this in people’s minds. They think doing it. I have to—because I’m still here. I was they can be doing’ what he’s doing’. They’re there in Montgomery, Alabama. I’ve seen it driving down the expressway and just shooting all as far as bigotry is concerned, and I’m still into cars. That’s bad. And the stuff that’s here. I can’t let it go, because I have my father’s happening, I know exactly where it’s coming and Dr. King’s legacy, I have from, but I just won’t say it. to keep them going. If the In one of the songs I sing Lord has kept me here, “I’ve seen it all as far as something about this man, he’s kept me here for this God send us another bigotry is concerned, and reason, for me to keep this plan. People know what positivity in life going’. Trying I’m talking about, but we and I’m still here. I to bring us together, trying to get to those who can’t let it go, because want to bring hope and love into have been swayed by what this world. I have some I have my father’s and he’s telling them. It’s so sad. fight against me, but that’s they wanna do, Dr. King’s legacy, I have Anything all right, because I’m strong. they just go and do it. And They can push against me to keep them going. laugh about it. all they please, but I’m not Right. There’s another If the Lord has kept song going anywhere. I’m going to on the Live in continue to move forward. me here, he’s kept me London record, “No This record is really an for Crying,” which here for this reason, Time example of that. Even the you co-wrote with Jeff cover art, that powerful for me to keep this Tweedy, which seems Gordon Parks photo, address the current positivity in life going’.” to which is so apropos of political crisis. what’s going on right Right: “No time for tears. now, with those young girls looking We got work to do.” And that little monogram through a fence at a place… about “motherless children,” that just came Yeah, wanting’ to be on the other side. to me, thinking about the children in cages, It’s sort of like a metaphor for Trump’s and how we got motherless children. That’s wall, a symbol of racism in our time. the worst thing in the world, for a child to be Right! That’s true. I had looked at about ten taken away from their mother. different covers. I saw those little girls standing Your shows are filled with inspirational there and it kind of reminded me of my sisters anthems like “We’re Gonna Make It,” and me when we were that size. They had a classic sung by Little Milton. Did the the little braids and the cute little dresses and Staples sing that too? they’re standing there wanting to be on that No, we didn’t record that. My band, we playground. But they can’t go in. I thought that just decided to sing that song because it’s so was the best cover. And I had just been with positive.

Gordon Parks. I saw a lot of his artwork. I’m And, “Touch a Hand.” glad you mentioned that. It makes me feel so “Touch a Hand” is one of my favorites from good to have that on my album cover. way back. We recorded that in the ’70s. When I think this record is going to be a really I brought it to the band, I told them it was one powerful statement. Also the line “bullets of my favorite songs when I was singing it with flying around here,” clearly we’re in a the family, and I wanted to continue singing it. gun crisis and that’s something the lyric And man, when we sing, “Touch a Hand” it is

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the best song of the entire show. People just Were you with Pops when he played grab it and they start hugging each other and the Gospel Tent in 1988? shaking hands. We still do “Respect Yourself,” I wasn’t there. Pops wouldn’t let me go and “I’ll Take You There.” “Respect Yourself,” you with him. I wanted to go. “You stay with your can’t get away from that. mother, you stay home,” he would say. Then he You have a lot of exchanges with different started laughing.

New Orleans artists. You’ve sung with Dr. You mentioned Irma. In 2009 you John on his records and at the tribute to him played twice at Jazz Fest, both times in at the Saenger Theater in 2014. the Gospel Tent, one your own show, and That place was loaded. The Neville Brothers the other a tribute to Mahalia Jackson were there, there was so many of our friends with Irma. there, and Dr. John, he’s I’ll never forget that. been a favorite of mine That was one of the most “When I was about for years. There was so beautiful experiences. You eight years old, my many there, it started know, Mahalia Jackson getting so late. I said, father used to just play was my very favorite “Listen, y’all better go of all time. She all of these male gospel singer on and be calling me, was my idol. When I was because I’ll be going to singers, and one day I about eight years old, my sleep in a few.” Dr. John used to just play was in the back room in father told ’em, “Get Mavis on all of these male gospel stage.” It was already after my little play area, and I singers, and one day I 12 o’clock! I said, “Oh my in the back room in heard this lady’s voice. I was God, I can’t stay up this my little play area, and I late.” But oh that was so sat on the floor listening heard this lady’s voice. I good. It was in his honor. I on the floor listening to her, just rocking, and sat just love Dr. John so much. to her, just rocking, and He’s so comical. We’ve I asked, “Daddy who is I asked, “Daddy who is worked together for years. singing?” and he said, that singing?” and he said, that I love him.

“That’s Mahalia Jackson.

Also, the Arcade Fire, ‘That’s Mahalia Jackson. Do you like her?” and I they live in New Orleans “Oh yes sir, I like her.”

Do you like her?’ and I said, now. And little Benjamin We became friends. She Booker, he wrote me a said, ‘Oh yes sir, I like her.’ ” would come to the house song, “Take Us Back,” and on the Fourth of July and I sang with him on his song, “Witness.” I sang my mother would fix barbecue and make with Arcade Fire on the Talking Heads song homemade ice cream. And Mahalia would [“Slippery People”]. I went to Arcade Fire’s always say, “Lil’ baby, take my bowl and get house in New Orleans, and it’s a beautiful me some more of that ice cream.” I’d say, “Yes house, so I had to tell Dr. John, “Hey, you never ma’am,” and I’d run and get her some more ice invited me to your house. You gotta invite cream. Oh Lord, she was the greatest. The last me so we can have some crabs, crawfish and time that I saw my friend, was like 1969, 1970. oysters.” Galactic, I worked with them too. We We were on a gospel festival in Harlem and did a show together with them last year. New she wasn’t feeling well. And she said, “Mavis, Orleans has some great talent. Irma Thomas, sing this song for me,” and I said, “Yes ma’am Preservation Hall band, and Chocolate Milk, I’ll sing.” So I started to sing, and then by the I love New Orleans. You gonna mess around second verse someone had helped Mahalia and have me moving to New Orleans. up to the microphone, and there I was singing Do you remember playing Municipal with this great lady. I was just outdone. I must Auditorium in 1979 with your family band? have been about 13 years old. I was in my I don’t remember that. We used to come world. I tell you I was so blessed. And I’m still there with a caravan of gospel singers, but I blessed. Oh Lord, I’ve come a long way. And I don’t remember playing in an auditorium. ain’t dyin’ yet. O OF F B E AT. COM

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