Offbeat Magazine February 2017

Happy Mardi

Gras!

Naughty Professor ... the daze after

ALSO IN THIS ISSUE LOUISIANA MUSIC, FOOD & CULTURE—FEBRUARY 2017 Free In Metro New Orleans US $5.99 CAN $6.99 £UK 3.50

Tattoo culture Brian Blade Best of the Beat winners Dennis Paul Williams Old vs. new Mardi Gras Indian traditions

BLAST FROM THE PAST

All On a Naughty Gras Day

“Zulu’s Big Shot”

Naughty Professor forges an identity.

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LETTERS

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MOJO MOUTH

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FRESH

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Five questions with Grammy-nominated songwriter Barry Jean Ancelet, What’s next for Henry Butler, Five questions with the co-captain of the Krewe of Dreux Jimmy Armstrong, My Music with Mike Doussan, Five questions with Germaine Bazzle, and more.

OBITUARY

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The Best of the Beat award winners.

ZYDECO’S CHORDIOLOGIST

IN RESIDENCY Dennis Paul Williams is happiest with crayons.

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INDIAN SECRETS

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Old and new Mardi Gras Indian traditions face off.

OFFBEAT EATS

Our visual wrap-up.

THE ULTIMATE KNOCK-OUT

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Lauren Holton at Turkey and the Wolf mixes up Drop the Big One for Randy Newman.

Thomas W. Jacobsen

BEST OF THE BEAT IN PHOTOS

Musicians show us their tattoos.

IN THE SPIRIT

John Boudreaux Jr.

OBITUARY

INK TELLS THE TALE

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Marc Paradis is In the Spot at the Ruby Slipper and Peter Thriffiley reviews The Delachaise.

REVIEWS

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The Masakowski Family, Noah Young, The Revelers, Harmonouche, Jeff Chaz, Margie Perez, Billie Davies, Keith Porteous, Jamie Bergeron & the Kickin’ Cajuns and more.

REWIND

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Warren Hildebrand hits rewind on the compilation Mardi Gras in New Orleans.

LISTINGS

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BACKTALK with Brian Blade

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by Bunny Matthews March 2003 Armand Richard, Big Shot of 2003, tells Bunny Matthews about the character created for the Zulu Mardi Gras parade during the early 1930s.

The Big Shot is the funky Beau Brummel of Mardi Gras, the flyest guy to dazzle any eye, the original inventor of bling.

To read more, this issue can be purchased at www.offbeat.com/shop/ back-issues/2003/offbeatmagazine-march-2003/.

FEBRUA RY 2017

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Letters

“I’d probably avoid Royal Street if it wasn’t for the street performers.

If I wanted to shop I would, street performers or not. I’ve been to New Orleans many times and Royal Street has performers that aren’t in your face like Bourbon Street!”

—Dawn Smith, Voorhees, New Jersey

Crescent City Connection I have been an OffBeat subscriber for many, many years. I used to live in New Orleans and in Slidell in the mid-’70s and early ’80s.

Worked at the Hale Boggs Federal Building in the CBD—spent many a night out listening to Clarence “Frogman” Henry, Professor Longhair, James Booker, Pete Fountain and Al Hirt. Went to my first Jazz Fest in 1975 or 1976—this year will be my 32nd or 33rd Jazz Fest. The last 23 years in a row. About four years ago I created a radio show here in St. Augustine, Florida called the Crescent City Connection. It is broadcast every Thursday from 3–5 p.m. EST on Flagler College radio 88.5 FM, “Radio with a Reason.” We can also be heard on the world wide web via iHeart radio. My play list is eclectic, from brass bands, Neville Brothers, the Marsalises, Tuba Skinny, Harry Connick, Jr., Doreen Ketchens, Preservation Hall Jazz Band, Banu Gibson, Leroy Jones, Don Vappie, Dr. Michael White, Dr. John, Frankie Ford, Astral Project, Jon Cleary, Honey Island Swamp Band, etc. We play them all. We are as eclectic as WWOZ. I would love to get some new listeners. Keep up the good work in publicizing the best music in the world.

—Ralph Collinson, St. Augustine, Florida

Royal Street The following letter is in response to Jan Ramsey’s blog post, “Every Year Royal Street Performers Annoy Retailers. Compromise?” talking about a WWL-TV news story about complaints from businesses on Royal Street with the noise coming from street performers.

I have to say, I’d probably avoid Royal Street if it wasn’t for the street performers. If I wanted to shop I would, street performers or not. I’ve been to New Orleans many times and Royal Street has performers that aren’t in your face like Bourbon Street!

—Dawn Smith, Voorhees, New Jersey

Helen Hill The following letter is in response to Sam D’Arcangelo’s news post, “New Orleans

Filmmaker Helen Hill’s Works Now Available Online” remembering Helen Hill and her murder 10 years ago.

What a nice remembrance of Helen, Sam, thank you. If anyone wants to know more about Helen, I suggest watching The Florestine Collection, which was unfinished at the time of her death and was later finished by her husband Paul, who made it into a tribute to Helen.

—Courtney Egan, New Orleans, Louisiana

New Album Aw man, breakin’ my heart as I won’t be able to attend [Best of the Beat Awards]. I would love to be there most especially for Johnny [Vidacovich] but I’m recording a new live album here in Lafayette at the Acadiana Center for the Arts. Have a great night!

—Sonny Landreth, Lafayette, Louisiana

Detroit Brooks Could not agree more that Detroit [Brooks] is well deserving of this award [HeartBeat Award]. Great player and very supportive of other musicians, plus one of the nicest people you would ever want to know.

Congratulations Detroit!

—John Ewart, Lewes, Delaware Thank you for the great article and for recognizing Detroit. I truly think that there is no one more deserving of this award.

—Diane Danthony, Northampton, Massachusetts

Hopalong I agree with OffBeat Magazine this CD [Hopalong Catastrophe: Big Bad Wrong (Four Cats / Radionic Records, reviewed January 2017) is one of the best-kept secrets.

I enjoyed the whole album. Each song has its own unique sound and has you really wanting to hear the words. The one I liked the most was “Queen Of Deceit” and “Wink of an Eye” was one of the best ones too.

—Kathleen Lynch, New Orleans, Louisiana

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

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Louisiana Music, Food & Culture

February 2017 Volume 30, Number 2 Publisher and Editor-in-Chief Jan V. Ramsey, janramsey@offbeat.com Managing Editor Joseph L. Irrera, josephirrera@offbeat.com Consulting Editor John Swenson Food Editor Elsa Hahne, elsahahne@offbeat.com Listings Editor Katie Walenter, listings@offbeat.com Contributors Rory Callais, Sam D’Arcangelo, Laura DeFazio, Frank Etheridge, Robert Fontenot, Elsa Hahne, Jeff Hannusch, Tom McDermott, Brett Milano, Peter Thriffiley, Dan Willging, Geraldine Wyckoff Cover Elsa Hahne Art Director/Food Editor Elsa Hahne, elsahahne@offbeat.com Web Editor Sam D'Arcangelo, sam@offbeat.com Copy Editor Theo Schell-Lambert, theo@offbeat.com Advertising Sales Carver Rayburn, carver@offbeat.com Promotions Coordinator Camille A. Ramsey, camille@offbeat.com Advertising Design PressWorks, 504-944-4300 Business Manager Joseph L. Irrera Interns Alex Guior, Brittney Karno, Elina Tons 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 facebook.com/offbeatmagazine twitter.com/offbeatmagazine Copyright © 2017, 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 $45 per year ($52 Canada, $105 foreign airmail). Back issues are available for $10, except for the May issue for $16 (for foreign delivery add $6, except for the May issue add $4). Submission of photos and articles on Louisiana artists are welcomed, but unfortunately material cannot be returned.

MOJO MOUTH

What’s Mardi Gras, if not for Bunny? By Jan Ramsey

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n 1835, James R. Creecy described New Orleans Mardi Gras in his book Scenes in the South, and Other Miscellaneous Pieces: Shrove Tuesday [Mardi Gras] is a day to be remembered by strangers in New Orleans, for that is the day for fun, frolic, and comic masquerading. All of the mischief of the city is alive and wide awake in active operation. Men and boys, women and girls, bond and free, white and black, yellow and brown, exert themselves to invent and appear in grotesque, quizzical, diabolic, horrible, strange masks, and disguises.

Human bodies are seen with heads of beasts and birds,

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beasts and birds with human heads; demi-beasts, demi-fishes, snakes’ heads and bodies with arms of apes; man-bats from the moon; mermaids; satyrs, beggars, monks, and robbers parade and march on foot, on horseback, in wagons, carts, coaches, cars, etc., in rich confusion, up and down the streets, wildly shouting, singing, laughing, drumming, fiddling, fifeing, and all throwing flour broadcast as they wend their reckless way.

Things haven’t changed all that much, except the costuming has gotten way more lewd, and noticeably more funny, ridiculous and inventive since then.

This year, I cannot wait to see all the Trumps: Donald, Melania, Ivanka and the other adult kids satirized on the street (well, maybe not Barron—he’s only 10 years old and should be left alone for a little while at least).

I’ve seen Alec Baldwin and even Meryl Streep do their Trump imitations, and suffice it to say, the dude is a pretty easy target now and will probably continue to be one for the next four years.

I’d like to salute the redoubtable writer, satirist and cartoonist, and previous OffBeat editor, Will Bunn “Bunny” Matthews, as king of this year’s Krewe du Vieux parade on February 11. Bunny wrote many

memorable and controversial pieces for OffBeat, as well as many episodes of Vic and Nat’ly; he designed great covers, and posters of Ernie K-Doe and Mardi Gras. We were sorry to lose him at OffBeat after Hurricane Katrina.

Serving as the monarch of this year’s Krewe du Vieux couldn’t be a more perfect fit for him, as he is an aficionado of all things New Orleans and Mardi Gras, and already the king of local satirists, which we need more of in this crazy city.

So, congratulations, Bunny!

Am glad you are still on this side of the earth to share the honor with the most funny and satirical Mardi Gras krewe out there. O

FEBRUA RY 2017

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FRESH

Five Questions with Barry Jean Ancelet

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niversity of Louisiana-Lafayette professor emeritus Barry Jean Ancelet talks about his involvement in two Grammy-nominated projects: Valcour Records’ I Wanna Sing Right: Rediscovering Lomax in the Evangeline Country, and his collaboration with Sam Broussard on Broken Promised Land.

Do you consider yourself to be a musician? [laughs] Well, I have been playing the guitar since seventh grade. I did tour with Don Montoucet, Lionel Leleux and the Wandering Aces in the late ’70s, but getting onstage to play and sing for people is not common for me.

When was the first time you wrote/co-wrote a song that was recorded professionally?

I helped translate ‘L’Amour Secret’ for Wayne Toups when he was recording for the Millers out of Crowley. The first song that I wrote that was recorded by a musician was ‘Late in Life,’ also by Wayne Toups. I’ve actually won four CFMA Songs of the Year under my pseudonym of Jean Arceneaux.

How did you come up with Jean Arceneaux?

In 1978, I was in Quebec with a Louisiana delegation for a convention of French-speaking people from North America. As part of the event, [playwright] Marcel Dubé organized an evening of poetry readings and music. At the last minute, they realized that they forgot to bring Louisiana into this. I had written some poetry and I told Marcel I had some stuff written by a friend but I didn’t know if it would work. He said ‘Well, let me see it.’ So I showed it to him. ‘Oh man, this is perfect. Who did this?’ Uh, Jean Arceneaux. ‘Call him up and get permission.’ I had started this lie with good intentions because I didn’t want him to say ‘Oh, we will do it because it’s you.’ He handed me a phone and I called my phone in my apartment in Lafayette and had a conversation with the phone ringing in my ear with this Jean Arceneaux that I had made up on the spot. I made up Jean Arceneaux because my middle name is Jean and my grandmother [an Arceneaux] was a huge part of why I learned to speak French as a child. I sometimes say that Jean Arceneaux was born at the age of 28 in Quebec City.

What’s it like to be nominated for a Grammy?

It’s unbelievable.

“Cathedrales” and “Trop de Pas” were inspired by the political activism of the ’60s. Do you think society is lacking in that today?

Activism is exactly what we need right now. Somebody was saying ‘Man, what are we going to do with this election?’ The thing I take solace in is that we have already done this. We have been out there before and we can do it again. The most important thing is for us to stay true to ourselves and if we do that, the right thing will happen.

—Dan Willging

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Photo: caitlyn ridenour

Carrie Fisher Tribute Parade

SOUNDCHECK

OffBeat.com

SWEET TWEETS @djsoulsister In honor of Mayor Landrieu’s proposal to stop certain bars at 3 am— tonite I’m playing past 3 am! #keepnolanola #HUSTLEnola @hihonola @JeremyDavenport My mom’s sign for the march today! @AmyTrailSongs I’ve been in hyper “nesting mode” getting ready for baby number two. I’ve always wanted to be a better cook. @jeffalbert “I’d rather practice than eat.”—Kidd Jordan @jonclearymusic Donate to Henry Butler’s cancer treatment! @ gofundme @Meschiya I’ve finally found happiness in this tiny human. #smallpackages #truelove

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IN MEMORIAM

John Boudreaux Jr. (1936–2017)

J

ohn Boudreaux Jr., the drummer who perhaps embodied the sound of New Orleans most perfectly, and who played on many of the most successful early ’60s New Orleans records, died in Los Angeles on January 14, from cardiac arrest due to diabetic complications. He was 80.

“What John Boudreaux was doing on drums deserves a special look,” noted Mac Rebennack.

“Instead of playing the backbeat on the snare, he played a New Orleans funk cha-cha. Suddenly, the Supremes ‘Baby Love’ and other Motown hits had John’s groove stamped on them. They didn’t know how to play as funky as Boudreaux, but you could hear it just the same.”

John Boudreaux Jr. was born December 10, 1936 in New Roads, Louisiana. He and his extended family moved to New Orleans in a house on St. Philip Street. At the age of 14, he began playing drums, and by 1952, he was occasionally backing Professor Longhair. By the mid ’50s, Boudreaux became the Hawketts’ regular drummer, playing on the classic “Mardi Gras Mambo.”

By the late ’50s, Boudreaux began doing session work at Cosimo’s studio with Rebennack for the Ace, Ric and Ron labels.

Irma Thomas’ “Don’t Mess With My Man,” Johnny Adams’ “I Won’t Cry” and Longhair’s remake of “Go To The Mardi Gras” were among his early credits.

“Then Allen Toussaint hired me and started having hits,” said www.OFFBEAT.com

Boudreaux in 2002. “I played on K-Doe’s “Mother-In-Law,” Chris Kenner’s “I Like It Like That” and “Land of 1,000 Dances,” on Lee Dorsey’s “Ya Ya.” Then Boudreaux joined Harold Battiste’s team at AFO. “We recorded Price La La’s ‘She Put The Hurt On Me’ and Barbara George’s ‘I Know.’”

In 1963, the entire AFO team moved to greener pastures in California.

“I wanted to go someplace where I could study music. I wasn’t getting that [in New Orleans].”

Gigs were few-and-far between at the get-go, but Boudreaux persevered, moving his family West. Eventually, Sam Cooke hired him for several sessions, as did Battiste, who began producing the duo Sonny and Cher.”

“I hooked up with Mac again [then] and worked on the GrisGris album. That’s when his career started taking off. Him and Harold came up with that concept during the Haight-Ashbury era. I enjoyed that music because it allowed me to be really creative.”

Boudreaux played with a wide variety of musicians until the millennium, when he began concentrating on modern jazz.

At that point, because of nerve damage in an elbow, he could no longer play drums, instead switching to saxophone. He recorded two CDs in that style.

John Boudreaux was buried in Los Angeles. He is survived by his wife Ruby Mae, and three children.

—Jeff Hannusch FEBRUA RY 2017

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SOUNDCHECK

Mike Doussan

Five Questions with Germaine Bazzle

“I

started playing when I was eight years old, on guitar, but never really saw it as a viable way to make a living. My dad was a musician. He loves music, but he was a little more on the conservative side. He played guitar and taught me a vast knowledge of music. We listened to anything from John Prine to the Grateful Dead to Led Zeppelin. And he’d listen to music I was into, too—Metallica, Megadeth. He was really open-minded musically, but there was never the sense that music was something I could go out and do for a living.

We [Dave Jordan and the Neighborhood Improvement Association] have been playing all over the place this year. This summer, we bounced around all the mountain towns in Colorado for a month. A bit later, we toured Florida all the way from the panhandle down to the Keys. Just recently we explored some new territory: Savannah, Charleston.

I’ve been playing with Dave, off and on, since 2004. His old band, Juice, was one of the first bands to give me a stage to play on, on Wednesdays when they played Banks Street Bar. At that point in time, that’s all I was doing—sitting in. I was sitting in with Marc Stone, Mike Hood and Eric Lindell down on Frenchmen Street. Eric called me up one night and says, ‘I got a gig for us. An acoustic duo gig on a boat.

Just bring your guitars.’ I’m thinking this is cool, because I looked up to Eric—I still look up to him—and he’s calling me for a gig.

I’m thinking we’re going to go the lakefront, but he’s going in the opposite direction, and all of a sudden we’re past Belle Chasse, down Highway 23. I was nervous, really green at this point, and just glad he gave me the call. We finally pull up to the Empire boat launch and I go to grab the guitars. Eric says, ‘You’re not going to need those.’ So at this point, I’m thinking, ‘He’s taking me out here to kill me.’ [laughs] We board this shrimp boat—his brother-in-law was captain. We started pulling up nets and finally, after a few beers, I asked him, ‘Eric—why did you take me out here?’ He said, ‘I took you out here to get you away from everything you know and tell you: Quit your day job and play music full-time.’

It resonated so deeply. We brought home 40 pounds of shrimp each.

And within six months, I had quit my job and was playing music full time.”

—Frank Etheridge

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Photo: ELSA HAHNE

Photo: rick moore

MY MUSIC

H

ow has scat singing made you a better teacher/singer?

I didn’t set out to be a jazz singer; I set out to be a teacher.

The teaching came first, and it just so happens that I started teaching and playing jazz gigs the same year. A lot of people say I’m a jazz singer, but I’ve also sung with the St. Louis Cathedral Choir and with the Moses Hogan Chorale. Everything I do involves music, but I never put myself in any particular category. I just sang.

How have you used classical music in the classroom?

I was a music teacher, which means I also taught music appreciation and music history. Of course that involved teaching my students about the classical, romantic and baroque periods. We became familiar with Bach, Beethoven, Mozart, Verdi—you name it. I had a broad spectrum of exposure, and I felt obligated to share it with my students.

What do you feel is the most important lesson you’ve taught?

I often tell my students two things: Listen and be honest. Those are the biggest requirements, as far as I’m concerned. Listen to everything that’s going on, and be honest with yourself and your performance.

Do you approach singing with the LPO differently from a normal jazz gig?

Obviously, it’s a different environment, but I’m not going to approach it any differently than any other thing that I do. Whatever I do in my presentation on the bandstand—whether in the night club or at Jazz Fest— will go with me into the Cathedral with LPO. Honesty in performance is very important to me. I can’t bring anything to the bandstand but me. If I try to do something that’s not sincere, it’s not going to happen.

After such a long teaching career, what do you hope to learn from your experience with the LPO? I learn every time. The bandstand or the stage is a classroom. Rehearsing is important and necessary, but I guarantee that at the time of the performance, something will happen that teaches a lesson. I will learn something from working with LPO, and the Cathedral will be a classroom at that time.

—Rory Callais Germaine Bazzle will perform with the Louisiana Philharmonic Orchestra at “Uniquely New Orleans: The Classical Tradition and Jazz,” a free concert presented by the Historic New Orleans Collection and the LPO. The concert will be at the St. Louis Cathedral on Wednesday, February 15 at 7:30 p.m. www.OFFBEAT.com

IN MEMORIAM

Thomas W. Jacobsen (1935–2017)

T

homas W. Jacobsen, OffBeat contributor and author, died at home in St. Louis of lung cancer on January 15. Jacobsen was devoted to jazz music since he was a teenager, playing both clarinet and saxophone.

Born on March 18, 1935 in Mankato, Minnesota, Tom eventually spent 26 years on the faculty of Indiana University.

Upon his retirement from Indiana University in 1992, Tom moved to New Orleans, where he lived for over 25 years. While living in New Orleans he became involved in the local music scene, including writing for OffBeat Magazine.

He was also the New Orleans correspondent for the traditional jazz and ragtime monthly The Mississippi Rag. And he served for more than a decade on the editorial staff and was a columnist and feature writer for the magazine The Clarinet.

He published several books on New Orleans jazz, including The New Orleans Jazz Scene Today: A Guide to the Musicians, Live Jazz Venues, and More; The New Orleans Jazz Scene 1970–2000: A Personal Retrospective and Traditional New Orleans Jazz: Conversations with the Men Who Make the Music—all reviewed in OffBeat Magazine.

Tom, along with others (including myself), was a music advisor at the Norwegian Seamen’s Church, which is also known as the Jazz Church.

The music committee at the church was instrumental in www.OFFBEAT.com

presenting local jazz music to the congregation.

In March 2011 Tom responded to an OffBeat editorial criticizing New Orleans leaders for ignoring music.

Tom’s letter said: “I quite agree that the importance of music to our city is neglected by our benighted leaders. Our city is recognized throughout the world as the birthplace of jazz, but it has been my experience that more Europeans are aware of that than most Americans (who are largely clueless about the music). Consider for example the number of European jazz bands with ‘New Orleans’ in their names.

Remember, too, that the Society of American Travel Writers named New Orleans the country’s top music city in 2009. What did our unenlightened tourism officials—or any other local officials, for that matter—make of that? Too many people locally who make decisions about music know virtually nothing about music and, seemingly, have no interest in learning.”

Jacobsen and his wife Sharyn moved to St. Louis in September, 2014, to be near their two youngest grandchildren.

He is survived by Sharyn, his wife of 20 years; her daughter, Deborah; and several grandchildren.

A memorial service is being planned in New Orleans at the Norwegian Seamen’s Church in March. Memorial donations may be made to the Southern Poverty Law Center, the New Orleans Musicians’ Clinic, or Habitat for Humanity.

—Joseph Irrera FEBRU A RY 2 017

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FRESH

I GOT IT... AND I’M OVERCOMING IT

Five Questions with Jimmy Armstrong, Co-captain of Krewe of Dreux

What’s next for Henry Butler

W

hen did the Krewe of Dreux begin?

1972. We had a bunch of people who were living in a fourplex at the corner of Dreux and Franklin Avenue. They had a party, everybody having a good ol’ time, and at some point they decided, ‘We’re going to have our own parade.’ We had between 30 and 40 people that first year. Luigi’s, which was a Gentilly institution and kind of a predecessor to MOMs [Mystic Krewe of Misfits and Orphans], jumped in and the next year participation basically doubled. At its height, we had thousands of people. We’re now entering our 45th year of parading.

What can you tell us about the wildest party y’all have ever hosted here at the Bacchus Lounge?

We have the Captain’s Soirée [this year featuring live music by Guitar Slim, Jr. and Al ‘Carnival Time’ Johnson]. We’ve gotten a little bit older [laughs] but at one time, the bar here at Bacchus was open all week. So the energy was percolating the entire week before Mardi Gras. We’d start the Captain’s Soirée, with sacks of oysters, music, everything under the sun, and go until the wee hours. Then get up early the next morning and start the parade. And a lot of us would go right on through to MOMs [Ball] that night. So it’d go from noon Friday all the way to noon Sunday.

Why do you continue in the tradition of the neighborhood walking parade?

People along our route—it’s kind of amazing, really—they treat us like you would Thoth, all lined up and expecting to catch the beads and the throws and enjoying the characters. It’s that same persistence and same spirit of revitalization—‘Hell yeah, we’re still here in Chilly Gentilly after Katrina.’

Since your parade is on Saturday, what is Mardi Gras Day like for members of Dreux?

A lot of us will hit the R Bar and then meander over to the Blue Nile around noon. And at some point we’ll jump in with the Krewe of Cosmic Debris—wonderfully named—and we’ll make our way from bar to bar and end up on the corner of Chartres across from Harry’s Bar. It used to be that by the time it got to be dusk, we’d sashay our way back to Frenchmen. But Frenchmen has gotten to be so crowded that it’s like Bourbon Street.

Is it easier to march with Krewe of Dreux now that the City of New Orleans has lessened its criminal prosecution of cannabis?

It’s never been a problem. The New Orleans Police Department is the greatest police department in the world when it comes to crowd control.

It’s a tolerant group as long as people aren’t hurting each other—just enjoying each other and keeping the peace.

—Frank Etheridge

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“M

y physical energy is still good,” says piano and vocal genius Henry Butler, who continues to work and compose despite his serious diagnosis of metastatic colon cancer that has spread to his liver. “My mental energy gets a little frayed sometimes just thinking about the unknown—like what might happen next.”

With this news, it might have come as a surprise—though certainly a pleasant one—that Butler would perform a benefit in New Orleans on February 2, recognized globally as World Wetlands Day. The event, Save Our Sponge, focused on the importance of our forested wetlands’ ability to absorb water and provide protection for New Orleans and other locales. It took place at the Peoples Health New Orleans Jazz Market at 1436 Oretha Castle Haley Boulevard.

“Just in the last 10 years of my life, I’ve seen the weather change a lot,” Butler offers. “And I know, and especially reading people who study this stuff and actually do all of the valid research, that if the earth continues to warm up one or two degrees, we’ll be in serious trouble. I mean we don’t have a lot of time to play with this stuff.”

Butler, a New Orleans native and a New York resident, who is in that number with this city’s piano greats, appreciates that he’s only had to postpone or reschedule a couple of dates because of his illness. “The people that we’re working with are really helping out.”

Photo: golden g. richard, iii

Photo: frank etheridge

SOUNDCHECK

In late January, the terrific group Butler, Bernstein & the Hot 9 played a four-night run at New York’s prestigious Jazz Standard club.

He and his newly organized quartet, Jambalaya, will also perform at Jazz Fest 2017.

Butler’s creative juices are always flowing as he moves from New Orleans rhythm and blues to funk, jazz, blues and gospel.

“Any type of therapy that one takes—whether it’s conventional or alternative, as I’ve chosen, is a gamble,” says Butler. “You don’t know, nobody knows.” Later in February, he’ll head to Germany for treatment.

Butler describes the therapeutic series he will undergo as a “bundle of things” that includes hyperthermia (heat) and IPT, which is a lower dosage of chemotherapy.

“I got it and I’m trying to get rid of it,” Butler proclaims. “I got it and I’m overcoming it.”

—Geraldine Wyckoff www.OFFBEAT.com

TRUMPET PLAYERS

FRIED TO PERFECTION Bag of Donuts won Best Cover Band and could have won Best Outfit, had that category existed.

Left: The Musician Resource Award went to the Ella Project, with Ashlye Keaton and Gene Meneray accepting.

Below: Bobby Rush won Best Blues Album for Porcupine Meat.

Right: Jon Cleary received the award for Best Pianist from OffBeat publisher Jan Ramsey.

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TRUMPET PLAYERS

Celebrating Louisiana Music Best of the Beat in photos.

Photography by Willow Haley

T

he Best of the Beat Awards enjoyed great support this year from many local sponsors and media partners: Generations Hall, the Orpheum Theater, WHIV, WWL-TV, WWNO, White Oak Productions, Positive Vibrations Foundation and Guitar Center.

The event also offered stellar food from various New Orleans restaurants, including Aurora Catering, Barcadia, Bratz Y’all!, Breaux Mart, Crazy Lobster, the Gumbo Shop, Josephine Estelle, Little Gem Saloon, Ma Momma’s, Namese, Nacho Mama’s, the Norwegian Seamen’s Church, Praline Connection, Southern Candymakers, Three Muses, Tee Eva’s Old Fashioned Pies & Pralines, Whole Foods and Miss Linda the Yakamein Lady.

For a full report from the event, see page 16.

—Ed.

www.OFFBEAT.com www.OFFBEAT.com

Above: 5th Ward Weebie took home the award for Best Rap/Hip-Hop/Bounce Artist.

Below: Lifetime Achievement Award in Music honoree Johnny Vidacovich took his award for a spin.

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BEST OF THE BEAT

The Ultimate Knock Out PHoto: willow haley

The winners at Best of the Beat.

Soul Brass Band, led by Derrick Freeman (center, holding the band’s award), won Best Emerging Artist. The band posed with Khris Royal, showing off his award for Best Saxophonist.

T

he 22nd annual Best of the Beat Music Awards and party were held on January 19 at Generations Hall.

The house was packed with the nominees, not only hoping to be recognized for their work in 2016, but to join in the celebration.

As our readers may know, the Best of the Beat Awards started as a private party for the Louisiana music community. Although we now sell tickets to the general public, the party is for Louisiana musicians.

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The big winners of the evening were the Revivalists, who captured five awards: Artist of the Year, Best Rock Artist, Songwriter of the Year for Dave Shaw, Song of the Year for “Wish I Knew You” and Best Music Video also for “Wish I Knew You.” Accepting was the Revivalists’ drummer Andrew Campanelli, who was visibly touched when Alison Toussaint LeBeaux, Allen Toussaint’s daughter, presented him with the Allen Toussaint Songwriter

of the Year award for Revivalists singer-songwriter Dave Shaw.

Most of the Revivalists were already in Florida for the Jam Cruise leaving the following day and were unable to attend.

Alison LeBeaux also accepted the Album of the Year award for her father’s American Tunes.

Other big winners included Louis Michot, accepting for Best Violin Player, along with Best Cajun Artist for Lost Bayou Ramblers. Delfeayo Marsalis accepted the awards for Best

Contemporary Jazz Artist and Best Contemporary Jazz Album for Make America Great Again!

Honey Island Swamp Band picked up Best Roots Rock Artist as well as Best Roots Rock Album for Demolition Day. The evening included performances by Valerie Sassyfras, Mia Borders (who received Best Female Vocalist), Soul Brass Band (who received Best Emerging Artist), Khris Royal and Dark Matter (Khris Royal received Best Saxophonist), Naughty Professor, www.OFFBEAT.com

T EA HE B T F O ST BE

the Fortifiers featuring Bobby Rush, who wanted to do one number but ended up doing three, and a tribute to Johnny Vidacovich curated by Galactic drummer Stanton Moore.

The tribute to Johnny Vidacovich was a true highlight of the Best of the Beat Awards.

Saxophonist Tony Dagradi, bassist James Singleton, guitarist Steve Masakowski (Vidacovich’s compatriots in Astral Project) and pianist David Torkanowsky played together for the tribute.

It was a reunion of sorts, in that Torkanowsky left the band in 2000 and hasn’t played with the group as a whole since then. Brian Blade had first crack at the drum set with the group. It wasn’t long before another former Vidacovich student, drummer Stanton Moore, slid in to take over the kit.

Naturally, Vidacovich, the man of the hour, wanted a piece of the action. Without missing a beat, these three smiling drummers seamlessly took turns throughout an entire tune.

Later, Vidacovich stepped up to the microphone to sing “Old Folks.”

During the instrumental section, Torkanowsky joined him at center stage and began slow dancing with Johnny—as the crowd screamed and laughed the two old friends continued dancing. “It was really fun,” said Torkanowsky, “and a nice honor for Johnny.”

Johnny Vidacovich wrote to OffBeat: “Thanks for the best time of my life! What a surprise and honor to receive such a prestigious honor.

Over so many years I have been lucky enough to receive awards from the voters and you [OffBeat] but this was the ultimate ‘knock out.’ I’m dancing every day with joy and love for the fine job that www.OFFBEAT.com

Stanton Moore did of putting the tribute band together.

Astral Project with David Torkanowsky, himself and Brian Blade! Brian was stellar and made my heart fly. Now I say that I love you sincerely. I love all the readers and listeners that make the music complete. I’d like to say thanks and I love you to all the people who voted me Best Drummer this year, not only for this year but for all the previous years that I have won.

Thank you thank you thank you. It’s you folks who fill me with so much joy, inspiration and energy. I love you deeply. I will play forever, for you.”

As usual, many of the city’s finest restaurants served up some tasty eats. Many attendees are still raving about the food. If you couldn’t make it, you missed out, but there is always a next time.

Once again, this year’s award trophies were designed by Louisiana glass artist Ginger Kelly, based in Breaux Bridge.

The Best of the Beat Awards are presented by the OffBeat Music and Cultural Arts Foundation. The Foundation was developed to create opportunities that support Louisiana artists in leading sustainable creative lives. The OffBeat Music and Cultural Arts Foundation merges education, advocacy, community engagement and creative collaboration to foster and uplift Louisiana music, arts and culture. This year was the first where OMACAF partnered with the Positive Vibrations Foundation to support the musicians who are honored and who play each year at the Best of the Beat Awards.

The winners are...

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MUSIC AWARDS Artist of the Year The Revivalists Album of the Year Allen Toussaint: American Tunes (Nonesuch) Best Emerging Artist Soul Brass Band Song of the Year “Wish I Knew You” by David Shaw and Zack Feinberg of the Revivalists

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Best Blues Performer Walter “Wolfman” Washington Best Blues Album Bobby Rush: Porcupine Meat (Rounder) Best R&B/Funk Artist Dumpstaphunk Best R&B/Funk Album Aaron Neville: Apache (Tell It Records) Best Rock Artist The Revivalists

Best Rock Album Anders Osborne: Flower Box (Back on Dumaine) Best Rap / Hip-Hop Artist / Bounce Artist 5th Ward Weebie Best Traditional Jazz Artist Preservation Hall Jazz Band Best Traditional Jazz Album Leroy Jones: I’m Talkin’ Bout New Orleans (Independent) Best Contemporary Jazz Artist Delfeayo Marsalis

Best Contemporary Jazz Album Delfeayo Marsalis & the Uptown Jazz Orchestra: Make America Great Again! (Troubadour Jazz Records) Best Brass Band Soul Rebels Best Cajun Artist Lost Bayou Ramblers Best Cajun Album Roddie Romero & the Hub City AllStars: Gulfstream (Octavia Records) Best Zydeco Artist Dwayne Dopsie & the Zydeco Hellraisers Best Roots Rock Artist Honey Island Swamp Band Best Roots Rock Album Honey Island Swamp Band: Demolition Day (Ruf Records) Best Country/Folk/SingerSongwriter Artist Paul Sanchez Best Country/Folk/SingerSongwriter Album Amanda Shaw: Amanda Shaw (Independent) Best Gospel McDonogh #35 High School Gospel Choir Best Cover Band Bag of Donuts Songwriter of the Year Dave Shaw Best Female Vocalist Mia Borders Best Male Vocalist Aaron Neville Best Bass Player George Porter, Jr. Best Guitarist Anders Osborne Best Drummer Johnny Vidacovich Best Saxophonist Khris Royal Best Clarinetist Doreen Ketchens Best Trumpeter Leroy Jones Best Trombonist Corey Henry Best Tuba/Sousaphonist Matt Perrine Best Piano/Keyboardist Jon Cleary Best Accordionist Chubby Carrier Best Violin/Fiddle Player Louis Michot Best DJ Mannie Fresh www.OFFBEAT.com

Johnny Vidacovich

MUSIC BUSINESS AWARDS Best Club Howlin’ Wolf Best Large Festival Voodoo Music Experience Best Festival Outside New Orleans Voice of the Wetlands Best Neighborhood Festival Crescent City Blues and BBQ Festival Best Recording Studio Word of Mouth Record Label of the Year Valcour Records Producer of the Year John Porter Best Record Store Euclid Records Best Instrument Store Guitar Center

www.OFFBEAT.com

PHoto: willow haley

Best Other Instrument Washboard Chaz (washboard) Best Music Video The Revivalists: “Wish I Knew You” directed by Mikey Cosentino & Sam Green of Rite Media Group

T EA HE B T F O ST BE

Best Use of Local Music or Musicians in Advertising Juan LaFonta & Associates, L.L.C. for Juan LaFonta ft. Big Freedia directed by Nicholas Manuel Pino Music Business of the Year Esplanade Studios Community Music Award New Orleans Center for Creative Arts (NOCCA) Best Studio Sound Engineer Tim Stambaugh (Word of Mouth) Best Booking Agency Hep Cat Entertainment Best Manager Jon Phillips (Silverback Artist Management) Best Music Attorney Tim Kappel

Best Club Owner or Manager Howie Kaplan/Stu Schayot (Howlin’ Wolf) Best Concert Promoter Winter Circle Productions Bourbon Street Award Earl Bernhardt and Pam Fortner (Tropical Isle) Musician Resource Award The Ella Project

Also, another round of congratulations to our Lifetime Achievement Award winners: Johnny Vidacovich (Music); Detroit Brooks and Darryl Young/Dancing Man 504 (Positive Vibrations Heartbeat Award); Sonny Schneidau (Music Business) and Dr. Bruce Raeburn (Music Education).

See you again next year!

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DENNIS PAUL WILLIAMS

Zydeco’s Chordiologist in Residency

“I

was never a zydeco guitar player,” explains Dennis Paul Williams, guitarist with Nathan & the Zydeco Cha Chas.

“Back in the day, everybody was like, ‘You don’t sound like a zydeco guitar player. You sound like jazz and everything else.’ And I would tell people, ‘What is a zydeco guitar player? I am just being me.’”

“Just being me” has made Dennis Paul Williams one of the most unusual guitarists in zydeco, a position he has held for 31 years with his younger brother Nathan’s band. He adds a jazz-influenced sound to the band in a dance-oriented genre where the six-string instruments usually play a support role, chunking out rhythms and taking the occasional solo. Listen closely and oftentimes you’ll hear Wes Montgomery tones emanating from Williams’ electric Gibson ES-335 guitar.

But that’s not the only thing unusual about Williams. He’s an internationally known artist, working in mixed media, where he combines oils, watercolors, pastels, crayons, encaustic (a waxed-based technique), monotypes, block prints and “whatever else is available” while mixing his own paint pigments instead of relying on pre-mixed tubes.

His work has shown in Lafayette, New Orleans, Houston, California, Atlanta, Florida, Ohio and New York.

Williams’ artistic career received a big boost last year when an article was published about the St. Martinville artist/musician in the November 2015 edition of the London-based Kreol Magazine.

Georgina Dhillon, publisher and proprietor of the Zari Art Gallery in London’s West End district, visited him on three separate occasions before signing Williams to an impressive stable of artists.

“She actually represents me now in Europe,” Williams says. “I’m doing some five, six, seven-foot things now.

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That was impressive to the people in Europe when they saw that I was working with something that big and I had such a big body of work.

That really convinced them that I was ready to get out there.”

Additionally, Williams’ work has been represented in several books, starting with Bernadine B. Proctor’s Black Art in Louisiana, published in 1987. In the past few years, his work has found an affinity with poets such as Southern University English professor John Warner Smith, whose books A Mandala of Hands and Soul Be a Witness feature Williams’ images on the covers. More recently, Williams’ art has wended its way to the attention of Massachusettsbased poet Marc Vincenz, who will also proudly feature several Williams compositions on the cover as well as inside his upcoming book Sibylline.

By Dan Willging

In 2013, Williams received his biggest print accomplishment in the form of a 160-page hardcover book titled Soul Exchange, published by the University of Louisiana at Lafayette Press, as part of its mission to recognize unrepresented artists.

Soul Exchange features over 100 highly interpretive, oftentimes surreal images. Retired ULL professor/former poet laureate Darrell Bourque and photographer Philip Gould each contributed essays to preface the proceedings.

There’s also a peaceful and sincere spiritual element to Williams’ art that’s different than just being overtly religious with crosses and thorns.

“Art that doesn’t have a spirit in it doesn’t have life in it,” Williams says.

His studio is practically a sanctuary for when he does his art, which is usually after a visit to his church.

“When I am in my studio, I am burning incense and praying and focusing on the energy to try to deliver an honest projection of what I am. And I think it’s really important that your work should reflect what you live and what you believe in.”

Just like the mark of a good child who reflects the morals and principals you taught him when you’re not around, Williams believes his art should reflect his personality when he’s not present.

Williams’ love for art began when he was a kid. He collected pencils and crayons and drew on scraps of paper. “Mom tells a story that I was happier with crayons than I was with toys,” Williams says about his mother, who frequently bought him coloring books.

Economically that all changed when Williams’ father Sidney died, when he was ten. “That started our journey of challenges and trying to figure out how to keep going,” Williams says. “I couldn’t talk about art that much because we were trying to survive and keep the lights on.”

To subsidize his art, Williams worked a variety of jobs such as an office supply company for an hourly wage plus brushes and art supplies and for Attakapas Printing sweeping for scraps of discarded paper. At Attakapas, he was exposed to a wider variety of music beyond his neighborhood’s sounds of zydeco, soul and R&B when owner Louis Belen played reel-to-reel tapes and vinyl records of jazz such as Duke Ellington and Count Basie, and classical including Beethoven, Bach and Aaron Copland.

Recognizing his growing interest in music, Belen advised him that he was capable of a lot more and lent him the money to buy his first guitar, a classical Epiphone acoustic.

Evidently, the mostly self-taught Williams must have progressed quickly, because within a short time, www.OFFBEAT.com

Photo: CAJUNZYDECOPHOTOS

Dennis Paul Williams is happiest with crayons.

DENNIS PAUL WILLIAMS he was playing in church (along with his brother Allen) and doing lounge gigs with a bongo player.

Nathans guitarist Jim Benoit told Nathan, who by then was fronting an early incarnation of the Zydeco Cha Chas, that his older brother had become a pretty good guitarist.

“Nathan said, ‘Listen man, I know you are trying to make it with the art but come with me and you can kind of make a little bit. You can play rhythm for us.’

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One thing led to another and now it’s 31 years later.”

“It was a way of having a little second job,” Williams continues.

“And really I didn’t want to do it but I ended up doing it.”

With the Zydeco Cha Chas, Williams introduced the idea of incorporating jazz chords, harmonics and arrangements. “I’ve always liked the idea of expressing myself harmonically that most zydeco players never really understood,” he

explains. “I guess I had a different take on things harmonically because I had heard so many different types of music.”

“Those jazz chords were needed in order to take us places. They started putting us in jazz, blues and folk festivals,” Williams explains about the contributing factors that set the Zydeco Cha Chas apart from other zydeco bands.

Williams developed the jaunty, infectious riff on “Follow Me

Chicken” by listening to Irish jigs.

Also on the album of the same name, Williams brought in a beautiful, breezy arrangement of Stevie Wonder’s “Isn’t She Lovely,” translated as “Elle Est Jolie.”

On Nathan & the Zydeco Cha Chas’ most recent album, 2013’s A New Road, the band recorded the bulk of the tracks with Williams adding in his melodic parts afterwards. “So I was really composing after they composed.”

Admittedly, playing with Nathan does pose its challenges. Unlike most other bands that play their songs in the same key every night, Nathan varies his keys, depending on how he feels. That requires Dennis to know Nathan’s songs in multiple keys and have arrangements for whichever key is called.

“We tried to get another horn player after [Allen] ‘Cat Roy’ [Broussard] died. And this horn player said ‘Man, I don’t understand Nathan.’ I said ‘Well, Nathan plays the song according to how he feels.

Nathan might play it in F-sharp or he might play in G or he might play it in A. It all depends on the night.’”

“But you know what,” Dennis goes onto say. “That’s what gave us a unique sound because every time we play, it’s not quite the same.

“He’s a great musician,” Nathan says about his older brother. “Dennis is really a jazzy guitar player, which sounds good and opened up a bigger market for us. Most people, young and old, can relate to us and we still got it to where you can dance to it.”

Rounder Records producer Scott Billington, who produced six albums of Nathan & the Zydeco Cha Chas that Dennis played on, concurs with Nathan’s assessment about the musician who has always strived to learn more. In a recent email, he wrote, “His mastery of harmonic theory is one of the reasons the Zydeco Cha Chas sound different than any other zydeco band because of the chords and progressions he uses.”

“Musically I call myself a ‘chordiologist,” Williams says about his extensive knowledge of chords and music theory.

“Like a guitar chord? I am the chordiologist of zydeco.”

O www.OFFBEAT.com

By Laura DeFazio and Elsa Hahne Photography by Elsa Hahne

Musicians tell their stories through sound, but also on their skin.

OffBeat invited six Louisiana musicians to talk about their tattoos, why they got them and how their meanings and appearances have changed over time.

Meschiya Lake Can you tell me about your family tattoo?

That one was kind of like getting a “Mom” tattoo. But my mom didn’t really like tattoos, so I was like, “But this is a family one, it’s for our family!” [It’s] also for my family that I found through travelling and making art. It’s not always blood family, but it’s a very important concept for me, family. Like, the family that you make by blood, and the family that you make by finding kindred spirits. It’s very important in life. Having that warmth, having that nurturing. [The tattoo] is two wings: One’s more bionic, one’s got some vines wrapped around it. So it’s kind of showing the link between science and nature.

Shameus Greymountain likes animals.

And you’d said that you were the only one in your family with face tattoos?

I come from a subculture where it’s much more prominent. It was to kind of separate myself from the parts of society that I didn’t necessarily agree with. The corporate breed, things like that. If somebody wasn’t going to give me a chance based on the tattoos, then they probably weren’t really worth my time anyway, you know?

Like a filter?

Yeah, that’s it. A filter. Also, I lost my dad for about 20 years, and then when I found him again, I found out that I’m from the Haida nation of aboriginal native Americans in Canada and that tattooing is very heavy in our tribe. So at first I was like, “Well, I’m not like anyone else in my family,” but then I found out that it’s kind of in my DNA.

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Shameus Greymountain

(Sweet Street Symphony)

Why do you have paw prints on your feet?

Well, I had two dogs, named Lily and Betsy. Lily passed recently, and they both passed right before my birthday—different years. I took pictures of their paws, right after they passed. For Lily’s I had to drive to Austin to get it, because my tattoo artist had moved to Austin and I wanted the same person to do them. Lily was 19 when she died, which is pretty amazing.

You’ve got a mole framed on your back. Why frame a mole?

Well, I like imperfections. And I really like that mole. So I decided to frame it. Great mole story.

What about the dragonfly on your chest?

I think dragonflies are really beautiful. And they’re prehistoric. Back in prehistoric times, dragonflies were huge. They had like three-foot wingspans. Quite a snack for the dinosaurs.

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Tonya Boyd-Cannon This one looks new...?

I got my Mississippi-Louisiana tattoo last summer. I’d been thinking about it for the past four years. I knew I wanted a magnolia in there because both states share that flower. I often say I’m a Mississippisianian— copyright, don’t try to take it! [laughs]—but I was born in Mississippi and raised in New Orleans.

You said you’d gone back and forth a bit with your dad, a preacher, about your tattoos?

I got my first tattoo at 18: my grandmother’s name, Precious, on my left shoulder. I lost her my freshman year in college, and when I showed my dad, he said, “But the bible says...” But now he doesn’t look at me like, “What did you get now?” He just celebrates me for who I am, which is this beautiful bald and gold woman that God created to spread music and life all over the world.

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www.OFFBEAT.com

Jon Bertrand

(Pine Leaf Boys)

So, tell me about that giant tattoo on your stomach...

It’s Joe and Cléoma Falcon. They’re the couple that made the first Cajun record back in the ‘20s. I think it was recorded in New Orleans. “Allons à Lafayette.” [The tattoo] is a work in progress. I’ve got two sessions on it, and I’m going to try to finish it [soon]. ...did it hurt?

Oh, my god. I mean, I’ve gotten tattooed a lot before, and I’ve never had trouble sitting for a tattoo before this one.

Cajun music is obviously a big part of your culture as well as your livelihood. Did you always want to be a musician?

Um… I guess? I was a Francophone studies major. I was supposed to go to grad school, but then I got called to go on tour, and just never showed up for grad school.

How do you choose your tattoos?

I generally pick artists that I like, when I see something that they did that I like.

I rarely say “Draw a picture of this...” I usually get something that they have been working on already. I have a couple of people that I keep going back to.

Tom Kenney and John Rippey at Classic Electric in Frederick, Maryland, and then Terry Grow at Triple A in Lafayette. Terry’s doing the one on my stomach.

How many tattoos do you have? Do you have favorites?

Thirtyish. I like them all.

Which was your first?

The first one was a little fleur-de-lis—just a black fleur-de-lis on my shoulder. My grandfather had navy tattoos—old navy tattoos, from the Philippines. Getting tattooed was in my mind growing up.

Billie Holiday belts below the belt on Dick Deluxe.

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Dick Deluxe You’ve said that you consider Billie Holiday to be one of your great heroes. What set her apart?

It was a miracle that she rose out of what she rose out of and had some great success, but also it wound up kind of killing her. She’s sort of a tale of America at that time. But the great thing about her is you just listen to what she did, and it speaks for itself. She doesn’t need anybody defending her.

The tattoo on your shoulder looks like it’s still bleeding?

I had this crazy tattoo done—under the influence, you’d say—that I hated from the day I got it. Unidentified. It was just crazy. I don’t know what it was. It was nuts. I could never explain it to myself or anybody else. So when I got to know Ramon [Estevez, tattoo artist], I said, “Man, can we do something about this?” And he said, “That’s gonna take a helluva lot of ink.”

I thought it would be fun to put the instruments I play. You know, electric bass, guitar, mandolin and trombone.

What’s that on your chest?

On my chest here, I never told you that story?

It’s the Witch Test. You can’t read it, huh?

You’re not a witch...

After my second divorce, two nights in a row when I moved to Sunset Beach I met two so-called “witches.” And they both were making me crazy. So the next morning I went in, probably still drunk, and talked to a tattoo artist and said, “Hey, you got like a Wiccan dictionary?” And he said, “Oh yeah.” And I said, “Alright, get that motherfucker out. We’re gonna type ‘nipple clamper’ on here.” Guess how many “witches” I’ve met since then? This was over 10 years ago... Dozens! Guess how many have been able to read it? Zero.

Vanessa Niemann a.k.a Gal Holiday Why the cowgirl?

That one was more of a strength tattoo. She’s got her little gun, she’s out there doing her thing, taking care of her business, being strong and independent. And I hadn’t really gotten anything for Gal Holiday yet either, so I figured the cowgirl would be appropriate... It’s like two years old.

You also have a turquoise rose on your shoulder?

That one’s for my grandmother. Her name was Rose. I actually got it while she was still living, but I never showed it to her because she wasn’t really into tattoos.

I was very close to my grandmother and grandfather.

I spent a lot of time with them when I was very young. I haven’t gotten my grandfather’s tattoo yet, but both of them were very important to me.

Gal Holiday shows off her “Drop the mic” shrimp.

INDIAN SECRETS

Indian Secrets Old and new Mardi Gras Indian traditions face off.

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Photo: andy levin

“I

’m not going to tell you my secrets now,” warns Clarence “Chief Delco” Delcour of the Creole Osceola Mardi Gras Indian gang. “I come from the old school of it; I come from the old culture of it. My thing was basically not studying the chiefs today. I studied the chiefs that are gone away. That’s what I had to do for the culture.”

So don’t expect to find out what color Delcour’s suit will be when he comes out of his home in Vascoville, one of the Gentilly neighborhood’s three villages, on Carnival day.

On the other hand, Big Chief Roderick Sylvas of the Wild Tchoupitoulas doesn’t hesitate to say that he’ll emerge from the 45 Tchoup bar, at 4529 Tchoupitoulas, with yellow feathers tipped with green.

Each of the Black Indian tribes are unique in following their own traditions, rituals and even rules. Then again, there are many similarities between them. For instance both Chief Delco, 67, and Chief Roderick, 47—two generations of Indian chiefs—feel strongly about the importance of starting their Mardi Gras day in their own parts of town.

“That’s where you came from so you don’t forget it,” Delcour explains. “You do it for the neighborhood people.”

“That’s where the tribe was founded,” says Sylvas, who in 2001 reestablished the Wild Tchoupitoulas, which was established in 1968 and led by George “Big Chief Jolly” Landry. “I lived around the corner from Jolly and he was good friends with my uncle, Manuel Washington, who masked with him as well as with the Black Eagles.

The neighborhood was glad to see the Wild Tchoupitoulas back on the street. “You used to have more people coming out and supporting

Big Chief Roderick Sylvas

you,” Sylvas laments. “A lot of that has changed because the demographics of the neighborhood have changed. A lot of the old people are also gone.”

When Delcour was growing up in Vascoville, there was only one Mardi Gras Indian in the area, the now notorious and somewhat mysterious Wildman Rock, who is said to have roamed dump sites in search of items for his suit. Since Delcour’s grandmother lived across the street from Big Chief Allison “Tootie” Montana of the Yellow Pocahontas, his father and uncle would take him there to N. Villere Street and they would follow the gang.

At age 20, soon after Delcour returned from serving in Vietnam, he joined the Yellow Pocahontas holding the position of Trail Chief.

“It kind of calmed me down,” he says of the therapeutic benefit of being involved with the Indians.

In the early 1970s, Delcour left the Yellow Pocahontas to form the

By Geraldine Wyckoff

Creole Osceola. “I could not sew like them—I didn’t look like them,” Delcour explains of the move. “I had my own way of sewing. Alfred Brown has been my designer for 40 years. I would dream it and he would draw it. He is my son’s parrain [godfather] who has designed my suits for the last seven years and draws for the whole tribe.”

After much contemplation, Chief Delco named his new gang the Creole Osceola in tribute to Chief Osceola, who led the Seminole tribe in Florida. “I needed a name that was meaningful if I’m showing respect to the Native Americans,” he explains. “What impressed me is that he married a slave woman and a lot of the Indians that ran with him were runaway slaves.

The ‘Creole’ comes from my area, Vascoville—the 7th Ward.”

Delcour explains that the Indians’ use of the word gang, which some people who relate it to thugs find offensive, originated

because a lot of the guys masking Indian labored on the riverfront.

The groups who worked in certain areas with specific tasks were known as work gangs.

Chief Roderick’s style and journey into the Indian Nation differs significantly, though as youngsters both men followed the Indians. Sylvas’ mother wouldn’t allow him to join a gang, he explains, because at the time the Black Indians used to fight.

Because of that and later due to financial considerations, Sylvas never masked Indian until he led the Wild Tchoupitoulas. It was then that he went to Big Chief Robert Johnson to teach him how to sew.

Sylvas points out that he and Chief Delco “sew differently,” with his suit representing the bead work style of the Uptown gangs and Delcour’s approach, which he describes as “flat threedimensional,” being more in keeping with that of the Downtown Indians. www.OFFBEAT.com

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“There are always some changes in the culture because anything that doesn’t change is pretty much dead.”

Chief Roderick, of course, revived a historic gang with immediate name recognition not only in his neighborhood but throughout the city and beyond particularly because of the 1976 album, Wild Tchoupitoulas. “A lot of people know the Wild Tchoupitoulas and they associate it with the Neville Brothers, the Meters and the 13th Ward,” says Sylvas. “It was just something in me,” he continues on his decision to finally mask. “I grew up looking at them.”

Sylvas’ Native American ancestry—he is a Choctaw from the Bayou Lacombe area— deepens his connection with the Black Indian Nation. “It’s all tied together,” he explains while disputing theories of the Mardi Gras Indians’ origin coming from the 1884 arrival in New Orleans of Buffalo Bill’s Wild West show.

“This [the Mardi Gras Indian tradition] is based on symbolizing of what Native Americans would do or Africans do,” Chief Delco agrees. “We were under a costume of another race of people.”

“Chief Roderick has shown me that he loves the culture—he loves to sew, he loves to come out with something new all of the time and he talks to you in the manner of being a chief. His Native American heritage is stronger than mine and he knows a lot about it. His cousin protested with the Native Americans at Standing Rock [Sioux Reservation].”

Just as Chief Tootie Montana did with him when he joined the Yellow Pocahontas, Chief Delco sits down and talks to those interested in entering his gang to find out if they are really committed. “To be an Osceola you can’t come from another tribe—I don’t take no Indians from no other tribes,” he explains. “And if you leave my tribe, you can’t come back. I call

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Photo: Jeffrey David Ehrenreich (right)

IN DIA

Clarence “Big Chief Delco” Delcour of Creole Osceola

it breaking feathers. You can’t do that with Delcour. I don’t think it’s fair to the Indians that you have. It [the rule] keeps confusion down. It’s important to me to keep confusion down. You’re supposed to have fun with this.”

Though there are no such limitations within the Wild Tchoupitoulas, Chief Roderick understands the concept. “He’s a traditional chief. He pretty much does things the way they did things when he first started masking.

There are a lot of rules inside of his tribe that may not be in other tribes and vice-a-versa. So I understand why he doesn’t take in a member once they start off with a different tribe. When you take them in sometimes they’ll try to change the fabric of the way you do things and you have to retrain them.”

While some folks chatter about the younger Indians not keeping up the traditions or changing them too much, both Chiefs Delco and Roderick hold more positive attitudes.

“I love them because they’re sewing,” says Chief Delco, adding, “but you have to have a meaning behind what you’re sewing. There are a lot of good chiefs out here and there are some young chiefs who I’ve learned from because that’s the day and age. I’m never too old to learn about the culture. So I talk to them to see if there is any negativeness going on. They’re the same as I am.

They’re in it for their community and they want to play the game. We are not real Indians, the thing about us is that we play Indian. So you have to know how to play it.”

“There are always some changes in the culture because anything that doesn’t change is pretty much dead,” Chief Roderick offers.

“Everybody who masks is keeping up the tradition pretty much. There is always innovation. You have the Uptown Warriors and they come out with a tuba. That’s not really a traditional thing but it sounds good. And at one time, they didn’t have a bass drum so somebody brought a bass drum out on the

street and it sounded good so everybody got a bass drum.”

These two chiefs from different neighborhoods and different generations are quick to agree on their favorite part of being a Mardi Gras Indian.

“The most fun is out there meeting another tribe in a respectful way,” says Chief Delco, who will lead the Creole Osceola, a seven-member gang, to the popular Black Indian meeting place on Orleans and Claiborne avenues. “It’s from the heart.”

“When we’re meeting the other tribes—singing the songs and dancing—that’s when I have the most fun,” Chief Roderick echoes. A sure stop for the Wild Tchoupitoulas, which includes the chief’s daughter, Little Queen Amari, is Second and Dryades Streets. “It takes a long time to get there from Tchoupitoulas. We have to cut through the parades and crowds and stop 100 times to take pictures,” he says, though the Chief surely isn’t complaining about his camera-wielding admirers.

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All On a Naug Naughty Professor forges an identity.

I

n some ways New Orleans has a reputation for being a tough nut for outsiders to crack. Considering our reaction to the influx of transplants in recent years, it would be easy to assume locals are hostile to newcomers in general. Such an assumption would be incorrect. New Orleans may be hostile to outsiders who wish to impose their ways on her or treat her traditions like some kind of fad, but this city has a way of embracing people who embrace her with the right intentions. Those who wish to contribute to the culture are always more welcome than those who wish to change it.

The men of Naughty Professor fall squarely into the former camp.

Though all six of them hail from far-flung parts of the country, each came to New Orleans with an appreciation for its rich musical history and a desire to learn from it. With that respect for the city’s music scene came a yearning to carve their own place in it, as well as an understanding of the hard work that was needed to do that.

“It was Charlie Parker who said ‘If you don’t live it, it won’t come out of your horn,’” explains alto and baritone saxophonist Nick Ellman.

“I think that’s kind of why we started the band, so we could become a part of everything since we were all so excited by what the city had to offer. We called it Naughty Professor because we were in school studying music, but we wanted to live it.”

That school was Loyola, where Ellman, guitarist Bill Daniel, bassist Noah Young, tenor saxophonist Ian Bowman and trumpeter John Culbreth met during their freshman year in 2010 (original drummer Danny Milojevic was a childhood friend of Ellman’s from Chicago). By the end of their first semester, the band had already played a handful of gigs, though it took a little longer for the project to find some semblance of direction. They even experimented with a singer before settling on the instrumental sound that would define their first two studio albums and the bulk of their live output.

“The early days were about half covers and half originals,” says Ellman. “Eventually we realized we were most excited about writing songs, so we started focusing on that. Mahogany [Medlock] was a great singer and a good friend, but we started writing all these instrumental songs and realized we wanted keep rolling with that.”

It was during these days that the band developed its democratic approach to songwriting, with each member contributing tunes or ideas that would then be fleshed out by the rest of the group. While certain people took the lead on certain songs, no one person was ever in charge of the whole thing. What bound the disparate ideas together was a commitment to technical proficiency, and a shared belief that their music should be both intellectually engaging and capable of putting people on the dancefloor.

“That first year a lot of us found out who Snarky Puppy was and there was—some of us like to play this down—but there was a change in the music we were writing after we got turned on to bands like them and Kneebody,” notes Young. “When we first started we were playing more in the funk realm of things. Then some of these

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By Sam D’Arcangelo

www.OFFBEAT.com

COVER STORY

ghty Gras Day

www.OFFBEAT.com

Photo: ELSA HAHNE

other groups opened our minds to what a loud, danceable band could be.”

“We play at bars where people have to groove and be involved,” adds Daniel. “A lot of our gigs need that type of attention, but then at the same time, for us to stay interested, it has to be further into outer space. The pull of those two things is what leads our music.”

Naughty Professor’s commitment to instrumental music was further solidified when the band amicably parted ways with Milojevic in 2012, bringing on friend and fellow Loyola student Sam Shahin to replace him on drums. Shahin, who had studied under New Orleans icon Johnny Vidacovich, was a talented player with a vigorous work ethic, and his presence brought another level of intensity to the project.

“Sam is such a strong drummer,” says Young. “He’s such a monster and he was able to bring more life to our music. Once we got him it felt like it was an appropriate time to really become an instrumental act.”

“He proved himself in that first rehearsal too,” adds Culbreth.

“When he came in he already knew all of the songs and all of his parts just from studying our EP. We don’t have simple songs either, so it was clear he was in it.”

“I joined in the summer of 2012, and by then they had basically written a full album,” Shahin recalls. “My first gig was at Tipitina’s for Free Fridays a few weeks later, and we recorded [their first full-length album] Until The Next Time almost immediately.”

With their lineup and their vision now in order, Naughty Professor began branching out beyond the confines of the Crescent City.

Weekend outings to nearby markets like Pensacola, Jackson and Houston gave the band their first taste of the road, while allowing them to continue honing their skills as students in the Loyola music program.

It was a balance that served them well as they came into their own as working musicians.

“One thing that has helped us stay together so long is that we had this incubation period in school that allowed us to have a support system while we focused on our music,” explains Culbreth. “It gave us a solid foundation that served us well by the time we had to go into the real world and find real gigs. There was a natural progression that made it easy for us to pull the trigger on this thing after we graduated.”

That trigger was pulled in earnest during the summer of 2013, when the band piled into Daniel’s Subaru and headed to Colorado for their first real tour. The music gods didn’t let things go according to plan, of course. Empty rooms were more or less expected, but the stalled engine was a complete curveball. Fortunately, their friends The Revivalists had recently abandoned an old tour van in nearby Vail, and all Naughty Professor had to do was pick it up (easier said than done, but that’s a long story).

If Colorado was a crossroads for the band, then the path was chosen when they bought that van. As Young explains, “It was our first real expense. With the monthly insurance, we now had a bill we needed to pay and that meant we had to step it up.”

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“Working with vocalists allows us to write simpler and more accessible music, but I think it still feels very honest and it feels like what we want to be doing.”

And step it up they did.

With school now mostly behind them, the members of Naughty Professor could devote their full energies to the band. The writing process intensified, and their first deal with a booking agency led to tours through the East Coast, Southeast and parts of the Midwest.

Within two years, they had scored their first spot at Jazz Fest, headlined New York City’s famed Blue Note Jazz Club, opened for their heroes Snarky Puppy and put out a second full-length album, Out on a Limb.

Through all of this, the guys in Naughty Professor never strayed from the democratic songwriting and decision-making style that kept them united in process and in purpose. Everyone didn’t see eye to eye all of the time—it probably wouldn’t be healthy if they did—but there was never reason to doubt anyone’s commitment, intentions or musical ability.

“I’ve probably been in fifteen bands in my life and a lot of them have barely lasted to the first gig,” says Young. “So there’s something about this combination of people that makes us a functional group.”

“Everybody’s focused, everybody’s excited and everybody brings their own energy to the group,” adds Daniel. “But if one of us has a deficiency, we’re always there to pick the other guy up. We make up for each other’s weaknesses in a really special way.”

Despite the supportive relationship these six men have nurtured over the years, one of their biggest breakthroughs came when they looked outside the confines of Naughty Professor. While opening for Galactic in Brooklyn, the band was introduced to Jurassic 5 rapper and frequent Galactic collaborator Chali 2na. This fruitful encounter in the fall of 2015 would convince them to pursue something they had given up years earlier: working with vocalists.

Forging an Identity “Everyone wants to be big time, trying to outshine. Everyone wants to be a leader, ain’t nobody listening,” guest artist Cole DeGenova sings on “Mirrors,” the opening track off Naughty Professor’s forthcoming collaborative album Identity. “Give the people what they

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Photo: whitney tucker

CO V

want, give the people what they need,” he continues. “Give the people what they want, but give them something real.”

That might seem like a good observation—and perhaps even good advice—but for Naughty Professor those lines are more like a statement of intent. When no one takes the lead and everyone listens, a band can truly become the sum of its parts. When the parts are six relentlessly creative individuals with unique ideas and complete control over their instruments, the sum can be quite impressive.

However, what’s impressive to music critics and jazz musicians isn’t always accessible to a wider audience, and that’s where the second part of DeGenova’s words comes into play. Naughty Professor has always straddled a line between funky grooves that keep audiences moving and exploratory arrangements that keep the band’s members on their toes—six musicians who are each capable of show-stopping solos when the times calls for it doesn’t hurt either, but that’s just lagniappe.

“Working with vocalists allows us to write simpler and more accessible music, but I think it still feels very honest and it feels like what we want to be doing,” says Young. “In the past it felt like what we wanted to do was go into outer space or do something crazy even if we weren’t sure people would connect with it. So it’s been www.OFFBEAT.com

COVER STORY

V ER CO

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really cool to be able to focus our efforts on something we think is more palatable in general.”

That’s not to say Identity is a pop record. Not by a long shot.

Songs like the David Shaw (The Revivalists) collaboration “Stray” may take a more musically simplistic route, but the album’s seven vocal tracks touch on a variety of styles. From the laid back hip-hop of “Sugar Coat” (featuring Chali 2na and Ivan Neville) to the captivating progressive jazz of “Through It All” (with Sasha Masakowski and Cliff Hines), Identity is a record that refuses to hold back.

“We really did want to focus on making it a collaborative project and not just us with extra sugar,” says Shahin. “It was important to us for every voice to carry.”

Identity works so well because Naughty Professor’s ethos of musical consensus-building, in which each member sets aside their ego in service of the sound, was extended to the guests who came along for the ride.

The goal wasn’t for the band to simply create space for these new elements to exist, but to incorporate them as equal parts of the whole. Over the course of a few marathon sessions at New Orleans’ Music Shed Studios and Parlor Recording Studio, they did just that. Mutual respect and shared vision was the name of the game, and it shines through on the final product.

“One of the underlying themes throughout the making of this record was trust,” recalls Ellman.

“We put a lot of trust in the guests we brought in. With some of them, for instance Sasha and Chali 2na, we didn’t even get into a room with them until the day before we recorded. But we wanted what everyone could www.OFFBEAT.com

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“The beauty of collaborating is that you get things you don’t expect...

There’s no reason to exclude spontaneity.”

bring to the table, and we trusted that they would do it. That’s why we worked with them.”

This mentality inspired some of the guests to look beyond their own contributions. Dave Shaw, Dexter Gilmore (of Sexy Dex & the Fresh) and Cole DeGenova all front their own projects, and each has a moment in the spotlight on Identity. But when it came time to pass the mic during their session at the Music Shed, these frontmen were having so much fun they couldn’t help but stick around as backing vocalists for the others.

“The beauty of collaborating is that you get things you don’t expect,” says Shahin. “There’s no reason to exclude spontaneity. If somebody wants to get in there and do something, then get your ass in there. Let’s do it!”

The guests brought more than just vocals to the table, too. Seven of the album’s tracks feature singers, but the other five find Naughty Professor broadening their instrumental sound with additional players whose talents feel right at home. Lettuce trumpeter Eric “Benny” Bloom is a force to be reckoned with on “Without a Trace,” while Jason Butler’s keys glide smoothly below the surface before bursting forth to take center stage on “Do You Like Dragons.” The same can be said of Mike Dillon’s vibes and Cliff Hines’ swirling guitar riffs on “Venison Poetry,” a tune that ebbs and flows with unbridled confidence. Then there’s “Funk 4 Lunch,” a brass onslaught featuring Ed Lee, Julian Gosin, Erion Williams and Paul Robertson of the Soul Rebels that should put all your doubts about combining power trios with seven-piece horn sections to rest.

Another important contribution came from Qmillion, the Los Angeles–based mixer known for his Grammy-winning work with cutting edge jazz artist Robert Glasper. The collaborative nature of Glasper’s 2012 album Black Radio had a powerful influence on Naughty Professor, and the band was excited to work with one of the men behind it. Results were apparent right off the bat.

“Working with Qmillion was one of the coolest things about this project,” says Young. “I love the way those Glasper albums sound, and as soon as we heard him mix one of our songs it was like, ‘Holy shit, we can sound this modern.’ It sounded current. It sounded like what people want to hear. He definitely took it to the next level.”

Creating music with so many people they respect so immensely was an utter delight for the guys in Naughty Professor. It was the kind of thing they dreamed about when—unbeknownst to one another—they each left their homes to pursue music in New Orleans. After years of hard work and hustling, they had developed reputations as talented players, ambitious songwriters and one of the tightest units in town.

Who doesn’t want to play with that?

“The richness of the music culture here and the history behind it is what drew me to New Orleans,” says Bowman. “This city is so inclusive, and it’s given us the opportunity to play with so many musicians that we have a lot of love and respect for. That’s where we were coming from when we were making this album, and we had a great time doing it.”

Nevilles? Masakowskis? The Soul Rebels Brass Band? That’s as New Orleans as it gets. This place is inclusive all right, but that kind of inclusiveness doesn’t just fall into anyone’s lap. That kind of

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inclusiveness is earned by musicians who come to this city and elevate the culture instead of simply regurgitating it. Therein lies the beauty of Naughty Professor. They learned from New Orleans, they cut their teeth on New Orleans, they live, work and thrive in New Orleans, but they don’t quite sound like anything else in New Orleans.

And their fans, who routinely show up in droves to see them at venues like the Maple Leaf or Blue Nile, wouldn’t want it any other way. Even their out-of-town admirers, many of whom were drawn to them by the “New Orleans” label, like the fact that they broaden the idea of what that label means. If they came expecting Dixieland rhythms or endless Meters-style jams, then they were pleasantly surprised when they got a forward-thinking ensemble with enough groove to wring funk moves out of a jazz crowd instead.

“We all feel that music is a language, and it doesn’t necessarily have to have words to still be a language,” says Ellman. “Some people don’t see it that way, but for us it’s never been like that. It’s always been about writing what we genuinely feel and giving that to people.

We didn’t put any priority on the vocal tunes or non-vocal tunes for the new record. It’s all just music to us.”

Those vocal tunes are still an integral part of Identity, and as such they’ll need to be played in the live arena. It’s a situation that will require some changes to Naughty Professor’s touring machine, but they aren’t changes the band is unprepared to make. In fact, they already hit the road with Chali 2na and Sasha Masakowski last fall, and recent shows in New Orleans have featured appearances by many of their Identity collaborators. Next up is a run of dates with Cole DeGenova in February and March, while a second appearance at Jazz Fest is scheduled for the spring. After that, things are up in the air. But if one thing is certain, it’s that these six guys will continue to stay true to their vision.

“Everything will be done on a case-by-case basis, and we will continue to play a wide variety of vocal and instrumental tunes from the album with whatever friends and artists may be available to us at any given time,” Shahin says. “We will not be phasing out the music that is entirely instrumental and true to our original identity.”

Identity is a funny thing. At the end of the day, it’s entirely our own. Yet that doesn’t stop others from telling us what to do or who we ought to be. It doesn’t stop many of us from giving in to those demands either. Most people do it all the time. It goes without saying that the most intriguing artists are almost always the ones who ignore these outside pressures and let their own hearts do the creating. For Naughty Professor, it’s the only way worth doing things.

“We don’t really approach music from a stylistic standpoint. We approach it from a certain kind of mentality,” Bowman declares. “And one of the big things is freedom. Even if somebody writes a tune, they give everyone else the freedom to interpret the parts that they’ve written in a way that makes sense. When we’re doing it live, we give people the freedom to play what they want, when they want. At the same time, within that freedom, there’s also fair amount of structure.

A lot of time is spent hashing out those details.”

“No matter who writes the song,” Ellman adds, “it doesn’t become a Naughty song until everyone puts their spin on it in a different way.”

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EATS

photos: Elsa Hahne

Lauren Holton/Turkey and the Wolf

“I

love unusual ingredients.

The basis behind all the cocktails I make is that I want there to be some kind of story behind each one. I think of a name and then do a cocktail around that. For one, there’s When I Was 10 I Went to School As a Dead Cheerleader for Halloween.

That’s based on a true story. My mom actually made the costume for me. I went to school and got sent home because it was deemed inappropriate. Too violent, I guess.

She made a butcher knife out of cardboard and taped it to my back.

Might have been a little too bloody for a third grader... So that’s a weird cocktail—spicy and weird. I used curry syrup with a butternut squash– infused rum. I wasn’t really sure if anyone was going to go for it, but

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it turned out to be one of our most popular cocktails here. I run the bar program and my partner does the other half; he does all the cooking and important sandwich stuff.

I picked Randy Newman for this cocktail. He’s a wonderful storyteller and I find his songs hilarious. Somewhat offensive, and extremely ironic, which is something I enjoy. He writes about a bunch of weirdos, and that’s kind of my style.

He does have a local connection; he grew up here. He was raised mostly in Los Angeles, but here too, until he was 11, I believe.

Thinking about a cocktail for him, I knew it had to look or sound somewhat offensive—but also be delicious and wonderful. And since he has the Toy Story and Pixar connection, I started with Welch’s

By Elsa Hahne

Grape Juice, and made a shrub out of that. The base liquor is Cynar, with fresh dill and topped with beer. The name, Drop the Big One, is based on ‘Political Science,’ one of my favorite songs and quite timely now with all of the political unrest that’s going on.

These [peach rings] candies are one of my childhood favorites, so I decided to use them for a garnish.

I remember watching Toy Story as a child, so this is nostalgia. Randy Newman did all of the music for Toy Story and it was probably my favorite movie growing up.”

Drop the Big One 1 ounce Cynar 1 ounce grape juice shrub (made with equal parts rice wine vinegar

and Welch’s Grape Juice (1 cup each); bring to a simmer and then dissolve 1 1/2 cup sugar in it; remove from heat; steep with some fresh dill; strain and bottle) 1/4 ounce simple syrup St. Arnold Lawnmower beer Fresh dill sprig Peach rings (gummy candy) Shake Cynar, grape juice shrub and simple syrup with ice; strain onto fresh ice in a stubby glass.

Top with beer and garnish with fresh dill and peach rings. www.OFFBEAT.com

Café Degas: 3127 Esplanade Ave., 945-5635 La Crepe Nanou: 1410 Robert St., 899-2670

Howlin’ Wolf’s Wolf Den: 907 S. Peters St., 529-5844 Le Bon Temps Roule: 4801 Magazine St., 895-8117 Little Gem Saloon: 445 S. Rampart St., 267-4863 Maison: 508 Frenchmen St., 289-5648 Mid City Lanes Rock ‘N’ Bowl: 4133 S. Carrollton Ave., 482-3133 Palm Court: 1204 Decatur St., 525-0200 Rivershack Tavern: 3449 River Rd., 834-4938 Southport Hall: 200 Monticello Ave., 835-2903 Snug Harbor: 626 Frenchmen St., 949-0696 Three Muses: 536 Frenchmen St., 298-8746 Three Muses Uptown: 7537 Maple St., 510-2749

GERMAN

NEIGHBORHOOD JOINTS

FRENCH

Jaeger Haus: 833 Conti, 525-9200

ICE CREAM/CAKE/CANDY Aunt Sally’s Praline Shop’s: 2831 Chartres St., 944-6090 Bittersweet Confections: 725 Magazine St., 523-2626 La Divina Cafe e Gelateria: 621 St. Peter St., 302-2692 Sucré: 3025 Magazine St.,520-8311 Tee-Eva’s Praline Shop: 4430 Magazine St., 899-8350

INDIAN Nirvana: 4308 Magazine St., 894-9797

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

AMERICAN Barcadia: 601 Tchoupitoulas St., 335-1740 Brown Butter Southern Kitchen: 231 N Carrollton Ave., 609-3871 Poppy’s Time Out Sports Bar & Grill: 1 Poydras St., 247-9265 Port of Call: 838 Esplanade Ave., 523-0120 Primitivo: 1800 Oretha Castle Haley Blvd., 881-1775

BARBECUE The Joint: 701 Mazant St., 949-3232

COFFEE HOUSE Café du Monde: 800 Decatur St., 525-4544 Morning Call Coffee Stand: 56 Dreyfous Dr., (504) 300-1157, 3325 Severn Ave., Metairie, 885-4068

CREOLE/CAJUN Cochon: 930 Tchoupitoulas St., 588-2123 Cornet: 700 Bourbon St., 523-1485 Galatoire’s: 209 Bourbon St., 525-2021 Gumbo Shop: 630 St. Peter St., 525-1486 K-Paul’s Louisiana Kitchen: 416 Chartres St., 524-7394 Mulate’s: 201 Julia St., 522-1492 New Orleans Creole Cookery: 508 Toulouse St., 524-9632 Restaurant Rebirth: 857 Fulton St., 522-6863

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

FINE DINING Bombay Club: 830 Conti St., 586-0972 Broussard’s: 819 Conti St., 581-3866 Commander’s Palace: 1403 Washington Ave., 899-8221

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IRISH The Irish House: 1432 Saint Charles Ave., 595-6755

Biscuits and Buns on Banks: 4337 Banks St., 273-4600 Cake Café: 2440 Chartres St., 943-0010 City Diner: 3116 S I-10 Service Rd E, 8311030; 5708 Citrus Blvd., 309-7614 Cowbell: 8801 Oak St., 298-8689 Dat Dog: 601 Frenchmen St., 309-3362; 5030 Freret St., 899-6883; 3336 Magazine St., 324-2226 Live Oak Cafe: 8140 Oak St., 265-0050 Parkway Bakery and Tavern: 538 Hagan Ave., 482-3047 Phil’s Grill: 3020 Severn Ave., Metairie, 324-9080; 1640 Hickory Ave., Harahan, 305-1705 Sammy’s Food Services: 3000 Elysian Fields Ave., 948-7361 Tracey’s: 2604 Magazine St., 897-5413

ITALIAN

Chiba: 8312 Oak St., 826-9119 Mikimoto: 3301 S. Carrollton Ave., 488-1881 Seoul Shack: 435 Esplanade Ave., 417-6206 Sukho Thai: 4519 Magazine St., 373-6471; 2200 Royal St., 948-9309 Wasabi: 900 Frenchmen St., 943-9433

LOUISIANA / SOUTHERN Fulton Alley: 600 Fulton St., 208-5593 Mondo: 900 Harrison Ave., 224-2633 Praline Connection: 542 Frenchmen St., 943-3934

MEDITERRANEAN Byblos: 3218 Magazine St., 894-1233 Mona’s Café: 504 Frenchmen St., 949-4115

MEXICAN/CARIBBEAN/SPANISH Barú Bistro & Tapas: 3700 Magazine St., 895-2225 Juan’s Flying Burrito: 2018 Magazine St., 569-0000 El Gato Negro: 81 French Market Place, 525-9846

MUSIC ON THE MENU Banks Street Bar & Grill: 4401 Banks St., 486-0258 Buffa’s: 1001 Esplanade Ave., 949-0038 Chickie Wah Wah: 2828 Canal St., 304-4714 Dmac’s Bar & Grill: 542 S Jefferson Davis Pkwy, 304-5757 Gattuso’s: 435 Huey P Long Ave., Gretna, 368-1114 Hard Rock Café: 125 Bourbon St., 529-5617 House of Blues: 225 Decatur St., 412-8068

Midway Pizza: 4725 Freret St., 322-2815 Pizza Delicious: 617 Piety St., 676-8482 Slice Pizzeria: 1513 St. Charles Ave., 525-7437 Theo’s Pizza: 4218 Magazine St., 894-8554; 4024 Canal St., 302-1133; 1212 S Clearview, 733-3803

SEAFOOD Basin Seafood and Spirits: 3222 Magazine St., 302-7391 Crazy Lobster Bar & Grill: 1 Poydras St. 569-3380 LeBayou Restaurant: 208 Bourbon St., 525-4755 Pier 424 Seafood Market: 424 Bourbon St., 309-1574 Royal House Oyster Bar: 441 Royal St., 528-2601

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

STEAKHOUSE La Boca: 870 Tchoupitoulas St., 525-8205

VIETNAMESE Namese: 4077 Tulane Ave., 483-8899

WEE HOURS Buffa’s Restaurant & Lounge: 1001 Esplanade Ave., 949-0038 Mimi’s in the Marigny: 2601 Royal St., 872-9868

Marc Paradis hits the

Adolfo’s: 611 Frenchmen St., 948-3800 Little Vic’s: 719 Toulouse St., 304-1238

JAPANESE/KOREAN/SUSHI/THAI

PIZZA

[of Johnny Sketch & the Dirty Notes]

Spot

Are you a regular here?

I’ve been here lots of times; I live just down the road. I love the food and they make great coffee. This is a good place to come when your insides don’t match your outsides.

Also, there’s a lot of natural light in here so it has an optimistic vibe.

I don’t love dungeony breakfast places.

What will you be ordering today?

I usually get the same thing, the migas, but sometimes I get one of the benedicts. You can’t go wrong.

They know how to cook an egg here.

What’s up with this big room divider and these inside, second-floor balconies?

This used to be a bank. They say it was held up at some point by Bonnie and Clyde, like in the ‘20s.

—Elsa Hahne

The Ruby Slipper 2001 Burgundy Street (504) 525-9355 www.OFFBEAT.com

Photo: ELSA HAHNE

Kingfish: 337 Chartres St., 598-5005 Mr. B’s Bistro: 201 Royal St. 523-2078 Restaurant R’evolution: 777 Bienville St., 553-2277

Ye Olde College Inn: 3000 S. Carrollton Ave., 866-3683 Warehouse Grille: 869 Magazine St., 322-2188

DINING OUT

The Delachaise On New Orleans’ most famous avenue, at the confluence of Aline and Delachaise Streets, lies an oasis of Parisian life where the cheese boards are a-plenty and time passes slowly, as if you were wasting away the evening hours in a nondescript wine bar in the Marais. After nearly 14 years in business and well past the crest of the wine bar trend, the Delachaise continues to thrive while remaining loyal to its original missions of becoming a late-night destination for wine lovers and an anytime hangout for those who enjoy good food and drink in the company of strangers as well as friends.

Starting with the tenure of Chef Chris DeBarr immediately after Katrina, the kitchen at the Delachaise has blended classic French bistro fare with global influences. Take the recent offerings of pâté, which range from a luxurious combination of duck, pork and drunken prunes to a trio of Cambodian seasoned duck, pork and shiitake mushrooms. A recurring special

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of hand-rolled gnocchi topped with a properly acidic lamb ragu may share equal billing with crispy twice-cooked Cuban pork splashed with orange mojo and paired with fried yuca.

During Mardi Gras, an abbreviated menu may disappoint regulars looking to scratch their Carnival cravings for mofongo or johnny cakes topped with smoked salmon and vodka crème fraiche. But a majority of the kitchen’s top sellers will likely make the cut, including the city’s best french fries, which are fried in goose fat and served with malt vinegar aioli and spicy satay.

The bar program at the Delachaise displays a wide breadth that appeals to all types of imbibers. An extensive selection of wines by the glass is supplemented by daily $5 specials—one each of sparkling, red and white.

While the bartenders don’t refer to themselves as mixologists, they can still build a fine Old Fashioned. A short list of craft beers on tap lends legitimacy to a list that otherwise includes many holdovers from the pre–beer nerd era.

For such a narrow building, the interior holds a surprising number of seats spread among a small

Photo: RENEE BIENVENU

EATS

group of tables at the St. Charles end and opposite the long bar, which is the focal point of the space.

Permanent Christmas lights are part of the décor, supplemented by strings of champagne cork cages proudly displayed like notches on a bedpost. The best seats in the house are actually outside on the small patio looking out onto St. Charles, where gas heaters protect against winter chills and misting fans offer some semblance of relief during the summer doldrums. Ice buckets for champagne are, thankfully, available year-round.

—Peter Thriffiley 3442 St. Charles Ave.; Mon–Thur: 5p–’til; Fri– Sun: 3p–’til; (504) 895-0858; thedelachaise.com

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

CDs reviewed are available now at 421 Frenchmen Street in the Marigny 504-586-1094 or online at LouisianaMusicFactory.com

Just for the joy of it

The Masakowski Family N.O. Escape (Independent) Given the amount of talent involved, the Masakowski clan didn’t need to stretch very hard to make a good record. But they did anyway, and came up with something a bit special: a fullfledged band album, based in jazz but calling on all the family’s diverse musical leanings—father Steve’s electric jazz, son Martin’s gypsy and klezmer music, and daughter Sasha’s jumps between jazz vocals and progressive rock.

That’s a lot of sounds to juggle, but they make it work pretty seamlessly—in part because this is also a loose concept album, steeped in the romance and the darker mysteries of New Orleans (including three songs that Steve co-wrote with lyricist Jay Griggs, based on the locally loved novel A Conspiracy of Dunces). Those three are the most eclectic on the disc: “Mancuso” lands somewhere between gypsy jazz and spy soundtrack, with a playfully decadent lyric and the surprising touch of Steve playing all the leadguitar parts on a banjo. The title tune edges closer to art-rock, with the banjo returning, Sasha singling double-tracked harmonies, and the rhythm section swinging

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gracefully along. Sporting an absolutely gorgeous melody, it’s an early pick for favorite songs of 2017.

Everybody gets a chance to shine, including the one non-family member, drummer Paul Thibodeaux, who grooves in tandem with Martin Masakowski’s bass on an inventive arrangement of “House of the Rising Sun” (Martin also does a nice turn on bowed bass in the Bechet tune “Les Oignons.”) Though he gets to play more acoustic instruments here than in Astral Project, Steve gets in plenty of his elegant electric tones in “Crescent City Jones,” a rocked-up second-line piece. And Sasha’s vocals are wonderful throughout, whether she’s doing a torchy turn on her own song “Too Bad” or scatting on “House of the Rising Sun.” She clearly relishes the chance to slip into the character songs, but on the ’30s standard “Exactly Like You” she and the band evoke a romantic mood, just for the joy of it.

—Brett Milano

Noah Young Start the Reactor (Independent) As the bassist for local favorites Naughty Professor, Noah Young usually keeps it pretty funky, if exploratory; their version of New Orleans party music is appropriately danceable but flutters as well as it pops.

This first proper full-length solo album, however, turns out to be straight jazz fusion all the way: seven extended exploratory, experimental cuts as busy as the cover (which not for nothing

looks like some vintage ’70s Roger Dean artwork). And like any good jazz improv man, Young knows enough to gather real peers to trade fours with, specifically the spacy old-school synth noodlings of Jason Butler (Shamarr Allen, The New Sound, Dominic Grillo) and the lyrical guitar runs of Danny Abel (of Big Sam’s Funky Nation and Groovesect fame).

Yet for all that, Noah never seems to get lost in the shuffle, firmly anchoring the bottom and allowing his longtime drummer Walter Lundy to really stretch out on polyrhythmic interplanetary flights like “What Have You Been Feeding This Thing?” and letting the whole band crash into walls at the same time, Inception style, on seemingly straightforward up-tempo numbers like “Memory Lane.” “5 Minute Miracle” is just that, though it actually only takes four minutes of trying to convince Abel to open up a duet with him and really shoot them into the stratosphere. But it’s two R&B numbers where everything really comes together and the quintet really finds its voice: the brainy quiet storm of “Frat Sisters” and a stellar reworking of Teena Marie’s “Square Biz,” where Young tones down the garish popping of the original, leaving room for everybody to take off at once.

—Robert Fontenot

The Revelers Play the Swamp Pop Classics, Volume 2 (Independent) The Revelers have it figured out: Drop vinyl-only, foursong EPs (Volume 2 includes a complimentary CD containing all eight tracks from both volumes) in between full-length releases

to stimulate and maintain fan interest. But technically, “Classics,” as part of the title, doesn’t mean a regurgitation of familiar favorites. Only Warren Storm’s “Nobody Would Know” fits that concept, but loosely so since the ’68 original version skirted piano-fueled country lines. In the capable hands of the Revelers, it mutates into something beautiful falling between swamp pop and jazz, especially given drummer Glenn Fields’ expressive style of singing and guitarist Chas Justus’ eloquent late night licks.

More importantly, the Revelers reinvigorate swamp pop by smartly identifying songs that can be adapted into its format.

“A Trip to the Moon” is just as spirited as the Gary U.S. Bonds original but is beefed up by the group clapping hands and shouting the rocket countdown in the middle. Blake Miller capably captures the dreaminess of Arthur Alexander’s “If It’s Really Got to Be This Way” with a sauntering tempo that stays true to its predecessor.

Of the four tunes, Spooner Oldham’s “Lonely Women Make Good Lovers” is the best example of an otherwise unimaginable adaptation. Often covered by country artists, the Doug Sahm– www.OFFBEAT.com

REVIEWS inspired arrangement of “Lonely Women” is pepped up by Miller’s Tex-Mex accordion gliding and Chris Miller’s attacking sax lines.

When it comes to swamp pop, the Revelers make it look like an old dog that learns new tricks.

—Dan Willging

Jeff Chaz This Silence is Killing Me (JCP Records) Something must have uncorked Jeff Chaz when he recorded Sounds Like the Blues to Me, his previous album, because this is his second recording of original material within a year.

Normally such a scenario spells disaster, since things could be rushed and sloppy, but Silence is just as strong, if not stronger.

Some similarities do exist, such as how both close with shuffling instrumentals. The studio

personnel are pretty much the same, barring the addition of a trumpeter and a trombonist to an already-sharp horn section.

A good portion of it is relatively lighthearted, with the slammin’ “I Ain’t Nothin’ Nice,” the psychomambo “I’m Not All There” and the hellish hangover “The Backwash Blues.” “Fried Chicken Store” is almost comical, since its gutbucket, intestine-ripping ambience is really about falling in love at, of all places, a greasy fried chicken joint where bottles of hot sauce are never out of reach.

But Silence has serious moments, too. On “The Blues is My Drug,” Chaz cleverly compares hardcore addiction to his preferred lifestyle of playing the blues before unleashing his most torrid guitar shredding of the album.

But when it’s time to stick the dagger in, his writing is at its best on the title song—a couple

Celebratory and Romantic Harmonouche NolAmour (Independent) There’s a lot going on in Harmonouche’s music—for one thing, they’re about the only nonblues band I can think of that’s led by a harmonica player, and they have four diverse soloists in the lineup. But what grabs me most about this CD is the way Raphael Bas sings: Voicing in heavily accented French, he sounds like a likeably roguish character, and evinces a joie de vivre that’s the perfect fit for the band’s music.

The voice is especially charming on “J’aime Paris”—yes, it’s the Cole Porter song you’ve probably heard, but it seldom swings like this, with Chris Kohl, Pascal Valcasara and Bart Ramsey trading exuberant solos of clarinet, sax and piano. True to their gypsy-jazz origins, Harmonouche aren’t about underlining their instrumental virtuosity, but using it to enhance the celebratory and romantic mood. The title track is an original take on the tradition of songs celebrating New Orleans, personifying the city as a femme fatale. One of three Django Reinhardt tunes here, “Swing 48” features another round of hot soloing (including Bas on a guitar solo that crosses Reinhardt with rockabilly) but the other two from his songbook, “Django’s Castle” and “Tears,” show the band’s more elegant side: The former plays a harmonica homage to Toots Thielemans, while the latter uses whistling as a lead.

The one song you’ll definitely recognize is “What a Wonderful World,” closing the disc as a guitar/harmonica duet. Unlike many versions of the Armstrong chestnut, this doesn’t sound like it’s trying to be a big statement, just a moment to reflect on the wonder of it all.

—Brett Milano www.OFFBEAT.com

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REVIEWS drifting out of love, hence the deathly silence.

Admittedly, everything here is something Chaz has lived at one time or another but it’s the swamp-poppy Christmas song that offers the motto to live by: “Leave old things behind/ Move onto the new.”

—Dan Willging

Unc Imo 60 Year Old Rapper w/ a Bad Knee (Indpendent) Unc Imo has some fame in the rap game, at least to an extent: This retired postal worker and Vietnam vet made it to WorldStarHipHop by presenting himself as Black America’s answer to Clint Eastwood in “Gran Torino.” His single “Bad Knee” tries to sell him as the world’s oldest hip-hop star at 60 years old, and it’s a great gimmick, but unfortunately a gimmick’s all it is. Instagram’s favorite weedsmoking, grumpy old gangster uncle doesn’t bring much to his 15 minutes; this debut (built around the single) proves to be little more than merch for people who enjoy his videos.

Cannily modeling his style after Snoop Dogg—Unc is from New Orleans but moved out to the West Coast at one point after the double whammy of Katrina and the BP oil spill—he doesn’t get anywhere near the same effect.

He’s laid-back but that’s about it. It’s not that he’s not spitting fire on this debut, he’s just not spitting much of anything, really: The tracks usually set him up, give him a few lines, and then hand the mic off to guest stars, most of whom people outside of New Orleans won’t have heard of.

Worse still, it doesn’t even really fit the bill as party music; you have to be able to bump a track like “Go Nuts Saints Anthem” in order to get across, but the mix is so compressed that it just sounds noisier, not more immediate, as you crank it up.

The one track with a lot of Imo on it, “The Prayer,” is an old spoken word rumination,

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attempted ghetto poetry like James Brown used to do on singles like “King Heroin,” and compelling in its own way (“I lost ten years on hehrawn just dealing with the nightmares”). The rest of the time, Unc’s appeal just doesn’t translate that well with his limited old-school couplets—not even in a world where Lil Jon can get into the Top 5 with just a dozen words. He’s gonna need better production, hooks and videos, or maybe his own cartoon. Or maybe we could wait just a few years; hip-hop’s founding fathers are reaching retirement age too.

—Robert Fontenot

well, dated—until the members start swinging and improvising.

Pianist Jeanette Kimball is simply explosive here. The rhythm section also includes bassist Frank Fields and drummer Barry Martyn.

An interesting choice on the program is the country favorite “Blue Eyes Crying in the Rain,” which was first recorded by Roy Acuff with Willie Nelson making it a big hit in 1975. Brunious vocally retains its country and western flavor.

Clarence Williams’ slinky “Sugar Blues” from the 1920s stands as a good vehicle for Brunious’ muted trumpet. It’s time to dance on “Wang Wang Blues,” from the same era.

Some songs just, as they say, “have legs,” meaning they enjoy lasting power. Several such tunes show up on Louis Nelson’s second half of the disc. For instance, “I’m Sorry I Made You Cry,” which was written in 1918, has been recorded by such stellar and diverse artists

as Fats Waller, Frank Sinatra and Connie Francis. It’s a lively number, as is another tune “with legs,” “Bill Bailey” featuring vocalist and banjoist Danny Barker. Barker, who offers fine rhythm throughout this section of the disc, humorously adds his own touch to the lyrics: “This is how they sing it in the projects...”

Nelson’s primary work is within the ensemble that includes pianist Butch Thompson, bassist Chester Zardis and drummer Stanley Stephens. He does step out front for a solo on the waltz-time version of 1924’s “Carolina Moon.”

The music appropriately returns home for a classic jazz number, native son Spencer Williams’ 1929 “Mahogany Hall Stomp.”

Everybody’s in on the fun of soloing on this traditional number that jumps in recognition of the nefarious Basin Street brothel.

That’s the way to take it out.

—Geraldine Wyckoff

Infectious Life-Force

Wendell Brunious

Margie Perez

In the Tradition (GHB Records)

Love Is All (Threadhead Records)

Louis Nelson New Orleans All Stars April in New Orleans (GHB Records) For reissue purposes, these two albums, trumpeter/vocalist Wendell Brunious’ In the Tradition (recorded in 1986) and trombonist Louis Nelson’s April in New Orleans (recorded in 1988) were joined together on one 18-cut CD. They marry well, with the leaders playing in each other’s bands that also including British clarinetist Sammy Rimington. The repertoires on each span—with a couple of exceptions—from the 1920s to the 1950s are highly compatible and both albums share the blessing of a highquality recording.

Naturally, with Brunious as leader, there are many more vocal numbers on his portion of the disc. The album opens instrumentally with a go-to classic, “Bugle Boy March,” one of several marches, which at first sounds,

This album’s title track (which Perez co-wrote with Paul Sanchez) was high on my personal playlist toward the end of the year, thanks to its generous and hopeful sentiments. It’s still going strong a few weeks later, but for a simpler reason: The song’s also got one of the catchiest chorus hooks to come along in a while, and the way Perez wraps her voice around it drives the positivity home.

She pulls that trick a few times on this album: “He’s Just Not That Into You”—like the title track, a lyric addressed to a friend who’s having a hard time—calls out a few exes for their no-good ways, but it’s the high-stepping funk groove giving the assurance that she didn’t need those guys anyway.

“Dinner” gets into trickier emotional territory: It’s sung to an ex, and the singer isn’t completely sure what she’s hoping to reunite for—but it again features a sparkling pop chorus that makes the invitation tough to resist. Wrapping up the friendship theme, “Girlfriends” (one of two songs here written by Amy Trail) erupts into a gospel-ish chorus of “Ain’t gonna be shut down.” The sisterhood doesn’t just sound powerful, it sounds like the best party in town.

Perez clearly enjoys an eyebrow-raising lyric; other songs here salute the life-enhancing qualities of sex and reefer. But the album also bears out her eclectic musical nature, putting pop hooks into her funk and brassband strut (and a bunch of funny rhymes) into her ganga anthem “Reefer Gladness.” She slides into a more elegant, acoustic groove on “Song to the River,” and the two Spanish-sung salsa tracks are full of the infectious lifeforce that the whole album celebrates.

—Brett Milano www.OFFBEAT.com

REVIEWS

Fr. Ron and Friends

Forest Huval

This Land (Independent)

Forest Huval (Independent)

Lots of musicians talk about the folk aesthetic as a shared bond, but Father Ronald Clingenpeel, an Episcopal minister and consultant from St. Louis via Nebraska, really walks the walk, leading local singalong tributes to Pete Seeger both here and in his hometown. And although he doesn’t stick strictly to Seeger’s own catalog on this live debut, he does offer up a cavalcade of folk warhorses that just about anyone vaguely familiar with the idiom can get into: “This Land is Your Land,” “Alberta,” “Buffalo Gals,” “Goodnight Irene,” “Michael Row the Boat Ashore.”

Hallelujah.

They’re all here for your own personal singalong, those golden oldies that, as the Right Reverend probably knows very well, exhibit a remarkable durability, some of them a century or so on from their inception. (There’s even a cover of Dylan’s “Forever Young” and a brief original benediction.) The New Orleans half, which comes first, works the best, and not just because it took place right there in Buffa’s backroom: Sammy Foti and Olivia Greene’s Appalachian harmonies set everything off perfectly, accompanied only by guitar, banjo and slap bass. The Rev. doesn’t shy away from the music’s politics, either, delivering “Guantanamera” at a pivotal moment in Cuba’s history and issuing pointed takes on Seeger’s own “Waist Deep in the Big Muddy” and his famously pagan rewrite of “Old Time Religion.”

—Robert Fontenot

Forest Huval’s eponymously titled debut has strong ties to Al Berard, one of his influential Cajun music mentors. All of the tunes heard here are associated with the late fiddler and were played informally

by Berard and Huval, including Berard’s original “Atakapas Trail,” which serves as a haunting lead-off track. Though Huval is joined by members of Berard’s Basin Brothers, drummer Keith Blanchard, bassist/ guitarist Dwayne Brasseaux (also a mentor) and fiddler Kyle Hebert, it’s not a Berard/Basin Brothers tribute. Instead, Huval does plenty to incorporate his own personality into the proceedings.

Several songs considered to be fiddle tunes (“McGee One-Step,” “Chez Seychelles”) were adapted

by Huval to be led on accordion.

Additionally, he gravitates toward songs containing minor chords or incorporates them into the arrangements for a slight sonic diversity.

Though Huval has a pleasant, round singing voice and really lights it up on “Reno Waltz,” he prefers instrumentals, seven total, that showcase his precise, peppery playing. And speaking of showcase, Hebert’s lyrical fiddling is nothing less than first rate— amazing since he considers the bass to be his primary instrument.

The broad assortment of tunes ranges from tried-and-true standards to more contemporary compositions by Berard, Michael Doucet, Jason Frey and Travis Matte, indicating that Huval is stylistically well-versed and not stuck in any particular era. Simpler than that, he plays what he likes

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Warren Hildebrand hits rewind on the compilation Mardi Gras in New Orleans, which introduced New Orleans Mardi Gras music to the world.

Various Artists Mardi Gras in New Orleans (Mardi Gras Records)

“T

his Mardi Gras is more-or-less the 40th anniversary of my first album release on the Mardi Gras label. I grew up in the record business. My dad [Henry] had All South Distributors and owned the Watch label. We distributed all the popular Mardi Gras singles back then. They all sold well around Carnival to local stores and the jukebox people. Eventually, I thought it was a good idea to put a bunch of them out on an album.

My dad owned Professor Longhair’s ‘Big Chief’ because it came out on Watch. Fess’ ‘Go to the Mardi Gras’ and Al Johnson’s ‘Carnival Time’ were on Ron and Ric. Joe Assunto [One Stop Records] was partners with my dad at one time and he controlled those masters so we leased it. I leased the Hawkettes’ ‘Mardi Gras Mambo’ from Chess which was a label we distributed at All South. We couldn’t find the original version of ‘Second Line’ [Bill Sinigal & the Skyliners on Cosimo Matassa’s White Cliffs label] but Senator Jones had recorded a great version of it on his label [J.B.’s] by Stop Inc. that sold well. [All South again distributed it.] Actually, that’s probably the most popular song on the album still. It gets airplay during Mardi Gras, but they also play it at the Saints and Pelican games.

I knew Philippe Rault back then—at the time he was living in New Orleans. He produced a series of American blues albums for the Barclay label. [Rault produced Clarence ‘Gatemouth’ Brown, Professor Longhair, Clifton Chenier and Wild Magnolias LPs.] Rault did the post-production work and liner notes on Mardi Gras in New Orleans. He was also directly responsible for the distinctive jacket for the album and Mardi Gras Records logo that is still used today.

Philippe put me in touch with a French artist— Jean Vern. He lived on an island, Ibiza, off the coast

and from a listening standpoint, it’s not hard to like what he does.

—Dan Willging

Organic Trio Saturn’s Spell (Jazz Family)

The organ trio has come a ways from when I listened to the format regularly. Back in the day, Jack McDuff and Groove Holmes (and of course, Jimmy Smith) ruled the roost, and the music was often blues-based and would swing mostly in a mainstream jazz manner.

While there are still such organ groups in 2017, the field has of Spain. I sent him a bunch of Polaroids of Mardi expanded to include ensembles Gras. The guy had never been to New Orleans but like Organic Trio, a group I know he really captured the Mardi Gras celebration. He through the guitar work of longtime had the Zulu coconuts, the king, the beads, the New Orleans resident Brian Seeger. parade barriers all in there. We finished the album with a couple of tracks by the Wild Magnolias that I These guys are no slouches; their separate resumes include work with leased from Barclay thru Philippe.

We pressed our albums in California at the same Nicholas Payton, Biréli Lagrène, Dee plant A&M Records used. We tried, but missed the Dee Bridgewater, Joshua Redman and many others.

1977 Mardi Gras season by a week. Still we did The Organic Trio has interesting 5–6,000 LPs and cassettes that first year, which I thought was respectable. Those were all local sales grooves, certainly, like the complex 5/4 meter of “Saturn’s Spell” or through All South. the 6/8 (or is it 2/4?) feeling that I didn’t have any is part of the fun of “The Flower.” other distributors Nevertheless, rhythmic trickery is then. Like the a small part of this band’s appeal. singles, it only sold There is strong composing here, with around Mardi Gras. careful attention to counterpoint That didn’t change until the early 1980s. (“But When Do We Eat?”) and dynamics, concepts ignored in so Eventually, I had much jazz. It’s safe to say that one 10–12 distributors around the country. I of Seeger’s influences is the titanic slowly expanded the guitarist Bill Frisell, as two of the disc’s strongest tracks (“Vum Land,” Mardi Gras Records catalog as well.

By the 1990s, we discontinued vinyl and cassettes and “Buffalo Trace”) show his mark.

Organist Jean-Yves Jung, a and of course the compact disc replaced them. Four years ago, the original album was released digitally. Frenchmen with deep experience in America and Europe, plays the Last year, at the urging of several record stores, I keys like a pianist, without the pressed it on wax again. I pressed 1,000 and it’s long-hold squeals that Hammond doing pretty well.

B3 players so easily fall into. And Ironically, again they [the vinyl LPs] weren’t drummer Paul Wiltgen, from delivered to me until the week after Mardi Gras.

Luxembourg, plays with focused This will be the first Mardi Gras it will come out intensity, but never loudly, which is on vinyl the second time around so it is the 40th so rare and so welcome. anniversary. I’m still trying to decide how I should There’s a Meters-like tune promote it. here (“Quirky”) for the jam band I’m still really proud of that first album. The sales crowd, but even this is Metersare down from the past, but so are everybody’s. It’s from-Mars music. These guys are still the go-to Mardi Gras R&B album. Even though fresh; they set out to explore the several Mardi Gras collections have come along “ethereal and the poignant,” and since then, it’s still the definitive collection of Mardi do it in a novel, exciting way.

Gras R&B songs.”

—Tom McDermott —Jeff Hannusch

“This will be the first Mardi Gras it will come out on vinyl the second time around so it is the 40th anniversary.

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REVIEWS

Keith Porteous Sound Refuge (Independent)

Jamie Bergeron & the Kickin’ Cajuns Comin’ In Hot (KC Entertainment) Jamie Bergeron and the Kickin’ Cajuns were recently voted Times of Acadiana’s Best Cajun Band for the 13th straight year, amazing considering that the band probably plays the widest variety of tunes around—in addition to Cajun.

Though the insane “Check Liver Light” is another party breakout anthem in the accustomed Bergeron fashion, his seventh collaboration with co-producer Rick Lagneaux finds him succeeding as a sincere, convincing vocalist.

The zydecajun-flavored title track captures a protagonist’s burning desire to reunite with a beloved. The Cajun-French–sung “T Habitude del Ma Belle” is built upon a touching arrangement of glistening fiddles, soft, rolling piano chords and Bergeron’s poignant accordion playing. Van Morrison’s “Someone Like You” is similarly tender.

But what makes a Bergeron outing fun is the unexpected, sometimes surprising mix of tunes, like JD McPherson’s malt shop hip “North Side Gal” and the staunchly done Cajun waltz “La Valse a Tolan” that should please any discerning CFMA guardian. There’s zydeco as well: Buckwheat’s “Hard to Stop,” and Bergeron’s own “My Woman Loves to Zydeco.”

Even though Bergeron inches towards more serious material, he can still cut up. On “All Them Curves,” he follows up with “and me with no brakes.” He may do things his way but never while riding the brakes.

—Dan Willging www.OFFBEAT.com

The woman on the cover of this deeply spiritual set is neither a saint or Keith’s muse; Porteous is indeed female, not just in gender identity but in vocal chops, blessed with an instrument that combines Natalie Merchant’s bluesy inflections with Sarah McLachlan’s beatific calm. The repository of several different Lilith Fair singersongwriter moves, Porteous’ debut is a mix of religious chestnuts from many areas, and the fact that she’s tackling a litany (no pun intended) of white and black spiritual standards with her coffeehouse sensibility results in a unique and fresh take on “church music.”

That’s meant literally. These reflections were recorded mostly at the Episcopalian Christ Church Cathedral, right there in Uptown.

(You can even see videos of the process on YouTube.) Recording spare with reverent piano, harmonium, and some percussion doesn’t just breathe new life into these old chestnuts, it makes them easier to be felt for those of us whose idea of religion is more pastoral than dogmatic. Not so much fire and brimstone as a warm glow, this is music as balm, no doubt touching many cultural areas so as to create something easily translatable across all cultures. Her faith proves not only redemptive but utilitarian: St. Francis of Assisi’s prayer, for example, pops up not once but twice, balanced out nicely as it is by two re-workings of ancient Buddhist texts, “Amazing Grace,” and covers of everything from Sara Bareilles to Hillsong United. In fact, Keith’s greatest achievement may not be retooling American gospel into something more ancient and European, or even creating a spiritual safe space for all who feel; it may lie in the revelation of just how similar we are in our ability to transcend the emotionally mundane. It’s a lesson we’re not learning fast enough.

—Robert Fontenot FEBRU A RY 2 017

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REVIEWS photos and informative notes. It is also available on blue monophonic vinyl. Not a desert island disc, but it does contain some quality funk.

—Jeff Hannusch

Brass Mimosa Stay Sharp (Independent)

Gene & Eddie True Enough: Gene & Eddie with Sir Joe At Ru-Jac (Omnivore) During the ’60s—the golden age of soul music—there was a plethora of male duos that lit up the R&B charts. Sam & Dave (who worked just as hard as James Brown), James & Bobby Purify, the Sims Twins, the Wallace Brothers, Maurice & Mac, Mel & Tim and the Righteous Brothers come to mind first. However, one deserving duo that failed to wax any “hits,” but who still managed to record a small but fine clutch of material, were Washington D.C.’s Gene & Eddie. Some of their material was very much influenced by the Stax sound (albeit a poor man’s Stax), particularly the danceable “I Tell You” and “She’s True Enough,” which sound like Sam & Dave demos/ outtakes. Another track obviously dictated by outside influences was the strong cover of Arthur Conley’s “Sweet Little Girl.” Quality material that didn’t really have traceable influences (i.e. Stax, Muscle Shoals, New Orleans) includes “You Don’t Fool Me,” “Let Me Go Easy” and the striking “Check You Later.”

Inexplicably, the duo’s lone East Coast hit, “It’s So Hard,” was quite ordinary and dated doo-wop. Gene & Eddie’s best sides were produced and written by the talented Washingtonian “Sir” Joe Quarterman. A handful of his solo tracks are interspersed here, some which lean towards pop. However, the urgent “Every Day (I’ll Be Needing You)” is a son-of-a-gun and might be the best track in the mix. Granted, there are a few yawners here, but in the end, the good outweighs the bad. Like the previous/outstanding Winfield Parker Ru-Jac compilation, this one is packaged with vintage

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Originally, Lafayette’s Brass Mimosa was aiming at the blues rock market. But when Alex Camel switched to bass from guitar, allowing its bassist (now departed) to play guitar, it evolved into a jazz funk jam vibe influenced by the likes of Snarky Puppy, Lettuce, Herbie Hancock and Galactic. Recorded at Dockside and engineered by Tony Daigle, the septet’s auspicious debut features eight tracks and 69 minutes of high-energy instrumental originals that shifts, swirls and stretches at a dizzying pace, never staying in one place for long. Hard-edged intros segue into tense build-ups that drop into serene, chill moments that lead into hip swing sections before converging to the initial riff that was the root of it all. A few measures of that and before you know it, Brass Mimosa is off onto a different mindbending excursion. It’s a dense listen with lots to absorb with the threepiece horn section (sax, bari sax and trombone), electric guitar, keys, bass, drums and a guest percussionist all swapping solos and riffs while bouncing between jazz, blues, rock and funk. At times it’s mindblowing how much is packed into an arrangement—a perfect soundtrack to get lost in.

—Dan Willging

Mysterious Blend “Harold and Friends” (Independent) “Wisdom comes in funny ways/ Not in books or art or plays/ But falling hard and feeling pain,” sings professional life coach Harold Steinitz on his debut CD with his band Mysterious Blend. (Or maybe they’re actually called Harold and Friends. It’s a little hard to tell, but we do know that he plays retirement communities under the Blend name.) The combined side project of a number of

non-musical professionals all drawn to New Orleans for their own personal reasons, this debut deals in the kind of stripped down bar-band styles you might imagine white collar guys in the later stages of life to be fixated upon, leaning heavily towards jazz in the arrangements but with a hefty touch of blues and strict pop construction.

The good doctor doesn’t transfer that much of his day job over to the lyrics, usually: He grumbles about the boss, notices time rushing by, tries to make connections with women he doesn’t quite understand, takes time out to celebrate the relationships that do work in his life, and generally tries to live a respectable, honest life.

Of course, that’s what we all think we’re doing. The closest thing you’ll get to advice here is the possibly metaphorical instruction on “If I Were You” that we all pick up a good pair of walking shoes.

Musically it’s also pretty generic: a

little straight rockabilly on “Never Ever,” some good old New Orleans parade beats on “Crazy, Crazy,” straight St. Louis Blues on “Good Fool,” and a little New Orleans piano roll, Dr. John–style, on “Not Mine.” As a vocalist, Harold’s a pretty good piano player, tangoing all over “Complicated Woman” and unspooling expressive little runs on “Much More Than Time,” although the album’s MVP is guitarist Glenn Lazenby, who proves he can handle all manner of blues and jazz almost offhandedly. The band’s less successful when they tackle deeper states of bliss, which usually leaves them stuck in a soggy glop of folk-rock overshare on tracks like “Serendipity”; mostly, however, Mysterious Blend delivers the low-key good time they promise. Just don’t expect to take anything away from it.

—Robert Fontenot

Cool Glissandos and Lonely Brass Billie Davies A Nu Experience: On Hollywood Boulevard (Independent) Despite the best efforts of James M. Cain, Chinatown and BoJack Horseman, L.A. noir still doesn’t get the respect it deserves next to what goes on in Gotham. This is doubly true for jazz, where a combo of experimentalism, perceived lack of gravitas and the general laid-back vibe of West Coast Cool doom it to second-fiddle status, seemingly forever. All these years later, and when folks want to feel how La La Land destroys the dreams of its citizens, they dig out “Hotel California,” not Chet Baker. Shame, really.

If anyone could change that perception, it’s pioneering avant-garde drummer Billie Davies, a disciple of fellow “California Hard” stylist Max Roach and someone who, true to her gypsy resume, actually lived on Hollywood Boulevard for a time. Her latest release is typically daring, capturing the perfectly frightening freedom of being lost in El Lay, largely thanks to the cool glissandos and lonely brass of keyboardist Evan Oberla and the kind of youthful energy you need for this sort of piece: new vocalist IRIS P, who brings some R&B flair to tracks like “Jacaranda” and “Yellow Sunshine” (which is not the kind of nature you’re thinking of, maybe). Meanwhile, Billie as usual plays counterpoint, creating the menace simmering under the surface naiveté that makes all that ambition seem weighted down, if not doomed, by reality. The set’s only major flaw is her decision to use electronic drums on half the album, augmenting and sometimes replacing her usual setup entirely; they just don’t have the expressiveness of a trap kit, turning Billie’s wise Greek chorus into a drunken party crasher. Ironically, a little more traditionalist grounding is just what the album and its subjects need most.

—Robert Fontenot www.OFFBEAT.com

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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

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

WEDNESDAY FEB 8

Bombay Club: Kris Tokarski (JV) 8p Buffa’s: Open Mic Night with Nattie Sanchez (SS) 7p Café Istanbul: Spotlight New Orleans with John Calhoun feat. Big Chief Monk Boudreaux (MG) 8p Carver Theater: Aurora Nealand the Royal Roses (JV) 8p Chickie Wah Wah: the Rubin Wilson Folk Blues Explosion (VR) 6p, Tasche De La Rocha (VR) 8p, Cary Hudson and Travis Linville (VR) 9p Crazy Lobster: Ken Swartz and the Palace of Sin (VR) 5p d.b.a.: Tin Men (RK) 7p, Walter “Wolfman” Washington and the Roadmasters (BL) 10p Dragon’s Den: Groove Therapy (HH) 9p, Reggae Night (RE) 10p Funky Pirate: Blues Masters feat. Big Al (BL) 8:30p Gasa Gasa: Bantam Foxes, Greazy Alice, A. Sinclair (RK) 9p Hi-Ho Lounge: MainLine (FK) 9p Howlin’ Wolf (the Den): Brass Lightning (BB) 9:30p Jazz Playhouse: Tank and the Bangas (FK) 8:30p Kerry Irish Pub: Will Dickerson (FO) 8:30p Little Gem Saloon: Reid Poole Duo (JV), 7p Maison: Kala Bazaar Swing Society, Jazz Vipers, RnR Music Group (VR) 4p Maple Leaf: Yakamein feat. Terrence “Groove Guardian” Houston, June Yamagishi, Keiko Komaki and Jerry “JBlakk” Henderson (FK) 10p Morning Call: Krewe du Two (VR) 1p, Valerie Sassyfras (VR) 10a Palm Court Jazz Café: Lars Edegran and Topsy Chapman with Palm Court Jazz Band (TJ) 8p Preservation Hall: Preservation Hall All-Stars feat. Charlie Gabriel (TJ) 8p Rock ‘n’ Bowl: Gal Holiday and the Honky Tonk Revue (SI) 8p 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 Three Keys (Ace Hotel): Monica McIntyre and Keisha Slaughter (JV) 9p

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Three Muses: Leslie Martin (JV) 5p, Hot Club of New Orleans (JV) 8p Three Muses Maple: Lynn Drury (BL) 7p Tropical Isle Bayou Club: Cajungrass (KJ) 7p Tropical Isle Bourbon: Jezebels Chill’n (RK) 5p, Debi and the Deacons (RK) 9p

THURSDAY FEB 9

Banks Street Bar: ABC Night feat. the Jon Hatchett Band (FO) 9p Bombay Club: Kris Tokarski Duo (JV) 8p Buffa’s: Gumbo Cabaret (VR) 5p, Tom McDermott and Aurora Nealand (JV) 8p Carver Theater: Free Agents Brass Band (BB) 8p Chickie Wah Wah: Phil DeGruy (VR) 6p, the Bruckers Duo (VR) 8p, New Orleans Guitar Masters (VR) 9p Circle Bar: Natalie Mae and the Naughty Sweethearts (CW) 7p Crazy Lobster: the Spanish Plaza 3 (VR) 5p d.b.a.: Andrew Duhon (SS) 10p Dragon’s Den: Jason Danti (JV) 6p, Orleans Society (VR) 9p Funky Pirate: Mark and the Pentones (BL) 4p, Blues Masters feat. Big Al (BL) 8:30p Hi-Ho Lounge: Wahala Boys (FK) 9p Howlin’ Wolf (the Den): Comedy Gumbeaux (CO) 8:30p Jazz Playhouse: Ashlin Parker Trio (JV) 5p, Glen David Andrews and his Funky Band (FK) 8:30p Kerry Irish Pub: Three with Mark Carson (FO) 8:30p Lafitte’s Blacksmith Shop: Lucky Lee (SS) 9p Le Bon Temps Roule: Soul Rebels (FK) 11p Little Gem Saloon: Michael Watson presents the Alchemy with special guest Kristina Morales, 7p Maison: the Good For Nothin’ Band, Roamin’ Jasmine, Dysfunktional Bone (VR) 4p Maple Leaf: the Trio feat. Johnny Vidacovich and guests (FK) 11p New Orleans Jazz Market: Kourtney Heart, DJ Legatron Prime, O.G. Blake Owens (VR) 7:30p Ogden Museum of Southern Art: After Hours feat. David L. Harris (CL) 6p Old U.S. Mint: Bruce “Sunpie” Barnes (VR) 2p Palm Court Jazz Café: Leroy Jones and Katja Toivola with Crescent City Joymakers (TJ) 8p Preservation Hall: Preservation Hall Legacy Band feat.

Gregg Stafford (TJ) 5p, Preservation Hall All-Stars feat. Louis Ford (TJ) 8p Rock ‘n’ Bowl: Chris Ardoin (ZY) 8:30p Snug Harbor: Craig Klein and Donna’s Revisited (JV) 8 & 10p Spotted Cat: Monty Banks (JV) 2p, Sarah McCoy and the Oopsie Daisies (JV) 4p, Miss Sophie Lee (JV) 6p, Jumbo Shrimp (JV) 10p Three Keys (Ace Hotel): Little Cosmicana, McGregor, Midriff (ID) 9p Three Muses: Tom McDermott (JV) 5p Three Muses Maple: Sam Cammarata (JV) 7p Tropical Isle Bourbon: Beach Combers (RK) 5p, Debi and the Deacons (RK) 9p Tropical Isle Original: the Hangovers (RK) 5:15p, Late As Usual (RK) 9:15p Vaso: Dick Deluxe (BL) 5p Vaughan’s Lounge: DJ Black Pearl (VR) 9p, Corey Henry and Treme Funket (FK) 10p

FRIDAY FEB 10

Bombay Club: Tim Laughlin (JV) 8:30p Buffa’s: Ben Fox Trio (JV) 6p, Sherman Bernard and the Ole Man River Band (VR) 9p Chickie Wah Wah: Michael Pearce (BL) 6p, Paul Sanchez (RR) 8p, Maggie Belle Band with Julie Odell (VR) 10:30p d.b.a.: Smoking Time Jazz Club (JV) 6p, Big Chief Monk Boudreaux and the Golden Eagles (MG) 10p Dos Jefes: Panorama Jazz Band (JV) 10p Dragon’s Den: Loose Marbles (JV) 7p, the Tipping Point with DJ RQ Away (HH) 10p; Comedy Fuck Yeah (CO) 7p, Latin Night (LT) 11p Funky Pirate: Mark and the Pentones (BL) 2p, Blues Masters feat. Big Al (BL) 8:30p Gasa Gasa: Vox and the Hound, Alexis and the Samurai (RK) 10p Hi-Ho Lounge: Relapse Dance Party with DJ Matt Scott (VR) 10:30p House of Blues Restaurant: Dick Deluxe (BL) 12p Howlin’ Wolf: Kurt Metzger, Barry Crimmons (CO) 8p Jazz and Heritage Center: Christian McBride, David Torkanowsky, Johnny Vidacovich and Detroit Brooks (JV) 8p

Jazz Playhouse: Piano Professor Series feat. Joe Krown (JV) 5p, Brass-A-Holics (FK) 8:30p, Burlesque Ballroom feat. Trixie Minx (BQ) 11p Kerry Irish Pub: Mark Appleford (FO) 5p, Chip Wilson and Mark Carroll (FO) 9p Le Bon Temps Roule: Joe Krown (PI) 7:30p Mahalia Jackson Theater: New Orleans Opera Association presents Sweeney Todd (CL) 8p Maison: Eight Dice Cloth, Swinging Gypsies, Shotgun Jazz Band (VR) 4p, Soul Project, Big Easy Brawlers (FK) 10p Maple Leaf: Kettle Black feat. Michael Skinkus, Keith Burnstein, Raja Kassis, Luke Quarantana and Charles Lumar, Kristin Diable and the City (VR) 11p Morning Call: Valerie Sassyfras (VR) 10a Palm Court Jazz Café: Lucien Barbarin and Palm Court Jazz Band (TJ) 8p Preservation Hall: Preservation Hall Legacy Band feat.

Wendell Brunious (TJ) 5p, Preservation Hall Brass Band feat. Daniel Farrow (TJ) 8p Rock ‘n’ Bowl: Flow Tribe (VR) 9:30p Smoothie King Center: Billie Joel (SS) 8p Snug Harbor: Ellis Marsalis Quintet (JV) 8 & 10p Southport Hall: BLT Ball feat. the Phunky Monkeys, DJ Jubilee, Go DJ Randy B. and others (VR) 9p Spotted Cat: Andy J. Forest (JV) 2p, Washboard Chaz Blues Trio (JV) 6p, New Orleans Cottonmouth Kings (JV) 10p Three Keys (Ace Hotel): Daria and the Hip Drops, Marina Orchestra (ID) 10p Three Muses: Matt Johnson (JV) 5:30p, Doro Wat Jazz Band (JV) 9p Three Muses Maple: Linnzi Zaorski (JV) 6p, Monty Banks (JV) 9p Tipitina’s: Lost Bayou Ramblers, Maggie Koerner (KJ) 10p Tropical Isle Bayou Club: Bayou Cajun Swamp Band (KJ) 5p, T’Canaille (KJ) 9p Tropical Isle Original: Down River (RK) 1p, the Hangovers (RK) 5:15p, Late As Usual (RK) 9:15p Vaughan’s Lounge: Lesseps Street Block Party feat. Morning 40 Federation, Little Freddie King, Happy Talk Band, Rough 7 and others (VR) 10p

SATURDAY FEB 11

Blue Nile: Washboard Chaz Blues Trio (BL) 7p Bombay Club: Riverside Jazz Collective (JV) 8:30p Buffa’s: Red Hot Jazz Band (JV) 11a, Lucas Davenport (VR) 5p, Swamp Kitchen (JV) 8p, Phil the Tremelo King (JV) 11p Carrollton Station: Debauche (GY) 10p Chickie Wah Wah: Albanie Falletta (VR) 6p, James Martin Band (VR) 8p Circle Bar: Richard Bates (RK) 6p, Quaalords, My Education, Bubastis, the Unnaturals (PK) 9:30p d.b.a.: Tuby Skinny (JV) 6p, Rebirth Brass Band (BB) 11p Dragon’s Den: Kala Bazaar Swing Society (JV) 7p, Sexy Back with DJ Ill Medina and DJ G (VR) 10p; Upstairs: Talk Nerdy to Me (BQ) 8p Funky Pirate: Mark and the Pentones (BL) 2p, Blues Masters feat. Big Al (BL) 8:30p Gasa Gasa: 12 Inches of Bounce feat. Keno, Keedy Black, Quickie Mart (BO) 10p Hi-Ho Lounge: Brown Improv (CO) 7p, Hustle feat. DJ Soul Sister (FK) 11p House of Blues (the Parish): Bad Girls of Burlesque (BQ) 9p Howlin’ Wolf (the Den): We Are the City Summer Tour Auditions (HH) 8p Jazz Playhouse: Flowtribe (FK) 8:30p Kerry Irish Pub: Patrick Cooper (FO) 5p, Roux the Day (FO) 9p Lafitte’s Blacksmith Shop: Lucky Lee (SS) 9p Little Gem Saloon: Glen David Andrews (JV), 7p Louisiana Music Factory: Lost Bayou Ramblers (KJ) 2p, David L. Harris (JV) 3p Maison: Chance Bushman and the Ibervillianaires, Ramblin’ Letters, Smoking Time Jazz Club (JV) 1p, Brass-A-Holics, No Good Deed (FK) 10p Maple Leaf: Nigel Hall Band (FK) 11p Morning Call City Park: Billy D. Chapman (JV) 10a Old U.S. Mint: Stacy Marie-Luce, Ashlin Parker, Roland Guerin, Julian Addison, James Barry and Jon Beebe (JV) 2p Palm Court Jazz Café: Brian O’Connell and Ernie Elly with Palm Court Jazz Band (TJ) 8p

Preservation Hall: Preservation Hall Jazz Masters feat. Gregg Stafford (TJ) 5p, Preservation Hall-Stars feat. Shannon Powell (TJ) 8p Rock ‘n’ Bowl: Karma (VR) 9:30p Snug Harbor: Carlo and the Fabrichaters (JV) 8 & 10p Spotted Cat: Monty Banks (JV) 12p, Shotgun Jazz Band (JV) 2p, Ecirb Muller’s Twisted Dixie (JV) 6p, Jazz Vipers (JV) 10p Three Muses: Chris Xmas (JV) 5p, Debbie Davis (JV) 6p, Shotgun Jazz Band (JV) 9p Tropical Isle Bayou Club: the Troubadour (KJ) 1p, Bayou Cajun Swamp Band (KJ) 5p, T’Canaille (KJ) 9p Tropical Isle Bourbon: Rhythm and Rain (RK) 5p, Debi and the Deacons (RK) 9p UNO Lakefront Arena: Valentine’s Music Festival feat. Keith Sweat, Bobby Brown, K-Ci, JoJo and El Debarge (RB) 8p

SUNDAY FEB 12

Bombay Club: David Boeddinghaus (JV) 8p Buffa’s: Some Like It Hot! (TJ) 10:30a, Jazz Youth Showcase (JV) 5p, Steve Pistorius, Orange Kellin, James Evans and Benny Amon (JV) 7p Chickie Wah Wah: the Call Girls (BL) 8p, the Fleshtones (VR) 9p Crazy Lobster: the Gator Bites (VR) 11a, the Neon Shadows (VR) 4p d.b.a.: Palmetto Bugs Stompers (SI) 6p, Deltaphonic (FK) 10p Dragon’s Den: Open Jazz Jam with Anuraag Penyal (JV) 7p, Church (EL) 10p Funky Pirate: Mark and the Pentones (BL) 4p, Willie Lockett Band (BL) 8p Hi-Ho Lounge: NOLA Comedy Hour (CO) 9p, the Resonant Rogues, St. Cinder (FO) 10p House of Blues: Gospel Brunch (GS) 10:30a Howlin’ Wolf (the Den): Hot 8 Brass Band (BB) 10p Jazz Playhouse: Germaine Bazzle (JV) 8p Kermit’s Mother-in-Law Lounge: Kermit Ruffins and the BBQ Swingers (JV) 5:30p Kerry Irish Pub: Chip Wilson (FO) 8p Mahalia Jackson Theater: New Orleans Opera Association presents Sweeney Todd (CL) 2:30p Maison: Chance Bushman and the NOLA Jitterbugs (SI) 10a, Hokum High Rollers, Leah Rucker, Royal Street Winding Boys, Higher Heights (VR) 1p Maple Leaf: Joe Krown Trio feat. Russell Batiste and Walter “Wolfman” Washington (RB) 10p Morning Call City Park: Billy D. Chapman (JV) 10a Palm Court Jazz Café: Mark Braud with Sunday Night Swingsters (TJ) 8p Preservation Hall: Preservation Hall Legacy Band feat. Gregg Stafford (TJ) 5p, Preservation Hall All-Stars feat. Wendell Brunious (TJ) 8p Snug Harbor: Davy Mooney All-Star CD Party (JV) 8 & 10p Spotted Cat: Carolyn Broussard (JV) 12p, Jamey St. Pierre and the Honeycreepers (JV) 2p, Kristina Morales and Bayou Shufflers (JV) 6p, Pat Casey and the New Sound (JV) 10p Three Keys (Ace Hotel): Sunday Swing with Bon Bon Vivant and friends (SI) 12p Three Muses: Raphael et Pascale (JV) 5p, Linnzi Zaorski (JV) 8p Three Muses Maple: Debbie Davis and Josh Paxton (JV) 11a Tipitina’s: Sunday Youth Music Workshop feat. Johnny Vidacovich Trio (VR) 1p Tropical Isle Bourbon: BC and Company (RK) 1p, Rhythm and Rain (RK) 5p, Debi and the Deacons (RK) 9p Tropical Isle Original: the Hangovers (RK) 5:15p, Late As Usual (RK) 9:15p

MONDAY FEB 13

Bombay Club: Josh Paxton (PI) 8p Buffa’s: Arsene DeLay (VR) 5p, Antoine Diel (JV) 8p Carver Theater: N.O. Blues Piano feat. Tom Worrell, Norman Caesar, Jan Clements, John Autin, SMG Band (BL) 8p Chickie Wah Wah: Benny Maygarden and Thomas Walker (VR) 6p, Alex McMurray and friends (VR) 8p d.b.a.:Alexis and the Samurai (ID) 7p, Glen David Andrews (JV) 10p Dragon’s Den: Hot Club de Cosmos (GY) 7p, Hangover Mondays with DJ Ill Medina (VR) 11p Funky Pirate: Willie Lockett Band (BL) 8p Hi-Ho Lounge: Bluegrass Pickin’ Party (BU) 8p, Instant Opus Improvised Series (MJ) 9p House of Blues (the Parish): the Expendables,Tribal Theory (RE) 8p House of Blues: Dashboard Confessional (ID) 7:30p

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LIVE LOCAL MUSIC Howlin’ Wolf (the Den): David Dondero, Fish Plate, Esther Rose, Sam Doores (SS) 8p Jazz Playhouse: Gerald French and the Original Tuxedo Jazz Band (JV) 8p Kerry Irish Pub: Mark Appleford (FO) 8p Lafitte’s Blacksmith Shop: Lucky Lee (SS) 9p Maison: Chicken and Waffles, Aurora Nealand and the Royal Roses, Vegas Cola (VR) 4p Maple Leaf: George Porter Jr. Trio (FK) 10p Morning Call: Valerie Sassyfras (VR) 10a Preservation Hall: All-Stars feat. Charlie Gabriel (TJ) 8p Snug Harbor: Charmaine Neville Band (JV) 8 & 10p Spotted Cat: Royal Street Winding Boys (JV) 2p, Sarah McCoy and the Oopsie Daisies (JV) 4p, Dominick Grillo and the Frenchmen St. All-Stars (JV) 6p, Jazz Vipers (JV) 10p Three Muses: Monty Banks (JV) 5p Tropical Isle Bayou Club: Cajun Drifters (KJ) 7p

TUESDAY FEB 14

Bombay Club: Tom Hook (PI) 8p Buffa’s: Tacos, Tequila and Tiaras with Vanessa Carr (VR) 8p Chickie Wah Wah: Jon Cleary (VR) 6p, Albanie Falletta (VR) 8p Circle Bar: Carl LeBlanc (RB) 6p Columns Hotel: Matt Rhody and John Rankin (JV) 8p Crazy Lobster: AC and the Heat (VR) 5p d.b.a.: DinosAurchestra (JV) 7p, Treme Brass Band (BB) 10p Funky Pirate: Blues Masters feat. Big Al (BL) 8:30p Hi-Ho Lounge: Tuco Taco Presents (FO) 8p Howlin’ Wolf (the Den): Comedy Beast (CO) 8:30p Jazz Playhouse: Nayo Jones Experience (JV) 8p Kerry Irish Pub: Jason Bishop (FO) 8:30p Lafitte’s Blacksmith Shop: Lucky Lee (SS) 9p Little Gem Saloon: T’Shairra (VR), 7p Maison: Amina Scott and friends, Gregory Agid Quartet, the Key Sound (VR) 4p Maple Leaf: Rebirth Brass Band (FK) 11p Preservation Hall: All-Stars feat. Charlie Gabriel (TJ) 8p Siberia: Alexandra Scott’s Lonely Hearts Band (VR) 10p Snug Harbor: Topsy Chapman and Solid Harmony (JV) 8 & 10p Spotted Cat: Andy J. Forest (JV) 2p, the Little Big Horns (JV) 6p, Smoking Time Jazz Club (JV) 10p Three Muses: Messy Cookers (JV) 8p Three Muses Maple: Jon Roniger (JV) 7p Tropical Isle Original: the Hangovers (RK) 5:15p, Jay B. Elston Band (RK) 9:15p Vaso: Dick Deluxe (BL) 5p

WEDNESDAY FEB 15

Bombay Club: Kris Tokarski (JV) 8p Buffa’s: Open Mic Night with Nattie Sanchez (SS) 7p Carver Theater: Snake and the Charmers (JV) 8p Chickie Wah Wah: the Rubin Wilson Folk Blues Explosion (VR) 6p, Aurora Nealand and Tom McDermott (JV) 8p Circle Bar: the Iguanas (RK) 7p Crazy Lobster: Ken Swartz and the Palace of Sin (VR) 5p d.b.a.: Tin Men (RK) 7p, Walter “Wolfman” Washington and the Roadmasters (BL) 10p Dragon’s Den: Groove Therapy (HH) 9p, Reggae Night (RE) 10p Funky Pirate: Blues Masters feat. Big Al (BL) 8:30p Gasa Gasa: Progression feat. Pirate’s Choice, Fu Fu All-Stars (RK) 8p Hi-Ho Lounge: MainLine (FK) 9p House of Blues (the Parish): Jet Lounge (HH) 11p Howlin’ Wolf (the Den): Brass Lightning (BB) 9:30p Jazz Playhouse: Tom Hook and Wendell Brunious (JV) 8p Kermit’s Mother-in-Law Lounge: Spodie and the Big Shots (JV) 6:30p Kerry Irish Pub: Patrick Cooper (FO) 8:30p Little Gem Saloon: Reid Poole Duo (JV), 7p Maison: Slick Skillet, Jazz Vipers, Danny Abel and friends (VR) 4p Maple Leaf: Yakamein feat. Terrence “Groove Guardian” Houston, June Yamagishi, Keiko Komaki and Jerry “JBlakk” Henderson (FK) 10p Marigny Brasserie: Dick Deluxe (BL) 7p Morning Call: Valerie Sassyfras (VR) 10a, Krewe du Two (VR) 1p Old U.S. Mint: Richard Scott (TJ) 12p Palm Court Jazz Café: Lars Edegran and Topsy Chapman with Palm Court Jazz Band (TJ) 8p Preservation Hall: All-Stars feat. Charlie Gabriel (TJ) 8p Rock ‘n’ Bowl: Big Sandy and his Fly-Rite Boys (SI) 8p Saenger Theatre: Dave Chapelle and Chris Tucker (CO) 9p Snug Harbor: Tom Saunders and the Tom Cats (JV) 8 & 10p Spotted Cat: Chris Christy (JV) 2p, Shotgun Jazz Band (JV) 6p, Antoine Diel and the New Orleans Power Misfits (JV) 10p St. Louis Cathedral: Louisiana Philharmonic Orchestra pres. Uniquely New Orleans: the Classical Tradition & Jazz (CL) 7:30p Three Muses: Leslie Martin (JV) 5p, Schatzy (JV) 8p Three Muses Maple: Sam Cammarata (JV) 7p Tropical Isle Bayou Club: Cajungrass (KJ) 7p Tropical Isle Bourbon: Jezebels Chill’n (RK) 5p, Debi and the Deacons (RK) 9p

THURSDAY FEB 16

Bombay Club: Kris Tokarski Duo (JV) 8p Buffa’s: Miles Lyons and Steve Pistorius (JV) 5p, Tom McDermott and Aurora Nealand (JV) 8p

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Bullet’s: Kermit Ruffins and the BBQ Swingers (JV) 6p Carver Theater: TBC Brass Band (BB) 8p Chickie Wah Wah: Phil DeGruy (VR) 6p, James Singleton, Steve Masakowski and Dave Easley (VR) 8p Circle Bar: Natalie Mae and the Naughty Sweethearts (CW) 7p Crazy Lobster: the Spanish Plaza 3 (VR) 5p d.b.a.: Roamin’ Jasmine (JV) 7p, Sam Price and the True Believers (VR) 10p Dos Jefes: Loren Pickford Quartet (JV) 9:30p Dragon’s Den: Amina Scott Trio (JV) 9:30p; Upstairs: Soundclash (HH) 9p Funky Pirate: Mark and the Pentones (BL) 4p, Blues Masters feat. Big Al (BL) 8:30p Gasa Gasa: Bottom Feeders, Video Age, Viva L’American Death Ray Music (RK) 10p Hi-Ho Lounge: Circus Darling (BQ) 10p House of Blues: Wax Tailor (HH) 8p Howlin’ Wolf (the Den): Comedy Gumbeaux (CO) 8:30p Jazz Playhouse: Ashlin Parker Trio (JV) 5p, James Rivers Movement (JV) 8p Joy Theater: Yonder Mountain String Band, G. Love and Special Sauce (VR) 8p Kerry Irish Pub: Foot and friends (FO) 9p Lafitte’s Blacksmith Shop: Lucky Lee (SS) 9p Le Bon Temps Roule: Soul Rebels (FK) 11p Little Gem Saloon: Michael Watson pres. the Alchemy (JV) 7p Little Tropical Isle: Allen Hebert (RK) 5p, Frank Fairbanks (RK) 9p Loa: Lilith in Loa Songwriter Series feat. Kathryn Rose Wood and Bobbi Rae (SS) 8p Maison: the Good For Nothin’ Band, Asylum Chorus, Dysfunktional Bone (VR) 4p Maple Leaf: the Trio feat. Johnny Vidacovich and guests (FK) 11p Marigny Brasserie: Jamey St. Pierre and the Honeycreepers (SO) 7p Ogden Museum of Southern Art: After Hours feat. Jackson and the Janks (CW) 6p Palm Court Jazz Café: Duke Heitger and Crescent City Joymakers (TJ) 8p Preservation Hall: Preservation Hall Legacy Band feat. Gregg Stafford (TJ) 5p, Preservation Hall All-Stars feat. Louis Ford (TJ) 8p Rock ‘n’ Bowl: Nathan and the Zydeco Cha Chas (ZY) 8:30p Saenger Theatre: Dave Chapelle and Chris Tucker (CO) 9p Snug Harbor: the Bridge Trio (JV) 8 & 10p Spotted Cat: Monty Banks (JV) 2p, Sarah McCoy and the Oopsie Daisies (JV) 4p, Miss Sophie Lee (JV) 6p, Jumbo Shrimp (JV) 10p Three Keys (Ace Hotel): Soundbytes with PJ Morton and friends (RB) 9p Three Muses: Tom McDermott (PI) 5p Three Muses Maple: Linnzi Zaorski (JV) 7p Tropical Isle Bayou Club: Cajun Drifters (KJ) 5p, Nonc Nu and Da Wild Matous (KJ) 9p Vaughan’s Lounge: DJ Black Pearl (VR) 9p, Corey Henry and Treme Funket (FK) 10p

FRIDAY FEB 17

Bombay Club: Matthew Shilling (JV) 8:30p Buffa’s: Andre Bohren (CL) 6p, Greg Schatz (VR) 9p Bullet’s: Original Pinettes Brass Band (BB) 9p Carver Theater: Donnie Ray (VR) 9p Chickie Wah Wah: Michael Pearce (BL) 6p, Buku Broux (VR) 8p, Eric Bloom and friends (VR) 10p Crazy Lobster: Ken Swartz and the Palace of Sin (VR) 5p d.b.a.:Tuba Skinny (JV) 6p, Cyril Neville and Swamp Funk (FK) 10p Dragon’s Den: Loose Marbles (JV) 7p, the Tipping Point with DJ RQ Away (HH) 10p; Upstairs: Comedy Fuck Yeah (CO) 7p, Latin Night (LT) 11p Funky Pirate: Mark and the Pentones (BL) 2p, Blues Masters feat. Big Al (BL) 8:30p Gasa Gasa: Ice Ice Crystal Ball feat. DJ Nice Rack, Carmen’s Electra, the Quickening, Christin Bradford, Natalita, DJ Otto () 9:30p Golden Lantern: Nighthawk (CR) 7p Hi-Ho Lounge: Relapse Dance Party with DJ Matt Scott (VR) 10:30p House of Blues Restaurant: Dick Deluxe (BL) 12p Howlin’ Wolf (the Den): Stoked (CO) 10:30p Kerry Irish Pub: One Tailed Three (FO) 5p, Will Dickerson Band (FO) 9p Le Bon Temps Roule: Joe Krown (PI) 7:30p Little Gem Saloon: Jon Roniger and the Good for Nothin’ Band (JV), 7p Maple Leaf: Gravity A (FK) 11p Morning Call: Valerie Sassyfras (VR) 10a Old Point Bar: Rick Trolsen (PI) 5p, Jamie Lynn Vessels (RK) 9:30p Palm Court Jazz Café: Kevin Louis and Palm Court Jazz Band (TJ) 8p Preservation Hall: Preservation Hall Legacy Band feat.

Wendell Brunious (TJ) 5p, Preservation Hall Brass Band feat. Daniel Farrow (TJ) 8p Rock ‘n’ Bowl: the Essentials, Groovy 7 (VR) 8p Saenger Theatre: Dave Chapelle and Chris Tucker (CO) 9p Snug Harbor: Ellis Marsalis Quintet (JV) 8 & 10p Spotted Cat: Andy J. Forest (JV) 2p, Washboard Chaz Blues Trio (JV) 6p, New Orleans Cottonmouth Kings (JV) 10p

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LIVE LOCAL MUSIC Three Muses: Royal Roses (JV) 6p, Russell Welch (JV) 9p Three Muses Maple: Monty Banks (JV) 5p Tipitina’s: John “Papa” Gros Band Carnival Kick-Off (FK) 10p Tropical Isle Original: Down River (RK) 1p, the Hangovers (RK) 5:15p, Late As Usual (RK) 9:15p UNO Lakefront Arena: Festival of Laughs feat. Mike Epps, Sommore, Bruce Bruce and Arnez J (CO) 8p

SATURDAY FEB 18

Blue Nile: Washboard Chaz Blues Trio (BL) 7p Bombay Club: Matt Johnson (JV) 8:30p Buffa’s: Red Hot Jazz Band (JV) 11a, Dayna Kurtz (JV) 6p, the Salt Wives (GY) 9p Chickie Wah Wah: John Doe (VR) 8p Circle Bar: Tyvek, Fred Thomas, Evil Rats, Black Abba (PK) 11p Crazy Lobster: the River Gang (VR) 11a, Poppy’s Poppin’ Saturday Review (VR) 4p d.b.a.: Soul Rebels (FK) 11p Dos Jefes: Betty Shirley Band (JV) 10p Dragon’s Den: Claire and Company (JV) 7p, Sexy Back with DJ Ill Medina and DJ G (VR) 10p; Upstairs: Talk Nerdy to Me (BQ) 8p Funky Pirate: Mark and the Pentones (BL) 2p, Blues Masters feat. Big Al (BL) 8:30p Gasa Gasa: the Radio Dept., Germans (VR) 9p Hi-Ho Lounge: Hustle feat. DJ Soul Sister (FK) 11p Jazz Playhouse: Michael Watson (JV) 8p Kerry Irish Pub: St. Claude Serenaders (FO) 5p, Hurricane Refugees (FO) 9p Lafitte’s Blacksmith Shop: Lucky Lee (SS) 9p Little Gem Saloon: Carmela Rappazo Trio (JV) 7:30p Little Tropical Isle: Jay B. Elston (RK) 5p, Reed Lightfoot (RK) 9p Maison: Chance Bushman and the Ibervillianaires, Royal Street Winding Boys, Swinging Gypsies (JV) 1p, Khris Royal and Dark Matter, Big Easy Brawlers (FK) 10p Maple Leaf: Boukou Groove (VR) 11p Morning Call City Park: Billy D. Chapman (JV) 10a Palm Court Jazz Café: Brian O’Connell and Lester Caliste with Palm Court Jazz Band (TJ) 8p Preservation Hall: Preservation Hall Jazz Masters feat. Leroy Jones (TJ) 5p, Preservation Hall-Stars feat. Shannon Powell (TJ) 8p Rock ‘n’ Bowl: Tab Benoit (BL) 9:30p Saenger Theatre: Dave Chapelle and Chris Tucker (CO) 9p Snug Harbor: Astral Project (JV) 8 & 10p Spotted Cat: Monty Banks (JV) 12p, Russell Welch’s Mississippi Gypsy (JV) 2p, Panorama Jazz Band (JV) 6p, Sasha Masakowski (JV) 10p Three Muses: Chris Xmas (JV) 5p, Doro Wat Jazz Band (JV) 6p, Shotgun Jazz Band (JV) 9p Three Muses Maple: Davy Mooney (JV) 5p, Russell Welch (JV) 7p Tropical Isle Bayou Club: the Troubadour (KJ) 1p, Bayou Cajun Swamp Band (KJ) 5p, T’Canaille (KJ) 9p Tropical Isle Bourbon: Rhythm and Rain (RK) 5p, Debi and the Deacons (RK) 9p

SUNDAY FEB 19

Bombay Club: Tom McDermott (JV) 8p Buffa’s: Some Like It Hot! (TJ) 10:30a, Jazz Youth Showcase (JV) 5p, Gerald French Trio (JV) 7p Crazy Lobster: the Gator Bites (VR) 11a, the Neon Shadows (VR) 4p d.b.a.: Palmetto Bugs Stompers (SI) 6p, MainLine (BB) 10p Dragon’s Den: Open Jazz Jam with Anuraag Penyal (JV) 7p, Church (EL) 10p Funky Pirate: Mark and the Pentones (BL) 4p, Willie Lockett Band (BL) 8p Hi-Ho Lounge: NOLA Comedy Hour (CO) 9p House of Blues: Gospel Brunch (GS) 10:30a Howlin’ Wolf (the Den): Hot 8 Brass Band (BB) 10p Jazz Playhouse: Germaine Bazzle (JV) 8p Kermit’s Mother-in-Law Lounge: Kermit Ruffins and the BBQ Swingers (JV) 5:30p Kerry Irish Pub: Irish Session (FO) 5p, Patrick Cooper (FO) 8p Maison: Chance Bushman and the NOLA Jitterbugs (SI) 10a, Leah Rucker, Roamin’ Jasmine, Meghan Stewart, Higher Heights (VR) 1p Maple Leaf: Joe Krown Trio feat. Russell Batiste and Walter “Wolfman” Washington (RB) 10p Morning Call City Park: Billy D. Chapman (JV) 10a One Eyed Jacks: Scour, Barghest, Witch Burial (ME) 9p Palm Court Jazz Café: Duke Heitger and Tom Fischer with Sunday Night Swingsters (TJ) 8p Preservation Hall: Preservation Hall Legacy Band feat. Gregg Stafford (TJ) 5p, Preservation Hall All-Stars feat. Wendell Brunious (TJ) 8p Rock ‘n’ Bowl: Bruce Daigrepont (KJ) 5:30p Snug Harbor: Tom McDermott Tribute to Scott Joplin (JV) 8 & 10p Spotted Cat: Carolyn Broussard (JV) 12p, Royal Street Winding Boys (JV) 2p, Kristina Morales and Bayou Shufflers (JV) 6p, Pat Casey and the New Sound (JV) 10p Three Keys (Ace Hotel): Sunday Swing with Bon Bon Vivant and friends (SI) 12p

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Three Muses: Raphael et Pascale (JV) 5p, Linnzi Zaorski (JV) 8p Three Muses Maple: Debbie Davis and Josh Paxton (JV) 11a Tropical Isle Bayou Club: Brandon Moreau and Cajungrass (KJ) 2p, Bayou Cajun Swamp Band (KJ) 7p Tropical Isle Bourbon: BC and Company (RK) 1p, Rhythm and Rain (RK) 5p, Debi and the Deacons (RK) 9p

MONDAY FEB 20

Bacchanal: Raphael Bas (JV) 12p, Helen Gillet (JV) 7:30p Bombay Club: Josh Paxton (PI) 8p Buffa’s: Arsene DeLay (VR) 5p, Antoine Diel (JV) 8p Carver Theater: Flavors of the Blues feat. Alvin Youngblood Hart, Chris Mule, Leslie Smith and SMG Band (BL) 8p Chickie Wah Wah: Benny Maygarden and Thomas Walker (VR) 6p, Alex McMurray and friends (VR) 8p Crazy Lobster: the Insta-Gators (VR) 5p d.b.a.:Alexis and the Samurai (ID) 7p, Glen David Andrews (JV) 10p Dos Jefes: John Fohl (BL) 9p Dragon’s Den: Steve DeTroy and the Swing Revue (GY) 7p, Hangover Mondays with DJ Ill Medina (VR) 11p Funky Pirate: Willie Lockett Band (BL) 8p Hi-Ho Lounge: Bluegrass Pickin’ Party (BU) 8p, Instant Opus Improvised Series (MJ) 9p Jazz Playhouse: Gerald French and the Original Tuxedo Jazz Band (JV) 8p Kerry Irish Pub: Mark Appleford (FO) 8p Lafitte’s Blacksmith Shop: Lucky Lee (SS) 9p Mag’s 940: Calvin Johnson and Native Son’s Burlesque Revue feat. Grand Mafun (BQ) 8p Maison: Chicken and Waffles, Aurora Nealand and the Royal Roses, RnR Music Group (VR) 4p Maple Leaf: George Porter Jr. Trio (FK) 10p Morning Call: Valerie Sassyfras (VR) 10a Ooh Poo Pah Doo: James Andrews and the Crescent City All-Stars (VR) 8p Preservation Hall: Preservation Hall All-Stars feat. Charlie Gabriel (TJ) 8p Snug Harbor: Charmaine Neville Band (JV) 8 & 10p Spotted Cat: Royal Street Winding Boys (JV) 2p, Sarah McCoy and the Oopsie Daisies (JV) 4p, Dominick Grillo and the Frenchmen St. All-Stars (JV) 6p, Jazz Vipers (JV) 10p Three Muses: Bart Ramsey (JV) 5p Tropical Isle Original: Graham Robertson (RK) 5:15p, Trop Rock Express (RK) 9:15p

TUESDAY FEB 21

Bacchanal: Raphael Bas (JV) 12p, Mark Weliky (JV) 7:30p Bamboulas: Chip and friend, Joe Goldberg Jazz Trio, Dana and the Boneshakers, Chance Bushman and the Rhythm Stompers (VR) 12p Bombay Club: Matt Lemmler (PI) 8p Buffa’s: Tacos, Tequila and Tiaras with Vanessa Carr (VR) 8p Chickie Wah Wah: Jon Cleary (VR) 6p, Albanie Falletta (VR) 8p Circle Bar: Carl LeBlanc (RB) 6p Crazy Lobster: AC and the Heat (VR) 5p d.b.a.: DinosAurchestra (JV) 7p, Treme Brass Band (BB) 10p Dos Jefes: Tom Hook and Wendell Brunious (JV) 9p Funky Pirate: Blues Masters feat. Big Al (BL) 8:30p Gasa Gasa: Groove Orient, Loose Willis, Elysian Feel (RK) 9p Hi-Ho Lounge: Tuco Taco presents Ted Hefko and others (FO) 8p House of Blues (the Parish): Isaiah Rashad, Lance Skiiiwalker, Jay IDK (HH) 8p Howlin’ Wolf (the Den): Comedy Beast (CO) 8:30p Jazz Playhouse: Ricardo Pascal Trio (JV) 8p Kerry Irish Pub: Jason Bishop (FO) 8:30p Lafitte’s Blacksmith Shop: Lucky Lee (SS) 9p Little Gem Saloon: Charlie Miller (JV), 7p Maison: Luneta Jazz Band, Gregory Agid Quartet, Brasszilla (JV) 4p Maple Leaf: Rebirth Brass Band (FK) 11p Old U.S. Mint: Down on Their Luck Orchestra (JV) 2p Preservation Hall: Preservation Hall All-Stars feat. Charlie Gabriel (TJ) 8p Snug Harbor: Stanton Moore Trio (JV) 8 & 10p Spotted Cat: Andy J. Forest (JV) 2p, the Little Big Horns (JV) 6p, Smoking Time Jazz Club (JV) 10p Three Muses: Messy Cookers (JV) 8p Three Muses Maple: Jon Roniger (JV) 7p Tropical Isle Original: the Hangovers (RK) 5:15p, Jay B. Elston Band (RK) 9:15p Vaso: Dick Deluxe (BL) 5p

WEDNESDAY FEB 22

Buffa’s: Open Mic Night with Nattie Sanchez (SS) 7p Chickie Wah Wah: the Rubin Wilson Folk Blues Explosion (VR) 6p, Aurora Nealand and Tom McDermott (JV) 8p Crazy Lobster: Ken Swartz and the Palace of Sin (VR) 5p d.b.a.: Tin Men (RK) 7p, Walter “Wolfman” Washington and the Roadmasters (BL) 10p Dragon’s Den: Groove Therapy (HH) 9p, Reggae Night (RE) 10p Funky Pirate: Blues Masters feat. Big Al (BL) 8:30p Hi-Ho Lounge: MainLine (FK) 9p Howlin’ Wolf (the Den): Brass Lightning (BB) 9:30p Kermit’s Mother-in-Law Lounge: Spodie and the Big Shots (JV) 6:30p

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LIVE LOCAL MUSIC Kerry Irish Pub: Paintbox with Dave James and Tim Robertson (FO) 8:30p Little Gem Saloon: Zakk Garner Duo (JV), 7p Maison: Eight Dice Cloth, Jazz Vipers, In Business (VR) 4p Maple Leaf: Yakamein feat. Terrence “Groove Guardian” Houston, June Yamagishi, Keiko Komaki and Jerry “JBlakk” Henderson (FK) 10p Morning Call: Valerie Sassyfras (VR) 10a, Krewe du Two (VR) 1p One Eyed Jacks: Jonathan Richman (SS) 8p Palm Court Jazz Café: Lars Edegran and Topsy Chapman with Palm Court Jazz Band (TJ) 8p Preservation Hall: Preservation Hall All-Stars feat. Charlie Gabriel (TJ) 8p Rock ‘n’ Bowl: Jerry Embree (SI) 8p 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 Three Keys (Ace Hotel): Sexy Dex and the Fresh, Valerie Sassyfras and Sasshay Dancers (VR) 10p Three Muses: Leslie Martin (JV) 5p, Sarah McCoy (JV) 8p Three Muses Maple: Miss Tess Duo (VR) 7p Tropical Isle Bourbon: Jezebels Chill’n (RK) 5p, Debi and the Deacons (RK) 9p Tropical Isle Original: Debi and the Deacons (RK) 5:15p, Late As Usual (RK) 9:15p UNO Lakefront Arena: Sting, Joe Sumner and the Last Bandoleros (RK) 8p

THURSDAY FEB 23

Bacchanal: Raphael Bas (JV) 12p, the Courtyard Kings (JV) 7:30p Banks Street Bar: ABC Night feat. Jamie Lynn Vessels (FO) 9p BMC: Blind Tiger Burlesque feat. Xena Zeit-Geist and the Dapper Dandies (BQ) 11:59p Bombay Club: Kris Tokarski Duo (JV) 8p Buffa’s: Gumbo Cabaret (VR) 5p, Tom McDermott and Aurora Nealand (JV) 8p Chickie Wah Wah: Phil DeGruy (VR) 6p, Mark Mullins, Jimmy Robinson and Helen Gillet (VR) 8p Civic Theatre: Better Than Ezra (RK) 9:30p Crazy Lobster: the Spanish Plaza 3 (VR) 5p Dragon’s Den: Geovane Santos Brazilian Jazz Quartet (JV) 6p, New Legacy (RB) 9p Funky Pirate: Mark and the Pentones (BL) 4p, Blues Masters feat. Big Al (BL) 8:30p House of Blues: the Cadillac Three, Pay Wylie Hubbard (CW) 8p House of Blues (the Parish): Dan Andriano and Matt Prior (ID) 8:30p Howlin’ Wolf (the Den): Comedy Gumbeaux (CO) 8:30p Jazz Playhouse: James Rivers Movement (JV) 8p Kerry Irish Pub: Will Dickerson (FO) 8:30p Lafitte’s Blacksmith Shop: Lucky Lee (SS) 9p Le Bon Temps Roule: Soul Rebels (FK) 11p Little Gem Saloon: Charlie Miller (JV), 7p Mag’s 940: Mama K and the Shades, the Crooked Vines (VR) 11p Maison: Miss Kitty Fraulein Frances’ Sleazeball Orchestra, the Good For Nothin’ Band, Dysfunktional Bone (VR) 4p Maple Leaf: the Trio feat. Johnny Vidacovich and guests (FK) 11p Marigny Brasserie: Jamey St. Pierre and the Honeycreepers (SO) 7p Palm Court Jazz Café: Tim Laughlin and Crescent City Joymakers (TJ) 8p Preservation Hall: Preservation Hall Legacy Band feat.

Gregg Stafford (TJ) 5p, Preservation Hall All-Stars feat. Louis Ford (TJ) 8p Rock ‘n’ Bowl: Geno Delafose (ZY) 8:30p Snug Harbor: New Orleans Guitar Masters with Jimmy Robinson, John Rankin and Cranston Clements (JV) 8 & 10p Spotted Cat: Monty Banks (JV) 2p, Sarah McCoy and the Oopsie Daisies (JV) 4p, Miss Sophie Lee (JV) 6p, Jumbo Shrimp (JV) 10p Three Keys (Ace Hotel): Tra$h Magnolia, Cheeky Blakk, DJ Rara (BO) 10p Three Muses: Tom McDermott (PI) 5p, Gal Holiday and the Honky Tonk Revue (SI) 8p Three Muses Maple: Linnzi Zaorski (JV) 7p Tropical Isle Bayou Club: Cajun Drifters (KJ) 5p, Nonc Nu and Da Wild Matous (KJ) 9p Tropical Isle Original: the Hangovers (RK) 5:15p, Late As Usual (RK) 9:15p Vaughan’s Lounge: DJ Black Pearl (VR) 9p, Corey Henry and Treme Funket (FK) 10p

FRIDAY FEB 24

Bacchanal: the Tangiers Combo (JV) 12p, Harmonouche (JV) 5p, Willie Green Project (JV) 7:30p Bombay Club: Larry Scala (JV) 8:30p

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PLAN A: Throw Me Something Mister!

MARDI GRAS PARADE SCHEDULE Saturday February 11: Poseidon (Slidell) 1p; Krewe du Vieux (Marigny/French Quarter) 6:30p, KreweDelusion follows Krewe du Vieux Sunday February 12: Krewe of Little Rascals (Metairie) 12p; Slidellians (Slidell) 1p; Perseus (Slidell) 2p Friday February 17: Krewe of Cork (French Quarter) 3p; Oshun (Uptown) 6p; Cleopatra (Uptown) 6:30p; Eve (Mandeville) 7p; Excalibur (Metairie) 7p; Athena (Metairie) 7:30p Saturday February 18: Adonis (West Bank) 11:45a; Nemesis (Chalmette) 1p; Pontchartrain (Uptown) 1p; Choctaw (Uptown) 2p; Freret (Uptown) 2:30p; Sparta (Uptown) 6p; Pygmalion (Uptown) 6:15p; Caesar (Metairie) 6p; ‘tit Rex (Marigny) 5p; Krewe of Chewbacchus (Marigny) 7p; Titans (Slidell) 6:30p Sunday February 19: Femme Fatale (Uptown) 11a; Carrollton (Uptown) 12p: King Arthur and Merlin (Uptown) follows Carrollton; Alla (Uptown) follows King Arthur; Barkus (French Quarter) 2p; Tchefuncte (Madisonville) 2p Wednesday February 22: Druids (Uptown) 6:30p; Nyx (Uptown) 7p Thursday February 23: Knights of Babylon (Uptown) 5:30p; Chaos (Uptown) 6:15p; Muses (Uptown) 6:30p Friday February 24: Bosom Buddies (French Quarter) 11:30a; Orpheus (Mandeville) 6p; Hermes (Uptown) 6p; Le Krewe D’etat (Uptown) 6:30p; Selene (Slidell) 6:30p; Morpheus (Uptown) 7p; Centurions (Metairie) 7p Saturday February 25: NOMTOC (Westbank) 10:45a; Iris (Uptown) 11a; Tucks (Uptown) 12p; Endymion (Mid-City) 4:15p; Isis (Metairie) 6:30p Sunday February 26: Okeanos (Uptown) 11a; Mid-City (Uptown) 11:45a; Thoth (Uptown) 12p; Corps de Napoleon (Metairie) 5p; Bacchus (Uptown) 5:15p Monday (Lundi Gras) February 27: Reds Beans (Marigny) 2p; Proteus (Uptown) 5:15p; Orpheus (Uptown) 6p; Cleopatra (Houma) 6:30p Tuesday (Mardi Gras) February 28: Zulu (Uptown) 8a; Rex (Uptown) 10a; Elks Orleanians follows Rex, Crescent City follows Elks Orleanians; Argus (Metairie) 10a; Krewe of Elks Jefferson follows Argus, Krewe of Jefferson follows Krewe of Elks; Lyra (Covington) 10a

Buffa’s: Jerry Jumonville (VR) 5p, Jimbo Walsh and Associates (VR) 8p, Dapper Dandies (JV) 11p Chickie Wah Wah: Michael Pearce (BL) 6p, Cyril Neville, Monk Boudreaux, John Fohl and Johnny Sansone (VR) 9p Crazy Lobster: Ken Swartz and the Palace of Sin (VR) 5p d.b.a.: Tuba Skinny (JV) 6p, Cha Wa, Colin Lake (VR) 10p Dos Jefes: Sunpie and the Louisiana Sunspots (ZY) 10p Dragon’s Den: Loose Marbles (JV) 7p, the Tipping Point with DJ RQ Away (HH) 10p; Upstairs: Comedy Fuck Yeah (CO) 7p, Latin Night (LT) 11p Funky Pirate: Mark and the Pentones (BL) 4p, Blues Masters feat. Big Al (BL) 8:30p Gasa Gasa: A Queen and Bowie Tribute Show feat.

Antoine Diel, John Paul Carmody, Georgi Petrov, David Heart, Tom Witek, Jermal Watson (CR) 10p Hi-Ho Lounge: Relapse Dance Party with DJ Matt Scott (VR) 10:30p House of Blues Restaurant: Dick Deluxe (BL) 12p Howlin’ Wolf: Rebirth Brass Band (FK) 10p Jazz Playhouse: Piano Professor Series feat. Joe Krown (JV) 5p, Quina Lynell (JV) 7p, Burlesque Ballroom feat.

Trixie Minx (BQ) 11p Kerry Irish Pub: Patrick Cooper (FO) 5p, Van Hudson and friends (FO) 9p Le Bon Temps Roule: Joe Krown (PI) 7:30p Little Gem Saloon: Britney Chauntae (RB), 7:30p Maison: Kala Bazaar Swing Society, Swinging Gypsies, Shotgun Jazz Band (JV) 1p, the Grid, Raw Deal (FK) 10p Morning Call: Valerie Sassyfras (VR) 10a One Eyed Jacks: Morning 40 Federation, Lost Bayou Ramblers, Malevitus (VR) 9p Palm Court Jazz Café: Kevin Louis and Palm Court Jazz Band (TJ) 8p Preservation Hall: Preservation Hall Legacy Band feat.

Wendell Brunious (TJ) 6p, Preservation Hall Brass Band feat. Daniel Farrow (TJ) 8p Republic: Fleur de Lit feat. NGHTMRE (EL) 10p Rock ‘n’ Bowl: the Topcats (VR) 9:30p Snug Harbor: Dr. Michael White’s Original Liberty Jazz Band (JV) 8 & 10p Southport Hall: Hed PE (VR) 6p Spotted Cat: Andy J. Forest (JV) 2p, Washboard Chaz Blues Trio (JV) 6p, New Orleans Cottonmouth Kings (JV) 10p St. Roch Tavern: Valerie Sassyfras (VR) 7p Three Keys (Ace Hotel): Slay City with Bouffant Bouffant (VR) 10p Three Muses: Matt Johnson (JV) 5p Three Muses Maple: Monty Banks (JV) 6p Tipitina’s: Foundation of Funk feat. Zigaboo Modeliste, George Porter Jr., Anders Osborne, Jon Cleary (FK) 11p Tropical Isle Bayou Club: Bayou Cajun Swamp Band (KJ) 5p, T’Canaille (KJ) 9p Tropical Isle Bourbon: Jay B. Elston Band (RK) 5p, Debi and the Deacons feat. Maggie Havens (RK) 9p

SATURDAY FEB 25

ZULU 24TH ANNUAL LUNDI GRAS FESTIVAL (MONDAY, FEBRUARY 27) King Zulu Stage (Woldenberg Park-Great Lawn) DJ Jubilee, 10a Royal Essence Band, 12:45p Amanda Shaw & the Cute Guys, 2:15p Michael “Soulman” Baptiste, 3:30p King & Queen Zulu Arrival, 5p Rebirth Brass Band, 5:30p Zulu Golden Nugget Stage (Pavillion) Zulu Ensemble, 10a Pin Stripe Brass Band, 11a The Revealers, 12:15p Tereasa B., 1:30p Ed Perkins Band, 2:45p Dwayne Doopsie & the Zydeco Hellraisers, 4p Tonya Boyd Cannon & the Crieux, 5:15p Liberty Bank Kid’s Stage (Aquarium Plaza) DJ Green and Free Face Painting, 11a Young Audiences Dance Ensembles, 1p Young Audiences Brass Band, 2p XS Martial Arts Dojo, 2:50p Celebrity Divas Dance Factory, 3:05p Bamzy Baby Productions, 3:30p Young Audiences African Drum and Dance Ensemble, 4:05p Young Audiences Marching Band, 5p

30/90: Dick Deluxe (BL) 2p Bacchanal: the Tangiers Combo (JV) 12p, Red Organ Trio (JV) 4p, Jasen Weaver Band (JV) 7:30p Blue Nile: Washboard Chaz Blues Trio (BL) 7p Bombay Club: Leroy Jones (JV) 8:30p Buffa’s: Red Hot Jazz Band (JV) 11a, Joe Krown (JV) 5p, Royal Rounders (JV) 8p, Carolyn Broussard (JV) 11p Carver Theater: Night Shift at the Carver (EL) 9p Chickie Wah Wah: Johnny J. and the Hit Men during the Endymion Parade (VR) 3p Circle Bar: Mod Dance Party with DJ Matty (RB) 11p Crazy Lobster: the River Gang (VR) 11a, Poppy’s Poppin’ Saturday Review (VR) 4p d.b.a.: Little Freddie King (BL) 11:59p Dragon’s Den: Jon Roniger (JV) 7p , Sexy Back with DJ Ill Medina and DJ G (VR) 10p; Upstairs: Talk Nerdy to Me (BQ) 8p Funky Pirate: Mark and the Pentones (BL) 2p, Blues Masters feat. Big Al (BL) 8:30p Gasa Gasa: Soul Rebels (FK) 10p Hi-Ho Lounge: the Rip Off Show (CO) 7p, Hustle feat. DJ Soul Sister (FK) 11p Howlin’ Wolf: Rebirth Brass Band, Sexual Thunder (FK) 10p Jazz Playhouse: Shannon Powell (JV) 8p Kermit’s Mother-in-Law Lounge: Neisha Ruffins (JV) 8:30p Kerry Irish Pub: Roux the Day (FO) 5p, Mark Hessler Band (FO) 9p Lafitte’s Blacksmith Shop: Lucky Lee (SS) 9p Little Gem Saloon: Reid Poole Duo (JV), 7p Mag’s 940: Sexy Dex and the Fresh, Christin Bradford, Noelle Tannen Band (VR) 11p Maison: Chance Bushman and the Ibervillianaires (JV) 1p, Leah Rucker, Smoking Time Jazz Club (VR) 4p, Kumasi, Big Easy Brawlers (VR) 10p Maple Leaf: the Quickening (FK) 11p Morning Call City Park: Billy D. Chapman (JV) 10a

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LIVE LOCAL MUSIC One Eyed Jacks: Big Freedia, Sweet Crude (VR) 9p Republic: Fleur de Lit feat. Borgore (EL) 10p Rock ‘n’ Bowl: the Arrhythmias (VR) 9:30p Snug Harbor: Herlin Riley Quartet (JV) 8 & 10p Spotted Cat: Monty Banks (JV) 12p, Jazz Band Ballers (JV) 2p, Panorama Jazz Band (JV) 6p, Dominick Grillo and the Frenchmen St. All-Stars (JV) 10p Three Keys (Ace Hotel): Big Chief Bo Dollis Jr. and the Wild Magnolia Mardi Indian Funk Band (MG) 10p Three Muses Maple: Davy Mooney (JV) 6p, Shotgun Jazz Band (JV) 9p Time Out: Andre Bouvier and the Royal Bohemians (VR) 11a Tipitina’s: Galactic (FK) 11p Tropical Isle Bourbon: Rhythm and Rain (RK) 5p, Debi and the Deacons (RK) 9p Tropical Isle Original: Down River (RK) 1p, the Hangovers (RK) 5:15p, Late As Usual (RK) 9:15p

SUNDAY FEB 26

AllWays Lounge: the Sabertooth Swingers (TJ) 8p Bacchanal: the Tangiers Combo (JV) 12p, the Tradsters (JV) 4p, Roamin’ Jasmine (JV) 7:30p Bombay Club: David Boeddinghaus (JV) 8p Buffa’s: Some Like It Hot! (TJ) 10:30a, Jazz Youth Showcase (JV) 5p, Steve Pistorius, Orange Kellin, James Evans and Benny Amon (JV) 7p, Ben Fox Trio (JV) 10p Café Negril: Ecirb Muller’s Twisted Dixie (JV) 6p, Vegas Cola (VR) 9:30p Chickie Wah Wah: the Greazy Alice Review (VR) 8p Circle Bar: Duwayne Burnside (BL) 11p Crazy Lobster: the Gator Bites (VR) 11a, the Neon Shadows (VR) 4p d.b.a.: Palmetto Bugs Stompers (SI) 6p, Funk and Chant with Big Chief Monk Boudreaux and John “Papa” Gros (MG) 11p Dragon’s Den: Open Jazz Jam with Anuraag Penyal (JV) 7p, Church (EL) 10p Funky Pirate: Mark and the Pentones (BL) 4p, Willie Lockett Band (BL) 8p Gasa Gasa: Leon, Jacob Banks (VR) 9p Hi-Ho Lounge: NOLA Comedy Hour (CO) 9p, BateBunda (LT) 10p House of Blues: Gospel Brunch (GS) 10:30a Howlin’ Wolf: Dumpstaphunk (FK) 10p Howlin’ Wolf (the Den): Hot 8 Brass Band (BB) 10p Jazz Playhouse: Ricardo Pascal Octet Orchestra (JV) 8p Kermit’s Mother-in-Law Lounge: Kermit Ruffins and the BBQ Swingers (JV) 5:30p Kerry Irish Pub: Paintbox with Dave James and Tim Robertson (FO) 9:30p Le Bon Temps Roule: Soul Rebels (FK) 11p Maison: Chance Bushman and the NOLA Jitterbugs (SI) 10a, Kristina Morales and the Inner Wild, Luneta Jazz Band, Brad Walker, Higher Heights (JV) 4p Maple Leaf: Joe Krown Trio feat. Russell Batiste and Walter “Wolfman” Washington (RB) 10p Morning Call City Park: Billy D. Chapman (JV) 10a Old Point Bar: Tom Hook (RK) 3:30p, Sunday Night Jazz Jam (JV) 7p Palm Court Jazz Café: Gerald French and Sunday Night Swingsters (TJ) 8p Snug Harbor: Original Dixieland Jazz Band First Jazz Record Celebration (JV) 8 & 10p Spotted Cat: Carolyn Broussard (JV) 12p, G and the Swinging Three (JV) 2p, Kristina Morales and Bayou Shufflers (JV) 6p, Pat Casey and the New Sound (JV) 10p Three Keys (Ace Hotel): Sunday Swing with Bon Bon Vivant and the Chorus Girls (SI) 12p, DJ Lord Handsey and DJ Party Body (VR) 10p Three Muses: Raphael et Pascale (JV) 5p Three Muses Maple: Debbie Davis and Josh Paxton (JV) 11a Tropical Isle Bayou Club: Brandon Moreau and Cajungrass (KJ) 2p, Bayou Cajun Swamp Band (KJ) 7p Tropical Isle Original: the Hangovers (RK) 5:15p, Late As Usual (RK) 9:15p

MONDAY FEB 27

Bacchanal: Raphael Bas (JV) 12p, Helen Gillet (JV) 7:30p Bombay Club: Josh Paxton (PI) 8p Buffa’s: Arsene DeLay (VR) 5p, Antoine Diel (JV) 8p, Keith Burnstein (VR) 11p Café Istanbul: Lundi Gras Love VI feat. Blair Dottin-Haley (VR) 8p Carver Theater: Lundi Gras Blues Party feat. Washboard Chaz, JuJu Child, Dick Deluxe and SMG Band (BL) 8p Chickie Wah Wah: Benny Maygarden and Thomas Walker (VR) 6p, Ed Volker and Do-Rad-Choppers (VR) 8p Crazy Lobster: the Insta-Gators (VR) 5p d.b.a.: Alexis and the Samurai (ID) 7p, Kirk Joseph’s Mardi Gras Babies’ Birthday Bash feat. Papa Mali, Herlin Riley, Roger Lewis, Nick Daniels, Red Morgan, Kid Merv, June Yamagishi (FK) 11p Dos Jefes: John Fohl (BL) 9p Dragon’s Den: the Tangiers Combo (GY) 7p, DJ RQ Away and DJ Otto (VR) 10p

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Funky Pirate: Willie Lockett Band (BL) 8p Hi-Ho Lounge: Bluegrass Pickin’ Party (BU) 8p Howlin’ Wolf: Big Sam’s Funky Nation, Naughty Professor (FK) 10p Howlin’ Wolf (the Den): See Bright Lights, Sam Williams (PK) 9p Jackson Brewery: Theatre Nouveau feat. Cherry Bombshell and Queenie O’Hart (BQ) 7:30p Jazz Playhouse: Gerald French and the Original Tuxedo Jazz Band (JV) 8p Kerry Irish Pub: Will Dickerson (FO) 4:30p, Roux the Day (FO) 9p Lafitte’s Blacksmith Shop: Lucky Lee (SS) 9p Mag’s 940: Tank and the Bangas, Tra$h Magnolia (VR) 11p Maison: Chicken and Waffles, Aurora Nealand and the Royal Roses, No Good Deed (JV) 4p, Miss Mojo, Big Easy Brawlers (FK) 11:59p Maple Leaf: New Orleans Suspects (FK) 10p Morning Call: Valerie Sassyfras (VR) 10a Ooh Poo Pah Doo: James Andrews and the Crescent City All-Stars (VR) 8p Palm Court Jazz Café: Palm Court Jazz Band (TJ) 8p Republic: Lundifest feat. Mystikal, Juvenile (HH) 9p the Saint: Motown Mondays with DJ Shane Love (SO) 10p Snug Harbor: Charmaine Neville Band (JV) 8 & 10p Spotted Cat: Royal Street Winding Boys (JV) 2p, Sarah McCoy and the Oopsie Daisies (JV) 4p, Dominick Grillo and the Frenchmen St. All-Stars (JV) 6p, Jazz Vipers (JV) 10p Three Keys (Ace Hotel): DJ Rusty Lazer and DJ Nice Rack (VR) 3p Three Muses: Monty Banks (JV) 5p Tipitina’s: Galactic (FK) 11p Tropical Isle Bayou Club: Cajungrass Duo (KJ) 4p Tropical Isle Bourbon: Rhythm and Rain (RK) 5p, Beach Combers (RK) 9p

TUESDAY FEB 28

Bacchanal: Raphael Bas (JV) 12p, Mark Weliky (JV) 7:30p Bombay Club: Matt Lemmler (PI) 6:30p, David Harris (JV) 9p Buffa’s: Davis Rogan (VR) 2p, Sherman Bernard and the Ole Man River Band (VR) 5p, Vanessa Carr Band (VR) 8p, Michael Liuzza (VR) 11p Carver Theater: G-Herbo (VR) 10p Crazy Lobster: AC and the Heat (VR) 5p d.b.a.: New Orleans Klezmer All-Stars (GY) 3p, Treme Brass Band (BB) 10p Dos Jefes: Tom Hook and Wendell Brunious (JV) 9p Dragon’s Den: Fat Tuesday Dance Party feat. Unicorn Fukr, Marshall Monica and others (VR) 12p Funky Pirate: Blues Masters feat. Big Al (BL) 8:30p Hi-Ho Lounge: Mardi Gras Indian Orchestra Memorial Concert for Big Chief Roddy Lewis and Tim Green (MG) 6p Howlin’ Wolf (the Den): Comedy Beast (CO) 8:30p Jazz Playhouse: Andrew Baham (JV) 6p Lafitte’s Blacksmith Shop: Lucky Lee (SS) 9p Maison: Mutiny Squad, Native Swing, Mojo Flo (FK) 12p, Brass Lightning, RnR Music Group (BB) 9p Maple Leaf: Rebirth Brass Band (FK) 11p Spotted Cat: Ecirb Muller’s Twisted Dixie (JV) 10a, Andy J. Forest (JV) 2p, the Little Big Horns (JV) 6p, Smoking Time Jazz Club (JV) 10p Three Muses: Loose Marbles (JV) 12p Tropical Isle Bourbon: Jay B. Elston Band (RK) 5p, Jezebels Chill’n (RK) 9p Tropical Isle Original: the Hangovers (RK) 5:15p, Jay B. Elston Band (RK) 9:15p Vaso: Dick Deluxe (BL) 5p

FESTIVALS FEB 11 The inaugural NOLA Jerk Chicken Festival takes place at Central City BBQ (1201 S. Rampart St.), fusing Jamaican musical and culinary traditions with those of New Orleans. NolaCaribbeanFestival.com

SPECIAL EVENTS FEB 4 The Historic New Orleans Collection presents a symposium on “Storyville and Jazz, 1917: An End and A Beginning” at the Hotel Monteleone. HNOC.org/ Symposium FEB 4-5 The Rock ’n’ Roll Marathon and Half Marathon added 5K and 10K races on Saturday for a full weekend of running.

RunRocknRoll.com/New-Orleans FEB 24-27 The French Market holds its annual Mardi Gras Mask Market in Dutch Alley to get everyone ready for Carnival season. FrenchMarket.org

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BACKTALK

Brian Blade

Photo: golden g. richard, iii

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ometimes I think New Orleans might as well be Paris,” says Brian Blade, 46, a Shreveport native who moved back to his hometown some three and a half years ago. The master drummer, who has been a member of the legendary saxophonist Wayne Shorter’s quartet since its inception in 2000 and has been leading his own ensemble, Brian Blade & the Fellowship Band, for 20 years, admits that he doesn’t get down to New Orleans very often.

Despite his demanding schedule, Blade promises his neglect of New Orleans will change starting in February. On Friday, February 10, he and the Fellowship will collaborate with the Loyola University Symphony Orchestra conducted by Dr. Jean Montès. On Saturday, February 11 and Sunday, February 12, at the Old U.S. Mint and Snug Harbor, respectively, Blade will be

behind the drums with Davy Mooney’s band in celebration of guitarist’s new album, Hope of Home.

“I really have to stay in touch with my friends like [guitarist Steve] Masakowski and I need to get in touch with Mr. Marsalis and just start arranging things,” says Blade, who moved to New Orleans in his teens to study first with drummer Johnny Vidacovich at Loyola and then with drummer David Lee at the University of New Orleans. It wasn’t long before he was off to New York.

“It was time, it seems for us, my wife and I, to move back to where we were from,” Blade offers, adding that his wife, who he met when they were 16, grew up across the Red River in Bossier City.

The meeting between the Fellowship Band and Loyola’s Symphony stands as a first-time experience for both ensembles.

“This is new territory for us,” says Blade

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By Geraldine Wyckoff

talks back

of performing with an orchestra of some 60 pieces. “I’m thankful that there are still some firsts in life and that this is happening where [at Loyola] I met [pianist] Jon Cowherd. So we’re returning to a certain root for us, New Orleans being the place where people let us in on the secret.”

“The bulk of the experience will be the fusion of the two ensembles that usually perform separately with different repertoires,” Dr. Montès explains, adding that the theme of the night is “Becoming One.” “It will be pushing both groups to listen differently and interact differently in a setting that is basically fusing classically based music into jazz and vice versa. We like that because it stretches us to think in terms of improvisation so it will be a work that is evolving. It’s very gratifying and terrifying because they [the orchestra members] usually have a sheet of music in front of them.”

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“New Orleans is its own country. It’s just where so many cultural crosses meet. That mixing and mingling and that beat on the street is what makes life have that joy.”

With Blade’s recent appearance at the knockout tribute to Vidacovich at the Best of the Beat Awards and these two upcoming performances, now seemed the right time to do a little catching up with the drum master about being back in Louisiana and a few of his many experiences since he left decades ago.

Now that you’ve returned to Shreveport, do you play in church as you did in your youth?

Always, whenever I’m home and not on the road. Every Wednesday and Sunday I’m back in the seat I was in when I was 13. It’s a different church building but the same congregation. My dad is still the pastor [at Zion Baptist Church]—54 years now I think.

It’s incredible. Ever since I left at 17, it turned into playing maybe on Easter or that annual visit at Christmas. It got to be too little. I was getting older and folks were getting older.

Thankfully that thread is unbroken. I’m so grateful for that. It’s great to restore.

How did playing drums in church influence you?

It just gave me the hearing and the listening. These singers were so great but they weren’t professionals so to speak. They were neighborhood people and they just wanted to give God praise. If they would move in a certain way that didn’t necessarily follow some harmonic progression you didn’t run past what was being sung. You stayed there because they are delivering something for you to hear. It heightened my sensitivity to that movement and hopefully strengthened my own musical flow.

How important is your spiritual background in your career as a musician?

Even the name of your band, the Fellowship, seems to reflect a certain humanity.

It’s the bedrock really that holds everything up. This is praise for me—the music, the sound itself. It’s the gift you’ve been given being turned back towards whoever is there to receive it.

The band name represents that in some holistic way but it also really is born from my

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friendship with [pianist] Jon Cowherd who I met in 1988 when I moved to New Orleans to study at Loyola. Then a year later, [bassist] Chris Thomas moved to New Orleans to study with Mr. Marsalis at the University of New Orleans. Years passed and I met [saxophonists] Myron Walden and Melvin Butler [in New York]. Everything started coming into focus and I said, ‘Okay, I want to build something with these guys.’ In 1997 we recorded our first album and we’ve been able to stay together. It’s a gift.

As a composer does spirituality enter the way you write?

Yes, absolutely. It all kind of wells up from my spirit—my spirit man so to speak. That’s true inspiration and then the spark of joy that comes with finding a sound and knowing that this writing, this melody is for Myron or Melvin or Chris or Jon. It all sort of mixes together all at once during the composing— imagining how they are going to bring something dormant on paper to life.

Your appearances here—with the Fellowship/Symphony collaboration and guitarist Davy Mooney—will be stylistically very different. Does that change your approach?

The situation and music dictates how I act and react and it’s never the same. I’m still me somehow and hopefully I’m bringing what’s needed to the situation. There’s no automatic pilot. I can’t go like, ‘This is my thing.’ I hate that mentality. I’d like to almost be broken and start from zero and not know what I’m doing—not relying on my chops or whatever is a default setting in a mindset that keeps you from not reaching for something. When I play with people I want to serve the song.

I want to serve the mission and make it go higher and reach people with what I’m doing and what we’re trying to do together.

What has your experience been like performing with the legendary saxophonist Wayne Shorter?

He’s such an original, man. He’s so unique.

There are some good songs and good solos and good records and then there’s this other level when you start using that word genius.

With Wayne, I just have to say he’s so genius and such a gas. The light is on through it all. He’s walking in his purpose in such a beautiful way. He’s not resting on what he did yesterday or 30 years ago, he’s like, ‘Okay, what can we create right now together?’ So he’s instilled this in myself and [bassist] John Patitucci and [pianist] Danilo Pérez and shared it with us for the last 17 years.

He represents a lot of what I grew up with and my respect for elders who had wisdom— you just knew it. And there was this ‘fear not’ about them. That’s what Wayne placed inside our hearts. So I try to take it back to the Fellowship Band and to every situation that I’m a part of. Hopefully there’s that spirit of taking a chance.

Considering his stature, were you nervous the first time you played with Wayne?

Yes, absolutely. Initially, we didn’t know if we were making something together or we were off the tracks. It took a while for us to really come into what his vision was for this collective composition that he wanted to be a part of and seeing it unfold with us. Once we got a little bit of a clue and stepped into that confidence, and realized, ‘Okay he may be silent for a while but he’s giving a lot to the process even in his silence.’ He puts the spire on the building.

You came to New Orleans to study with Johnny Vidacovich. What did you learn about the city itself?

New Orleans is its own country. It’s just where so many cultural crosses meet. That mixing and mingling and that beat on the street is what makes life have that joy. A different influx of spirit comes in and you step into it and you feel it immediately. It changes the way you look at things and feel things in a great way. The time that I spent there was a very special time in my life. I was just supposed to have been there. Now it’s in everything that I play and write. I may not even realize it. There are pieces of it that manifest themselves. I might hear a song we recorded five years ago and think, ‘Oh, wow, that’s just a second line really!’

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