OffBeat Magazine February 2018

Sonia Tetlow Jamison Ross The Radiators Maceo Parker

LOUISIANA MUSIC, FOOD & CULTURE—FEBRUARY 2018 Free In Metro New Orleans US $5.99 CAN $6.99 £UK 3.50

Lost Bayou Ramblers A different kind of Mardi Gras

PHoto: elsa hahne

That Kalenda Thing

BLAST FROM THE PAST "Zulu’s Big Shot"

By Bunny Matthews March 2003

The Lost Bayou Ramblers’ voyage.

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LETTERS

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MOJO MOUTH

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FRESH

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Five Questions with guitarist and songwriter Richard Thompson; Krewe du Kanaval debuts; The Meters receive the Grammy Lifetime Achievement Award; My Music with Cristian Duque of Soul Project; Celebrating 30 Years: Leo Nocentelli of the Meters and more.

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Mardi Gras songs.

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Jamison Ross’ rhythm and melody.

RAW AND NERVY

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Sonia Tetlow’s sense of optimism.

NO MONKEYING AROUND The Radiators celebrate their 40th anniversary with new album.

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IN THE SPIRIT

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Marsh Prudhomme at Gabrielle mixes up Oops, We Did It Again for Britney Spears.

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Chef Hayley Vanvleet of Curio dishes on her panéed pork loin po-boy and Elsa Hahne reviews Pho Cam Ly.

The night in photos.

SINGING AND THE DRUMS

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Courir de Mardi Gras.

OFFBEAT EATS

BEST OF THE BEAT BUSINESS AWARDS 12 300 SONGS FOR 300 YEARS

WORLDS APART

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REVIEWS

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Joel Savoy, Kelli Jones, Caleb Klauder & Reeb Willms, Marcus Roberts Trio, Fortifiers, Noggin, Ernest Scott, Eric Johanson, Trent Bourgeois, J.J. Caillier, Mark McGrain and more.

LISTINGS

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BACKTALK with Maceo Parker

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Bunny Matthews asks Zulu’s Big Shot Armand Richard why Mardi Gras is so important: “My feeling about Mardi Gras is that it’s just the biggest free show in the world. Everybody’s on one accord. Everybody’s partying.

Everybody’s having a good time. I think Mardi Gras is the epitome of amusement in New Orleans.”

Buy the back issue at www.offbeat.com/shop/ back-issues/2003/offbeatmagazine-march-2003/.

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Letters

“I have also been wondering what locals now call Lee Circle, since Lee isn’t there? Why not ... put a statue of Fats where Lee once stood and call it Domino Circle?”

—Lisa M. Sommer Devlin, Phoenix, Arizona

Juju Child I been in the record business for over five decades as a record store owner, promotion man, concert promoter, record label owner and producer and have worked with some of the biggest artists in our industry from pop, R&B and rock. When you talk about real blues recording artists you have a long list of greats such as B.B. King, Bobby Blue Bland, Lou Wilson, Bobby Rush, Bo Diddley and the list could go on and on. But when I heard the album Power Of Love I had to include blues artist Juju Child someplace on that list.

—Marlin McNichols, Atlanta, Georgia

Dew Drop Social & Benevolent Hall Thank you for the inclusion of David L Harris’ tweet and photo from the Dew Drop in Mandeville. [January 2018 issue] However, David fell into the common misstep of calling us the Dew Drop Inn, which we are not. The Dew Drop Inn holds a special place in New Orleans music history beginning in 1939 and ending in 1970. It is/was located on LaSalle Street in Central City.

The Dew Drop Social & Benevolent Hall is a little older, having been built in 1895 by the black residents of Mandeville. Like the “Inn,” it holds a very significant place in the musical history of New Orleans and South Louisiana. The Hall was the focal point of social life in “The Village” of Mandeville, just one block outside the city limits. The earliest jazz musicians performed there to raise money for the Dew Drop Benevolent Society (formed in 1885) to provide social aid to that community.

The Hall hosted dances and music into the mid-’50s and off and on into the 1970s as the need for the Benevolent Society waned.

The building survived being ignored until the late ’90s when Jinx Vidrine bought it and then donated it to the city of Mandeville. She along with a group of music enthusiasts formed the Friends of the Dew Drop, a non-profit with a mission to preserve and protect this historic building and to keep New Orleans music alive in the hall. Even though a lot of preservation work has been completed on the building,

little is visible to the casual observer. Part of the preservation is to keep the building looking just like it did 123 years ago. We recently secured the Anderson Cottage across the street and it has been renovated to serve as a green room, meeting location and handicap restrooms. The cottage was the family home of noted jazz musician Andy Anderson.

It has been my honor and privilege to serve on the board of the non-profit since 2012 as well as being the sound engineer for the performances. We have two concert series each year, one in the spring and one in the fall. (Summer is too hot, winter too cold as there was/is not heat or cooling in the hall.)

You can find additional information about the Hall and “Friends” on our website dewdropjazzhall.com or on our Facebook page.

—Dennis J. Schaibly, Vice Chair, Friends Of The Dew Drop, Mandeville, Louisiana

Domino Circle The following letter is in response to Jan Ramsey’s December 2017 Mojo Mouth “Where’s the Petition?” questioning why our musical culture is not in the forefront of monuments and street renamings.

I read with interest your [Jan Ramsey] editorial about the city’s lack of acknowledgement of Fats Domino’s demise. I have also been wondering what locals now call Lee Circle, since Lee isn’t there? Why not kill two birds with one stone?

Put a statue of Fats where Lee once stood and call it Domino Circle?

—Lisa M. Sommer Devlin, Phoenix, Arizona

Correction Geraldine Wyckoff’s article “Giving Today for Tomorrow” in our January 2018 issue gives Allen Toussaint’s date of death incorrectly as November 18, 2015. The correct date is November 10, 2015. On his birthday, January 14, 2018 he would have been 80 years old, not 79 as stated in the article. In the same article Wyckoff refers to social activist Sister Jane Ransom spelling her last name incorrectly. It should be Sister Jane Remson.

We regret the errors.—Ed.

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 2018 Volume 31, 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 Nick Benoit, Stacey Leigh Bridewell, Frank Etheridge, Alex Galbraith, Elsa Hahne, Jeff Hannusch, Brett Milano, John Swenson, Christopher Weddle, Dan Willging, John Wirt, Geraldine Wyckoff Cover Elsa Hahne (Cajun Mardi Gras costumes by Shannon Billeaud) Art Director/Food Editor Elsa Hahne, elsahahne@offbeat.com Web Editor Amanda Mester, amanda@offbeat.com Copy Editor Theo Schell-Lambert, theo@offbeat.com Advertising Sales/Promotions Coordinator Camille A. Ramsey, camille@offbeat.com Advertising Design PressWorks, 504-944-4300 Business Manager Joseph L. Irrera Interns Emily Carmichael, Anne Elise Hastings, Raphael Helfand, Ivory Jones Distribution Patti Carrigan, Doug Jackson OffBeat (ISSN# 1090-0810) is published monthly in New Orleans by OffBeat, Inc., 421 Frenchmen St., Suite 200, New Orleans, LA 70116 (504) 944-4300 • fax (504) 944-4306 e-mail: offbeat@offbeat.com, web site: www.offbeat.com

/offbeatmagazine Copyright © 2018, 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

Plus ça change, plus c’est la même chose

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he more things change, the more they stay the same.”

This is a saying that is truly emblematic of New Orleans. You can take it in a negative sense (nothing ever changes around here), or you can perceive it positively: Change is inevitable but we still maintain.

Mardi Gras is no different.

In my lifetime, several of the old-line krewes stopped parading (Comus, Momus and more), but more have popped up to represent the changing demographics and mentality of our citizens: Bacchus, Orpheus, Endymion, Krewe du Vieux, Muses—even Chewbacchus.

No, these groups didn’t exist when I was growing up in New Orleans. Bacchus was created in response to the elitist attitude and membership of many of the older krewes. Krewe du Vieux evolved from the CAC’s Krewe of Clones

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and re-introduced broad and adultthemed satire back into Mardi Gras.

Now comes Krewe du Kanaval, a Haitian-themed co-creation of Win Butler and Régine Chassagne (the daughter of Haitian immigrants) of Arcade Fire, who have been New Orleans residents for some time now.

It’s a joint effort with Ben Jaffe of the Preservation Hall Jazz Band and his wife Jeanette. (Kanaval is the Haitian Creole word for carnival.)

The inaugural Krewe du Kanaval will take place on Tuesday, February 6, will leave Preservation Hall at 2 p.m., and will stop at Congo Square and One Eyed Jacks for block parties.

Preservation Hall had been hoping to launch a Krewe for some time, said Ben Jaffe. “For many years my wife, Jeanette and I have wanted to celebrate Mardi Gras in a unique way that reflected our reverence for the spiritual side of this unique holiday. We had wanted to do

By Jan Ramsey

something in Congo Square that was inclusive and representative of modern New Orleans, of postKatrina culture. Through Win and Régine, we discovered the deep cultural connections between Haiti and New Orleans and Krewe du Kanaval is our way of expressing the mutual love and respect for these two beautiful cultures.”

This brand-new krewe creation (the first in New Orleans in five years) has been criticized in some quarters as co-opting our culture in some ways, but I don’t see it that way.

It’s refreshing and appropriate that newcomers to the city see into the heart of what makes New Orleans beautiful and culturally unique, and then make it their own in a way that creates an even deeper meaning.

Here’s an example: In 1961, a 26year-old musician from Pennsylvania (read into today’s jargon, an equivalent to today’s millennial)

decided to put down roots in New Orleans after having been stationed in Fort Polk, Louisiana during his military service. He became entranced by the city’s traditional jazz culture and musicians and on a shoestring, created a small informal venue where the city’s trad jazz musicians could play and continue their music traditions. This was Allan Jaffe, one of the originators of Preservation Hall. Preservation Hall is about as ingrained now in New Orleans music as brass bands. It’s become part of the thread of the tapestry of our musical culture.

Hmmm.

An “outsider” “co-opted” New Orleans culture, and look what happened. How beautiful and apropos that his son Ben is continuing his father’s mission in collaboration with others who love our music. Plus ça change...

Happy Mardi Gras! O

FEBRUA RY 2018

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FRESH

Photo: jeffrey dupuis

With You In Mind: Stanton Moore And Friends Pay Tribute To Allen Toussaint

SOUNDCHECK

OffBeat.com

Photo: david kaptein

Five Questions with guitarist and songwriter Richard Thompson

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ichard Thompson, the insightful British songwriter and master guitarist, is bringing in his electric trio to New Orleans. Thompson booked his February 3 show at House of Blues as a prelude to his voyage on the Cayamo Cruise. Also featuring John Prine, Brandi Carlile, Patty Griffin and dozens more, the sold-out Cayamo: A Journey Through Song sails from New Orleans on February 4.

In 1967, Thompson co-founded Fairport Convention, the band that set the template for British folk-rock. Following three hectic years and five albums, Thompson left Fairport Convention for a solo career. In 1972, he formed a duo with his future wife, Linda Peters.

The Thompsons’ five albums include the acclaimed 1982 project that signaled the end of their marriage, Shoot Out the Lights.

The solo Thompson carried on, releasing dozens more albums. In 2017, he issued Acoustic Classics II, Acoustic Rarities and the box set Live at Rockpalast.

His new electric album will debut next summer.

In 2014, you released Acoustic Classics. Did it exceed expectations?

I thought, ‘If we sell a few thousand of these, that will be great.’ But my record company heard I wanted to put it out. Acoustic Classics became a Top 10 record in the U.K. It far exceeded expectations. I realized that it filled a niche I’d been missing. The new acoustic records further address that niche.

You switched gears to electric for your upcoming album.

It’s nice that I can do both acoustic and electric in the studio. It’s nice that I can perform electric on the road with a band. Perhaps I’ll play a venue one year acoustic and then the next year with a band. It keeps it fresh.

Can you preview the new electric album?

Dare I say I’m very pleased with it. I like all the songs.

You teach songwriting and guitar every summer at your Frets and Refrains camp in Big Indian, New York. Can you reveal some fundamental concepts you share with students?

In these times we live in, the most important thing, as a guitar player and a songwriter, is to be an original. Everything else is secondary. A million blues guitar players are influenced by the same three people. But if somebody spends their life listening to the Carpenters and Shostakovich and Lester Young, they’ll have an original viewpoint.

Why did you book a one-off show at House of Blues on the night before you board the Cayamo singer-songwriter cruise from New Orleans?

I love going to New Orleans. I love playing in New Orleans. I love listening to New Orleans music. Any excuse to get to New Orleans, great. Any excuse to play there, fantastic.

—John Wirt

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SWEET TWEETS @UnderDogCentral (Alfred Banks) 2-0-1-8... I know having a squad/crew is cool but, I’m the type to get booked for a show in a new city & go alone. @skooks As the temperature rises above freezing, water spurts forth from every busted pipe in the city creating a magical spectacle we call the Tricentennial Fountain. @miaborders Stein Mart is closing and a part of my childhood dies with it. @FeralCrone When I told my parents over the phone that my husband has the flu, my dad said “Have you tried euthanasia?” and in the background my mom yelled “For the last time, it’s echinacea!” @mpatrickwelch My 8-year-old just made her first gmail account for school under the name “Kute Cobain.” She isn’t really into Nirvana, she just has Kurt’s same shoulder-length grunge hair. @Tromboneshorty Bout it bout it @MasterPMiller #nolimit #504boyz

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FRESH

PRESERVATION HALL + ARCADE FIRE CONNECT NEW ORLEANS AND HAITI

Debut of Krewe du Kanaval

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rums, horns, dancers, vocalists and colorful costumes will fill the French Quarter streets as the Krewe of Kanaval debuts on Tuesday, February 6. The procession, a joint venture between Ben and Jeanette Jaffe plus the Preservation Hall team and the group Arcade Fire’s Regine Chassagne and Win Butler, takes off from Preservation Hall at 2 p.m. and heads to Congo Square for further festivities. Kanaval, incidentally, is the Haitian kreyol spelling of carnival.

“What we want to express through this event is the important connection between New Orleans and Haiti,” explains Ben Jaffe. “It is one of the many important historical and cultural pieces of our city that is not always understood or celebrated, but it is a part of our life. It is a part of the food we eat, it is a part of the music we play, it’s part of many people’s spiritual being, it’s part of religion in New Orleans. The history between New Orleans and Haiti and New Orleans and Cuba and Cuba and Haiti is profound. Their history is as much our history as our history is their history.”

This multi-faceted celebration will be centered around free activities at Congo Square that include music by the Preservation Hall Jazz Band, Arcade Fire, the Haitian group RAM and several deejays—one coming in from the Congo and another French-African deejay arriving from Montreal.

Jaffe compares the way the Krewe du Kanaval came to be as similar to how the Society of St. Anne’s krewe, the Krewe du Vieux and even Tipitina’s emerged. “It was a group of people coming together with like-minded spiritual, musical and cultural interests and using that to expand their community,” he offers.

From Congo Square, a procession led by Bruce “Sunpie” Barnes will head to nearby St. Augustine Catholic Church for a ceremony at the Tomb of the Unknown Slave. It will circle back to the Square before returning to the French Quarter to arrive at One Eyed Jacks, 615 Toulouse Street, for the krewe’s ticketed, nighttime ball. Music will include Haiti’s Grammywinning, internationally renowned and politically and socially conscious group Boukman Eksperyans, which blends its traditional Haitian roots and instrumentation with the modern sounds of electric guitar and today’s styles.

Profits from the show and membership fees will benefit the Preservation Hall Foundation and KANPE, an organization founded by Chassagne, whose parents emigrated from Haiti. The money will be directed to underserved people in Haiti and New Orleans.

“It’s going to a very beautiful symbolic and physical form of our appreciation and love,” says Jaffe. “The people of New Orleans’ large Haitian community [primarily based on the West Bank] are so excited to have such a positive shine on their Carnival traditions.”

—Geraldine Wyckoff www.OFFBEAT.com

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CELEBRATING

FRESH

May 2005

“The Meters Are Right On Time”

ANOTHER LIFETIME ACHIEVEMENT

The Meters Strut

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Photo: elsa hahne

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he Meters now join an eye-popping list of Louisiana artists— Louis Armstrong, Fats Domino, Mahalia Jackson, Jelly Roll Morton, Clifton Chenier and Buddy Guy—who have been honored with a Lifetime Achievement Award by the Recording Academy, the folks who present the annual Grammys.

“It’s such a shock, it hasn’t sunk in yet,” said Meters drummer Joseph “Zigaboo” Modeliste a few days after the January 9, 2018 announcement was made by the Academy. “I was looking at the roster of some of the past recipients and it’s quite impressive. I just feel very happy that someone thought enough of the group to put us onboard. I feel happy for the rest of the guys that they were able to share in on this as well and to at least know that they were appreciated sometime in their lifetime,” he adds.

The “other guys” are, of course, the members of the Meters—spiritual leader organist/vocalist Art “Papa Funk” Neville, guitarist Leo Nocentelli and bassist George Porter—that formed the band in 1965 with Art’s brother Cyril Neville, adding his voice and percussion a bit later.

“This was totally unexpected,” says Porter, echoing Modeliste’s sentiment.

“We never had a song that even came close to a Grammy-nominated song.”

While it may be true that Meters tunes like “Cissy Strut,” “Sophisticated Cissy” and “Look-Ka Py Py” never earned trophies, the band’s musical contributions remain vital on many levels. Decades after those songs were released, hip-hop artists like Queen Latifah and LL Cool J, who were wise to the Meters’ funky groove, excavated their material for sampling.

The Meters’ music also lives on in its work as the house band at Sea-Saint Studios, owned by Allen Toussaint and Marshall Sehorn. The members were there layin’ down the sound behind New Orleans artists like Dr. John, Earl King and Lee Dorsey as well as international stars such as Paul McCartney, the Rolling Stones and Patti LaBelle. Naturally, the Meters’ influence continues to be heard in the music performed by New Orleans artists today.

“With the help of Allen Toussaint, we were able to accomplish a lot and we were just lucky to be at the right place, at the right time, at the right moments,” Modeliste says.

The Lifetime Achievement awards will be presented at a special ceremony to be held this summer. Other recipients include Tina Turner and a recognition given post posthumously to another pioneer, bandleader Louis Jordan.

“That’s a wonderful honor bein’ up there with Tina,” Porter exclaims. “She’s a superstar and history has proven that her musical worth is worth expressing.”

“It’s always good to be in great company,” Modeliste says. “I was really happy to hear that someone still recognizes what the group tried to accomplish and what they did accomplish. I feel like the work that we did was most deserving of an award of this prestige.”

—Geraldine Wyckoff

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ffBeat Magazine is celebrating 30 years and reached that milestone with our November 2017 issue. To mark the anniversary, over the next 12 months OffBeat will re-publish excerpts from features and interviews from the past 30 years. In our fourth installment, from our May 2005 issue, John Swenson interviews guitarist and songwriter Leo Nocentelli of the Meters.

“I fell in love with the idea of the Meters as a vehicle to exploit a lot of the songs I wrote. Many of them were written long before I played with the Meters.”

—Leo Nocentelli

“I was like the top guy in the city. I was in demand. I was doing a lot of the early recordings with Allen Toussaint: ‘Get out of My Life Woman,’ ‘Working In the Coal Mine,’ ‘Mother-In-Law’. When I was writing that music back then I was just doing it because it was something I wanted to do. I fell in love with the idea of the Meters as a vehicle to exploit a lot of the songs I wrote. Many of them were written long before I played with the Meters. I wrote ‘Cissy Strut’ in my garage a year or two before I introduced it to the Meters. The reason I wrote it was that there was a song called ‘Hold It’ and every band opened up the set with it. It got redundant to me, so I wanted to write something that had the same kind of feel but was something different. I introduced it to them when the band was working at the Ivanhoe. I said check this out and we started playing ‘Cissy Strut’ and we started using it to open up our sets. We started playing the Ivanhoe when desegregation first entered on the scene, especially on Bourbon Street. There were only a few black bands down there back then so the Meters really stood out.”

“Even though desegregation was just taking hold back then, we’d find ourselves playing and looking out the window and Bourbon Street is packed with people who don’t want to come into the club, and most of the people were black. Even with desegregation, they still didn’t feel cool about coming into the club. So there was a sea of people on the corner of Toulouse and Bourbon, a whole group of black people supporting the Meters because they knew we were black. They wanted to show their support but they were scared to even come into the club.” www.OFFBEAT.com

H FRES

MY MUSIC

Cristian Duque of Soul Project

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t’s a huge endeavor. The Funky Uncle Lounge will be the first time a live music club will be rolling as a Mardi Gras float [Saturday, February 10 in the Krewe of Tucks parade].

We [Soul Project] got hired a few years ago to play a party for the Krewe of Fat Bankers. They’re good people. Total partiers. They’re the last float in Tucks, wearing all the afros and day-glo, blaring on 30 speakers funk music: James Brown, the Meters, Parliament Funkadelic.

We’re extremely grateful for this opportunity and all the exposure.

It’s embarrassing but they made beads with a picture of me—and it’s

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not a very flattering picture—that says, ‘Soul Project Live at the Funky Uncle Lounge.’ They’re throwing 30,000 of these things out there!

Besides Grace at the Greenlight, the homeless charity that they support, that is the mission of the Fat Bankers—to spread the funk. Riding with them the last few years, I’ve watched the people as we’re rolling by, playing James Brown, and it doesn’t matter who they are or how they’re dressed—they’re dancing. People need more funk in their lives even if they don’t know it yet.

I was born in Chile and moved with my parents to New Jersey when I was three. Growing up in the north, this kind of music was never on my radar. I got to New Orleans in 2000 and started working at Tipitina’s, which exposed me to the music and the scene. Hearing George Porter changed my life and showed me the way.

I started Soul Project in 2001. About seven years ago the core group came together and we released our first album [Music for Movers and Shakers, 2013, Frenchmen Street Records]. We didn’t know what we were doing. For our new album [The Long Hustle, Soul Universal Productions, set for release February 25th], we decided to do it ourselves, at our own studio. We had to teach ourselves how to do it, but we got a really good handle on it; we messed around until we got it right. We had a real good team in the studio. We had braniacs, we had music snobs, and we had me, just trying to make it all feel good.”

—Frank Etheridge

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TRUMPET PLAYERS

LADIES WHO LOUNGE Pam Fortner of Tropical Isle with OffBeat publisher Jan Ramsey and attorney Ashlye Keaton.

Left: Lifetime Achievement in Music honoree Monk Boudreaux with friends and family.

Below: Longtime WWOZ DJ Keith Hill accepted the radio station's award.

Right: Queen Angie with Big Queen Rita Dollis, wife of the late Bo Dollis of the Wild Magnolias.

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TRUMPET PLAYERS

Best Bets The Best of the Beat Business Awards in photos. Photography by Willow Haley

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he Best of The Beat Music Awards honors musicians and bands for their best work of the year, and has for 23 years.

But where would those musicians be without venues and festivals to play? Without managers and attorneys, recording studios, promoters, record labels, sound people, booking agents and more, musicians would not, could not be able to make a living. Nor would New Orleans be able to sustain her musicians and be a true “music city.”

OffBeat feels it’s necessary to give these ultra-important behind-the-scenes people some props. They’re rarely seen, much less appreciated or rewarded for what they do. The music industry is hard, and dedicating yourself to the music business is to be applauded. That’s what we attempt to do with our annual Best of the Beat Music Business Awards. It also gives everyone in the music business community the opportunity to network in a relaxed environment where they can share contacts, news and be comfortable while they are lauded for their efforts.

Our annual Best of the Beat Business Awards and Lifetime Achievement Awards was on January 18 at the Orpheum Theater. Here are some of the people who braved the weather and the flu to commingle with their musical compatriots.

—Jan Ramsey

Above: Sharon Pellera, wife of Lifetime Achievement in Music Education winner Michael Pellera, with OffBeat Art Director Elsa Hahne.

Below: Kara St. Clair of Festival International (right) accepted the award for Best Festival Outside New Orleans.

Right: The Givers' Tiffany Lamson with her friend, singer-songwriter Esther Rose.

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300 SONGS

300 Songs for 300 Years Mardi Gras songs.

Carnival Time—Al Johnson Al Johnson was just looking to write a tune that was little bit different when he came up with “Carnival Time.” “I had a friend named Frank Miller,” said Johnson in 1985. “He told me he’d help me write a song. He gave me the line about the Plaza and the Green Room. The lyrics let them (the North Claiborne Avenue clubs) smoke and burn down, but the places weren’t really on fire—I just meant the people were having a good time. “We tried to get the song out earlier, but the

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PHoto: greg miles

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elcome to what may be the most ambitious project we’ve ever undertaken here at OffBeat. As promised last month, in honor of the 300th birthday of New Orleans, we’re going to compile the ultimate (for now, anyway) playlist of the city’s 300 essential songs. In months to come, we plan to cover everything, from the Congo Square creations that were the very birth of American music, to the most recent highlights of funk, bounce, rock ’n’ roll and everything in between. We expect that all the time-honored local touchstones will be represented, but we also hope to open your ears to a few handfuls of gems that were overlooked or forgotten over the years. There aren’t a whole lot of cities where you’d have to wonder if a 300-song history is even enough.

Feel free to join the celebration by sending us your suggestions, pulling out your vinyl, or getting hold of the songs you’ve missed.

For our first installment one of our resident local historians, Jeff Hannusch, tells the backstories of some of the most iconic Mardi Gras songs.

—Brett Milano

band couldn’t get it together. I was told that to be good, you had to be different. Well ‘Carnival Time’ was so different the musicians (Mac Rebennack plays piano on it) had a hard time playing it. I still don’t think they got it 100% right.”

Recorded on the Ric label, the single was on the streets of New Orleans in time for Mardi Gras of 1960. “Carnival Time” proved to be a sleeper and didn’t catch on until a few years after it was originally released. Today it’s a Carnival standard.

Go to the Mardi Gras —Professor Longhair A major source of Mardi Gras music was the late Henry Roeland Byrd, a.k.a. Professor Longhair.

Justifiably, “Go to the Mardi Gras,” was his signature. Longhair recorded “Go to the Mardi Gras” on several occasions—and as early as 1949 (as Roy “Baldhead” Byrd).

However, the definitive version

By Brett Milano

was recorded in 1959 for the Ron label. It’s driven by Longhair’s unique rhumba piano, blaring horns and a socking John Boudreaux, second line drum beat. Longhair delivers perhaps the ultimate Mardi Gras Day travelogue. Arguably, it’s probably the most popular Carnival record ever made. Check out Fats Domino’s 1956 version for a slice of déjà vu.

Second Line—Bill Sinigal and the Skyliners While “Second Line” has become a brass and marching band favorite, the song has rhythm and blues roots.

The late Bill Sinigal was a popular R&B New Orleans bandleader and bass player for a quarter of a century.

His trumpet player, Milton Batiste, jumped back and forth over the boundary between Dixieland and rhythm and blues. “’Second Line’ is actually a combination of two songs,” said Batiste in 1998. “Picou’s Blues’ and ‘Whuppin’ Blues.’”

Sinigal added that the catchy intro came from Dave Bartholomew.

“He’d play that little riff at the end of the break when he wanted the guys in the band to get back on the bandstand to play.”

Recorded on Cosimo Matassa’s White Cliffs label in 1963, the single initially did well during Carnival season. When White Cliffs folded in the late 1960s, the original master for “Second Line” disappeared and no more 45s were pressed. (Rumor has it the IRS wound up with the master tape after a bankruptcy auction and it was sold for scrap.)

However, local record shops still had requests for the song. In 1974, the entrepreneurial Senator Jones, who ran several locals including JBs, convinced the Baton Rouge group Stop, Inc. to cover the Sinigal version. Their version, which is very close to the original, is the one most commonly heard and is very much part of the Mardi Gras soundtrack today. www.OFFBEAT.com

300 SONGS

Mardi Gras Mambo —The Hawketts The Hawketts were a popular high school R&B band led by trombonist Carroll Joseph.

Although several great musicians “apprenticed” in the Hawketts and they remained popular in the mid-1950s, they recorded only one single, “Mardi Gras Mambo.” The session was produced by well-known New Orleans disc jockey Ken Elliot— a.k.a. Jack the Cat—and recorded at radio station WWEZ. That’s Art Neville on piano and vocals, and the great Moe Bachemin delivers the unique sax into.

The Hawketts version was a cover of a string band record by Jody Levins—who hailed from the West Bank—and originally appeared on the Sapphire label.

It immediately became a local Carnival standard via its release on the mighty Chess label. Two decades later it was re-recorded again by the Meters—a group led by none other than Art Neville.

Meet De Boys On the Battlefront—Wild Tchoupitoulas The Wild Tchoupitoulas was a spirited 13th Ward tribe/gang led

by Big Chief Jolly, a.k.a. George Landry. Besides his tribal duties, Landry played a ribald blues piano and served as an inspiration to his nephews—the Neville Brothers.

In 1976, Art Neville thought recording their uncle performing many traditional Mardi Gras Indian songs with his group the Meters, and his brothers Cyril, Aaron and Charles, might turn into an interesting project. Turns out it was a musical milestone.

With Allen Toussaint and Marshall www.OFFBEAT.com

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“‘Jock-A-Mo’ came from two songs that I used to hear the Mardi Gras Indians sing… When the tribes ran up on each other they shouted ‘Jock-a-mo fee na na’ and ‘Iko Iko.’” Sehorn producing, collectively they recorded the highly acclaimed Wild Tchoupitoulas album, which contained some of the most spirited music ever recorded in New Orleans. “Meet De Boys On the Battlefront” served as the album’s centerpiece.

Jock-A-Mo—Sugar Boy Crawford and the Cane Cutters One of the most popular Carnival songs has a split personality. Originally recorded

by James “Sugar Boy” Crawford in 1954, it turned into an international pop hit a decade later by the Dixie Cups as “Iko Iko.” “’Jock-A-Mo’ came from two songs that I used to hear the Mardi Gras Indians sing,” said Crawford in 1983. “When I was growing up I lived near the battlefield [Simon Bolivar and Melpomene Streets] where the Indians paraded on Mardi Gras Day. In those days they masked Indian, but they used to fight each other with real guns and hatchets.

When the tribes ran up on each other they shouted ‘Jock-a-mo fee na na’ and ‘Iko Iko.’” I didn’t have in mind to do a Carnival record—just wanted to record a good song. Me and the other musicians [Snooks Eaglin is on guitar and David Lastie sax] put the arrangement together and cut it at Cosimo’s [actually J&M].”

Crawford later added that the song’s title should really have been “Chock-A-Mo” as that is what he is actually singing on the record.

Released prior to 1954’s Mardi Gras, the song’s references to Indians and “having fun on Mardi Gras Day” boosted sales around Carnival. Roughly translated, “Jock-A-Mo” means “kiss my ass,” a phrase that has universal

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meaning and part of most people’s vocabulary.

Bourbon Street Parade —Frank Assunto and the Dukes of Dixieland Trumpeter Frank Assunto was founder and leader of the world famous Dukes of Dixieland. During the 1950s and 1960s they were a regular attraction at the Famous Door on Bourbon Street and became the first Dixieland band to sell over one million records.

Their biggest hit, “Bourbon Street Parade,” written by Paul Barbarin, earned them an invitation to appear on The Ed Sullivan Show and secured them lucrative employment at the Thunderbird Hotel in Las Vegas. The song has since become a Dixieland/marching band standard.

Assunto, who died prematurely at the age of 42 in 1974, was the first white musician afforded a jazz funeral in New Orleans.

Little Liza Jane—The Dirty Dozen Brass Band “Little Liza Jane” has been played by bands of various ilk for over a century. The Dirty Dozen’s version stands out, however, because the group was responsible for moving brass band music in a new direction during the 1980s. By employing a tuba in the same way as a funky electric bass, replacing the clarinet with a baritone saxophone and incorporating some contemporary jazz ideas, they helped create a new and exciting New Orleans music.

Their version of “Little Liza Jane” embodied that new trend.

It Ain’t My Fault —Smokey Johnson/ Rebirth Brass Band “Smokey came in the office one day and said, ‘I got a song I want

to record,’” said arranger Wardell Quezergue in 1994. “I said, ‘How does it go?’ Smokey started rapping the drum part out with his knuckles on my desk. I said, ‘That’s great Smokey, but how does the melody go?’ Smokey says, ‘Quez, I ain’t got one, you gotta come up with that.’ Well, I wound up writing a melody on piano that complimented the beat and giving it a title. The title was just something we pulled out of the blue.”

Smokey and Wardell captured the mid-1960s New Orleans street beat on their popular New Orleans single. Obviously the song had legs as two decades later, Kermit Ruffins and the Rebirth Brass Band covered it.

The song again became a huge street hit and a popular Mardi Gras tune.

“I thought ‘It Ain’t My Fault’ was a great tune for brass bands,” confirmed Quezergue.

“It’s got that great second line beat people love to hear at parades.”

They All Asked For You —The Meters The founding fathers of New Orleans funk, the Meters, recorded this in 1975 on the landmark Fire on the Bayou LP. Like “Little Liza Jane,” “They All Asked For You” came from a century-old ribald nursery rhyme long heard on the streets of New Orleans (a.k.a. “They All Assed For You”). It was originally recorded by bandleader Paul Gayten in 1952 for the Okeh label “They All Asked (Down At the Zoo).” The Meters borrowed the old lyrics and created a few new ones. They added a funky second line beat and a memorable classic was created.

Big Chief —Professor Longhair The composer, vocalist and chief whistler on “Big Chief,” Earl King summed up the history behind the song in 1983: “I had wrote this song ‘Big Chief’ (King’s mother’s nickname) in school. So when we went to work on this project with Professor Longhair I got to thinkin’ about the Mardi Gras and went back to my book.

I had the idea to record Fess with a lot of bass so me and Wardell [Quezergue] got together and we wrote a chart for 15 pieces.

“Meantime, me, Fess and Smokey [Johnson] got together and rehearsed it. When we got to the studio, Fess thought there was only gonna be four pieces, but there were musicians hanging out all around the studio. Fess turns to me and says, ‘Earl, what are all these musicians doing here? I guess they’re waiting for another session.’”

“I said, ‘Probably so.’ So Fess gets behind the piano and plays the little intro, Smokey starts playing and then all of a sudden a big crash of horns come in.

‘Bam!’ Fess stops playing and says ‘What is that?!?!’

“I said, ‘That’s the rest of the guys that are gonna be on the session.’ So we took a 15-minute break for Fess to get his head around it. After he got his head together he was alright.”

Released on Watch Records, the record was distributed nationally

by London Records, who were totally unaware “Big Chief” was a Mardi Gras record. As a result the single initially flopped, but over the years the song became increasingly popular during Carnival season.

“Big Chief” became one of Fess’ calling cards and Earl King’s most valuable copyright.

—Jeff Hannusch www.OFFBEAT.com

JAMISON ROSS

Singing and the Drums Jamison Ross’ rhythm and melody.

“I

’m sitting down at the drums with nothing but melodies on my mind,” sings Jamison Ross on the groove tune “Call Me” from his new Concord Jazz release, All For One. “I’m telling you exactly how I write music,” explains Ross, who teamed with guitarist Rick Lollar on this and many of the fine originals on the disc.

Ross entered the scene as a jazz-wise drummer and the winner of the 2012 Thelonious Monk Jazz Competition and increased his presence to the max with his exceptional vocal work on his 2015 self-titled debut release, which earned him a Grammy nomination. As heard on both his first and latest releases, Ross is neither a drummer who sings nor a singer who plays drums. His talent is making them seamless and, well, all for one.

“I’m not trying to prove that I can play drums on this album,” Ross explains. “To be honest, it was the last thing on my mind.

What I’m trying to do as an artist is not about the virtuosity of playing the drums. It is about singing and the drums—the rhythm and the melody. If you listen to the drums and the voice together you’ll understand the concept better.”

It is clearly demonstrated as the album kicks off with an Allen Toussaint song, “A Mellow Good Time,” made famous by the great vocalist Lee Dorsey. It stands as both a timely tribute to Toussaint and timeless in its spirited New Orleans essence. Its inclusion should greatly please local audiences.

“The Lee Dorsey record was actually one of the first records I started listening to when I was getting ready for the new album,” Ross says. “I started checking out a ton of records and I wasn’t even

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looking for covers, I was actually writing. Sometimes when I run up on a cover, it’s undeniable that I have to do it. The way I know is that when I bring it to my band and we play it live, the tune has a breath of fresh air on it. We now play ‘A Mellow Good Time’ last in a set—it’s pretty hard to get off of that song,” he says, comparing its impact to that of “Deep Down in Florida” from his first album, which previously held the position as the show-stopper.

Since his Grammy nomination, Ross has been much in demand, so much so that he had to give up a year-long spot he held in pianist/ vocalist Jon Cleary’s band. “It’s definitely been a whirlwind couple of years—touring, traveling, writing and recording the new album. It’s been full of surprises and some beautiful moments.

“Cleary and I both got Grammy nominations at the same time while we were on the road

By Geraldine Wyckoff

together touring. [Cleary’s 2015 album, GoGo Juice, won an award]. One day, his schedule started blowing up with dates and then my schedule started getting dates as a solo artist. He’s actually been someone who has inspired me for songwriting on this record.

I sat at his house for hours picking his brain about how he writes songs. He’s a genius songwriter.

When I was with Cleary, it was like a school for New Orleans R&B. He’s not from New Orleans but what was so deep about it is that I’m not either. I think that’s why we connected on it because we have a shared love for the history of the music. He’s a student and a scholar of it. I’m not from New Orleans but I have a strong affection for and belief in the American music tradition that really was steeped and based here.”

Ross again digs deep into New Orleans’ R&B archives, coming up with keyboardist/

singer/composer Wilson “Willie Tee” Turbinton’s “All for One.” The tune, which had only been recorded once by Tee himself, opens dramatically with the organ of Cory Irvin, a new addition to the group. The organ also brings new instrumentation to the band that includes Lollar and pianist Chris Pattishall, who were heard on the debut, plus bassist Barry Stephenson.

The organ, with its church-like qualities and association with houses of worship, highlights those leanings in Ross’ vocals. The son of a pastor, Ross, whose first instrument was organ, came up in the church.

“I wanted a fourth voice,” says Ross on adding an organ to the group. “I call the organ my orchestra—I call it my strings. It creates the mood on the album. It almost makes the story more real, it brings it to life.”

Songwriting team Ross and Lollar match up to perfection again on their uplifting “Keep On.” “I’m pretty clear about what I want harmonically—when it comes to the chordal structure—but when it comes to the lyrics, Rick has been kind of a safe haven,” Ross explains.

“He understands my heart and understands me as a person. We have a long relationship going all the way back to our college days so he gets the kind of concepts that I want. I want to tell stories and I want to tell experiences through the music utilizing elements of American music— blues, jazz, funk, soul, swing.”

On this tune and many of the other originals, there is a definite positive attitude both in the spirit of the music and the lyrics.

“As an artist, I think your music has to reflect the times,” Ross says. “You are a sculpture www.OFFBEAT.com

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“I’m always singing.

You’re rarely going to hear me not singing."

of what’s going on around you.

For me, I think about it from a standpoint that the songs definitely have a social tinge to them. I don’t like to talk about it from one perspective because I think that it’s important for all of us to see every single point of view. Growing up the way I grew up, you preach love one way or the other.”

Ross certainly demonstrates his romantic side on several originals including “Unspoken” and “Safe in the Arms of Love.”

His remarkable voice can be both tender and passionate as is also heard on his cover of “Don’t Go to Strangers.” He picked up on Etta Jones’ 1960 version of this oft-

www.OFFBEAT.com

recorded song—Billie Holiday, Etta James—that many New Orleanians associate with the great Johnny Adams, “the Tan Canary.”

Again, it was Ross’ focus on the organ that directed him to select a tune made famous by Fats Waller, the joyful “Let’s Sing Again.”

Perhaps best known as a pianist and vocalist the legendary Waller was an innovator in bringing the organ into a jazz setting.

“It’s a song of unity and a song of hope,” says Ross, adding that on discovering Waller’s organ work and that their fathers were both ministers, he enjoyed “a moment of reflection” on what they shared.

A soulful vocalist, Ross continually makes use of his

education and experience in jazz by bringing the all-important element of improvisation to his work. He and organist Irvin perform “Let’s Sing Again,” a jewel of a tune, as a duo to take the album out on an extremely happy note. “A song will see you through,” Ross offers with sincerity.

Jamison Ross, 30, a Florida native now steeped in the music of New Orleans, his hometown since 2011, doesn’t play a drum solo on this entire album even though he got the record deal with Concord Jazz by winning a drum competition.

“I think a large part of my success on the drums has been

because I don’t view it as an instrument to blow all the guns and the bullets,” he speculates. “When it’s time for me to do that I can.”

“I’m always singing. You’re rarely going to hear me not singing. I will always swing, I will always groove, I will always funk, I will always shake it up. It’s going to be that way. All of those things will forever be a part of who I am.”

O Jamison Ross and his entire band will perform at Snug Harbor on Saturday, March 3 and the singer and vocalist will appear at the Wednesday, March 7 edition of the Jazz at the Sandbar Series at the Cove on the University of New Orleans’ campus.

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SONIA TETLOW

Raw and Nervy Sonia Tetlow’s sense of optimism.

PHoto: dennis gardner

W

hen Sonia Tetlow started playing around town, doing raw and nervy songs with an acoustic guitar, she got told she was too rock for folk and too folk for rock. To some extent that’s been the story of her career.

Her current album Now is a fullfledged rock set, but the songs remain raw and nervy, with a personal detail snuck into every catchy chorus hook.

“I don’t know any other way of doing it,” she says. “That’s the kind of writer I am. I’d say that 90 percent of the time it’s from my personal experience, but sometimes I’m an observer—as long as there is a true emotional anchor in the song, it doesn’t have to be my story per se. It has to be something that I can feel so if I’m expressing it, it feels like truth to me. Even if you’re sharing something specific to yourself, if you write a good song and make good art, then people aren’t seeing you—hopefully they’re seeing themselves in it. That’s always been my goal.”

After playing the Neutral Ground and other acoustic clubs in the ’90s, she formed a power trio, the Sonia Tetlow Band. Given the songs she was writing, it’s no surprise that she gravitated toward a band sound. What may be surprising is that she wound up as Cowboy Mouth’s bassist for three years, playing on their creative-comeback album Voodoo Shoppe and getting three cowriting credits on it (including “Home” and “The Avenue,” the post-Katrina songs that were the album’s emotional core). The connection was Mary Lasseigne, the Mouth’s then-bassist who knew Tetlow from the club circuit and was about to leave due to family illness.

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By Brett Milano

www.OFFBEAT.com

“In hindsight I got lucky, because I came in at a time when they were intentionally trying to collaborate more and work on songs together. And I thought that was how they were always going to work.” Leaving the Mouth was also the cue to pick up the acoustic guitar again.

“I was still writing songs on the road but they were getting a lot quieter, a contrast to playing those big revival rock shows every night. I began to think of the songs more as watercolors.

And I really wanted to play these songs I’d written, so that was a big part of the reason I stepped away.”

In the past she’s written about specific circumstances in her life—her last album, A Place for Everyone, opened with “Mardi Gras Morning,” about trying to experience the day when you’re away from New Orleans (she now resides in Atlanta), newly sober and studying for midterms to boot. Nothing on

www.OFFBEAT.com

Now is quite that specific, though the best songs—the title track, the ominous swamp-rocker “Tripline” and the country-rock finale “Grains of Sand”—all allude to major life shakeups. She says there indeed were some, including her father’s illness, but that the songs were more about change itself. “Time is probably the theme. To some extent I was thinking about life from my father’s perspective as a parent. And about reconciling the past in order to be okay with the moment, grateful for it and embracing it.”

One of the changes was more tangible: For the second time in her career she left a reasonably successful band—the Atlanta acoustic group Roxie Watson, with which she made three albums—again due to the need to get her own songs out. She’s also ramped down appearances with Paul Sanchez’s Rolling Road Show, a continuing friendship from Mouth days. “In the past

year I’ve made some changes because I was spread really thin, so I let go of my place in New Orleans and got a job in Atlanta.

With Roxie Watson, it was getting to be more of a creative contortion to fit my songs into that band—and in hindsight they put out a record this year, and it’s way more classic country than anything we had done before. All the other gals grew up with that kind of music, but I really didn’t.”

Now’s one political song says a lot about Tetlow’s perspective: “Hard Fought Year” isn’t so much about the last election but what it did to tear everyone apart. “What upset me was the way we were treating each other on both sides of the aisle.

I thought that in the fight we were all becoming our lesser selves. And it felt like we were all in Ghostbusters II, covered with pink slime that feeds off your negativity—I think we all have friends and family who are

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Republican and Democratic, but that doesn’t mean we have to tear each other down as being human. On the flipside there’s been a need for connection, and my shows seem to be feeling different. Maybe it’s easier to be kind to each other when you’re in the same room looking each other in the eye.”

For all that, she points to a sense of optimism, both on the album and in real life. “I did some of the writing out in the desert, and that can remind you that when everything looks desolate, there’s still abundant life and things can change so quickly.

That can be a good thing to remember.”

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THE RADIATORS

No Monkeying Around PHoto: Elsa Hahne

The Radiators celebrate their 40th anniversary with a new album.

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orty years now of Radiators. From playing with Fess, from backing up Earl King, to a major label recording deal, national tours and closing out Jazz Fest, to losing the record contract and the financial support that came with it. From being “Too Stupid To Stop,” to not being able to quit after Katrina made them testify for what was left of New Orleans, to finally calling a “Last Watusi” at Tipitina’s in 2011, to being called back for encores at

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Tipitina’s beginning in 2013 and at Jazz Fest several times since.

And now, 40 years after the band formed in keyboardist Ed Volker’s garage, really pulling it all back together again to make a new album and put a big smile on what had been an unsettling denouement.

Welcome to the Monkey House sounds more like a comeback than a reunion. The band is in fighting trim with a crisp, terse rendition of 16 songs, the most they’ve ever

By John Swenson

crammed into a single release.

Bassist Reggie Scanlan and drummer Frank Bua are full of interactive life. Guitarists Dave Malone and Camile Baudoin spin crackling lead and rhythm exchanges, breaks and fills, never playing more than the songs require. Volker himself sounds like a man possessed, singing with abandon and sharing magnificent vocal harmonies and tradeoffs with Malone.

“Dude, this is the record that

was never supposed to be,” says Malone. “Nobody thought it would ever happen. All the stars aligned. I’m so happy with it I can’t stand it.”

Scanlan, who has been active in numerous projects recently, calls it the best album the band has ever made.

“Absolutely,” Scanlan confirms. “It’s like a rejuvenation. It sounds more like the Radiators than anything we’ve done. It has that loose feeling we have on stage on a www.OFFBEAT.com

RS ATO I D RA THE

good night. We didn’t try to fuck with it. Everybody just stayed out of the way and let the music do what it wants to do. I’ve done 20 albums with the Radiators and 10 albums with other groups and this is the most fun I’ve ever had making a record.

“Most of it is... fun songs,” agrees Volker over a glass of red wine at Adolfo’s. “I wouldn’t be surprised if many of the fans of this band who are still left on the planet really enjoy this album a lot more than any of the others because these are the songs that are more fan friendly, I’ve always thought.”

The genesis of the project came last January at the Tipitina’s gigs when Volker felt the band had recaptured some kind of lost spirit.

“I wanted to hear more,” he says. Volker had been doing a series of gigs with smaller bands at Chickie Wah Wah, including lineups featuring Scanlan and Baudoin, but as promoter John Driver describes it, “Ed called me up and said he wanted to rock!”

So last July Volker assembled a unit he dubbed the Rattlers, a version of the Radiators without Baudoin, who was out of town.

“That Rattlers gig was what put the fire in Ed’s belly to do more,” says Malone. “Everybody was so knocked out by that. The vibe was amazing. The music was amazing. That seemed to be the spark that reignited his interest.”

Volker put together a couple of songs for that gig that he’s been working on for years.

“The whole perspective of this album revolves around two songs that I’ve been trying to write for the last 25 years, one based on the theme of ‘Rise and Shine’ and one based on ‘Buzz On’,” says Volker. “I had those two ideas www.OFFBEAT.com

that I wanted to flesh out.

There are probably five or six versions of songs that have ‘Buzz On’ or ‘Rise and Shine’ in the title in my archive of songs.

It was only this last summer that I finally pulled them together. Those are two things that I sprung on the Rattlers, which is the Radiators without Camile, who was in Minnesota at the time, for our Chickie Wah Wah gig last July. So when Reggie called me up a few months ago and said ‘Why don’t we do a quickie EP in the studio using the Radiators to do those two songs the Rattlers did live?’ I had already been making versions of songs like ‘Run Red Run’ on my downloads because I thought they should be shared with people and I thought ‘Why not make a quickie album?’ Doing all these songs that never got recorded in a decent fashion in the studio. We did most of the recording in two days, eight songs a day. But it was doing the two songs at the Rattlers gig that sort of constellated or mushroomed into whatever trajectory led us to the studio.”

Scanlan explained that he wanted to do something to commemorate the 40th anniversary and suggested to Malone that they record the two new songs and make them available as a download.

“Dave said ‘Ask Ed,’ and Ed said ‘Why don’t we do a whole album?’”

“Ed gave us a list of songs,” says Scanlan. ‘There were all these songs we’d played one or two times, or once in a blue moon. We got into rehearsals and I told Frank ‘I don’t even remember how I played this,’ and he said ‘Neither do I.’ FEBRU A RY 2 018

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“Everybody wants to be together. The romance is back.

It almost feels like the rapport of the band now is like it was back in the ’80s."

We got into the studio and the first song was ‘Welcome to the Monkey House.’ We just decided we would go for it and play whatever felt right. It was the most rolling down the hill project I’ve ever been involved in. Some kind of other force was pushing us, and it all just clicked into place.”

“The bottom line,” says Malone, “is if Frank is feeling well and not having any tempo fluctuations and feeling comfortable with his part, if that happens, everything else falls right into place. He and Reggie were locked in and that made it easy for everybody else.”

The monkey theme became a central thought.

“I wrote ‘Fountains of Neptune’ for the Krewe of SNAFU gathering titled ‘20,000 Freaks Under the Sea’,” Volker recalls. “It became associated with the monkey mermaid krewe down in Florida. I wrote ‘One Monkey’ as a jam song for one of the Krewe gigs at one point 17 years ago. ‘Welcome to the Monkey House’ came before but the band didn’t learn that until a couple of years later. I have to say I always think of Chickie Wah Wah when I think of ‘Monkey House,’ kind of right there on the main drag but off the track at the same time.”

Malone also had a monkey up his sleeve—“16 Monkeys On a Seesaw,” a terrific new song he’d written for the Rads spinoff band Raw Oyster Cult, which featured himself, Baudoin and Bua. “I was saving it for what was gonna be a Dave Malone record,” he says, “but it’s so in the Radiators wheelhouse I had no problem contributing it. That and ‘King Earl.’ Those

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two always had a Radiators feel anyway. Maybe I can’t get away from that. I’ll always be a Radiator at heart. It seemed so obvious, especially when Ed and I started kicking around this monkey theme. Once we decided ‘16 Monkeys’ would be in there, we already had ‘Monkey House’ and ‘One Monkey’... well, there was no monkey-ing around from there.”

“King Earl” is a beautiful tribute to the great New Orleans guitarist and songwriter Earl King.

“I had a demo from Ed,” says Malone, “which is nothing like how it ended up. Me and my brother Tommy worked on it ’cause we did it in the Malone Brothers briefly. I rewrote the lyric again and it became a Raw Oyster Cult thing, then I rewrote it yet again and it became what’s on the Rads record.”

Most of the other songs on the album have been rattling around in Radiators sets for many years but never made it on to record. Some of them, like “Run Red Run,” “Doubled Up In a Knot” and “Make You Say Hot Dog” are proven crowd pleasers.

Others, as Scanlan noted, are deep tracks. But the idea of mixing up old and new material is not a stretch for the band.

“Since the beginning the Radiators have existed within a kind of geological time frame,” Volker explains. “I don’t think we’ve ever made a record that I would think of as new. I’ve been living with these songs for a long time before the Radiators got to them, and the Radiators have been living with them for a long time before they got recorded.

Almost every time we go into the studio we’re kind of digging on our own grave. This album more

than any of the others is more of a garage sale in that all these songs were in rotation or being played regularly while the last two or three albums were made and they never made the cut. I don’t know, maybe we were less stricken by disease and heading for the graveyard so we went for more pompous material. “’Run Red Run,’ that was on the list for Zig-Zaggin’ Through Ghostland—that far back—I have rehearsal tapes from the Zig-Zag sessions for that. The song had musical difficulties that we couldn’t get a handle on. I think we’ve gotten it to a good place. ‘Fishhead Man’ I wrote after Katrina. It was on the download T Zero. Maple Leaf was the first time we played it.

We’ve done it now and then but we never rehearsed it. ‘Doubled Up In a Knot,’ we were doing that since the time of Work Done On Premises. It used to go into ‘Love Is a Tangle.’ I don’t remember if we ever did it on its own. ‘Ride, Ride She Cried,’ that was really Frank’s idea. We only did that once, at the first Tipitina’s reunion in 2013. I’d been using that song on my side gigs. The Radiators picked it up real quick, played it on one gig and never played it again. When we were rehearsing for this album Frank said ‘What about that one?’ For some reason I figured out pretty quickly what he was talking about. It’s a little different but we play the hell out of it.”

The album closes with a Volker composition, “First Snow,” that was certainly appropriate to this past winter in New Orleans.

“That’s always been a magical incident in my life,” he says as we gaze out the frosty windowpanes of Adolfo’s onto

a frigid Frenchmen Street night.

“Me and my brother Richard, we were young and we got off school that day. Our whole neighborhood in Broadmoor was covered in snow. I tried to capture that. About ten years later we had moved to around that Carrollton/Claiborne area, it snowed but it just didn’t have the feel of that first snow when we were kids. It just had that magical quality about it.”

So what’s next? The Radiators are scheduled to play at the last day of Jazz Fest 2018 and a Tipitina’s show the Wednesday between the two weekends.

Beyond that it’s anyone’s guess, but the band is in a happy place right now.

“Everybody wants to be together,” says Scanlan. “The romance is back. It almost feels like the rapport of the band now is like it was back in the ’80s. I’d like to do another album of blues and roots covers, the music that influenced us.”

“I don’t know,” adds Dave.

“The degree of continuance depends on what Ed thinks he can do. I say thinks because I know he wants to do it. It’s up to him. Whatever he wants to do will dictate what the rest of us do.

“We sure didn’t expect to make this studio album,” Volker concludes, “and whether we make another one or not it’ll be a good legacy having something. It’s not in the songs, I can’t speak to that, but in the spirit of the performances. They speak well of what the band’s always been about which is feeling an experience. It’s kind of a parabolic return. We’re not touching at the same place but we’re touching close to the same place.”

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COVER STORY

That Kalenda Thing The Lost Bayou Ramblers’ voyage.

By John Wirt

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Photography by Elsa Hahne

early 20 years into Lost Bayou Ramblers’ career, the band can claim famous fans and Grammy nominations. The Violent Femmes’ Gordon Gano and the Pogues’ Spider Stacy jumped at the chance to collaborate with the groundbreaking Cajun band. The Ramblers’ other career highlights include high-profile TV appearances, opening for Arcade Fire and their musical contributions to the Oscarnominated Beasts of the Southern Wild.

Lost Bayou Ramblers’ greatest feat appears most clearly in the band’s 2012 album Mammoth Waltz and 2017’s Kalenda. The talent, imagination, studio adventures and Cajun heart in the albums boldly cast traditional Cajun music into the twenty-first century.

In November, Kalenda brought Lost Bayou Ramblers a Grammy nomination for best regional roots music album. The band received a previous nomination for 2007’s Live a la Blue Moon. This year, back home in Louisiana, the Acadiana and New Orleans–based Ramblers found more acclaim via their five Best of the Beat Awards nominations.

“After putting so much hard work and so many extra miles into Kalenda,” Ramblers’ co-founder Louis Michot said at a downtown coffee shop in Lafayette, “it was a huge honor and surprise for the album to be nominated for a Grammy. We put everything we could into this album and it was recognized. People truly appreciate us going out on our proverbial limb to make something new.”

Lost Bayou Ramblers preceded the September release of Kalenda with a June appearance in the PBS documentary The American Epic Sessions. The Ramblers’ co-stars in the film include Rhiannon Giddens, Beck, Nas, Alabama Shakes, the Avett Brothers, Elton John, Los Lobos, Taj Mahal, Willie Nelson and Merle Haggard. In May, PBS viewers saw Louis Michot in the Cajun segment of PBS’s American Epic, a truly epic three-part documentary about the American recording industry in the early twentieth century.

Lost Bayou Ramblers—which were launched in 1999 by brothers Louis and Andre Michot—make another powerful impact on Cajun music through Kalenda. The album features Louis’ fervent singing and fiddle playing; Andre’s rhythm-powered accordion and evocative lap steel guitar; Eric Heigle’s electronics, co-production and coengineering; Bryan Webre’s electric bass; Johnny Campos’ electric guitar; and Kirkland Middleton’s drums.

The Ramblers recorded Kalenda in multiple locations, including LCD Soundsystem leader James Murphy’s DFA Studios in New York City, Dockside Studio in Maurice and The Parlor Recording Studio in New Orleans. www.OFFBEAT.com

Through the past few hundred years, kalenda has had multiple meanings. Slaves danced the kalenda in New Orleans’ Congo Square.

The dance evolved into a lullaby. In 1962, Opelousas native Rod Bernard, whose swamp-pop ballad “This Should Go On Forever” was a national hit in 1959, made the kalenda a swamp-rock song.

In this century, Lost Bayou Ramblers transformed the kalenda into the haunting title song for their eighth album. The band’s version presents a Sgt. Pepper-esque collage of rhythm, repeating lyrics, instruments and ambience. The song feels as if it flows through centuries.

Korey Richey, former Lost Bayou Rambler bassist and guitarist and current member of LCD Soundsystem, produced Kalenda. Production began at DFA Studios in January 2014. Richey, then still a Rambler, and Louis Michot spent four days crafting the foundation for the album’s title track. A field recording from the 1930s, retrieved from the University of Texas archives, served as a blueprint. In the vintage recording, elderly Lafayette resident Vavasseur Mouton sings “Dansez Calinda,” a song his grandmother sang to him when he was a child.

“Dansez calinda. Boujoum, boujoum! Dansez calinda. Boujoum, boujoum!”

“Every time you try to figure out what kalenda is,” Louis Michot said, “you get a different answer. But it all revolves around that one rhythm—boujoum, boujoum—that comes out in the lullaby.”

The Ramblers’ rendition of “Kalenda” features special guests Spider Stacy, tin whistle player for the Celtic-punk band the Pogues; Leyla McCalla, New Orleans singer and cellist and former member of the Carolina Chocolate Drops; Dickie Landry, Lil’ Band O’ Gold saxophonist; and Jimmy Horn, leader of the roots music–loving New Orleans band King James and the Special Men. For title song “Kalenda,” Louis Michot asked Horn to assemble of group of drummers to play the boujoum, boujoum rhythm. Horn, opting instead to play multiple percussion instruments himself, divided the kalenda rhythm into four parts. He played conventional and unconventional instruments, including a garden hoe. “None of Jimmy’s four parts made sense individually,” Michot recalled. “But when we put them all together, they made complete sense. That’s another time that the kalenda is symbolic of many things coming together.”

A spellbinding quadrophonic saxophone performance by Dickie Landry inspired Louis Michot to ask him to join the “Kalenda” sessions. “I said, ‘Hey, Korey, what do you think about applying some Dickie Landry saxophone to "Kalenda"?' Korey sent the track to me two days later. It fit perfectly.”

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“It doesn’t matter how you get there or what the instruments are, there’s that pounding rhythm.”

McCalla was another natural choice as guest. A frequent collaborator with the Ramblers, she and the Michot brothers share Haitian roots.

Louis and Andre Michot give Kalenda producer Richey much credit for the Grammy-nominated album. Richey’s career includes production of Mammoth Waltz; engineering Arcade Fire’s Reflektor and Everything Now albums; and being a member, producer and engineer for LCD Soundsystem.

Flying back and forth from New York to Lafayette to play bass for the Ramblers eventually became too much for Richey, and he left his bass position in Lost Bayou Ramblers. The change gave him more time to craft Kalenda. “Korey could focus on that, instead of trying to be everywhere at once,” Louis Michot said.

The Michots know exactly why LCD Soundsystem and Arcade Fire want Richey on their teams. “Korey has amazing ears and feeling,” Andre said. “For him, it probably is a lot of work, but he makes everything so easy for us.”

“We completely trust Korey,” Louis added. “He understands what we do and what we’re looking for.” Richey has another quality, too, one that makes him so valuable in the studio. “Korey is super discreet,” Louis said. “Musicians of the caliber he works with, they look for someone who won’t go bragging about working with them.

He takes it as a real job instead of a trophy. He’s so trustworthy.”

Born to ramble When the Michot brothers formed Lost Bayou Ramblers 19 years ago, they did so without a plan or expectations. In high school, Louis had played in rock and psychedelic bands. Andre played blues guitar. They loved music of all kinds, including the traditional Cajun music they played with their father’s and uncle’s Cajun band, Les Frères Michot. At the time, though, Louis and Andre didn’t anticipate forming a Cajun group of their own, much less a band that would rock the genre’s foundations.

Working with Les Frères Michot, the brothers developed deep Cajun music experience. But even the staunchly traditional Les Frères Michot didn’t abide strictly by the rules, Andre remembered. “Almost no bands had triangle full time, but we always did.”

Cajun music’s heart-pumping rhythm, more than anything else, bonded the Michot brothers to the genre. “It doesn’t matter how you get there or what the instruments are, there’s that pounding rhythm,” Andre said. “That’s what we loved about playing with Les Frères Michot.”

“The rhythm pulled us through this whole time,” Louis agreed.

“And that goes back to the kalenda.”

Andre also thinks of his Cajun accordion—a diatonic instrument for which seven notes form an octave—as more of a rhythm than melodic instrument. “Because I don’t have all of the notes,” he said. “In Cajun music, I wouldn’t say the melody is secondary, but sometimes it can be left to the imagination.”

Andre and Louis eventually began playing gigs apart from Les Frères Michot. “We were out on a limb for people of our generation,” Louis remembered. “In Lafayette, people were

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confused, but also receptive. We played at some random cafés and it was an awesome time.”

Those early gigs launched a natural progression to the expanding sound of Lost Bayou Ramblers. “But there was never any thought about whether we’d be traditional or not,” Louis remembered. “It just evolved. Our friends in our rock ‘n’ roll and our blues and psychedelic bands, they’d come play with us. They’d play even if they’d never played Cajun music before. And it keeps growing that way.”

Before the Michots launched the explosive experimentation of Lost Bayou Ramblers, they grounded themselves in tradition. “Cajun music, like any traditional music,” Louis reasoned, “you have to really learn it before you can think about bringing anything else into it. We did it straight-up traditional for so long. And even with Lost Bayou Ramblers, new influences just crept in with new music and each passing year.”

Despite their Cajun music innovation, the Ramblers’ music never stirred much controversy, Louis said. “Sometimes dancers are like, ‘That’s not Cajun.’ We’re like, ‘No, we got this from a record made in 1930. It’s a waltz, but it’s played just a little bit faster.’ And even with Mammoth Waltz, a lot of what we do is old stuff, along with the progressive stuff.”

There was some hate mail, however, from somewhere in Canada, Louis acknowledged. “He said Mammoth Waltz sounded like a tin can. He said his dog made better music than that. But overall, the album was warmly accepted. And there hasn’t really been a lot of progression [in Cajun music]. Of course, we love the standards. But people who don’t love the standards, and even people who love the standards, they all want to hear something new. We do, too.”

Even as the music marches forward, Andre said, the rhythm remains. “No matter what happens around the beat, it’s basically the same rhythm that everyone’s been doing for a long time. We never vary from that. We like that solid feeling.”

Grammy surprise In 2007, the Michots were surprised when the Lost Bayou Ramblers concert album Live a la Blue Moon received a Grammy nomination.

They considered the album merely a side project for their 2009 studio project, Vermilionaire. “I thought they were joking when they told us,” Louis said.

Live a la Blue Moon received a nomination in the now discontinued Cajun and zydeco music category. “There was a big push to get the category,” Louis remembered. “I said I didn’t care if we got nominated or not. I was going to continue playing the same music I play. I wasn’t going to change it to get nominations.”

Despite the Ramblers’ Grammy Awards skepticism, the band had a blast at the 2008 Grammy ceremonies. “We went on the fiftieth anniversary year,” Louis said. “It was an amazing performance—Stevie Wonder, Beyoncé and Tina Turner. The show itself was worth it.”

In the same year the Ramblers attended their Grammys ceremony, the band learned it had a famous fan. Gordon Gano of the Violent Femmes made a surprise appearance with Lost Bayou Ramblers on stage at d.b.a. on Frenchmen Street. Gano became a friend of the www.OFFBEAT.com

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band and a collaborator on stage and in the studio. At the 2011 Voodoo Music + Arts Experience, for instance, the singing, fiddling Gano joined Lost Bayou Ramblers for Cajunized versions of the Violent Femmes’ “Blister in The Sun” and “American Music.”

Gano also made a guest appearance on Mammoth Waltz, joining fellow guest stars Dr. John, actress and singer Scarlett Johansson and French actress and singer Nora Arnezeder.

Concurrently with Mammoth Waltz, the Ramblers recorded for the soundtrack of Beasts of the Southern Wild. The mystical drama about a Louisiana community whose coastal home is sinking into the Gulf of Mexico received four Oscar nominations. Later, the Ramblers played the movie’s score in concert in many cities with the Wordless Music Orchestra and composers Benh Zeitlin and Dan Romer.

Lost Bayou Ramblers’ especially high-profile gigs include two opening act spots for Arcade Fire in 2014. Ramblers members Eric Heigle’s and Korey Richey’s involvement with the Canadian band—they worked as recording engineers for Arcade Fire’s 2013 album, Reflektor—led to the gigs. “We could feel people waiting for Arcade Fire,” Louis Michot said of the shows. “To get the attention of people waiting for a band like Arcade Fire, that was an amazing experience.”

“Maybe,” Heigle said, “the final statement on that is that Win [Butler, Arcade Fire front man] is a fan. He’s got Lost Bayou Ramblers music on his phone.”

Epic Ramblers Lost Bayou Ramblers’ 2017 appearance in The American Epic Sessions documentary and soundtrack album was another coup. The band re-recorded “Allons à Lafayette,” the first Cajun song to be recorded, for the project.

Jack White and T Bone Burnett produced The American Epic Sessions recordings. In 2014, the Ramblers flew to Los Angeles to record into a reconstructed version of the first electrical sound recording system. From the 1920s, the system features one microphone, a six-foot amplifier rack and a live record-cutting lathe that’s propelled by a weight-driven pulley system of clockwork gears.

Recording through the vintage system, Lost Bayou Ramblers and more than a dozen other contemporary artists interpreted songs originally recorded about a century before.

“We were the last session they did,” Louis said. “It was the same microphone system that Joe Falcon and Cleoma Breaux made the first Cajun recording on. We recorded that same Cajun song into that same system almost 90 years later. The sonic and creative experience was like nothing we’ve experienced before. Recording into one mike, one take, you get goosebumps because you know that this is your only moment. You get one chance and that’s it.”

“Jack White produced us,” Louis added. “Jack said, ‘Stand here.

Turn a little to the left. Sing a little bit more up and to the right.’

That’s the production right there. It’s where you stand and which way you face. And you’re all in the same room. And Eric was what we call ‘rice pumping’ on a big bass drum.” www.OFFBEAT.com

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“Enough Cajun 78 rpm records were sold to make Cajun music a significant part of the early music industry.”

“Rather than being across the room from one another,” Andre said, “we were as close as we are now. There’s a forceful energy about that that you don’t get when you’re in separate booths.”

Louis Michot also participated in episode three of The American Epic Sessions’ companion documentary, American Epic. He narrates the show’s Cajun section, featuring the Breaux Frères and their Cajun musician descendants.

“Enough Cajun 78 rpm records were sold to make Cajun music a significant part of the early music industry,” Louis said. “I’ve gotten a lot of compliments, but they [the filmmakers] made everything look and sound good.”

In addition to narrating, Louis performs in American Epic with contemporary Breaux brothers Pat, Jimmy and Gary. It’s a fitting collaboration, because the Breaux family is among his major influences.

“What Cleoma [Breaux] and Joe Falcon were doing was off the charts,” he said. “It was fiddle and guitar only, but with so much spirit and so much rhythm and movement. It was not simple dance music. It was complex, inspiring, emotional music.”

One door closes, another opens After Lost Bayou Ramblers performed with Gordon Gano for years during an extended Violent Femmes hiatus, Gano returned to the Femmes in 2013. “We thought the Violent Femmes weren’t going to play together anymore,” Louis Michot recalled. “And we played with Gordon until they started touring again. And then he got married and had a baby. He stopped playing with us because he didn’t have the time.”

Just as Gano stepped out from the Ramblers, Spider Stacy stepped in. “It was a smooth transition from acoustic punk to Celtic punk,” Louis said.

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Prior to attending his first Ramblers show, Stacy, a New Orleans resident since 2010, toyed with the idea of filtering Pogues songs through a new musical screen. The first Ramblers show Stacy witnessed made him a fan. He very much wanted to try his Poguesthrough-another-filter idea with them. www.OFFBEAT.com

“We didn’t know anything about the Pogues before, but people always said that what we’ve done with Cajun music is what the Pogues did with Irish music.”

“First time I saw them I was hooked,” Stacy said. “There’s something immediate and compelling about Cajun music. It has an immensely human quality to it, a wildness and a sadness that insinuate themselves into the bloodstream. It’s like most of the best music—dance music with a history.”

Stacy and the Ramblers have been performing together since 2015, but the partnership is about more than music. “It’s become a great friendship,” Louis said. “We hang out together more than we play music.”

“They’re great to work with,” Stacy added. “Their whole attitude is so relaxed and invigorating. And the things they do, and the way they do them, are just so different from any rock ‘n’ roll band that I’ve ever encountered. Yeah, they’re a pretty fucking great band, all in all.”

Stacy, who plays tin whistle, an instrument commonly used in Irish traditional music, was an obvious choice to be a Kalenda guest. He’s prominently featured in the traditional song “Si J’aurais des Ailes.”

“It’s a song I’ve always wanted to play,” Louis said, “But I could never figure out how to arrange it, or which version to use, because there are so many versions out there. So, Spider and I made a new version. He wants to play Cajun music and we love playing Pogues music with him. ‘Si J’aurais des Ailes’ is the song that falls in the middle. We recorded it, bringing the penny whistle into the realm of the accordion and fiddle. It’s a natural fit.”

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A Lost Bayou Ramblers-Stacy recording project may well happen, Louis added. “Because it’s so easy and so natural. Knowing Spider has been natural, because we know him more as a person, rather than someone we looked up to. We didn’t know anything about the Pogues before, but people always said that what we’ve done with Cajun music is what the Pogues did with Irish music.”

In August 2017, the Ramblers began their Kalenda touring, playing the first show at the Blue Moon Saloon in Lafayette. “And then we hit all of our favorite places,” Louis said. “Brooklyn, San Francisco, Seattle, Portland, Chicago, New Orleans—Brooklyn especially. We’ve played more in Brooklyn than we have anywhere outside of Louisiana. Not hipster Williamsburg so much, but Prospect Park and the multi-cultural area around there. There are so many Caribbean cultures there. They really understand our music. They dance to it. That’s the kalenda thing.

It has its own version everywhere. The Michots went from France to Haiti to New Orleans. The kalenda had a similar voyage.”

O Lost Bayou Ramblers will play the Save Our Sponge Concert on Thursday, February 1 at the New Orleans Jazz Market; Krewe De Canailles Ball on Friday, February 9 at Warehouse 535 in Lafayette; and Sunday, February 11 at the Maple Leaf Bar.

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CAJUN MARDI GRAS

Worlds Apart PAINTING: HERB ROE

Courir de Mardi Gras.

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ardi Gras in New Orleans and Mardi Gras in Cajun country can be worlds part. Parades, floats, beads, marching bands and even spectators are traditionally not part of the rural Courir de Mardi Gras in southwest Louisiana.

Filmmaker Pat Mire’s 1993 documentary, Dance for a Chicken: The Cajun Mardi Gras, depicts the Courir de Mardi Gras’ ritual and tradition. In communities such as Tee Mamou, L’Anse Maigre, Basile, Church Point and Iota, colorfully costumed, masked celebrants ride on horseback into the countryside in search of ingredients for a community gumbo. They dance, sing and beg for the gifts they

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receive. Often, the riders must chase and catch the gumbo stock.

The roots of Courir de Mardi Gras extend to Roman festivals and preChristian Europe. Despite being a free-range party on the prairie, the celebration represents the egalitarian redistribution of wealth. In Mire’s Dance for a Chicken, an earnest capitaine tells his krewe of beggars the rules: “When you get to a man’s house, do whatever you have to do to get his chickens or his sausage or rice or his money—anything we can do to get the goods for the supper.”

Joel Savoy, a member of Eunice’s Savoy family of Cajun musicians, organized the Faquetaique Courir de Mardi Gras in 2006. Savoy

By John Wirt

wanted to stage a Courir de Mardi Gras that closely follows tradition.

“I couldn’t find the Mardi Gras experience I was looking for anywhere else,” Savoy said.

“There were things about the other rural courirs that turned me off. Many of them had grown so large that they had lost most, if not all, of their traditional values.

I wanted my friends, especially those who came to visit from out of town, to have a meaningful experience at this age-old event.”

Faquetaique Courir de Mardi Gras requires every participant to a wear costume. “And if you’re going to play music, it’s damn sure going to be French music,” Savoy said. “I also wanted it open to

everyone who was looking for this same experience. Women, children, tourists. Anyone, as long as they got on board with our rules.”

Beads and spectators, ubiquitous elements of Mardi Gras parades throughout Louisiana, are not allowed at Faquetaique Courir de Mardi Gras. “Other than our few rules, our event is a pretty classic Courir de Mardi Gras,” Savoy said. “And it’s a community event. That sounds hard to believe, because it’s more than 700 people these days. But I guarantee you that nearly all of the participants are connected to me within one degree of separation. We have folks, lots of musicians, especially, who join us from all around the world. It makes for a delightfully wacky day.”

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y grandmother in Lafayette makes a lot of cherry bounce and it's super strong. She’s very old school except that she also teaches yoga, pilates and zumba [laughs]. She’s a horticulturist and grows a lot of her own fruits and vegetables. And she has a lot of blackberry bushes. As kids, we’d walk out there with big bowls and pick blackberries, which was really cool. A lot of my inspiration for using natural flavors definitely comes from her. She’s the healthiest person I’ve ever met in my life. She’ll outlive all of us!

I love doing crazy things with booze. I have a huge interest in whiskey, bourbon and scotch.

And beer—I was actually a beer rep in Lafayette.

Gabie and I met about four years ago, and now she’s my fiancée.

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When her parents (Greg and Mary Sonnier) were working on getting the Uptowner going and then sold it and started looking for a new building, we were helping them. Then I got a job in Lafayette, where I’m from, and Gabie and I moved over there, but after seven months, her parents had found the perfect building and told us it was time to move back. And we’ve been here since. Gabrielle opened in September and we just got engaged on Thanksgiving.

Some of our servers are crazy about Britney Spears so we picked her for this cocktail. Of course we ended up with a boozy pop drink. First, we tried to think of something toxic and green for her song “Toxic,” and we tried to use green Chartreuse, but I really didn't like the flavor. Instead we ended up with this pink pop star.

By Elsa Hahne

As garnish, we add these boozy berries that have been soaking in alcohol for a month and a half.

If you put a few of those fruits in a drink, they literally pop. They’re very, very strong. The longer you infuse blueberries, the crispier they tend to get, and they don’t lose their color.

We thought the name Oops, We Did It Again was appropriate since we just reopened the restaurant.”

Oops, We Did It Again 3 ounces berry-infused vodka (see recipe below) 1/4-ounce lemon-lime juice (made with 3 parts lime juice to 1 part lemon juice) 1/4-ounce simple syrup 2 shakes Seven Stills prickly pear bitters Soda water, to top off Infused berries, for garnish

photos: Elsa Hahne

Marsh Prudhomme/Gabrielle

Stir vodka, juice, simple syrup and bitters together. Pour into a glass, top off with soda water, and garnish with berries.

Berry-infused Vodka 1 1/4 liters Absolut Citron vodka 4 ounces fresh blueberries 4 ounces fresh raspberries 6 ounces segmented oranges Rind from 4–6 oranges 30 ounces simple syrup In a large mason jar, add berries, orange flesh and rind to vodka. Seal and let sit, turning over weekly, for two weeks.

Add simple syrup and let sit for at least another few days, but longer is fine, too. www.OFFBEAT.com

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

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

GERMAN Bratz Y'all: 617-B Piety St., 301-3222

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

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 NOSH: 752 Tchouptoulas St., 581-7101 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

NEIGHBORHOOD JOINTS 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 Sammy’s Food Services: 3000 Elysian Fields Ave., 948-7361 Tracey’s: 2604 Magazine St., 897-5413

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 B.B. King’s Blues Club: 1104 Decatur St., 934-5464 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

PIZZA 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 Deanie’s Seafood: 841 Iberville St., 581-1316; 1713 Lake Ave. Metairie, 834-1225 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

The Dish

JAPANESE/KOREAN/SUSHI/THAI 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

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

Chef Hayley Vanvleet on Curio’s Pork Loin Po-Boy

Which of the dishes on your menu says the most about you?

That has to be my panéed pork loin po-boy, because I’m from the Midwest, a small town in southern Illinois about four and a half hours southwest of Chicago. When I was growing up, my father would pound out and make these pork loin sandwiches, and I’d help crush the saltine crackers for the breading.

Pork loin sandwiches are very Midwest.

You can drive around and see all the roadside restaurants and bars advertising them on hand-painted or spray-painted signs. So this is a nod to my family and my roots, very Illinois, but I also made it a po-boy, on a Leidenheimer pistolet, and that’s very New Orleans, too. So this is where I’m from and where I am now, all on one sandwich.

What else do you put on this po-boy?

Lettuce, tomato, pickled red onion, and I make this creamy poblano hot sauce, which just borders on spicy.

—Elsa Hahne www.OFFBEAT.com

DINING OUT

Pho Cam Ly Some foods are for moods. I love cheese, for example, but only crave fondue on rare occasions when I'm neither particularly hungry nor full and the thing I'm after is more the conversation oozing out over and around the pot rather than the fromage inside it.

Gumbo—same. Love gumbo. But it has to feel celebratory in some way, because that just goes with gumbo. You need a spoon and you need celebration. Whether you put rice or eggy potato salad in there doesn't really matter—that's up to you.

And then there's pho. Pho is somehow completely independent of moods and prerequisites. If I'm feeling good, I want pho.

If I'm feeling sick, I want pho. Starving? Pho, of course—big gulps of broth and chewy noodles and I'm myself again. And when I feel like eating something light and not too filling?

Pho. It's magical how the same broth can be

www.OFFBEAT.com

both intensely satisfying and light and delicate at the same time.

I was a Pho Tau Bay junkie before Katrina. When they opened their Westbank location back up after the storm, that moment was the one for me that spelled, "Everything might just be okay, after all."

I still crave Pho Tau Bay's Bun Bo Hue—that's the fishy broth with the fat, round noodles and slightly bizarre, tendon-like meat. But it's near impossible to park for free or cheap around Tulane Avenue (their last remaining location) these days, and when Pho Cam Ly opened on Magazine Street between Louisiana and Napoleon Avenue in 2014, I started sneaking in there like a cheater.

Thankfully, I've sucked down enough salty goodness over the last four years to wash away even the slightest memory of guilt.

One of my favorite things about Pho Cam Ly is how clean and simple their standard pho combo is. No frills. I do wish they'd include tripe (I go to Pho Bang just for that), but I can live without it.

Instead, I get that magical addition called "extra veg." A few crispy broccoli florets and sweettender slices of carrot are just enough to make me feel like I ate all my vegetables, because I do.

Photo: SCOTT GOLD

EATS

Pho Cam Ly offers a variety of fresh spring rolls, and they're all good. I'll even eat the tofu. Most of the time, I ask the waitress to just pick whatever type of roll she likes.

When it comes to the rest of the menu, I'm sure it's alright. This is a wonky restaurant review because I know nothing of the food beyond the soup and the rolls. How can a person go to a restaurant literally a hundred times and always order the same thing?

I'm not really asking, of course. Just bring me the soup.

—Elsa Hahne 3814 Magazine St., 11 a.m. to 8:30 p.m. daily (closing early at 7:30 p.m. on Sundays), (504) 644-4228, phocamly.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

A Tribute to Mamou’s Jimmy C. Newman

Joel Savoy, Kelli Jones, Caleb Klauder and Reeb Willms Farewell, Alligator Man (Valcour Records) Grand Ole Opry star and Mamou native Jimmy C. Newman (1927–2014) enjoyed a fruitful, eight-decade country music career that incorporated his Cajun identity into his music. This heartfelt tribute is especially meaningful since Joel Savoy, Kelli Jones, Caleb Klauder and Reeb Willms all had a personal connection with the Alligator Man. In 2012, Klauder and Willms recorded his “You Didn’t Have to Go” (also heard here) and a year later, Klauder, Willms, Savoy, Jones and Newman’s upright bass-playing son Gary all had the thrill of backing Newman on a short run of sold-out concerts.

Savoy’s crack studio band nails the essence of early ’50s country music: celestial fiddles, clip-cloppy rhythms and steel guitar loaded with quick pull-offs and glistening chiming notes. There are terrific electric/steel guitar fill-ins behind vocalists Willms, Jones, Klauder and Savoy, whose contrasting styles help keep the proceedings fresh. Willms has a dreamy delivery; Jones is sassy and twangy while Klauder croons with a dry ache. Savoy, singing more here than on any of his previous

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recordings, has come into his own as a vocalist (“Alligator Man”).

Most of this material stems from Newman’s early career on Crowley record man J.D. Miller’s Feature label and the nationally known Dot Records. “Cry Cry Darlin’,” the album’s lush centerpiece, is given breathtaking treatment

by Willms and Jones. Jones’ performance on “Blue Darlin’” is similarly stunning. Interestingly, Newman’s first recording, the zippity “The H. Brown Shuffle,” a 1950 radio jingle of a local auto parts company, is represented here.

A strong set of tracks that should bring Newman’s overlooked legacy to new audiences.

—Dan Willging

Marcus Roberts Trio Trio Crescent – Celebrating Coltrane (J-Master Records) Pianist Marcus Roberts, leading his longtime trio with bassist Rodney Jordan and drummer Jason Marsalis, revisits one of legendary saxophonist John Coltrane’s recording masterpieces, 1964’s Crescent. They perform the entirety of the album with the tunes appearing as they did on the release—“Crescent,” “Wise One,” “Bessie’s Blues,” “Lonnie’s Lament” and “The Drum Thing.”

It concludes with the hard-jumpin’ “Traneing In.” These compositions are familiar to numerous jazz fans and students and their strong, memorable melodies make them hummable for many. Roberts’ goal was to “re-imagine” this material in a saxophonist-less environment while capturing the essence of Trane.

Not an easy task, yet the material itself laid the foundation for the trio to express the humanity that is

central to these works. The talented musicians’ love and respect for Coltrane, other essential elements, are evident throughout.

Marsalis gets the first licks on the title cut, creating an edgy atmosphere and providing a drum roll for Roberts’ entrance.

The pianist’s elegance speaks to the beauty of the tune that starts swinging under the direction of Jordan’s walking bass.

The swinging continues on the lively and lighthearted “Bessie’s Blues,” with Roberts staying true to the melody while adding his own, flawless flourishes. It emotionally stands in stark contrast to the sorrowful “Lonnie’s Lament,” with Marsalis’ shimmering cymbals recalling raindrops on a windowpane. As with Coltrane’s original work, the imagery is left to the listeners’ imagination.

Trio Crescent – Celebrating Coltrane truly succeeds in retaining the spirituality, beauty and pure energy that was—and is—John Coltrane.

—Geraldine Wyckoff

Fortifiers Live (Independent) Louisiana has produced some of the world’s best harmonica players, and legends like Little Walter, Lazy

Lester and Slim Harpo live on in recordings like Live by the Fortifiers.

On Live, the Fortifiers take you rolling and tumbling from Louisiana up to Chicago and back down to Louisiana. Recorded live at Tipitina’s in July of 2016, Live is a twentyminute infusion of postwar blues.

In fact, Jeb Baldwin (harp, vocals), Rudebelly (bass), Rodger Martin (drums), and the twin guitar work of Sonny Schneidau and Gerald McCollam will let you know that the blues are indeed alive and well.

Things get heated up right away with Rudebelly and Martin creating a pocket for Baldwin to come in blowing on Little Walter’s “Everything’s Gonna Be Alright,” and it is evident from the start that Jeb Baldwin’s harp playing is going to be a major highlight of the recording. Jay Miller’s “I Hear You Knockin’” follows, and it shuffles along in a manner that would make Jimmy Reed proud while honoring Lazy Lester. “My Babe,” one of three Willie Dixon songs featured on Live, was written for Little Walter and is perfectly suited for the vocals and harp of Jeb Baldwin. On “Help Me,” the Fortifiers hit a solid groove augmented by Sonny Schneidau who is given the opportunity to shine with some solid organ work.

Next up, Rudebelly gets a chance to hold down the vocals on Willie Dixon’s “Spoonful” and does an agreeable job of trying to convey the sheer guttural vocal power of Howlin’ Wolf. The set closes with a take on Slim Harpo’s “Shake Your Hips” that had to bring down the house.

Live shows that the Fortifiers are clearly comfortable in who they are and what they do. While the world will never again see the likes of blues men like Little Walter, Willie www.OFFBEAT.com

REVIEWS Dixon and Slim Harpo, it’s recordings like this that keep the spirit of the blues alive. So if you are feeling blues deficient, then it is time to get fortified.

—Christopher Weddle

Noggin Lizard Brain (Independent) Noggin’s new album, Lizard Brain, is a fun house of musical influences: You never know what’s going to jump out and you’ll be surprised at what does. Genre-bending doesn’t even begin to describe its landscape.

It’s the Beastie Boys, the Red Hot Chili Peppers, Sublime, TLC, No Doubt, ’50s R&B, death metal and big band swing all rolled into one. Did I mention that they have a French horn in the front line?

While this might make it seem like a disjointed jumble, they actually blend these elements seamlessly and to great effect. The band calls this #brainmusic. I suppose it needs its own title at this point.

Eric Bernhardt can be snarky when singing and adept when rapping, and he stands out on sax in the band’s impressively tight horn section. Amber Mouton’s vocals

Percolating Blues Eric Johanson Burn it Down (Whiskey Bayou Records) If you are unfamiliar with Eric Johanson, you are probably not alone; but here’s your opportunity to catch a phenomenal talent before the rest of the world catches on. If you are, however, familiar with Johanson through his work with Cyril Neville or Terrance Simien, then this release will reinforce what you already know. Eric Johanson can flat out play the guitar.

Released on Tab Benoit’s Whiskey Bayou Records, Burn It Down should generate some heat throughout the music community.

Produced and engineered by Benoit, Burn It Down features Corey Duplechin (bass) and Benoit (drums, guitar) backing Johanson (guitar, vocals) throughout the recording.

What is evident from the very beginning of Burn It Down is that not only does Johanson have exceptional talent and skill, but his tone is really developed beyond his years. The album’s title track kicks things off with a slow percolating blues that eventually bubbles over and features some stellar slide work from Johanson, and when he sings “yesterday was yours, tomorrow’s all mine,” you can’t help but think he may be right. “She’s In Control” begins with Johanson’s funky percussive attack, and as is the case throughout the record the band is locked in and tight. Johanson covers a lot of ground on this recording while staying in the framework of the blues, and fans of blues rock like Gov’t Mule will feel right at home listening to “Bang Against The Wall.” There are moments in “Til We Bleed” that sound like Johanson has spent some time listening to the Radiators. But lest you think this record is just about Johanson’s guitar playing, check out his soulful vocals on songs like “Oh Louisiana.” In addition to all of that, Johanson has a solid grasp of songwriting as evidenced by the 10 out of 11 songs on Burn It Down that he wrote. However, in the end it’s Johanson’s guitar playing that will bring him the attention that he clearly deserves.

Whether it is the smoldering blues burn of the title track, the dark swampy funk of “Live Oak”, or the galloping lope of “4 O’Clock,” there’s plenty here to showcase the tone and talent of Eric Johanson.

—Christopher Weddle www.OFFBEAT.com

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are at turns early Gwen Stefani and TLC’s Left Eye when she’s rapping. She’s also responsible for those sweet French horn licks. This album is their creative baby, and it is cradled by a crew of seriously skillful musicians.

There isn’t a single weak area on Lizard Brain. From the heady, socially conscious lyrics to the excellent production and musicianship, they’ve created something fresh and exciting.

—Stacey Leigh Bridewell

Ernest Scott Bridging the Gap (Breezy Hill Records) It was nearly 26 years ago that songwriter Dan Tyler set in motion a course of action that would finally lead to the release of Bridging the Gap. Now, after what must have been an interminable delay for Ernest Scott, we hear firsthand that it was worth the wait.

The opening “Keep Your Dog Inside” sounds like Rockie Charles meets Joe Walsh. It’s a cautionary tale that sets the tone for Bridging the Gap and lets you know right away that you are in for a good time. Up next is “Breezy Hill,” the first of five songs written by the aforementioned Dan Tyler and a perfect song for kicking back in a front porch rocking chair. The laid back slide guitar and accompanying harmonica create a nice backdrop as Scott sings about the simple things in life. Anyone who has ever suffered from a broken heart will relate to “Lonely O’Clock,” but if the result is a song that feels this good then it just might be worth the pain. Throughout Bridging the Gap, Scott is joined by top-notch musicians, and on “Te-Ni-Nee-Ni-

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Nu” he is joined by Slim Harpo alum James Johnson and Rudy Richard, the latter who actually played on the original version recorded by Slim Harpo. “Te-NiNee-Ni-Nu” sounds like something you would hear coming from Snooks Eaglin, and with its dance party groove, I’m sure it translates well in a live setting. “A Man & The Blues” finds Scott showing that he can handle a straight-up blues number, and with Henry Gray, James Johnson and Rudy Richard joining in you know it’s going to be good. Speaking of the blues, Scott gets another chance to belt it out on Elmore James’ “I Believe,” which features Brint Anderson on guitar, and Slim Harpo’s “Baby, Scratch My Back” with Raful Neal, James Johnson and Big Johnny Thomassie.

Finally, one of the many highlights on Bridging the Gap is “Man Woman Thing,” a beautiful duet featuring Irene Sage that harkens back to classic Delaney & Bonnie.

It should be clear by this point that Scott is comfortable singing in any number of styles, but more importantly he does so convincingly and with authority. Bridging the Gap does a great job of showcasing Scott’s silky smooth vocals and is proof positive that good things come to those who wait, but hopefully we won’t have to wait two more decades for another recording from Ernest Scott.

—Christopher Weddle

J.J. Caillier Bad as I Wanna Be (Caillier Records) Ever since Boozoo Chavis and Beau Jocque staged their faux zydeco battle in 1994, over-thetop self-promotion hype has become the norm, which adds to the spirit of zydeco. JJ Cailier’s eighth album follows suit by opening with a radio skit where DJ Kody James gives away tickets to an upcoming Caillier show to excited female callers. The takeaway, of course, is Caillier is “bad as he wanna be.” Whether that’s fact or fiction, what’s true about this baker’s dozen/nine originals affair is that he covers

the entire z-spectrum, from old school to ’90s nouveau to today’s modern zydeco. The tribute to Buckwheat Zydeco, “Back at the Shack,” is the disc’s most ripsnorting track but foot-stomper “Caillier Gonna Make You Dance” and bump-and-grinders “Party Train” and the horse-neighing “Trailride Boogie 2017” aren’t far behind.

As good as Caillier is at pumping out dance-enticing zydeco, he’s also adept at crafting high-caliber contemporary tracks like “Shake That Thang” and the swirling, poignant “I Remember” that are rich in detail. Though “Gotcha Knockin” is a swing out favorite, it’s really more in the R&B sphere of

Johnnie Taylor. Covering Latimore’s big hit “Let’s Straighten It Out” is also a smart move since it connects with the southern soul contingent.

Bad as he wants to be? Maybe. But Caillier’s certainly as versatile as he wants to be.

—Dan Willging

Gator Swamp Trent Bourgeois Louisiana Roadhouse (Independent) On Louisiana Roadhouse, Trent Bourgeois was trying to create the feel of a typical Saturday night in any number of roadhouses that you can find throughout Louisiana, and for the most part, the album does just that.

The songs typically range from country to swamp pop, and lyrically cover the terrain one would expect in those styles. Joining Bourgeois is an impressive list of guests including Nashville session players Brent Mason (guitar) and Larry Franklin (fiddle). Swamp pop legends Don Rich (accordion) and Van Broussard (vocals) are joined by Chubby Carrier (accordion), Mike Broussard and Bob Henderson (saxophone), Lacy Blackledge (trumpet), Beau Thomas (fiddle), Taylor Nauta (guitar), J.D. White (guitar, mandolin), David Hyde (bass), and Nelson Blanchard (guitar, drums, keyboards, mandolin).

You can definitely hear a Nashville influence throughout the recording, but it is when Trent leaves Nashville and focuses on his Louisiana roots, both lyrically and stylistically, that the album is most successful. Bourgeois makes this point clear on “Back To Luzianne” and “Louisiana,” the latter of which paints a beautiful picture of what it is like to live in this great state.

“Gonzales Ain’t Dallas,” which is revisited with special guest Grayland Templet as a bonus recording, is pure swamp pop and it gives Mike Broussard and Bob Henderson a chance to shine on sax. Speaking of swamp pop, one of the highlights of the record is “Van the Man,” a song Bourgeois wrote about Van Broussard; and lucky for us, Broussard makes a guest appearance on vocals. “Gator Swamp” is really more of an interlude that features live swamp sounds recorded outside of Trent’s house, but the song is driven by a great accordion groove that really deserves to be fully developed. Finally, if you enjoy the classic sound of a Fender Telecaster then you will want to jump right to “Gator Pick’n’” which features impressive playing from Brent Mason, Redd Volkaert, and Gerry McGee, each taking turns showing why they are considered some of the best in the business.

—Christopher Weddle www.OFFBEAT.com

REVIEWS

Treadles Bees Are Thieves Too (Community Records) Imagine if your favorite postrockers actually went outside.

What kind of music would your math-loving, technically obsessed loopers make if they took a second to look up at the heavens and saw anything other than the far north’s patented endless expanse of grey?

We have to think it would sound something like Treadles’ Bees Are Thieves Too. While the four-piece know their way around knotty and complicated bits of herky-jerky, layered indie rock, their new EP also makes room for the softer curves of the natural world. Across six too-quick tracks, the group frequently peels away sheets of droning sounds or complicated playing to share something a bit more human. The group uses their dazzling vocal harmonies to provide a bridge between the clangorous and calmative moments of each song, making it easier to believe that the rigid, whip-smart sound of “An Albatross” and the pastoral, fingerplucked closer “Soft Heap” can exist in the same album.

Treadles started out as the solo project of Kara Stafford, a.k.a. KC, and it has maintained that feeling of that solo songwriter intimacy even as it’s gained a few extra layers of harsh noise and occasional screaming. The end result sounds like an unpleasant truth realized in a serene location, like taking a walk in the woods and noticing there’s significantly less buzzing than when you were a kid.

—Alex Galbraith

Kim Wilson Blues and Boogie Vol. 1 (Severn) Every bit a blues chameleon, Kim Wilson records and preforms under his own name as well as with the Fabulous Thunderbirds—the Austin-based band he helped found four decades ago. This CD consists mainly of covers of semi-obscure blues classics that most working blues bands could reproduce in www.OFFBEAT.com

a couple of hours—however, not at this high quality. A master of the harmonica, Wilson faithfully reproduces the genius of Little Walter, Jimmy Reed and Sonny Boy Williamson. His treatments of Walter’s “Blue and Lonesome” and “Teenage Beat” are emotive and heartfelt, and both feature the chromatic harp played at its apex.

He’s also a welcome guest in Sonny Boy’s Helena, Arkansas kitchen with his dead-on covers of “Ninety Nine” and “From the Bottom.”

There’s a Little Milton/Magic Sam song in the mix, “Same Old Blues,” that’s pushed by a glorious vintagesounding horn section. Interestingly, Elmore James comes under the microscope with “No Love in my Heart” and “Sho Nuff I Do” being joyfully recycled. But the corker here is Wilson’s original “Searched All Over,” which sounds like a Trumpet Records outtake from an Elmore/ Sonny Boy session circa 1952.

Sixteen non-sugar coated blues tracks presented in glorious mono.

The band here is spectacular and Wilson’s at the top of his game.

Definitely don’t pass this one up if the blues is your bag.

—Jeff Hannusch

National Lagarde Story of a Southern Gentleman (Sliptrick Records) National Lagarde’s Story of a Southern Gentleman is a curious mixture of styles. Terry Lagarde’s description of his band on their Facebook page is not too far from the mark; he calls his “eccentric rock” a blend of “jazz, blues, [and] flamenco/classical” that “all slam together in a rock format” with “story-telling vocals.” But there’s more to it than that. Right from the FEBRU A RY 2 018

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get-go, the surf rock influence is noticeable; the opening track is a transformation of Dick Dale’s iteration of “Miserlou.”

But one also gets the sense on many of these tracks that they wouldn’t sound out of place as the soundtrack to a modern spaghetti western, epic in scope and tone with a dark, almost haunted feel. Although he doesn’t discuss it himself, his “story-telling” vocal style owes as much to country as it does to blues, and the impact of the composer of the album’s lone cover, Tom Waits’ “Goin’ Out West,” is palpable in the lyrics, the sometimes rough vocals and the songwriting method throughout. His raw, dark, unrefined vocal-lyrical style, however, is just half the focus of the record.

Ghostly Clint Eastwood aside, the other prominent feature is Terry’s shred guitar, as one might expect from a teacher of the instrument. Some the comparisons are obvious: a dash of Jimi Hendrix and Jimmy Page, a splash of Metallica’s Kirk Hammett and Alice in Chains’ Jerry Cantrell. Perhaps even some Rage Against the Machine and Tool in the riff approach.

But that’s overly reductive, as Terry’s skill on the acoustic and propensity to end his solos in a timely fashion differ from these pioneers of various styles in the lineage of hard rock.

There are a few odd stylistic choices, like inclusion of some abrupt piano and synthesizer passages, a track with an unusual rhythmic pattern that perhaps doesn’t flow as easily as it could, some borderline doo-wop/

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bubble gum pop vocal harmonies, and a single dissonant trumpet fill. And Terry’s unusual vocal and songwriting style is not for everyone. But these definitely lend some idiosyncratic charm to the record, and I’ve never heard anything quite like it. For those looking for a different take on hard rock with a distinctly Louisiana flavor to it, ending as it does with a delightfully innuendoladen country hidden track about “mowing your grass,” this is as good a place to start as any.

—Nick Benoit

Jackie Shane Any Other Way (Numero Group) During the years that preceded Canada having its current flag, Pierre Trudeau, and the Maple Leafs winning a string of three Stanley Cups, Jackie Shane was the toast of Toronto’s Yonge Street. A transgender, AfricanAmerican R&B “entertainer,” Shane mesmerized audiences in Southern Ontario, Montreal and Boston during the 1960s. Black, white, gay, straight, Canadian and American’s packed them in to see her. Busloads of fans from as far away as Detroit and Buffalo came to see Shane’s revue at the Brass Rail and the Saphire Tavern in Toronto. Shane was not only flamboyant, but Shane could really preach and sing.

At the height of her popularity in 1971, Shane opted to leave music and Canada. She seemingly dropped off the face of the Earth.

Some rumors presumed she was dead. Eventually, with the advent of the internet, YouTube and iTunes, the legend of Jackie Shane incubated and a fresh wave of fans and musicologists discovered her soulfulness. But until recently, only the half had been told. Then in 2016, the reclusive Shane was tracked down. Finally the story of one of the greatest unsung soul singers of the ’60s can now be told.

This double CD recycles a clutch of great singles and a historic live album recorded in 1967 at the Saphire. The

centerpiece here is the coy title track, which became a huge hit in Toronto. “Any Other Way” was written and recorded by William Bell in 1962. Shane, though, turned the song into her anthem.

In the lyrics, Shane instructs his friend to tell his one-time female lover, “Tell her that I’m happy, tell her that I’m gay, tell her I wouldn’t have it... any other way.” Believe me, that was a heavy message for Toronto in 1962. But while Shane’s original sizzles, the extended live version sets the house afire.

Of the singles, most are covers but Shane delivers somewhat

“coded” lyrics with humor, sass and passion. The best here include “Sticks and Stones,” “Comin’ Down” and “Stand Up Straight and Tall.” Of her originals, “New Way Of Lovin’”—from the late 1960s—marked a progression from the harder R&B that she identified with.

The energetic live album’s foundation was the great Frank Motley band, the Hitch Hikers.

Shane handles many of the thenpopular R&B hits—”Money,” “You’re the One,” “Raindrops” and of course “Any Other Way.” Though not political, during the

Classics and Finely Written Originals Mark McGrain Love Time and Divination (Immersion Records) Trombonist Mark McGrain changes direction, mood and instrumentation on his latest release Love Time and Divination in comparison to his previous recordings, including 2015’s IN for the OUT. While that release featured drummer Simon Lott and a whole host of musicians, the new album goes drumless and includes the vocals of John Boutté, with whom McGrain has performed for many years. Notably, Boutté’s group also doesn’t employ a drummer and to some degree, McGrain seems to emulate the romance and swing he’s enjoyed as a sideman with the vocalist. Here, however, he’s working with the trio of pianist Matt Lemmler and bassist James Singleton on primarily his own original material.

Lemmler’s old-timey piano take on the standard “As Time Goes By” opens the album with McGrain’s lyrical and always perfectly-pitched trombone “singing” the well-known song. The leader’s self-penned “Blossom” might be new but the swingin’ tune already sounds like a classic. Singleton’s solid bass line provides such a strong rhythmic base that one tends to forget the absence of drums.

A highlight of Boutté’s work on the album comes, interestingly, by his interpretation of a Pink Floyd tune, “On the Turning Away.” With its socially conscious lyrics and anthem-like qualities, it’s the perfect vehicle for the always-passionate Boutté. Wonderfully arranged by McGrain, at times—and with the aid of a bit overdubbing—the small group sounds like an entire orchestra.

McGrain, who has often been considered an edgy player with a fondness for dissonance, brings those qualities though with a much softer touch. He displays his romantic side on tunes such as his beautiful, original ballad “Étreinte Bleu (Paris Blue Embrace),” the sway of the title cut and the closing standard “I Can’t Get Started” which grabs attention with its dramatic introduction Mark McGrain’s theme, Love Time and Divination, proclaims the ability of the old and the new—classics and finely written originals—to share the stage of beauty when played by talented musicians.

—Geraldine Wyckoff www.OFFBEAT.com

REVIEWS extended monologues, Shane used her sharp wit and selfassuredness to address her views of society. The audience might just as well have been shouting “Tell it Jackie!”

The packaging here is unsurpassed. The clips and old photos from Shane’s scrapbook are jaw dropping. Her story, which is told in a 79-page booklet, is virtually a script which translates to the silver screen. Thank God this set is a tribute and not a memorial. Like Jackie Shane, this box set is something else.

—Jeff Hannusch

sung by Lisa. It tells the story of how Reuben (Harry’s nickname) lovingly visits the gravesite of his dearly departed wife Elsie with the realization that someday they’ll reunite again but not on Earthly soil.

—Dan Willging

Harry Trahan Coeur et Âme (Independent) 79-year-old Harry Trahan was once a workhouse accordionist in his younger days, playing fourhour gigs several nights a week for years before semi-retiring to play informal family parties.

More than half a century later, Trahan still has his chops and plays with plenty of drive and ornamentation, hence the impetus for this album spearheaded by daughter Lisa of Magnolia Sisters fame. It’s a warm and friendly album of well-played standards led by Harry’s buoyant tone accompanied by Lisa (guitar), Zachary Fuselier and Henry Hample (fiddles). Louie Aucoin anchors the thudding bottom-end on washtub bass.

Though engineer Joel Savoy creates a spacious dancehall sound, the overall vibe is more one of community where practically everyone sings a number or two.

Granddaughter Renee Reed does a splendid job dueting with her pop-pop on “Mon Bon Vieux Mari,” a time-honored comical exchange between a wife and her carousing husband. Even Harry’s brother/saxman Willie T joins the action on a couple of bluesy numbers where Harry plays the triple-row accordion with an unintentional Tex-Mex flair.

But what’s most touching of all is the album’s lone original, “La Valse à Reuben,” written and www.OFFBEAT.com

Cat Head Biscuit Boys Cat Head Biscuit Boys (Valcour Records ) Though the Cat Head Biscuit Boys’ eponymously titled debut is a mere four-song EP, it’s nonetheless an intriguing cross-section of the band’s eclecticism and versatility.

As evidenced by “Diamond Joe,” a spirited mountain hoedown spearheaded by Ben Shank’s driving fiddling. CHBB never stays in one place for long. There’s vintage jazz on “It’s a Sin to Tell a Lie,” the disc’s most infectious track, which features Roger Kash’s syncopated vocals and Dr. Josef Butts’ killer acoustic bass solo.

There’s also a strong David Egan connection with “Creole Tomato” that only now makes its recorded debut. Originally the late singersongwriter/pianist envisioned it as a New Orleans mambo but when Los Texmaniacs’ Josh Baca came in to play accordion, he stirred it up as a salsa-powered conjunto mambo.

Butts’ gypsy-jazz flavored “The Way You Do” boasts telepathic interplay between Kash, Shank and acoustic guitarist Bruce MacDonald, who kicks off the main melody with a cool stutter riff. Lyrically, it’s delightfully quirky with such oddball lines as “Nobody rubs my head the way you do,” showing how there’s never a shortage of creativity when professing true love.

—Dan Willging FEBRU A RY 2 018

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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

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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

TUESDAY JANUARY 30

Buffa’s: Tacos, Tequila and Tiaras with Vanessa Carr (VR) 8p Chickie Wah Wah: Chip Wilson and Marcello Benetti (VR) 5:30p, Lynn Drury (VR) 8p d.b.a.: Dinosaurchestra (JV) 7p, Treme Brass Band (BB) 10p Dragon’s Den: the All-Star Covered-Dish Country Jamboree (CW) 9p Funky Pirate: Blues Masters (BL) 8:30p Howlin’ Wolf (the Den): Comedy Beast (CO) 9p Jazz Playhouse: James Rivers Movement (JV) 8p Kerry Irish Pub: Jason Bishop (FO) 8:30p Lafitte’s Blacksmith Shop: Lucky Lee (SS) 9p Maison: the Function, Gregory Agid, Samantha Pearl (VR) 4p Maple Leaf: Rebirth Brass Band (FK) 10p Old U.S. Mint: Down on Their Luck Orchestra (TJ) 2p Preservation Hall: Preservation Legacy Band (TJ) 5p, Preservation All-Stars (TJ) 8p Siberia: Open Acoustic Mic with Brother Hash (VR) 8p Snug Harbor: Stanton Moore Trio (JV) 8 & 10p Spotted Cat: Andy J. Forest (JV) 2p, Meschiya Lake and the Little Big Horns (JV) 6p, Smoking Time Jazz Club (JV) 10p Three Keys (Ace Hotel): Think Less, Hear More (JV) 8p Three Muses: Sam Cammarata (JV) 5p, Joshua Gouzy (JV) 8p Tropical Isle Bourbon: Wild Card (RK) 5p, Jezebels Chill’n (RK) 9p Tropical Isle Original: the Hangovers (RK) 5:15p, F.A.S.T. (RK) 9:15p

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WEDNESDAY JANUARY 31

Buffa’s: Open Mic Night with Nattie Sanchez (SS) 7p Chickie Wah Wah: Ivor Simpson-Kennedy (VR) 5:30p, Seth Kessel (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 (BL) 8:30p Gasa Gasa: Radio Moscow, Amplified Heat (RK) 9p Jazz Playhouse: Miss Sophie Lee (JV) 8p Kerry Irish Pub: Patrick Cooper (FO) 8:30p Maison: Jazz Vipers, DAB (VR) 6:30p Maple Leaf: Brittany Purdy and her Sazaraz Band (JV) 10p Morning Call: Valerie Sassyfras (VR) 10a, Krewe du Two (VR) 1p Old U.S. Mint: Billie Davies (VR) 7p Palm Court Jazz Café: Lars Edegran and Topsy Chapman with Palm Court Jazz Band (JV) 8p Preservation Hall: Preservation Legacy Band (TJ) 5p, Preservation All-Stars (TJ) 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): Marina Orchestra (SO) 9p Three Muses: Leslie Martin (JV) 5p, Esther Rose (JV) 8p Tipitina’s: Yonder Mountain String Band (BU) 9p Tropical Isle Bayou Club: the Troubadour (KJ) 7p Tropical Isle Bourbon: Jezebels Chill’n (RK) 5p, Debi and the Deacons (RK) 9p

THURSDAY FEBRUARY 1

Bacchanal: Raphael Bas (JV) 12p, Mike Harvey’s Hot Club (JV) 7:30p Buffa’s: Gumbo Cabaret (JV) 5p, Tom Saunders and the Hot Cats (JV) 8p Bullet’s: Kermit Ruffins and the BBQ Swingers (JV) 6p Chickie Wah Wah: Phil DeGruy (VR) 6p, Jason Eady and Courtney Patton (VR) 8p Crazy Lobster: the Spanish Plaza 3 (VR) 5p d.b.a.: Alexis and the Samurai (ID) 7p, Little Freddie King (BL) 10p Funky Pirate: Mark and the Pentones (BL) 4p, Blues Masters (BL) 8:30p Gasa Gasa: Maggie Belle Band, the Quickening (FK) 8p Howlin’ Wolf (the Den): Comedy Gumbeaux (CO) 8:30p Howlin’ Wolf: Bun B (HH) 9p Jazz Playhouse: Ashlin Parker Trio (JV) 5p, Brass-AHolics (BB) 8:30p Kerry Irish Pub: Beth Patterson (FO) 8:30p Lafitte’s Blacksmith Shop: Lucky Lee (SS) 9p Le Bon Temps Roule: Soul Rebels (FK) 11p Little Gem Saloon: Monty Banks (JV) 5p, Charlie Miller and Marc Stone (BL) 7p Little Tropical Isle: Allen Hebert (RK) 5p, Jezebels Chill’n (RK) 9p Maison: Good For Nothin’ Band, Sweet Substitute, Dysfunktional Bone (VR) 4p Maple Leaf: Steve DeTroy (JV) 7p, the Trio feat.

Johnny Vidacovich, June Yamagishi and James Singleton (FK) 10p

New Orleans Jazz Market: Save Our Sponge Concert feat. Tom McDermott, Lost Bayou Ramblers (VR) 7:30p New Orleans Jazz Museum (Old U.S. Mint): Ron Hacker Band (VR) 8p Ogden Museum of Southern Art: Greg Schatz (SS) 6p Palm Court Jazz Café: Leroy Jones and Katja Toivola with Crescent City Joymakers (TJ) 8p Preservation Hall: Preservation Legacy Band feat.

Gregg Stafford (TJ) 5p, Preservation All-Stars with Louis Ford (TJ) 8p Rock ‘n’ Bowl: Geno Delafose (ZY) 8:30p Siberia: Eastern Bloc Party feat. Backyard Balkan Brass Band (GY) 9p Snug Harbor: Spencer Bohren and the Whipper Snappers (JV) 8 & 10p Spotted Cat: Up Up We Go (JV) 2p, Miss Sophie Lee (JV) 6p, Jumbo Shrimp (JV) 10p Three Muses: Tom McDermott (JV) 5p, Esther Rose (JV) 7:30p Tropical Isle Bayou Club: Cajun Drifters (KJ) 5p, Faubourg Ramblers (KJ) 9p Tropical Isle Original: the Hangovers (RK) 5:15p, Late As Usual (RK) 9:15p

FRIDAY FEBRUARY 2

Buffa’s: Should O’ Sam with Sam Price (VR) 6p, Calvin Johnson and Native Son (JV) 9p Chickie Wah Wah: Mark Carroll (VR) 6p, Papa Mali (VR) 8p Crazy Lobster: Ken Swartz and the Palace of Sin (VR) 5p d.b.a.: Hot Club of New Orleans (JV) 6p, Big Chief Juan Pardo and the Golden Comanches (MG) 10p Dragon’s Den: Julie Odell (SS) 7p, the Tipping Point with DJ RQ Away (HH) 10p; Upstairs: Comedy Fuck Yeah (CO) 8p, Latin Night (LT) 11p Funky Pirate: Mark and the Pentones (BL) 2p, Blues Masters (BL) 8:30p Gasa Gasa: Lomelda, New Holland, Harry Permezel (ID) 10:30p Howlin’ Wolf: Unrig the System Summit feat.

Meschiya Lake and the Little Big Horns, Brass-AHolics (VR) 8p House of Blues (the Parish): Dee-1 (HH) 7:30p House of Blues: Slippery When Wet: the Ultimate Bon Jovi Tribute (CB) 9p Jazz National Historical Park: Johnette Downing (SS) 11a Jazz Playhouse: Joe Krown (JV) 4:30p, Grayson Brockamp and the New Orleans Wildlife Band (JV) 7:30p, Trixie Minx’s Burlesque Ballroom feat.

Romy Kaye and the Mercy Buckets (BQ) 11p Kerry Irish Pub: Patrick Cooper (FO) 5p, Jamie Lynn Vessels (FO) 9p Little Gem Saloon: Lilli Lewis (JV) 5p, New Soul Finders feat. Marilyn Barbarin, Papa Mali, Reggie Scanlan, Terry Scott Jr., Michael Burkart and Marc Stone (JV) 8p Little Tropical Isle: Reed Lightfoot (RK) 5p, Styk (RK) 9p Maison: Swinging Gypsies, Shotgun Jazz Band (JV) 4p, Gumbo Funk, Big Easy Brawlers (FK) 10p Maple Leaf: 101 Runners (MG) 10p Morning Call: Valerie Sassyfras (VR) 10a New Orleans Jazz Museum (Old U.S. Mint): Rick Trolsen’s Neslorchestra (JV) 2p, Mardi Gras Mambo (VR) 6p Orpheum Theater: John Prine (SS) 8p Palm Court Jazz Café: Kevin Louis with Palm Court Jazz Band (TJ) 8p

Preservation Hall: Preservation Legacy Band feat.

Wendell Brunious (TJ) 5p, Preservation All-Stars feat. Will Smith (TJ) 8p Snug Harbor: Germaine Bazzle and Larry Sieberth Quartet (JV) 8 & 10p Spotted Cat: Andy J. Forest (JV) 2p, Doro Wat Jazz Band (JV) 6p, New Orleans Cottonmouth Kings (JV) 10p Three Muses: Royal Roses (JV) 5:30p, Doro Wat Jazz Band (JV) 9p Tipitina’s: John “Papa” Gros, the Crooked Vines (VR) 10p Tropical Isle Bayou Club: Faubourg Ramblers (KJ) 5p, T’Canaille (KJ) 9p Tropical Isle Bourbon: Wild Card (RK) 5p, Debi and the Deacons (RK) 9p

SATURDAY FEBRUARY 3

Blue Nile: Washboard Chaz Blues Trio (BL) 7p Buffa’s: Doyle Cooper and the Red Hot Jazz Band (JV) 11a, Derrick Freeman Trio (JV) 6p, Joe Krown and Walter “Wolfman” Washington (VR) 9p Chickie Wah Wah: Hayes Carll (VR) 9p Crazy Lobster: the River Gang (VR) 11a, Poppy’s Poppin’ Saturday Review (VR) 4p Creole Cookery: Trad Stars Jazz Band (JV) 11a d.b.a.: Meschiya Lake and the Little Big Horns (JV) 6p, Soul Rebels (FK) 11p Dos Jefes: Antonio (JV) 10p Dragon’s Den: DJ FTK (VR) 6p, Primetime feat.

DJ Legatron Prime (VR) 10p; Upstairs: Talk Nerdy to Me (BQ) 8p, Sexy Back with DJ Dizzi (VR) 10p Funky Pirate: Mark and the Pentones (BL) 2p, Blues Masters (BL) 8:30p Gasa Gasa: Sam Lewis, Anne Elise Hastings and her Revolving Cast of Characters (FO) 10p House of Blues (the Parish): Richard Thompson, Electric Trio, Andrew Duhon (FO) 9p House of Blues: LouMuzik Live (HH) 8p Jazz Playhouse: Stefon Moll (JV) 5p, Shannon Powell Quartet (JV) 8p Kermit’s Mother-in-Law Lounge: Neisha Ruffins (JV) 8:30p Kerry Irish Pub: Beth Patterson (FO) 5p, Lonestar Stout (FO) 9p Lafitte’s Blacksmith Shop: Lucky Lee (SS) 9p Little Gem Saloon: Tribute to Muddy Waters, Son House and Robert Johnson with John Mooney, Bruce “Sunpie” Barnes and Marc Stone (BL) 8p Little Tropical Isle: Reed Lightfoot (RK) 5p, Styk (RK) 9p Maison: Chance Bushman and the Ibervillianaires, the Gabriella Cavassa Group (VR) 1p, Smoking Time Jazz Club, Raw Deal, Sierra Green and the Soul Machine (VR) 7p Maple Leaf: In Business (FK) 10p McAlister Auditorium (Tulane University): Unrig the System Summit Saturday Night Show feat.

Preservation All-Stars, HoneyHoney and others (VR) 8p Morning Call City Park: Billy D. Chapman (JV) 10a New Orleans Jazz Museum (Old U.S. Mint): Nobody’s Fault (VR) 7p One Eyed Jacks: Aaron Lee Tasjan, Steve Poltz (VR) 9p Palm Court Jazz Café: Gregg Stafford and Palm Court Jazz Band (TJ) 8p Preservation Hall: Preservation All-Stars (TJ) 5p, Preservation All-Stars feat. Rickie Monie (TJ) 8p Rock ‘n’ Bowl: AsheSon (LT) 9p

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LIVE LOCAL MUSIC Siberia: Monocle, Julie Odell, Alejandro Skalany (VR) 10p Spotted Cat: Antoine Diel and Arsene DeLay (JV) 2p, Panorama Jazz Band (JV) 6p, Davis Rogan Band (JV) 10p Three Keys (Ace Hotel): 79ers Gang (FK) 10p Three Muses: Nicholas Barron (JV) 6p, Shotgun Jazz Band (JV) 9p Time Out: Andre Bouvier and the Royal Bohemians (VR) 11a Tipitina’s: Hustle! with DJ Soul Sister (FK) 10p Tropical Isle Bayou Club: the Troubadour (KJ) 1p, Faubourg Ramblers (KJ) 5p, T’Canaille (KJ) 9p Tropical Isle Original: the Hangovers (RK) 5:15p, Late As Usual (RK) 9:15p

SUNDAY FEBRUARY 4

Bacchanal: the Tangiers Combo (JV) 12p, John Zarsky and the Tradstars (JV) 4:30p, Novos Sapatos (JV) 7:30p Buffa’s: Some Like It Hot! (TJ) 10:30a, Pfister Sisters (JV) 2p Chickie Wah Wah: Meschiya Lake and the Little Big Horns Trio (VR) 8p Crazy Lobster: the Gator Bites (VR) 11a, the Neon Shadows (VR) 4p d.b.a.: Deltaphonic (FK) 10p Dragon’s Den: Open Jazz Jam with Anuraag Pendyal (JV) 7p, Church (EL) 10p Funky Pirate: Mark and the Pentones (BL) 4p, Willie Lockett Band (BL) 8p Howlin’ Wolf (the Den): Hot 8 Brass Band (BB) 10p Kerry Irish Pub: Tail Light Rebellion (FO) 8:30p Little Gem Saloon: Little Freddie King (BL) 11a Maison: NOLA Jitterbugs Jazz Band, Leah Rucker, the Function (VR) 10a, Royal Street Winding Boys, Higher Heights (VR) 7p Maple Leaf: Terence Higgins, Tony Hall and Ivan Neville (JV) 10p Old Point Bar: Jazz Night (JV) 7p Palm Court Jazz Café: Mark Braud with Sunday Night Swingsters (TJ) 8p Preservation Hall: Preservation Legacy Band feat.

Gregg Stafford (TJ) 5p, Preservation All-Stars feat. Wendell Brunious (TJ) 8p Snug Harbor: the Gentilly Groovemasters (JV) 8 & 10p Spotted Cat: Aurora Nealand and the Royal Roses (JV) 2p, Kristina Morales and the Inner Wild (JV) 6p, Pat Casey and the New Sound (JV) 10p Three Keys (Ace Hotel): Juju Child and the Hypnotic Roots Band (BL) 9p Three Muses: Raphael et Pascal (JV) 5p, Linnzi Zaorski (JV) 8p Tropical Isle Bourbon: 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 FEBRUARY 5

Buffa’s: Arsene DeLay (VR) 5p, Antoine Diel (JV) 8p Chickie Wah Wah: Justin Molaison (VR) 5:30p, Alex McMurray (SS) 8p Crazy Lobster: the Insta-Gators (VR) 5p d.b.a.: John Boutte (JV) 7p, Michael Hurtt and his Haunted Hearts (BL) 10p Dragon’s Den: Monday Swing Night feat. Brasileiro Duo, Tom Saunders and the Hot Cats (SI) 8p, AudioDope with DJ Ill Medina (VR) 11p Funky Pirate: Willie Lockett Band (BL) 8p Howlin’ Wolf (the Den): Coast 2 Coast Live Interactive Showcase (HH) 10p Jazz Playhouse: Gerald French and the Original Tuxedo Jazz Band (JV) 8p Joy Theater: BØRNS, Charlotte Cardin, Mikky Ekko (VR) 8p Kerry Irish Pub: Beth Patterson (FO) 8:30p Lafitte’s Blacksmith Shop: Lucky Lee (SS) 9p Little Tropical Isle: Mark Parsons (RK) 5p, Reed Lightfoot (RK) 9p Maison: Chicken and Waffles, Aurora Nealand and the Royal Roses, Sierra Green and the Soul Machine (JV) 4p Maple Leaf: George Porter Jr. Trio feat. Terrence Houston and Mike Lemmler (FK) 10p

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Morning Call: Valerie Sassyfras (VR) 10a One Eyed Jacks: John Maus, LUKDLX (VR) 8p Preservation Hall: Preservation Jazz Masters feat.

Leroy Jones (TJ) 5p, Preservation All-Stars feat.

Will Smith (TJ) 8p Rock ‘n’ Bowl: West Coast Swing Dance Party (SI) 7p Snug Harbor: Charmaine Neville Band (JV) 8 & 10p Spotted Cat: Royal Street Winding Boys (JV) 2p, Dominick Grillo and the Frenchmen St. All-Stars (JV) 6p, Jazz Vipers (JV) 10p Three Muses: Monty Banks (JV) 5p, Mia Borders (JV) 8p Tropical Isle Bayou Club: Cajun Drifters (KJ) 7p Tropical Isle Bourbon: Rhythm and Rain (RK) 5p, F.A.S.T. (RK) 9p

TUESDAY FEBRUARY 6

Bacchanal: Raphael Bas (JV) 12p, Mark Weliky (JV) 7:30p Buffa’s: Tacos, Tequila and Tiaras with Vanessa Carr (VR) 8p Chickie Wah Wah: Chip Wilson (VR) 6p, Cary Hudson (VR) 8p 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 Dragon’s Den: the All-Star Covered-Dish Country Jamboree (CW) 9p Ellis Marsalis Center For Music: Alvin Batiste Tribute Concert feat. Wessel “Warmdaddy” Anderson, Harry E. Anderson, Herman Jackson, Gregory Agid, Ed Perkins (JV) 6:30p Howlin’ Wolf (the Den): Comedy Beast (CO) 8:30p Jazz National Historical Park: Richard “Piano” Scott (PI) 12p Jazz Playhouse: James Rivers Movement (JV) 8p Kerry Irish Pub: Jason Bishop (FO) 8:30p Lafitte’s Blacksmith Shop: Lucky Lee (SS) 9p Little Tropical Isle: Mark Pentone (RK) 5p, Frank Fairbanks (RK) 9p Maison: Frog and Henry, Gregory Agid Quartet, Gene’s Music Machine (VR) 4p Maple Leaf: Rebirth Brass Band (FK) 10p New Orleans Jazz Museum (Old U.S. Mint): Down on their Luck Orchestra (JV) 2p One Eyed Jacks: Kanaval Ball (MG) 8p Preservation Hall: Preservation All-Stars feat. Lucien Barbarin (TJ) 5p Rock ‘n’ Bowl: Latin Night (LT) 7p Siberia: Leyla McCalla, Sabine McCalla (SS) 9p Snug Harbor: Stanton Moore Trio (JV) 8 & 10p Spotted Cat: Andy J. Forest (JV) 2p, Meschiya Lake and the Little Big Horns (JV) 6p, Smoking Time Jazz Club (JV) 10p Three Keys (Ace Hotel): Ivan Neville’s NOLA Nites with Kirk Joseph, Terence Higgins and Big Chief Juan Pardo (FK) 9p Three Muses: Sam Cammarata (JV) 5p, Josh Gouzy (JV) 8p Tropical Isle Bourbon: Wild Card (RK) 5p, Jezebels Chill’n (RK) 9p Tropical Isle Original: the Hangovers (RK) 5:15p, F.A.S.T. (RK) 9:15p

WEDNESDAY FEBRUARY 7

Bacchanal: Raphael Bas (JV) 12p, Jesse Morrow (JV) 7:30p Buffa’s: Open Mic Night with Nattie Sanchez (SS) 7p Chickie Wah Wah: Ivor Simpson-Kennedy (VR) 5:30p, Travis Linville (JV) 8p Circle Bar: Shake the Baby, Tranche (ID) 10:30p Crazy Lobster: Ken Swartz and the Palace of Sin (VR) 5p d.b.a.: Tin Men (BL) 7p, Walter “Wolfman” Washington and the Roadmasters (BL) 10p Dragon’s Den: Groove Therapy (HH) 9p, DanceHall Classics (RE) 10p Gasa Gasa: North By North, Trance Farmers, Pucusana, Garbage Boy (RK) 8p Hi-Ho Lounge: Marina Orchestra, Keith Burnstein (VR) 9p Jazz Playhouse: Nayo Jones Experience (JV) 8p FEBRU A RY 2 018

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LIVE LOCAL MUSIC Kerry Irish Pub: Patrick Cooper (FO) 8:30p Little Gem Saloon: Reid Poole Duo (JV) 7:30p Little Tropical Isle: Mark Parsons (RK) 5p, Reed Lightfoot (RK) 9p Maison: McKenna Alicia, Jazz Vipers, Roccadile (VR) 4p Maple Leaf: Percy J. (FK) 10p Morning Call: Valerie Sassyfras (VR) 10a, Krewe du Two (VR) 1p Palm Court Jazz Café: Lars Edegran and Topsy Chapman with Palm Court Jazz Band (TJ) 8p Preservation Hall: Tornado Brass Band feat. Darryl Adams (TJ) 5p, Preservation All-Stars (TJ) 8p Republic: Wear Haus feat. Prismo, Pixel Terror (EL) 9p Rock ‘n’ Bowl: Sing Like A Star Live-Band Karaoke Party (KR) 8p Snug Harbor: Uptown Jazz Orchestra (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): Helen Gillet +1 (MJ) 9p Three Muses: Leslie Martin (JV) 5p, Hot Club of New Orleans (JV) 8p Tropical Isle Bayou Club: the Troubadour (KJ) 7p Tropical Isle Original: Debi and the Deacons (RK) 5:15p, Late As Usual (RK) 9:15p

THURSDAY FEBRUARY 8

Bacchanal: Raphael Bas (JV) 12p, Mike Harvey’s Hot Club (JV) 7:30p Buffa’s: Jerry Jumonville and the Jump City Band (JV) 5p, Tom McDermott and Aurora Nealand (JV) 8p Bullet’s: Kermit Ruffins and the BBQ Swingers (JV) 6p Chickie Wah Wah: Phil DeGruy (VR) 6p, Don Diego Trio (VR) 8p Crazy Lobster: the Spanish Plaza 3 (VR) 5p Dragon’s Den: Crescent Fresh Comedy (CO) 7p; Upstairs: Felion (FK) 10p Funky Pirate: Mark and the Pentones (BL) 4p, Blues Masters (BL) 8:30p House of Blues: the Devil Makes Three (BU) 9p Howlin’ Wolf (the Den): Comedy Gumbeaux (CO) 8:30p Jazz Playhouse: Ashlin Parker Trio (JV) 5p, Brass-AHolics (BB) 8:30p Joy Theater: Lettuce, the Motet (FK) 10p 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: Monty Banks (JV) 5p, Reid Poole Duo (JV) 7:30p Little Tropical Isle: Allen Hebert (RK) 5p, Jezebels Chill’n (RK) 9p Maison: Good For Nothin’ Band, Roamin’ Jasmine, Dysfunktional Bone (VR) 4p Maple Leaf: the Trio feat. Johnny Vidacovich, George Porter Jr. and Steve Masakowski (FK) 10p Maple Leaf: Richard Scott (JV) 7p Palm Court Jazz Café: Ben Polcer and Tim Laughlin with Crescent City Joymakers (TJ) 8p Preservation Hall: Preservation Legacy Band feat.

Gregg Stafford (TJ) 5p, Preservation All-Stars with Lucien Barbarin (TJ) 8p Republic: Mardi Gras Kick-Off feat. RiFF RaFF, DJ Afterthought, Max Taylor, Skylar Allen, Derek Taylor (HH) 9p Siberia: Eastern Bloc Party feat. the Klezmer AllStars (GY) 9p Snug Harbor: John Rankin (JV) 8 & 10p Spotted Cat: Up Up We Go (JV) 2p, Miss Sophie Lee (JV) 6p, Jumbo Shrimp (JV) 10p Three Keys (Ace Hotel): Little Cosmicana, Shake the Baby Til the Love Comes Out, Tranche, Bad Misters (ID) 9p Three Muses: Tom McDermott (JV) 5p Tropical Isle Bourbon: Wild Card (RK) 5p, Debi and the Deacons (RK) 9p Tropical Isle Original: the Hangovers (RK) 5:15p, Late As Usual (RK) 9:15p

FRIDAY FEBRUARY 9

Bacchanal: the Tangiers Combo (JV) 12p, Harmonouche (JV) 5p, Willie Green (JV) 7:30p Buffa’s: Dapper Dandies (JV) 6p, Luna y Miguel (LT) 9p

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Chickie Wah Wah: Mark Carroll (VR) 6p, Papa Mali (VR) 8p Crazy Lobster: Ken Swartz and the Palace of Sin (VR) 5p d.b.a.: Tuba Skinny (JV) 6p, Cha Wa feat. Big Chief Monk Boudreaux (MG) 10p Dragon’s Den: Julie Odell (SS) 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 (BL) 8:30p House of Blues (the Parish): LouMuzik Live (HH) 10p Howlin’ Wolf: Rebirth Brass Band (BB) 10p Jazz Playhouse: Joe Krown (JV) 5p, Soul Brass Band (JV) 8p Kerry Irish Pub: Chip Wilson (FO) 5p, Hurricane Refugees (FO) 9p Le Bon Temps Roule: Tom Worrell (PI) 7p Little Gem Saloon: Lilli Lewis (JV) 5p, Life and Music of Fats Domino feat. Zakk Garner and Christien Bold (RB) 7:30p Little Tropical Isle: Reed Lightfoot (RK) 5p, Styk (RK) 9p Maison: Swinging Gypsies, Shotgun Jazz Band (JV) 4p, Midnight Love Band, Big Easy Brawlers (FK) 10p Morning Call: Valerie Sassyfras (VR) 10a One Eyed Jacks: Tank and the Bangas, Sweet Crude (VR) 9p Palm Court Jazz Café: Kevin Louis with Palm Court Jazz Band (TJ) 8p Preservation Hall: Preservation Legacy Band feat.

Wendell Brunious (TJ) 5p, Preservation All-Stars feat. Will Smith (TJ) 8p Republic: Sleigh Bells, Sunflower Bean (VR) 7:30p, Fleur De Lit feat. Getter (EL) 11:30p Rock ‘n’ Bowl: Sing Like A Star Live-Band Karaoke Party (KR) 8p Siberia: Jackson and the Janks, Chris Acker and the Growing Boys (FO) 10p Snug Harbor: Topsy Chapman and Solid Harmony (JV) 8 & 10p Southport Hall: BLT Ball, PaperChase, DJ Jerry B, DJ Sam G (VR) 8:30p Spotted Cat: Andy J. Forest (JV) 2p, Washboard Chaz Blues Trio (JV) 6p, Jamey St. Pierre and the Honeycreepers (JV) 10p Three Muses: Matt Johnson (JV) 5:30p, Doro Wat Jazz Band (JV) 9p Tipitina’s: Maceo Parker, Helen Gillet (JV) 11p Tropical Isle Bayou Club: Faubourg Ramblers (KJ) 5p, T’Canaille (KJ) 9p

SATURDAY FEBRUARY 10

Bacchanal: the Tangiers Combo (JV) 12p, Red Organ Trio (JV) 4:30p, Jasen Weaver Band (JV) 7:30p Banks Street Bar: Ricky T. and the Rockets (BL) 1p Buffa’s: Doyle Cooper and the Red Hot Jazz Band (JV) 11a, Odd Fellows Rest (VR) 6p, the Royal Rounders (VR) 9p Chickie Wah Wah: Johnny J. and the Hit Men (VR) 3p Crazy Lobster: the River Gang (VR) 11a, Poppy’s Poppin’ Saturday Review (VR) 4p Creole Cookery: Trad Stars Jazz Band (JV) 11a d.b.a.: New Breed Brass Band (BB) 11p Dragon’s Den: Primetime feat. DJ Legatron Prime (VR) 10p; Upstairs: Talk Nerdy to Me (BQ) 8p, Sexy Back with DJ Dizzi (VR) 10p Funky Pirate: Mark and the Pentones (BL) 2p, Blues Masters (BL) 8:30p House of Blues: Biz Markie Gras (HH) 11p Howlin’ Wolf: Rebirth Brass Band, Sexual Thunder (FK) 10p Jazz Playhouse: Stefon Moll (JV) 5p, Michael Watson and the Alchemy (JV) 8p Kerry Irish Pub: the One Tailed Three (FO) 5p, Roux the Day (FO) 9p Lafitte’s Blacksmith Shop: Lucky Lee (SS) 9p Little Tropical Isle: Reed Lightfoot (RK) 5p, Styk (RK) 9p Maison: Chance Bushman and the Ibervillianaires, Royal Street Winding Boys, Smoking Time Jazz Club (JV) 1p, Ricio and Reece’s Pieces, Musical Expression (FK) 10p

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LIVE LOCAL MUSIC Maple Leaf: Cha Wa (MG) 10p Morning Call City Park: Billy D. Chapman (JV) 10a One Eyed Jacks: Big Freedia, Sweet Crude (VR) 9p Republic: Fleur De Lit feat. G. Jones (EL) 10:30p Rock ‘n’ Bowl: Sing Like A Star Live-Band Karaoke Party (KR) 8p Siberia: Morning 40 Federation (RK) 10p Snug Harbor: Herlin Riley Quartet (JV) 8 & 10p Spotted Cat: Shotgun Jazz Band (JV) 2p, Panorama Jazz Band (JV) 6p, Jazz Vipers (JV) 10p Three Keys (Ace Hotel): Team Familiar Go-Go Band (VR) 10p Three Muses: Arsene DeLay (JV) 6p, Davis Rogan (JV) 9p Tipitina’s: Galactic, Southern Avenue (VR) 11p Tropical Isle Bourbon: 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

SUNDAY FEBRUARY 11

Bacchanal: the Tangiers Combo (JV) 12p, John Zarsky and the Tradstars (JV) 4:30p, Roamin’ Jasmine (JV) 7:30p Buffa’s: Some Like It Hot! (TJ) 10:30a, Little Coquette (JV) 4p, Steve Pistorius Quartet (JV) 7p Chickie Wah Wah: Greazy Alice (VR) 8p d.b.a.: Palmetto Bugs Stompers (SI) 6p, Big Chief Monk Boudreaux and the Golden Eagles (MG) 11p Dragon’s Den: Open Jazz Jam with Anuraag Pendyal (JV) 7p, Upstairs: Church (EL) 10p Funky Pirate: Mark and the Pentones (BL) 4p, Willie Lockett Band (BL) 8p House of Blues: Anders Osborne and friends Mardi Gras Mayhem (RR) 10p Howlin’ Wolf (the Den): Hot 8 Brass Band (BB) 10p Howlin’ Wolf: Dumpstaphunk (FK) 10p Jazz Playhouse: Grayson Brockamp and the New Orleans Wildlife Band (JV) 8p Joy Theater: Big Gigantic, Shallou (VR) 10p Kermit’s Mother-in-Law Lounge: Kermit Ruffins and the BBQ Swingers (JV) 5:30p Kerry Irish Pub: Patrick Cooper (FO) 4:30p, Paintbox with Dave James and Tim Robertson (FO) 9p Le Bon Temps Roule: Soul Rebels (FK) 11p Little Tropical Isle: Styk (RK) 5p, Frank Fairbanks (VR) 9p Maison: Chance Bushman and the NOLA Jitterbugs, Roamin’ Jasmine, Russell Welch Hot Quartet (JV) 10a, G and the New Orleans Swinging Gypsies, Higher Heights (VR) 7p Maple Leaf: Joe Krown Trio feat. Walter “Wolfman” Washington (RB) 8p, Lost Bayou Ramblers (KJ) 11p One Eyed Jacks: Big Freedia, Tank and the Bangas (VR) 9p Palm Court Jazz Café: Mark Braud with Sunday Night Swingsters (TJ) 8p Republic: Super Dubday feat. Trampa, Downlink, Blitz, Bawldy (EL) 9p Siberia: Rory Danger and the Danger Dangers (RK) 10p Spotted Cat: Novos Sapatos (JV) 2p, Kristina Morales and the Inner Wild (JV) 6p, Pat Casey and the New Sound (JV) 10p Three Keys (Ace Hotel): Juju Child and the Hypnotic Roots Band (BL) 9p Three Muses: Raphael et Pascal (JV) 5p, Linnzi Zaorski (JV) 8p Tipitina’s: Shovels and Rope (VR) 11p Tropical Isle Original: the Hangovers (RK) 5:15p, Late As Usual (RK) 9:15p

MONDAY FEBRUARY 12

Bacchanal: Raphael Bas (JV) 12p, Helen Gillet (JV) 7:30p Blue Nile: Soul Rebels (FK) 11p Buffa’s: Arsene DeLay (VR) 5p, Antoine Diel (JV) 8p, Michael Mason (VR) 11p Cafe Istanbul: Lundi Gras Love VII: An Evening with Blair Dottin-Haley (VR) 8p Crazy Lobster: the Insta-Gators (VR) 5p d.b.a.: Lundi Gras Funksplosion with Cyril Neville and Swamp Funk and the Fuel (FK) 11p

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Funky Pirate: Willie Lockett Band (BL) 8p Gasa Gasa: Grails (RK) 9p Jazz Playhouse: Gerald French and the Original Tuxedo Jazz Band (JV) 8p Kerry Irish Pub: Patrick Cooper (FO) 4:30p, Roux the Day (FO) 9p Lafitte’s Blacksmith Shop: Lucky Lee (SS) 9p Maison: Chicken and Waffles, Aurora Nealand and the Royal Roses, Sierra Green and the Soul Machine (JV) 4p, RnR Music Group (FK) 1a Maple Leaf: Lundi Gras Throwdown with the New Orleans Suspects (FK) 10p Morial Convention Center: Orpheuscapade feat.

Trombone Shorty Deacon John, Irma Thomas, Big Freedia and others (MG) 7p Morning Call: Valerie Sassyfras (VR) 10a One Eyed Jacks: Quintron and Miss Pussycat, Sailor Poon (VR) 8p Republic: Lundifest feat. Waka Flocka Flame, Hot 8 Brass Band, Loudiene, DJ G (VR) 9p Snug Harbor: Charmaine Neville Band (JV) 8 & 10p Spotted Cat: Royal Street Winding Boys (JV) 2p, Dominick Grillo and the Frenchmen St. All-Stars (JV) 6p, Jazz Vipers (JV) 10p Three Keys (Ace Hotel): Big Freedia, Space and Harmony, Stoop Kids, HaSizzle, DJ Rusty Lazer (BO) 9p Three Muses: Monty Banks (JV) 5p Tipitina’s: Galactic, Naughty Professor (FK) 11p Tropical Isle Bourbon: Rhythm and Rain (RK) 5p, F.A.S.T. (RK) 9p Tropical Isle Original: Graham Robinson Band (RK) 5:15p, Trop Rock Express (RK) 9:15p

TUESDAY FEBRUARY 13

Buffa’s: Davis Rogan (VR) 2p, Sherman Bernard and the Ole Man River Band (VR) 5p, Vanessa Carr (VR) 8p Bullet’s: 7th Ward Warriors Mardi Gras Indian Tribe (MG) 8a Crazy Lobster: AC and the Heat (VR) 5p d.b.a.: Mardi Gras with New Orleans Klezmer AllStars (GY) 3p, Treme Brass Band (BB) 9p Dos Jefes: Tom Hook and Wendell Brunious (JV) 9p Dragon’s Den: Fat Tuesday Dance Party (VR) 11:59p Funky Pirate: Blues Masters (BL) 8:30p Howlin’ Wolf (the Den): Comedy Beast (CO) 8:30p Jazz Playhouse: Grayson Brockamp and the New Orleans Wildlife Band (JV) 6p Lafitte’s Blacksmith Shop: Lucky Lee (SS) 9p Little Tropical Isle: Mark Pentone (RK) 5p, Frank Fairbanks (RK) 9p Maison: Gumbo Funk, Miss Mojo (VR) 12p, Mojo Flow, Big Easy Brawlers, Ricio and Reece’s Pieces (FK) 6p Maple Leaf: Rebirth Brass Band (FK) 10p Saenger Theatre: Yo Gotti, Rude Jude, DJ Poppa (HH) 10p Siberia: Mars, Space Cadaver, Mea Culpa (VR) 10p Southport Hall: Intervals, Jason Richardson, Nick Johnston, Night Verses, the Arbitrary (VR) 7p Spotted Cat: Jumbo Shrimp (JV) 10a, Spotted Cat: Andy J. Forest (JV) 2p, Meschiya Lake and the Little Big Horns (JV) 6p, Smoking Time Jazz Club (JV) 10p Three Keys (Ace Hotel): Bonerama (FK) 6p Three Muses: Tuba Skinny (JV) 12p Tropical Isle Bayou Club: Cajun Drifters (KJ) 7p Tropical Isle Bourbon: Wild Card (RK) 5p, Jezebels Chill’n (RK) 9p

WEDNESDAY FEBRUARY 14 Buffa’s: Open Mic Night with Nattie Sanchez (SS) 7p Chickie Wah Wah: Ivor Simpson-Kennedy (VR) 5:30p, Meschiya Lake 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, DanceHall Classics (RE) 10p Funky Pirate: Blues Masters (BL) 8:30p Kerry Irish Pub: Chip Wilson (FO) 8:30p

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LIVE LOCAL MUSIC Little Gem Saloon: Songs of Love with Naydja Cojoe (JV) 7p Little Tropical Isle: Mark Parsons (RK) 5p, Reed Lightfoot (RK) 9p Maison: the Function, Jazz Vipers, Musical Expression (VR) 4p Maple Leaf: Percy J. (FK) 10p Morning Call: Valerie Sassyfras (VR) 10a, Krewe du Two (VR) 1p New Orleans Jazz Museum (Old U.S. Mint): Michael Torregano (PI) 2p Preservation Hall: Tornado Brass Band feat. Darryl Adams (TJ) 5p, Preservation All-Stars feat. Will Smith (TJ) 8p Snug Harbor: Uptown Jazz Orchestra (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): Gabrielle Cavassa Quartet (JV) 9p Three Muses: Leslie Martin (JV) 5p, Hot Club of New Orleans (JV) 8p 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

THURSDAY FEBRUARY 15

Bacchanal: Raphael Bas (JV) 12p, Mike Harvey’s Hot Club (JV) 7:30p Buffa’s: Gumbo Cabaret (JV) 5p, Tom McDermott and Matt Perrine (JV) 8p Chickie Wah Wah: Phil DeGruy (VR) 6p, Dave Jordan (RR) 8p Crazy Lobster: the Spanish Plaza 3 (VR) 5p d.b.a.: Bon Bon Vivant (VR) 10p Dragon’s Den: Crescent Fresh Comedy (CO) 7p, Austin Rapbaum (HH) 10p Funky Pirate: Mark and the Pentones (BL) 4p, Blues Masters (BL) 8:30p Gasa Gasa: Busty and the Bass, STS, Khari Mateen (HH) 9p House of Blues: Lalah Hathaway (RB) 8p Howlin’ Wolf (the Den): Comedy Gumbeaux (CO) 8:30p Jazz Playhouse: Ashlin Parker Trio (JV) 5p, Brass-AHolics (BB) 8p Kerry Irish Pub: the One Tailed Three (FO) 8:30p Lafitte’s Blacksmith Shop: Lucky Lee (SS) 9p Le Bon Temps Roule: Soul Rebels (FK) 11p Little Gem Saloon: Monty Banks (JV) 5p, the Diaz Trio performs the Music of the Beatles (VR) 7:30p Maison: Good For Nothin’ Band, Noah Young Band, Dysfunktional Bone (VR) 4p Maple Leaf: the Trio feat. Johnny Vidacovich, George Porter Jr. and Keiko Komaki (FK) 10p Maple Leaf: John Autin (JV) 7p Ogden Museum of Southern Art: John Fohl (BL) 6p Palm Court Jazz Café: Duke Heitger and Tim Laughlin with Crescent City Joymakers (TJ) 8p Preservation Hall: Preservation Legacy Band feat.

Gregg Stafford (TJ) 5p, Preservation All-Stars feat. Louis Ford (TJ) 8p Rock ‘n’ Bowl: Terry and the Zydeco Bad Boys (ZY) 8:30p Snug Harbor: Mark McGrain CD-release party (JV) 8 & 10p Spotted Cat: Up Up We Go (JV) 2p, Miss Sophie Lee (JV) 6p, Jumbo Shrimp (JV) 10p Three Muses: Tom McDermott (JV) 5p Tropical Isle Bayou Club: Cajun Drifters (KJ) 5p, Faubourg Ramblers (KJ) 9p

FRIDAY FEBRUARY 16

Buffa’s: Phil DeGruy (VR) 6p, Ruby and the Rogues (VR) 9p Bullet’s: Original Pinettes Brass Band (BB) 9p Chickie Wah Wah: Michael Pearce (BL) 6p, Jesse Dayton (VR) 8p Crazy Lobster: Ken Swartz and the Palace of Sin (VR) 5p d.b.a.: Tuba Skinny (JV) 6p, Rotary Downs, the Red Fox Tails (RK) 10p Dragon’s Den: Teddy Lamson (SS) 7p, the Tipping Point with DJ RQ Away (HH) 10p; Upstairs: Comedy Fuck Yeah (CO) 7p, Latin Night (LT) 11p

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House of Blues: Appetite for Destruction: the Ultimate Tribute to Guns N’ Roses (CB) 9p Jazz Playhouse: Joe Krown (JV) 4:30p, Quiana Lynell (JV) 7:30p, Trixie Minx’s Burlesque Ballroom feat. Romy Kaye and the Mercy Buckets (BQ) 11p Kerry Irish Pub: Patrick Cooper (FO) 5p, Three (FO) 9p Little Gem Saloon: Lilli Lewis (JV) 5p, Lilli Lewis’ CD-release party feat. Kirk Joseph, Jimbo Walsh and Dr. Michael White, Kirk Joseph’s Backyard Groove (JV) 7:30p Little Tropical Isle: Reed Lightfoot (RK) 5p, Styk (RK) 9p Maison: Swinging Gypsies, Steve Lands Presents: A Tribute to Ella Fitzgerald (JV) 4p, Big Easy Brawlers, Raw Deal (FK) 10p Maple Leaf: Eric Struthers, Roland Guerin, Joe Ashlar, Khris Royal and Terry Scott Jr. (FK) 10p Morning Call: Valerie Sassyfras (VR) 10a New Orleans Jazz Museum (Old U.S. Mint): the Catahoulas (JV) 2p One Eyed Jacks: Pedro the Lion, Marie/Lepanto (VR) 9p Palm Court Jazz Café: Kevin Louis with Palm Court Jazz Band (TJ) 8p Preservation Hall: Preservation Legacy Band feat.

Wendell Brunious (TJ) 5p, Preservation All-Stars feat. Will Smith (TJ) 8p Snug Harbor: Ellis Marsalis Quintet (JV) 8 & 10p Southport Hall: Cerebral Drama, First Fracture, Nomad, My Heart Might Explode (VR) 8p Spotted Cat: Andy J. Forest (JV) 2p, New Orleans Cottonmouth Kings (JV) 6p, James Martin (JV) 10p Three Muses: Royal Roses (JV) 5:30p, Doro Wat Jazz Band (JV) 9p Tropical Isle Original: the Hangovers (RK) 5:15p, Late As Usual (RK) 9:15p

SATURDAY FEBRUARY 17

Buffa’s: Doyle Cooper and the Red Hot Jazz Band (JV) 11a, Once Removed with Robert Eustis (JV) 5p, Marc Stone (BL) 6p, Connor Stewart and Le Bon Temps (JV) 9p Chickie Wah Wah: the Fortifiers (VR) 9p Crazy Lobster: the River Gang (VR) 11a, Poppy’s Poppin’ Saturday Review (VR) 4p d.b.a.: Little Freddie King (BL) 11p Dragon’s Den: Primetime feat. DJ Legatron Prime (VR) 10p; Upstairs: Talk Nerdy to Me (BQ) 8p, Sexy Back with DJ Dizzi (VR) 10p Funky Pirate: Mark and the Pentones (BL) 2p, Blues Masters (BL) 8:30p House of Blues (the Parish): the White Buffalo, Arum Rae (FO) 9p House of Blues: Bustout Burlesque and the Bustout Jazz Band (BQ) 9p Howlin’ Wolf: Pancakes and Booze Art Show (VR) 10p Jazz and Heritage Center: Astral Project (FK) 8 & 9:30p Jazz Playhouse: Tom Hook (JV) 5p, Shannon Powell Quartet (JV) 8p Kermit’s Mother-in-Law Lounge: Neisha Ruffins (JV) 8:30p Kerry Irish Pub: Vali Talbot (FO) 5p, Van Hudson (FO) 9p Lafitte’s Blacksmith Shop: Lucky Lee (SS) 9p Little Gem Saloon: Kermit Ruffins and the BBQ Swingers (JV) 7 & 9p Louisiana Music Factory: Lilli Lewis (JV) 2p, Ghalia and Mama’s Boys (VR) 3p, Marc Stone (BL) 4p, Soul Project (FK) 5p Maison: Chance Bushman and the Ibervillianaires, Good For Nothin’ Band, Smoking Time Jazz Club (JV) 1p, RnR Music Group, BrassLightning (FK) 10p Maple Leaf: Tony Hall Band (FK) 10p Morning Call City Park: Billy D. Chapman (JV) 10a Palm Court Jazz Café: Duke Heitger with Palm Court Jazz Band (TJ) 8p Preservation Hall: Preservation All-Stars (TJ) 5p, Preservation All-Stars feat. Rickie Monie (TJ) 8p Rock ‘n’ Bowl: Bonerama (FK) 9:30p Siberia: Tasche and the Psychedelic Roses, Paris Monster, Sexy Dex and the Fresh (VR) 10p

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LIVE LOCAL MUSIC Southport Hall: Puddle Of Mudd, Akadia, Bending (VR) 8p; Deck Room: Girl Spice, Zombies Eating Sheep (VR) 9p Spotted Cat: Russell Welch’s Mississippi Gypsy (JV) 2p, Panorama Jazz Band (JV) 6p, Jumbo Shrimp (JV) 10p Three Muses: Debbie Davis (JV) 6p, Shotgun Jazz Band (JV) 9p Time Out: Andre Bouvier and the Royal Bohemians (VR) 11a Tropical Isle Bourbon: Rhythm and Rain (RK) 5p, Debi and the Deacons (RK) 9p

SUNDAY FEBRUARY 18

Bacchanal: the Tangiers Combo (JV) 12p, John Zarsky and the Tradstars (JV) 4:30p, Georgie Petrov and the Lost Jazz Po’Boys (JV) 7:30p Buffa’s: Some Like It Hot! (TJ) 10:30a, Mateo Ruiz de la Torre (JV) 4p, Steve Pistorius Quartet (JV) 7p Chickie Wah Wah: Meschiya Lake and the Little Big Horns Trio (VR) 8p Crazy Lobster: the Gator Bites (VR) 11a, the Neon Shadows (VR) 4p d.b.a.: Palmetto Bugs Stompers (SI) 6p, the Underhill Family Orchestra (VR) 10p Dos Jefes: Gary Negbaur (JV) 9p Dragon’s Den: Open Jazz Jam with Anuraag Pendyal (JV) 7p, Upstairs: Church (EL) 10p Funky Pirate: Mark and the Pentones (BL) 4p, Willie Lockett Band (BL) 8p Gasa Gasa: Valerie Sassyfras CD-release show, Oh! Kelly, Rareluth (VR) 8p House of Blues (the Parish): Mako, Night Lights (EL) 8p 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: Traditional Irish Session (FO) 5p, Beth Patterson (FO) 8p Little Gem Saloon: Little Freddie King (BL) 11a Little Tropical Isle: Styk (RK) 5p, Frank Fairbanks (VR) 9p Maison: Chance Bushman and the NOLA Jitterbugs, Hokum High Rollers, Royal Street Winding Boys (JV) 10a; the Michael Watson Quintet, Higher Heights (VR) 7p Maple Leaf: Joe Krown Trio feat. Walter “Wolfman” Washington (RB) 10p Old Point Bar: Amanda Walker (PI) 3:30p, Jazz Night (JV) 7p One Eyed Jacks: Julie Odell, Kathryn Rose Wood (SS) 9p Palm Court Jazz Café: Gerald French with Sunday Night Swingsters (TJ) 8p Preservation Hall: Preservation Legacy Band feat.

Gregg Stafford (TJ) 5p, Preservation All-Stars feat. Wendell Brunious (TJ) 8p Rock ‘n’ Bowl: Fais Do Do with Bruce Daigrepont (KJ) 5p Snug Harbor: Michael Watson presents the Alchemy (JV) 8 & 10p Spotted Cat: the Yard Dogs (JV) 2p, Kristina Morales and the Inner Wild (JV) 6p, Pat Casey and the New Sound (JV) 10p Three Keys (Ace Hotel): Juju Child and the Hypnotic Roots Band (BL) 9p Three Muses: Raphael et Pascal (JV) 5p, Linnzi Zaorski (JV) 8p Tipitina’s: Sunday Youth Music Workshop feat.

Robin Barnes (JV) 1p Tropical Isle Bayou Club: Roland Cheramie and friends (KJ) 5p, Faubourg Ramblers (KJ) 9p Tropical Isle Original: the Hangovers (RK) 5:15p, Late As Usual (RK) 9:15p

MONDAY FEBRUARY 19

Bacchanal: Raphael Bas (JV) 12p, Helen Gillet (JV) 7:30p Buffa’s: Arsene DeLay (VR) 5p, Antoine Diel (JV) 8p Chickie Wah Wah: Justin Molaison (VR) 6p, Alex McMurray (SS) 8p Circle Bar: Clint Johnson (VR) 7p, the Stranger, Mom, Woof, Room 101, Enoch Ramone (PK) 9:30p

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Civic Theatre: St. Vincent (ID) 8p Crazy Lobster: the Insta-Gators (VR) 5p d.b.a.: John Boutte (JV) 7p, Monkey (FK) 10p Funky Pirate: Willie Lockett Band (BL) 8p House of Blues (the Parish): Andrea Gibson, Chastity Brown (SW) 8p Jazz Playhouse: Gerald French and the Original Tuxedo Jazz Band (JV) 8p Kerry Irish Pub: Two Sheets to the Wind (FO) 8:30p Lafitte’s Blacksmith Shop: Lucky Lee (SS) 9p Little Tropical Isle: Mark Parsons (RK) 5p, Reed Lightfoot (RK) 9p Maison: Chicken and Waffles, Aurora Nealand and the Royal Roses, Sierra Green and the Soul Machine (JV) 4p Maple Leaf: George Porter Jr. Trio feat. Terrence Houston and Mike Lemmler (FK) 10p Morning Call: Valerie Sassyfras (VR) 10a Preservation Hall: Preservation Jazz Masters with Leroy Jones (TJ) 5p, Preservation All-Stars feat.

Charlie Gabriel (TJ) 8p Rock ‘n’ Bowl: West Coast Swing Dance Party (SI) 7p Snug Harbor: Charmaine Neville Band (JV) 8 & 10p Spotted Cat: Royal Street Winding Boys (JV) 2p, Dominick Grillo and the Frenchmen St. All-Stars (JV) 6p, Jazz Vipers (JV) 10p Three Muses: Bart Ramsey (JV) 5p, Washboard Rodeo (JV) 8p Tropical Isle Bourbon: Rhythm and Rain (RK) 5p, F.A.S.T. (RK) 9p Tropical Isle Original: Graham Robinson Band (RK) 5:15p, Trop Rock Express (RK) 9:15p

TUESDAY FEBRUARY 20

Buffa’s: Tacos, Tequila and Tiaras with Vanessa Carr (VR) 8p Chickie Wah Wah: Chip Wilson (VR) 6p, Bonnie Montgomery (VR) 8p Crazy Lobster: AC and the Heat (VR) 5p d.b.a.: Dinosaurchestra (JV) 7p, Treme Brass Band (BB) 10p Dixon Hall (Tulane University): Lise de la Salle (CL) 7:30p Dos Jefes: Tom Hook and Wendell Brunious (JV) 9p Dragon’s Den: the All-Star Covered-Dish Country Jamboree (CW) 9p Funky Pirate: Blues Masters (BL) 8:30p Howlin’ Wolf (the Den): Comedy Beast (CO) 8:30p Jazz National Historical Park: Richard “Piano” Scott (PI) 12p Jazz Playhouse: James Rivers Movement (JV) 8p Kerry Irish Pub: Jason Bishop (FO) 8:30p Lafitte’s Blacksmith Shop: Lucky Lee (SS) 9p Little Gem Saloon: NOLA Dukes (VR) 7p Little Tropical Isle: Mark Pentone (RK) 5p, Frank Fairbanks (RK) 9p Maison: Cyrus Nabipoor Quartet, Gregory Agid Quartet, Gene’s Music Machine (VR) 4p Maple Leaf: Rebirth Brass Band (FK) 10p New Orleans Jazz Museum (Old U.S. Mint): Down on their Luck Orchestra (JV) 2p Preservation Hall: Preservation Legacy Band feat. Wendell Brunious (TJ) 5p, Preservation All-Stars feat. Charlie Gabriel (TJ) 8p Snug Harbor: Todd Duke Trio (JV) 8 & 10p Spotted Cat: Andy J. Forest (JV) 2p, Meschiya Lake and the Little Big Horns (JV) 6p, Smoking Time Jazz Club (JV) 10p Three Muses: Keith Burnstein (JV) 5p, Gal Holiday and the Honky Tonk Revue (CW) 8p Tropical Isle Bayou Club: Cajun Drifters (KJ) 7p

WEDNESDAY FEBRUARY 21 Buffa’s: Open Mic Night with Nattie Sanchez (SS) 7p Candlelight Lounge: Andrews Brass Band (BB) 8p Chickie Wah Wah: Ivor Simpson-Kennedy (VR) 5:30p, Meschiya Lake and Tom McDermott (JV) 8p Contemporary Arts Center: Christian Scott a Tunde Adjuah (JV) 7:30p

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LIVE LOCAL MUSIC 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, DanceHall Classics (RE) 10p French Market: Patrick Cooper and Natasha Sanchez (FO) 1:30p Gasa Gasa: Oh Jeremiah, Frankie Boots (SS) 9p Howlin’ Wolf (the Den): McLovins (RK) 9p Jazz Playhouse: Miss Sophie Lee (JV) 8p Joy Theater: Rebelution, Raging Fyah (VR) 9p Kerry Irish Pub: Tim Robertson (FO) 8:30p Little Gem Saloon: Sidney Bechet for Lovers (JV) 7:30p Little Tropical Isle: Mark Parsons (RK) 5p, Reed Lightfoot (RK) 9p Maison: the Gabriella Cavassa Group, Jazz Vipers, Josh Kagler and the Meter Maids (VR) 4p Maple Leaf: Percy J. (FK) 10p Morning Call: Valerie Sassyfras (VR) 10a, Krewe du Two (VR) 1p New Orleans Jazz Museum (Old U.S. Mint): Courtney Bryan and Gary Washington (VR) 2p, Brusker’s Duo (VR) 8p Palm Court Jazz Café: Lars Edegran and Topsy Chapman with Palm Court Jazz Band (TJ) 8p Preservation Hall: Joe Lastie’s New Orleans Sound (TJ) 5p, Preservation All-Stars feat. Charlie Gabriel (TJ) 8p Rock ‘n’ Bowl: Sing Like A Star Live-Band Karaoke Party (KR) 8p Snug Harbor: Uptown Jazz Orchestra (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 Muses: Leslie Martin (JV) 5p, Schatzy (JV) 8p Tropical Isle Original: Debi and the Deacons (RK) 5:15p, Late As Usual (RK) 9:15p

THURSDAY FEBRUARY 22

Bacchanal: Raphael Bas (JV) 12p, Mike Harvey’s Hot Club (JV) 7:30p Buffa’s: Banu Gibson (JV) 5p, Tom McDermott and Aurora Nealand (JV) 8p Bullet’s: Kermit Ruffins and the BBQ Swingers (JV) 6p Chickie Wah Wah: Phil DeGruy (VR) 6p, Lara Hope and the Ark-Tones, Lauren Herr (VR) 8p Contemporary Arts Center: Christian Scott a Tunde Adjuah (JV) 7:30p d.b.a.: Alexis and the Samurai (ID) 7p, John Sinclair with the Carlo Ditta Trio (VR) 10p Dos Jefes: Tom Fitzpatrick and Turning Point (JV) 9:30p Dragon’s Den: Crescent Fresh Comedy (CO) 7p; Upstairs: Kuwaisiana (ID) 10p Funky Pirate: Mark and the Pentones (BL) 4p, Blues Masters (BL) 8:30p House of Blues: Nothing More (RK) 7p Howlin’ Wolf (the Den): Comedy Gumbeaux (CO) 8:30p Jazz Playhouse: Ashlin Parker Trio (JV) 5p, Brass-AHolics (BB) 8p Joy Theater: the Revolution, DJ Soul Sister (VR) 9p Kerry Irish Pub: Foot and friends (FO) 8:30p Lafitte’s Blacksmith Shop: Lucky Lee (SS) 9p Le Bon Temps Roule: Soul Rebels (FK) 11p Little Gem Saloon: Monty Banks (JV) 5p, Sidney Bechet for Lovers (JV) 7:30p Little Tropical Isle: Allen Hebert (RK) 5p, Jezebels Chill’n (RK) 9p Maison: Russell Welch Hot Quartet, Good For Nothin’ Band, Dysfunktional Bone (VR) 4p Maple Leaf: the Trio feat. Johnny Vidacovich, George Porter Jr. and Walter “Wolfman” Washington (FK) 10p Maple Leaf: Josh Paxton (JV) 7p New Orleans Jazz Museum (Old U.S. Mint): the Asylum Chorus (VR) 8p Ogden Museum of Southern Art: Nutria (JV) 6p Palm Court Jazz Café: Duke Heitger and Tim Laughlin with Crescent City Joymakers (TJ) 8p Preservation Hall: Preservation Legacy Band feat.

Gregg Stafford (TJ) 5p, Preservation All-Stars feat. Louis Ford (TJ) 8p

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the Rat (Tulane University): Jazz at the Rat feat.

Donald Harrison Jr. (JV) 7p Republic: 3LAU (EL) 9p Rock ‘n’ Bowl: Nathan and the Zydeco Cha Chas (ZY) 8:30p Siberia: Eastern Bloc Party feat. G-String Orchestra (GY) 9p Snug Harbor: the Bruskers Duo (JV) 8 & 10p Spotted Cat: Up Up We Go (JV) 2p, 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 (JV) 5p, Gary Negbaur (JV) 8p Tropical Isle Original: the Hangovers (RK) 5:15p, Late As Usual (RK) 9:15p

FRIDAY FEBRUARY 23

Bacchanal: the Tangiers Combo (JV) 12p, Harmonouche (JV) 5p, Willie Green (JV) 7:30p Buffa’s: Alexandra Scott and her Magical Band (VR) 6p, Greg Schatz (VR) 9p Bullet’s: Original Pinettes Brass Band (BB) 9p Chickie Wah Wah: Michael Pearce (BL) 6p, Paul Sanchez (VR) 8p Civic Theatre: A Night of Live Stories (ID) 7:30p Contemporary Arts Center: Christian Scott a Tunde Adjuah (JV) 7:30p Crazy Lobster: Ken Swartz and the Palace of Sin (VR) 5p d.b.a.: Smoking Time Jazz Club (JV) 6p, Dash Rip Rock (RK) 10p Dragon’s Den: Julie Odell (SS) 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 (BL) 8:30p Howlin’ Wolf (the Den): Vibe Doctors, the Quickening (FK) 10p Howlin’ Wolf: Voodoo Soup feat. George Porter Jr., Papa Mali, Ivan Neville, Eric Krasno (RK) 10p Jazz Playhouse: Joe Krown (JV) 4:30p, Nayo Jones Experience (JV) 7:30p, Trixie Minx’s Burlesque Ballroom feat. Romy Kaye and the Mercy Buckets (BQ) 11p Joy Theater: Busted on Bourbon: NOLA’s Dead Tribute feat. the Iko All-Stars with Billy Iuso, Reggie Scanlan, Eddie Christmas, CR Gruver, Michael Fouquier, Johnny Vidacovich, Papa Mali (VR) 10p Kermit’s Mother-in-Law Lounge: Guitar Slim Jr. (BL) 9p Kerry Irish Pub: Kevin Specht and Tom Marron (FO) 5p, Beth Patterson (FO) 9p Little Gem Saloon: Lilli Lewis (JV) 5p Maison: Swinging Gypsies, Shotgun Jazz Band (JV) 4p, Soul Project, Big Easy Brawlers (FK) 10p Maple Leaf: Joe Marcinek Band (RK) 10p Morning Call: Valerie Sassyfras (VR) 10a New Orleans Jazz Museum (Old U.S. Mint): Carlo Ditta (JV) 8p One Eyed Jacks: Pleasure Club, Five Eight (VR) 9p Preservation Hall: Preservation Legacy Band feat.

Wendell Brunious (TJ) 5p, Preservation All-Stars feat. Will Smith (TJ) 8p Rock ‘n’ Bowl: the Topcats (VR) 9:30p Snug Harbor: Ellis Marsalis Quintet (JV) 8 & 10p Southport Hall: Where Y’acht (VR) 8:30p; Deck Room: Framing the Red, Delta Revelry (VR) 8:30p Spotted Cat: Andy J. Forest (JV) 2p, Washboard Chaz Blues Trio (JV) 6p, the Catahoulas (JV) 10p Three Keys (Ace Hotel): Papa Mali and Skeeterleg (FK) 9p Three Muses: Matt Johnson (JV) 5:30p, Doro Wat Jazz Band (JV) 9p Tipitina’s: Soul Rebels (FK) 10p Tropical Isle Bayou Club: Faubourg Ramblers (KJ) 5p, T’Canaille (KJ) 9p Tropical Isle Original: the Hangovers (RK) 5:15p, Late As Usual (RK) 9:15p

SATURDAY FEBRUARY 24 Bacchanal: the Tangiers Combo (JV) 12p, Red Organ Trio (JV) 4:30p, Jasen Weaver Band (JV) 7:30p

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LIVE LOCAL MUSIC Banks Street Bar: Ricky T. and the Rockets (BL) 1p Buffa’s: Doyle Cooper and the Red Hot Jazz Band (JV) 11a, Kyle Roussel (VR) 6p, Marina Orchestra (VR) 9p Chickie Wah Wah: Dylan Leblanc (VR) 8p Contemporary Arts Center: SweetArts Gala (VR) 7p Crazy Lobster: the River Gang (VR) 11a, Poppy’s Poppin’ Saturday Review (VR) 4p Creole Cookery: Trad Stars Jazz Band (JV) 11a d.b.a.: Jazz Vipers (JV) 7p, Brass-A-Holics (BB) 11p Dos Jefes: Walter “Wolfman” Washington Trio (BL) 10p Dragon’s Den: Primetime feat. DJ Legatron Prime (VR) 10p; Upstairs: Talk Nerdy to Me (BQ) 8p, Sexy Back with DJ Dizzi (VR) 10p Funky Pirate: Mark and the Pentones (BL) 2p, Blues Masters (BL) 8:30p House of Blues: Tab Benoit (BL) 9p Howlin’ Wolf (the Den): Folk Me Up (FO) 10p Howlin’ Wolf: Dumpstaphunk, the Dirty Dozen Horns (FK) 10p Jazz Playhouse: Tom Hook (JV) 5p, Michael Watson and the Alchemy (JV) 8p Joy Theater: Gramatik, Haywyre, Balkan Bump (VR) 11p Kerry Irish Pub: Paul Tobin (FO) 5p, Hurricane Refugees (FO) 9p Lafitte’s Blacksmith Shop: Lucky Lee (SS) 9p Little Tropical Isle: Reed Lightfoot (RK) 5p, Styk (RK) 9p Mahalia Jackson Theater: NOBA presents Les Ballets de Monte-Carlo (DN) 8p Maison: Chance Bushman and the Ibervillianaires, Leah Rucker, Smoking Time Jazz Club (JV) 1p, Brass-A-Holics, Gene’s Music Machine (FK) 10p Maple Leaf: Slugger feat. Terrence Houston, Max Bronstein, Noah Young and Joe Johnson (FK) 10p Morning Call City Park: Billy D. Chapman (JV) 10a New Orleans Jazz Museum (Old U.S. Mint): AF the Naysayer (HH) 7p

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One Eyed Jacks: Blunderland (VR) 8:30p Palm Court Jazz Café: Duke Heitger with Palm Court Jazz Band (TJ) 8p Preservation Hall: Preservation All-Stars (TJ) 5p, Preservation All-Stars feat. Rickie Monie (TJ) 8p Rock ‘n’ Bowl: Bag of Donuts (VR) 9:30p Siberia: Alex McMurray (SS) 6p, Pony Hunt, Julie Odell (SS) 10p Smoothie King Center: Dead and Company (CR) 7p Spotted Cat: Jazz Band Ballers (JV) 2p, Panorama Jazz Band (JV) 6p, Dominick Grillo and the Frenchmen St. All-Stars (JV) 10p Three Muses: Debbie Davis (JV) 6p, Shotgun Jazz Band (JV) 9p Time Out: Andre Bouvier and the Royal Bohemians (VR) 11a Tropical Isle Bayou Club: the Troubadour (KJ) 1p, Faubourg Ramblers (KJ) 5p, T’Canaille (KJ) 9p Tropical Isle Bourbon: Rhythm and Rain (RK) 5p, Debi and the Deacons (RK) 9p UNO Lakefront Arena: Platinum Comedy feat.

Mike Epps (CO) 8p

SUNDAY FEBRUARY 25

AllWays Lounge: Smoking Time Jazz Club (TJ) 9p Bacchanal: the Tangiers Combo (JV) 12p, John Zarsky and the Tradstars (JV) 4:30p, Georgie Petrov and the Lost Jazz Po’Boys (JV) 7:30p Buffa’s: Some Like It Hot! (TJ) 10:30a, Nattie’s Songwriter Circle (SS) 4p, Steve Pistorius Quartet (JV) 7p Bullet’s: Big Frank and Lil Frank (RB) 6p Chickie Wah Wah: Meschiya Lake and the Little Big Horns Trio (VR) 8p Crazy Lobster: the Gator Bites (VR) 11a, the Neon Shadows (VR) 4p d.b.a.: Palmetto Bugs Stompers (SI) 6p, Soul Project CD-release show (FK) 10p

Dos Jefes: Michael Mason Band (JV) 9p Dragon’s Den: Open Jazz Jam with Anuraag Pendyal (JV) 7p, Upstairs: Church (EL) 10p Funky Pirate: Mark and the Pentones (BL) 4p, Willie Lockett Band (BL) 8p Gasa Gasa: Joywave, Sasha Sloan, Kopps (ID) 8:30p House of Blues: Of Mice and Men, Blessthefall, Cane Hill, Fire From the Gods MSCW (ME) 6:30p 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 Little Gem Saloon: Little Freddie King (BL) 11a Little Tropical Isle: Styk (RK) 5p, Frank Fairbanks (VR) 9p Maison: NOLA Jitterbugs Jazz Band, the Function, Royal Street Winding Boys (JV) 10a, Eight Dice Cloth, Higher Heights (VR) 7p Maple Leaf: the Electric Company (FK) 10p Palm Court Jazz Café: Gerald French with Sunday Night Swingsters (TJ) 8p Preservation Hall: Preservation Legacy Band feat.

Gregg Stafford (TJ) 5p, Preservation All-Stars feat. Wendell Brunious (TJ) 8p Siberia: Todd Day Wait’s Pigpen, Jon Hatchet Band, Danny Dodge, God Star, and Josh Desure (VR) 9p Snug Harbor: John Mahoney Big Band (JV) 8 & 10p Spotted Cat: John Lisi and Delta Funk (JV) 2p, Kristina Morales and the Inner Wild (JV) 6p, Pat Casey and the New Sound (JV) 10p Three Keys (Ace Hotel): Juju Child and the Hypnotic Roots Band (BL) 9p Three Muses: Raphael et Pascal (JV) 5p, Linnzi Zaorski (JV) 8p

Tropical Isle Bayou Club: Roland Cheramie and friends (KJ) 5p, Faubourg Ramblers (KJ) 9p Tropical Isle Original: the Hangovers (RK) 5:15p, Late As Usual (RK) 9:15p

MONDAY FEBRUARY 26

Buffa’s: Arsene DeLay (VR) 5p, Antoine Diel (JV) 8p Chickie Wah Wah: Justin Molaison (VR) 6p, Alex McMurray (SS) 8p Crazy Lobster: the Insta-Gators (VR) 5p d.b.a.: John Boutte (JV) 7p, Soul Brass Band (BB) 10p Dragon’s Den: Monday Swing Night (SI) 8p, AudioDope with DJ Ill Medina (VR) 11p Funky Pirate: Willie Lockett Band (BL) 8p House of Blues: Molotov (RK) 8p Jazz Playhouse: Gerald French and the Original Tuxedo Jazz Band (JV) 8p Kerry Irish Pub: Roy Gele (FO) 8:30p Lafitte’s Blacksmith Shop: Lucky Lee (SS) 9p Little Tropical Isle: Mark Parsons (RK) 5p, Reed Lightfoot (RK) 9p Maison: Chicken and Waffles, Aurora Nealand and the Royal Roses, Sierra Green and the Soul Machine (JV) 4p Maple Leaf: George Porter Jr. Trio feat. Terrence Houston and Mike Lemmler (FK) 10p Morning Call: Valerie Sassyfras (VR) 10a Preservation Hall: Preservation Jazz Masters feat.

Leroy Jones (TJ) 5p, Preservation All-Stars feat.

Charlie Gabriel (TJ) 8p Rock ‘n’ Bowl: West Coast Swing Dance Party (SI) 7p Snug Harbor: Charmaine Neville Band (JV) 8 & 10p Spotted Cat: Royal Street Winding Boys (JV) 2p, Dominick Grillo and the Frenchmen St. All-Stars (JV) 6p, Jazz Vipers (JV) 10p Three Muses: Bart Ramsey (JV) 5p Tropical Isle Original: Graham Robertson (RK) 5:15p, Trop Rock Express (RK) 9:15p

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LIVE LOCAL MUSIC TUESDAY FEBRUARY 27

Buffa’s: Tacos, Tequila and Tiaras with Vanessa Carr (VR) 8p Chickie Wah Wah: Chip Wilson (VR) 6p, Ron Hotstream and Dick Deluxe (VR) 8p Civic Theatre: Beth Hart (BL) 8p Columns Hotel: Don Vappie, 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 Dos Jefes: Tom Hook and Wendell Brunious (JV) 9p Dragon’s Den: the All-Star Covered-Dish Country Jamboree (CW) 9p Funky Pirate: Blues Masters (BL) 8:30p House of Blues (the Parish): Ella Vos (PO) 8p House of Blues: K. Michelle (RB) 7p Howlin’ Wolf (the Den): Comedy Beast (CO) 8:30p, the Southern Belles (JV) 10:30p Jazz National Historical Park: Richard “Piano” Scott (PI) 12p Jazz Playhouse: James Rivers Movement (JV) 8p Kerry Irish Pub: Jason Bishop (FO) 8:30p Lafitte’s Blacksmith Shop: Lucky Lee (SS) 9p Little Gem Saloon: Gabrielle Cavassa performs the Music of Billie Holiday (JV) 7:30p Little Tropical Isle: Mark Pentone (RK) 5p, Frank Fairbanks (RK) 9p Maison: St. Roch Syncopators, Gregory Agid Quartet, Quicksand (VR) 4p Maple Leaf: Rebirth Brass Band (FK) 10p One Eyed Jacks: Benjamin Clementine (VR) 8p Preservation Hall: Preservation Legacy Band feat.

Wendell Brunious (TJ) 5p, Preservation All-Stars feat. Charlie Gabriel (TJ) 8p Rock ‘n’ Bowl: Latin Night (LT) 7p Spotted Cat: Andy J. Forest (JV) 2p, Meschiya Lake and the Little Big Horns (JV) 6p, Smoking Time Jazz Club (JV) 10p Three Muses: Josh Gouzy (JV) 8p

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Tropical Isle Original: the Hangovers (RK) 5:15p, F.A.S.T. (RK) 9:15p

WEDNESDAY FEBRUARY 28

Bacchanal: Raphael Bas (JV) 12p, Jesse Morrow (JV) 7:30p Buffa’s: Open Mic Night with Nattie Sanchez (SS) 7p Chickie Wah Wah: Ivor Simpson-Kennedy (VR) 6p, Gal Holiday and the Honky Tonk Revue (CW) 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, DanceHall Classics (RE) 10p Funky Pirate: Blues Masters (BL) 8:30p Gasa Gasa: Martin Sexton, Whiskey Heart (SS) 9p House of Blues (the Parish): Fozzy, Through Fire, Santa Cruz, Dark Sky Choir (RK) 7p Jazz Playhouse: Mark Monistere’s New Orleans Jukebox (JV) 8p Kerry Irish Pub: Patrick Cooper (FO) 8:30p Little Gem Saloon: Gabrielle Cavassa performs the Music of Billie Holiday (JV) 7:30p; Evan Christopher’s Clarinet Road (JV) 7p Little Tropical Isle: Mark Parsons (RK) 5p, Reed Lightfoot (RK) 9p Maison: Catie Rodgers and the Gentilly Stompers, Jazz Vipers, the B Miller Zone (VR) 4p Maple Leaf: Percy J. (FK) 10p Morning Call: Valerie Sassyfras (VR) 10a, Krewe du Two (VR) 1p New Orleans Jazz Museum (Old U.S. Mint): Jesse McBride (JV) 2p Palm Court Jazz Café: Lars Edegran and Topsy Chapman with Palm Court Jazz Band (TJ) 8p Preservation Hall: Southern Syncopators feat. Steve Pistorious (TJ) 5p, Preservation All-Stars feat.

Rickie Monie (TJ) 8p

Rock ‘n’ Bowl: Sing Like A Star Live-Band Karaoke Party (KR) 8p Snug Harbor: Uptown Jazz Orchestra (JV) 8 & 10p Southport Hall: Crazy Town, Davey Suicide (VR) 7:30p Spotted Cat: Chris Christy (JV) 2p, Shotgun Jazz Band (JV) 6p, Antoine Diel and the New Orleans Power Misfits (JV) 10p Tropical Isle Bayou Club: the Troubadour (KJ) 7p Tropical Isle Original: Debi and the Deacons (RK) 5:15p, Late As Usual (RK) 9:15p

SPECIAL EVENTS FEBRUARY 9-12 The French Market holds its annual Mardi Gras Mask Market in Dutch Alley. FrenchMarket.org FEBRUARY 12 The Krewe of Orpheus presents its annual Orpheuscapade ball at the Morial Convention Center. KreweOfOrpheus.com/Orpheuscapade/

MARDI GRAS PARADE SCHEDULE FEBRUARY 2 Krewe of Cork (French Quarter) 3p, Oshun (Uptown) 6p, Cleopatra (Uptown) 6:30p, Excalibur (Metairie) 7p FEBRUARY 3 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 FEBRUARY 4 Femme Fatale (Uptown) 11a, Carrollton (Uptown) 12p, King Arthur and Merlin (Uptown)

follows, Alla (Uptown) follows; Barkus (French Quarter) 2p FEBRUARY 6 Krewe du Kanaval (French Quarter) 2p FEBRUARY 7 Druids (Uptown) 6:30p, Nyx (Uptown) 7p FEBRUARY 8 Knights of Babylon (Uptown) 5:30p, Chaos (Uptown) 6:15p, Muses (Uptown) 6:30p FEBRUARY 9 Bosom Buddies (French Quarter) 11:30a; Hermes (Uptown) 6p, Le Krewe D’etat (Uptown) 6:30p, Morpheus (Uptown) 7p; Centurions (Metairie) 7p FEBRUARY 10 NOMTOC (Westbank) 10:45a, Iris (Uptown) 11a, Tucks (Uptown) 12p, Endymion (Mid-City) 4:15p, Isis (Metairie) 6:30p FEBRUARY 11 Okeanos (Uptown) 11a, Mid-City (Uptown) 11:45a, Thoth (Uptown) 12p; Bacchus (Uptown) 5:15p; Corps de Napoleon (Metairie) 5p; Anthena (Metairie) 5:30p; Pandora (Metairie) 6:30p FEBRUARY 12 Reds Beans (Marigny) 2p; Dead Beans Parade (Mid-City) 2p, Proteus (Uptown) 5:15p, Orpheus (Uptown) 6p FEBRUARY 13 Zulu (Uptown) 8a, Rex (Uptown) 10a, Elks Orleanians follows Rex, Cresent City follows Orleanians; Argus (Metairie) 10a, Krewe of Elks Jefferson follows Argus, Jefferson follows Elks

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BACKTALK

Maceo Parker M

aceo Parker, the maestro of funky saxophone, spent much of his career as a high-profile sideman.

On stage, he shared the spotlight with James Brown, George Clinton, Bootsy Collins and Prince.

In the studio, Parker’s solos can be heard in Brown’s classic soul hits “Papa’s Got a Brand New Bag,” “I Got You (I Feel Good),”

talks back

PHOTO: GOLDEN G. RICHARD, III

Maceo Parker Tipitina’s Friday, February 9

“Sex Machine” and “Cold Sweat.” His other collaborators include Ani DiFranco, Ray Charles, James Taylor, De La Soul, Dave Matthews Band, Keith Richards, Bryan Ferry, Living Colour, Red Hot Chili Peppers and Deee-Lite.

Turning 75 on Valentine’s Day, Parker continues to be a bundle of creative energy, spreading his philosophy of universal love as he tours the world. And he’s thrilled to be the grandfather of his 1-year-old grandson, Ayden.

Although Parker never really stood in the shadows of the stars he worked with, he officially stepped out as front man in the early 1990s. Releasing three albums in three years— 1990’s Roots Revisited, ’91’s Mo’ Roots and ’92’s Life on Planet Groove—the saxophonist established his signature “2 percent jazz, 98 percent funky stuff” brand. In 2013, Parker published his autobiography, 98% Funky Stuff: My Life in Music. His new album, It’s All About Love, will be released March 3.

Parker lives in his hometown, Kinston, North Carolina. It was there that he taught himself to play piano at 3 years old. Later, inspired by the power and splendor of marching bands, he picked up the saxophone.

Jazz, rhythm-and-blues and soul artists influenced him, including saxophonists Charlie Parker, David “Fathead” Newman, Hank Crawford, Cannonball Adderley and King Curtis. Ray Charles and the horn players in his band made a major impact on Parker, too.

As James Brown said: “Maceo! I want you to blow!”

and listen, listen, listen. When they’re taking a break, having coffee, I sit down and play the piano. They say, ‘That kid’s playing that song!

Come on. That’s crazy.’ But I could hear stuff, know it, learn it.

How did your life in music begin?

My uncle’s band, the Blue Notes, rehearsed at our home. I’m six years old. I stand there

How did sax come to be your principal instrument?

So, now, I’m at the Christmas parade. I hear the fanfare of the horns and how loud the

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By John Wirt

drums are. I say, ‘Oh, my goodness, gracious.

This is beautiful. This is heaven.’ And the uniforms and all that stuff. But I remember asking myself, ‘Where is the piano?’ ‘No piano.

This is a marching band. You gotta march.’

‘Oh. Okay. Maybe I can play one of those things in the saxophone line.’

I had a brother, Kellis, a year ahead of me, who played trombone. Another brother, Melvin, played drums. I’m talking about preFEBRU A RY 2 018

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LK

“My latest album is called It’s All About Love.

‘Love’ is somewhere in the title of all the songs.”

teenagers now. My uncle had a band called the Blue Notes. We called our little band the Junior Blue Notes. Everything the Blues Notes played, we played.

We started making a little, four or five dollars apiece. After a while it became 12 dollars and 40 dollars apiece. Got to the point where we could buy records. On the records, it seemed the saxophone players stood out.

I ended up playing saxophone. And I looked inside myself and said, ‘I don’t want to cop Da-Da-Da’s style. Maybe there’s a style inside me.’ So that’s what I did. I searched inside. I said, ‘Da-Da-Da may do it this way, but I feel like doing it this way.’

You’re coming to New Orleans for a February 9 show at Tipitina’s. Is that a venue that you especially enjoy playing?

Oh, man. That’s like the place. For me, Tipitina’s is numero uno for whatever they bring in there. Top of the charts. I’m serious.

When you talk about places to play in New Orleans, Tip’s is like the top place for the culture and the people of name who have played there. So, we make a different kind of step when we know we’re going to play Tip’s.

It’s easy to say that, because it’s true. And at Tip’s it’s just do whatever you feel like you wanna do, man. Most places in New Orleans you get that, but especially Tip’s.

New Orleans is also home to your sound engineer, Andrew Gilchrist, a.k.a. Goat.

He’s numero uno in sound. We’re very proud to have Goat because everybody wants him. But once he started working with us, he made me his numero uno gig. Like, ‘Well, I’m sorry. I’m out with Maceo.’

You have another New Orleans connection via singer-songwriter Ani DiFranco. You’re a guest on her latest album, Binary, and you toured with her in 1999 as opening act. How was that summer amphitheater tour with Ani DiFranco, when she reached the peak of her popularity, for you?

It was great, man. And what I remember about that time is that she’s over in the wings, just grooving, having fun while I’m playing.

And I’ve got a big old clock that I keep back

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there where I can keep track of the time. I say, ‘Wait a second. She goes on in 10 minutes, but she’s still over there grooving.’ I mean, all the time, she’s out there just grooving with what we’re doing. That touched my heart.

Her response to me, that closeness to me, it made us feel like family.

You’ve worked with funk and soul music giants. George Clinton, James Brown, Prince. Did those guys have common traits that may have contributed to their success?

Get a concept. Believe in that concept and do it. And then that particular concept ends up being your own thing. George, for instance, his thing was he came from outer space to teach the earthlings how to be funky.

And one time his wardrobe trunk didn’t make the flight or something. He says, ‘Ma’am, did you happen to bring an extra wig?’ She says, ‘Yeah.’ ‘Can I borrow it? ‘Oh, yeah.

Sure.’ And then George took off almost all of his clothes. He grabbed a table cloth and wrapped it around himself. He said ‘Come on. Let’s go gig. Let’s do it. I’m ready.’ And I’m standing there, watching this, amazed, because I’d left James Brown. With James we wore tuxedoes and everything had to be color coordinated. The difference between George and James is A to Z. But James also had his own concept. He put on a real, real good show. On stage, you could not beat him.

I’ve heard that James Brown could be quite strict with his band.

Well, he had his ways. James had his good days and his bad days, like anybody else. But there’s a bunch of pride among all of us who worked for him.

George Clinton turned 76 last year. You’ll be 75 on February 14. Both of you guys are well past the age when the United States Social Security Administration insists people collect Social Security benefits. But you and George continue to tour the globe. You’re releasing a new album in March. Is retirement not on your agenda?

This is what I do. If I can do it, I’ll do it. If I can’t, then I won’t. That’s the way it is.

Do you think you keep getting better at the saxophone as the decades go by?

I don’t even look at it that way. I look at it like this: I’ve been doing this for years and years. I was born to do what I do. I think most of us feel the same way. You’re born to do what you do, so you do it. And if you get to the point where you have a following or somebody says, ‘Golly. I like the way that guy plays,’ that’s just more feathers in your cap.

Can you tell me about being a grandfather?

I have a new grandbaby. A little boy—a year old on the 4th of January. And when I’m not traveling, that’s where I stay all the time now.

It’s just wild because, see, it’s like a new lease on life for me. When I’m around him, I’m a whole other person. And I can’t put him down!

And he looks at me like he’s been knowing me since before he was born. I mean, that’s the feeling I get. It’s hard to put into words, what I experience when I’m around this young guy.

He’s about 94 percent walking on his own. All that is so cute and so precious, man.

Has your grandson shown any interest in music?

I was playing my mouthpiece, rather than the whole saxophone. He gave me a look, like ‘What is that granddaddy?’ I think it’s a little bit early to say if he’s interested in music, but he looks at me like, ‘You think I’m too young to understand what’s up. But I know there’s something special about you.’

We’ve talked about your grandson and your new album. Is there something else that you’re especially focused on now?

I got a birthday coming up on Valentine’s Day. Which means I cannot escape this feeling that I have. It’s a feeling I’ve been having all my life. That little Cupid thing. ‘Cupid, draw back your bow.’ Love—L-O-V-E. My latest album is called It’s All About Love. ‘Love’ is somewhere in the title of all the songs. At my show, we play what we play, but still it’s all about love. And if we, as a people, throughout the world, could just live love up, well, the crazies would go away.

From the heads of state all the way down to the common people. Love, love, love, love.

That’s my thing.

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