OffBeat Magazine, January 2019

All the Nominees!

best music of 2018 derek trucks lil queenie spencer bohren

Walter Washington NEW ORLEANS MUSIC, FOOD, CULTURE—JANUARY 2019

Free In Metro New Orleans US $5.99 CAN $6.99 £UK 3.50

Best of the Beat Lifetime Achievement In Music

The amazing people of the Crescent City came together to commemorate 300 years of passion, love, heartaches, disparity, challenges, resilience, victories, and a commitment to do better for all.

On behalf of the 2018 NOLA Foundation, a special thank you to all the sponsors, presenting organizations, neighborhoods, staff, volunteers, visitors, the 2018 Tricentennial Commission and its committee chairs.

Finally, thank you to the people of New Orleans for your support of the 2018 commemoration.

Visit New Orleans and start your story with #OneTimeInNOLA. OneTimeInNOLA.com

@dpritykin

All the Nominees!

best music of 2018

PHoto: GUS BENNETT

derek trucks

spencer bohren

WALTER WASHINGTON NEW ORLEANS MUSIC, FOOD, CULTURE—JANUARY 2019

Free In Metro New Orleans US $5.99 CAN $6.99 £UK 3.50

Best of the Beat Lifetime Achievement In Music

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Five Questions with Grammy-nominated accordionist Sean Ardoin; My Music with fiddler David Greely; Billy Iuso celebrates his 50th birthday with music from 1969; Five Questions with Nina Buck of the Palm Court Jazz Café plus more.

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The 50 best albums of 2018.

The Nominations

Positive Vibrations HeartBeat Award (Culture Bearer): Herreast Harrison 24 Positive Vibrations HeartBeat Award (Musician): Dr. Michael White 26 Lifetime Achievement in Music Education: John Snyder 28 OffBeat Eats

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Restaurant Review

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Michael Dominici reviews Saba.

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The complete list of nominees for the Best of the Beat.

Best of the Beat Lifetime Achievement in Music Business: Doris Bastiansen of the Kerry Irish Pub 22

www.OFFBEAT.com

The Peculiar Reality of Dr. John

By Bunny Matthews February 2000

Page 32

Fresh 8

The Best Music of the Year

THE PAST

Walter “Wolfman” Washington

Letters 6 Mojo Mouth

.BLAST FROM

Lifetime Achievement in Music:

lil queenie

Reviews 40 Spencer Bohren, Grayson Brockamp and the New Orleans Wildlife Band, Corey Ledet and his Zydeco Band, Little Queenie, Shamarr Allen, Maria Muldaur and more.

Listings 47 Backtalk with Derek Trucks

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In 2000, our Lifetime Achievement Award for Music went to Dr. John.

Bunny Matthews asks the doctor about OffBeat Magazine. “I’ve seen OffBeat’s in weird places.

I found people with OffBeat magazines at the North Sea Jazz Festival in England. I’ve seen ’em in other states. I just see ’em here and there.”

(To read more this issue can be purchased at http:// www.offbeat.com/shop/ back-issues/2000/offbeatmagazine-february-2000/)

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Letters

“Remember Christopher Cross? He won the Album of the Year Grammy, instead of the other nominees: Glass Houses by Billy Joel, The Wall

by Pink Floyd, Trilogy: Past Present Future by Frank Sinatra, and Guilty by Barbra Streisand.”

—Jef Jaisun, Seattle, Washington

Frenchmen Street Some things you had to say [Jan Ramsey] about Frenchmen Street were on the mark since I’ve been around since the glory days of Uncle Lionel, Coco [Robicheaux], George the broom man, Kenny Holladay, etc. A lot of it is gone, thanks to Uber, pedicabs and even some cabbies. Blame them, not the homeless people.

Your worst was picking on unlicensed food vendors. I’ve never been poisoned by them which is more than I can say about some of our better eateries. When people visit, I tell them to get food from the street vendors. Spoken like a true white person.

—John Cagney, New Orleans, Louisiana The disenfranchised homeless deserve help, and we recommend services to those who truly need it. We enjoy street food as much as you do, but restaurants, bars and retailers are obligated to pay rent, utilities and taxes, and to buy permits to sell anything. These fees make it possible for police, streets, sanitation, lighting and more. It's not too much to ask for street vendors to obtain a permit and to pay a nominal fee to help to pay for community necessities—then everyone benefits.—Ed.

Banned by the Grammys The following letter is in response to Chris Thomas King’s open letter saying he’s been banned by the Grammys.—Ed. The Stones did a lot to expose young white audiences to the blues. I’ll give them credit for their early efforts, which included covering everyone from Slim Harpo (Baton Rouge) to Irma Thomas (Ponchatoula). I’m not swallowing this latest “blues” album of theirs. It’s almost as though they’re parodying their early work.

For nearly two decades Chris has been in the forefront of experimental music he calls the blues. Others of us would not call it that.

His rant that rock ’n’ roll was all about whites stealing African American music is mostly B.S. There’s no question some of it happened.

Anyone remember Pat Boone’s cover hits of Fats Domino and Little Richard tunes? I do. (File under “Awful Things You Can’t Unhear.”) Etta James once famously said, “I’d better not die, or Georgia Gibbs won’t have a career anymore.”

Finally, for F sake, Chris, it’s the Grammys!

The people who gave one to Milli Vanilli, the organization that made Christopher Cross a 4-award winner in 1981. Remember Christopher Cross? He won the Album of the Year Grammy, instead of the other nominees: Glass Houses by Billy Joel, The Wall by Pink Floyd, Trilogy: Past Present Future by Frank Sinatra, and Guilty by Barbra Streisand. That same year Stephanie Mills took the female R&B Grammy from Aretha Franklin, Minnie Riperton, Roberta Flack and Diana Ross. There’s a trend here.

Some people will always be hacks, and that includes voting members of the Recording Academy. If you pin your hopes and dreams to those characters you’re bound to be disappointed. Just go out and play to the people who appreciate you. They’re the ones who count.

—Jef Jaisun, Seattle, Washington

Dave Bartholomew A decade or so ago, I broached the idea to Cosimo Matassa and Allen Toussaint about posing with Dave Bartholomew in a photo shoot together—a portrait of the three architects of New Orleans R&B and rock ’n’ roll.

They both agreed, and both said, “We’d better do it soon, Dave’s getting old.” I never got the shoot together and now, ironically, Dave has outlived the other two. Happy Birthday, Mr. Bartholomew! You surely changed the sound and direction of popular music.

—Scott Paton, Sunnyvale, California

Jamie Lynn Vessels I was quite pleased to not only see the review of Jamie Lynn Vessels’ Storm Coming [October 2018] but also that it was rightfully a strong one.

We were lucky to have Jamie play a house concert in California earlier this year where Jamie and I stayed in touch for four years to ultimately make it happen: just her, her guitar, that killer voice and great attitude. Jamie Lynn Vessels is simply one of the nicest people I have ever run into and hopefully/deservedly she will take it to the next level. She made a ton of friends that day and hopefully we will have her back.

—Jim Rauh, Santa Clara, California

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

January 2019 Volume 32, Number 1 Publisher and Editor-in-Chief Jan V. Ramsey, janramsey@offbeat.com Managing Editor Joseph L. Irrera, josephirrera@offbeat.com Consulting Editor John Swenson Layout and design Eric Gernhauser, eric@offbeat.com Listings Editor Katie Walenter, listings@offbeat.com Contributors Michael Dominici, Herman Fuselier, Holly Hobbs, Brett Milano, John Swenson, Christopher Weddle, Dan Willging, John Wirt, Geraldine Wyckoff Cover Gus Bennett Web Editor Amanda Mester, amanda@offbeat.com Videographer/Web Specialist Noe Cugny, noecugny@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 James Bittner , Devorah Levy-Pearlman Distribution Patti Carrigan, Doug Jackson OffBeat (ISSN# 1090-0810) is published monthly in New Orleans by OffBeat, Inc., 421 Frenchmen St., Suite 200, New Orleans, LA 70116 (504) 944-4300 • fax (504) 944-4306 e-mail: offbeat@offbeat.com, web site: www.offbeat.com

/offbeatmagazine Copyright © 2019, OffBeat, Inc. No part of this publication may be reproduced without the consent of the publisher. OffBeat is a registered trademark of OffBeat, Inc. First class subscriptions to OffBeat in the U.S. are available for $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

Best of the Beat Is a Labor of Love

P

ublishing a print magazine in this day and time—a website, the Weekly Beat newsletter, social media, videos... well, it’s a lot of work for a small company. It is definitely a labor of love.

Every year I take this opportunity to thank the OffBeat team: Joseph Irrera, Amanda Mester, Noé Cugny, Camille Ramsey, Katie Walenter, Eric Gernhauser, Theo Schell-Lambert and of course, our unparalleled crew of writers and photographers, and our distribution team, for the many hours they put into making OffBeat possible. And, of course, there are the musicians and music businesses and last but certainly not least, our subscribers and advertisers who are the people who support our mission

www.OFFBEAT.com

of promoting and celebrating our music, cuisine and culture.

One can listen to our musicians in various ways—by streaming, downloads, physical product like CDs and on the radio. But there are stories behind the music that are threads woven into an intricate tapestry that’s forever growing bigger, more colorful and richer as years go on. That’s where OffBeat comes in.

It’s up to us to keep that tapestry fresh and add to it on a daily basis.

You may love listening to our musicians, but dig a little deeper and find out what has influenced and changed our music throughout our city’s 300-year history.

What OffBeat “records” isn’t just about the music—music is an

By Jan Ramsey ever-evolving, ever-fascinating art form and it’s crucial to learn about who makes the music and why they create it. Humans are complicated beings, and music is ultimately a manifestation of human intellect, skill, emotion, art and love.

In this issue of OffBeat, we present a compendium of the artists who we feel have made the best music this year; we also present nominations for the musicians and artists who we have determined are worthy of accolades this year. Our nominations for the Best of the Beat Awards take months to prepare, getting opinions from musicians, readers, local music aficionados, club owners, talent bookers and many more. Now it’s

your turn to choose the winners of the 2018 awards.

We’ll put the nominations online just after Christmas. Voting will conclude on January 15, 2019, and will culminate in our annual Best of the Beat Music Awards on January 31, 2019 at Generations Hall (see the back cover of this month’s magazine for more information).

We will also present the Lifetime Achievement Awards as well as the Music Business Awards on January 24, 2019 at a special event at Loyola’s Roussel Hall. This event is intended only for the musician and music business community, by invitation only.

Congratulations to our Lifetime Achievement recipients. Thank you! O

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Photo: Lenard Smith, Jr.

FRESH

Soundcheck

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PJ Morton performs at the House of Blues as part of his More Gumbo Tour.

SWEET TWEETS John Papa Gros @JohnPapaGros There are a couple songs that Allen Toussaint wrote where he'd have a certain, uplifting chord at the end. I remember asking him one time, "Why'd you choose that chord?"

He said, "That offers hope. We could all use some hope."

Michaelpatrickwelch @mpatrickwelch Jan Ramsey is my spirit animal.

Jeff Albert @jeffalbert PEOPLE! Do not leave the cable plugged into your hard drive when you put it in your bag! NOTHING GOOD WILL COME OF IT! #ihopemystudentsseethis jon cleary @jonclearymusic When I get big blisters from playing my funky old bass at home and my callouses are gone I know I'm spending too much time away on the road Wendell Pierce @WendellPierce Cinema is a powerful art form. Art is the forum where we reflect on our humanity collectively. Thoughts are for an individual,what art is for our community as a whole. There are few better examples of that power and reflection than #ThreeIdenticalStrangers This film is masterful.

Jon_Batiste@JonBatiste “Take the first step in faith. You don't have to see the whole staircase, just take the first step.” Martin Luther King Jr Photo: BRUCE WEBER

A

fourth-generation musician, Sean Ardoin traces his lineage to Amédé Ardoin, an accordion genius and ’20s and ’30s recording artist who many believe laid the foundation for zydeco and Cajun music. But Sean pursues a progressive style, which has earned him recent appearances on Queen Sugar on the Oprah Winfrey Network and NCIS: New Orleans on CBS. Ardoin prefers to call his music “Kreole Rock and Soul,” which is also the name of his new CD. Here's why.

Explain “Kreole Rock and Soul.”

KRS is so that I can be seen as an artist in my own right, outside the confines of genre. The industry has a particular view of zydeco and it's not what we do here currently. KRS enables me to freely expose the world to my music strictly on its merits and then direct their attention back to southwest Louisiana.

Why do you spell “Kreole” with a K? Lots of Creole cultures around the world use a K in their spelling. I chose this because I am currently spearheading an effort to increase pride, language proliferation, and awareness in our southwest Louisiana Kreole heritage. I want to take my music to the world. The K is homage to those efforts.

You used heavyweight producers on this project, like Aaron Lindsey, a six-time Grammy winner, and Carl Nappa, who worked on ’N Sync's album No Strings Attached, which sold more than 13 million copies. How was it to work with them?

I really invested heavily in the project. I gave up control in certain areas. I let people do what they do. Of course, I was involved, but it was collaboration. You can’t be great on your own. I’ve always known that. I was just in a position this time to be able to reach out and it worked out perfect.

Your CD has versions of “Abracadabra” by the Steve Miller Band and “Just What I Needed” from the Cars, among other covers. Why did you cover those?

I've loved “Just What I Needed” and “Abracadabra” for years. These are popular covers. I usually find covers that nobody’s heard of and try to make them zydeco standards. But on this CD, it needs to have been a number one.

When you're not playing music, you're a motivational speaker to teens and younger. You talk a lot about relationships. What do you tell them?

Life happens at the speed of relationships. Your relationships will determine the speed and direction of your life.

I tell that to kids because the people they hang out with are going to alter or get them going in the right direction. This applies to everybody.

These relationships are why I’m able to do the things I’m doing—that and being good to people.

—Herman Fuselier

photo: ZACK SMITH, courtesy of the artist

Five Questions with Sean Ardoin

www.OFFBEAT.com

FRESH

Soundcheck

My Music

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PHOTo: courtesy of the artist

“I

moved back to Louisiana about 1986–87. I had met Steve Riley and he used to sit in with me at lunch time at Mulate’s in Baton Rouge. We were offered a night to have a band and play dance music for Mulate’s. Steve hired a couple of guys and we had a band. It took off like a rocket. We played the Liberty Theatre and after Barry [Ancelet] heard us, he invited us to play Festivals Acadiens.

The Balfa Brothers were the first Cajun band that really caused me to become obsessed. Their sound was exactly what I had been looking for in other kinds of traditional music. Steve was bitten by the same bug.

That’s what we really had in common, our love for that band.

Our blueprint was the music of our heroes who were still alive. Whenever we played a dancehall or somewhere else in the world, we would do the same music.

A lot of times people would play different music for the down-home crowd. I always wanted to educate the audience. Try to feed them the good stuff and let the chips fall where they may.

I had been singing harmony since I was a kid. I didn’t grow up in the Catholic Church. I grew up in the Baptist Church so our music was full of harmony. I can play the harmony part on practically anything and I learned to flat the third part to anything. When Steve and I did the first hit on the radio, ‘Pointe aux Pins,’ I was singing harmony with him. We recorded that in Zachary Richard’s studio so he sang a third part. So we had three-part harmony on our most popular song on our first record and that was unusual in Cajun music.

People whose opinion I trust tell me that we were just a great dance band. We had a groove that made them want to dance. I’m freelancing now. People call me up and I go play with them. Sometimes still when I get onstage with the Mamou Playboys, I’m shocked at first about how slow that two-step is, compared to the other bands I play with, but it’s great for dancing. It’s not really slow. It’s just more relaxed.

I like being a solo artist. I’m very maneuverable. It doesn’t take much to put me in the black and make me happy. I have to be inventive. I have come up with a way to play Cajun music as a fiddler so it sounds complete. You don’t need a rhythm guitar player and that’s fun for me. When I tour, I can tell the story behind this music and most people don’t know how this French culture got here, where this music came from and why it sounds the way it does. I enjoy telling that story.”

—Dan Willging

Is this celebration concert at Tipitina's something you've been planning a long time?

I always try to book a gig on or near my birthday which is actually January 26th so at midnight it will be legit. It's gonna be a lot of fun playing the set of songs from the year of my birth, 1969.

How did you determine who you wanted to join you in this special show?

I have so many friends that play music it was very difficult to limit the number of guests. Availability had some effect on the outcome as well. I do expect other players not listed to show up.

You have developed musical relationships with a number of New Orleans musicians over the years, perhaps most notably with Anders Osborne. How did that friendship develop?

Anders has been on my radar since the early ’90s when we toured the same circuit. The first time we played together was the Richie Hayward Benefit Concert I helped organize in 2010.

We continue to play together occasionally and we text about parenthood, football woes and victories with each other. We really connect in a musical way in the live setting. It feels very natural, we never seem to step on each other on stage. Our daughters are best friends and Snapchat every day all day.

Tipitina's is a special venue and now that it has been taken over

by Galactic it will begin a new era. What are your best memories of playing on that stage?

Two that come to my mind are when we opened for one of my favorite bands of all time, Steel Pulse, and one of my first shows as a new resident.

My old band Brides of Jesus released an album in ’97 and we had Fred Wesley as a special guest.

It is my favorite venue in America. Tipitina’s surpassed my expectations as once a “bucket list gig” to now my home stage in my home city.

Through my history here Tip’s has been there for me to express myself musically.

You have become a fixture of the New Orleans music scene in its post-Katrina reboot. How have you seen it evolve and what do you think of its future?

This city seems to always continue to grow and re-invent itself without losing its historic musical identity. Although the times have changed the heart still beats the same. We live in a magical place and I think it will always be magical. It’s bigger than all of us.

—John Swenson Billy Iuso hosts a birthday bash at Tipitina's on January 25th that will include Russell Batiste, Brian Stoltz, Johnny Vidacovich, Reggie Scanlan, Papa Mali, Mike Doussan, Michael Fouquier and others. www.OFFBEAT.com

PHOTo: MILES JORDAN, courtesy of the artist

Five Questions with Billy Iuso, who celebrates 1969 on his 50th birthday

With fiddler David Greely

SOUNDCHECK

Five Questions with Nina Buck of the Palm Court Jazz Café

PHOTo: NOE CUGNY

“W

e’re history, that’s who we are,” declares Nina Buck, the owner of the Palm Court Jazz Café, which celebrates its 30th anniversary this month. When Nina’s husband, the late George Buck, bought the Decatur Street building to house his multifaceted GHB Jazz Foundation, Nina simply envisioned a coffee shop at street level. That idea grew and the happy result is the Palm Court, a jazz club, bar and restaurant that’s become a destination for jazz lovers from around the world.

In 30 years, you’ve undoubtedly enjoyed many special moments at the Palm Court. Can you share a few?

Actually, when it opened in 1989, one of the special things was that it took us two years to architecturally make this place, which was an old warehouse, so it was important that we got it right. Having the music that George loved and I loved had to be a part of what the Palm Court did. [Trumpeter] Lionel Ferbos’ 100th birthday [in 2011] was a very special day. He played [and sang] that night.

Who was the leader of the first band that performed at the Palm Court?

[Trombonist] Louis Nelson and the Palm Court Jazz Band in January 1989. When I opened I didn’t dance around—I was shy. I was cooking every morning. I made all the soups and red beans, curry—all the pot cooking. It was a little way along that I realized I could be front of house.

I came to be the host and I just started dancing.

Was it always a dream of yours to have a club?

I never thought about having a club but I loved music. When I was in London I was going out all the time and I went to jazz clubs because that’s the music I loved.

What is it about the music that entices you?

The thing is when you have a six- or seven-piece band with a good drummer, good pianist, a good front line and a good bass player it just sings. Important was having the music and having the food too, because there aren’t many places in New Orleans where people can sit, hear music, eat and bring their kids.

Did you ever imagine that the Palm Court would be celebrating its 30th anniversary?

Yes, because I never thought I would give up. Because of George I won’t give up. I have a lot of people who depend on me. It is a family.

Bobby [Davis] is now the chef, he started here at 14. He went to college and came back. He’s 45 now. Bobby is a great dancer but he’s getting shy—I drag him out [to dance]. Bobby, Kathy Edegran and I run the place.

—Geraldine Wyckoff www.OFFBEAT.com

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50 BEST ALBUMS

The Best Music of the Year The 50 best albums of 2018

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e’ve polled our writers and editorial staff and have gathered 50 of our most recommended albums of the year. We didn’t include reissues and only included releases reviewed in 2018.

Some titles released in December 2018 will be considered in the 2019 “Best of” list.

Two of our Top 10 choices are being considered for a Grammy, Cha

Wa and Sean Ardoin, and both are performing at the Best of the Beat Awards on January 31. The Grammy’s will be held a few days later on February 10, 2019.

We understand the difficulties in ranking and we only rank the Top 10.

We hope that the readers use this list merely as a guide to the best music that Louisiana has to offer: there’s a lot of great music out there!

Top 10 1. Jon Cleary Dyna-Mite (FHQ Records) Like the explosive Jon Cleary himself, Dyna-Mite is simply a blast.

—reviewed September 2018 by Geraldine Wyckoff

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4. Jon Batiste Hollywood Africans (Verve) The quietude of many of the tunes allows one to really appreciate the richness of Batiste’s voice.

—reviewed October 2018 by Geraldine Wyckoff

2. Cha Wa

5. The Revivalists

Spyboy (UPT) The increased confidence in J’Wan Boudeaux’s singing is clear from the get-go, and the music is more expansive as well.

—reviewed July 2018 by Brett Milano

Take Good Care (Loma Vista) The album manages a cohesive sound by reining in the jam-band tendencies and focusing on the guitar/keyboard instrumental core.

—reviewed December 2018 by Brett Milano

3. Johnny Sansone

6. The Radiators

Hopeland (Shortstack) This is the swamp rockin’–est band sound Sansone has ever come up with and he brings the material to match.

—reviewed Jazz Fest Bible 2018 by John Swenson

Welcome to the Monkey House (Radz Records) Nothing comes as close to capturing this band's spirit as its latest recording.

—reviewed Jazz Fest Bible 2018 by John Swenson

www.OFFBEAT.com

7. Dr. Michael White Tricentennial Rag (Basin Street Records) Dr. Michael White has put together an album of originals that draws inspiration from various eras and styles of the city’s most treasured art form.

—reviewed June 2018 by Stacey Leigh Bridewell

8. Michot’s Melody Makers Blood Moon (Sinking City Records) They have taken Cajun waltzes and two-steps into the worlds of hiphop, electronic dance music, and others without losing the essence of what make them unique.

—reviewed November 2018 by David Kunian

NEXT 40

9. Walter “Wolfman” Washington My Future is My Past (Anti) Washington enriches with his unique falsetto… he thoughtfully takes his time with every note, every word.

—reviewed Jazz Fest Bible 2018

by Geraldine Wyckoff

10. Sean Ardoin Kreole Rock and Soul (Louisiana Red Hot Records) Surprising, amazing and provocative—a risk-taking endeavor resulting in a home run.

—reviewed September 2018 by Dan Willging

(in alphabetical order)

Gregory Agid Quartet: Jamz (Bubble Bath)

Spencer Bohren: Makin’ It Home to You (Valve Records)

Agid’s playing is light and lilting as he creates a laid back relaxed feel that envelops you in warmth.

—reviewed August 2018 by Christopher Weddle

Makin’ It Home to You is both a meditation on his lengthy career and a showcase for his latest band, the Whippersnappers, an all-star collection of next-generation players.

—reviewed January 2019 by John Swenson

Shamarrr Allen: True Orleans (P.O.M.E.) Overall it’s the strongest R&B album to come out of the city this year.

—reviewed January 2019 by Brett Milano

Big Sam’s Funky Nation: Songs in the Key of Funk, Volume 1 (Independent) Big Sam’s Funky Nation takes it next level and reaches higher heights with this brand-new release.

—reviewed May 2018 by Frank Etheridge

Blake Miller & the Old Fashioned Aces: Quelle Belle Journée (Independent) Blake Miller & the Old Fashioned Aces’ sonic concoction is comparably potent since Miller covers the vibrant breadth of Cajun music on this bountiful 16-track affair.

—reviewed December 2018 by Dan Willging

Terence Blanchard: Live (Blue Note) Live shares a strong resemblance to a suite of music, as did Breathless.

They stand together in purpose and passion.

—reviewed Jazz Fest Bible 2018 by Geraldine Wyckoff

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Brother Dege: Farmer’s Almanac (Psyouthern Records) Brother Dege delivers another emotionally powerful and charged recording that is filled with Legg’s beautiful and impassioned guitar playing.

—reviewed September 2018 by Christopher Weddle

Mark Braud: Living the Tradition (Independent) This is traditional jazz in the hands of masterful modern purveyors of the idiom.

—reviewed August 2018 by Christopher Weddle

Buddy Guy: The Blues is Alive and Well (Silvertone / RCA) Guy, the Pointe Coupee Parish native who boarded a train in Baton Rouge for Chicago in 1957, delivers an album that shows him at peak blues power.

—reviewed October 2018 by John Wirt

Chubby Carrier & the Bayou Swamp Band: Black Pot (Swampadelic Records) “Dancing with a Feeling” is novel when you realize both Carrier’s

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triple and Jackson’s single-row accordions are on the same track, which is practically unheard of.

—reviewed September 2018 by Dan Willging

Ever More Nest: The Place That You Call Home (Parish Road Records) The natural beauty of Wilburn’s voice is pushed forward, and most of these songs have a surface appeal that would fit comfortably into NPR playlists.

—reviewed November 2018 by Brett Milano

Derrick Freeman and James Martin: Soul (Independent)

Jason Marsalis and the 21st Century Trad Band: Melody Reimagined book 1 (Basin Street Records) Jason Marsalis wisely looks back while simultaneously looking forward on the intriguing Melody Reimagined.

—reviewed January 2018 by Geraldine Wyckoff

Sasha Masakowski: Art Market (Ropeadope) Her voice is joyful throughout; the sound isn’t two cultures colliding but easily strutting together.

—reviewed June 2018 by Brett Milano

Nolatet: No Revenge Necessary (Royal Potato Family)

The album begins strongly with an original number, “Something’s Gotta Give,” penned by Martin, who is also featured on vocals. It’s a soul groove of a tune with smartly written, catchy and memorable lyrics.

—reviewed June 2018 by Geraldine Wyckoff

Music that is conversational, eclectic, sometimes whimsical—and always intriguing.

—reviewed Jazz Fest Bible 2018 by Ken Franckling

Future Cowboys: Going Kamikaze (Pantherburn)

Zachary Richard: Gombo (RZ Records)

Going Kamikaze expands Bernstein’s Americana songwriting through hip-hop and electronic music techniques.

—reviewed December 2018 by John Wirt

Richard has surrounded himself with an excellent cast of musicians, including Roddie Romero, Shane Theriot and Helen Gillet—he shows no signs of slowing down.

—reviewed March 2018 by Christopher Weddle

Ghalia & Mama’s Boys: Let the Demons Out (Ruf Records) Ghalia Vauthier’s vocals remained front and center. She can be haunting, a tempest and entertaining, as evidenced by the John Lee Hooker–styled “Hiccup Boogie.”

—reviewed April 2018 by Dan Willging

Jamison Ross: All for One (Concord Jazz)

Helen Gillet: Helkiase (Independent)

Paul Sanchez: One More Trip Around the Sun (Independent)

Helkiase is an intimate solo performance that to these ears at least represents Helen Gillet at the peak of her powers in their distilled essence.

—reviewed September 2018 by Michael Dominici

It’s a full-out rock album with a hard-edged Louisiana band including Sanchez’s old friend and co-writer Vance DeGeneres on bass and guitar.

—reviewed July 2018 by John Swenson

Eric Johanson: Burn it Down (Whiskey Bayou Records)

Joel Savoy, Kelli Jones, Caleb Klauder and Reeb Willms:

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.

—reviewed February 2018 by Christopher Weddle

Farewell, Alligator Man (Valcour Records) 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.

—reviewed February 2018 by Dan Willging

Yvette Landry & the Jukes: Louisiana Lovin’ (Soko Music) Louisiana Lovin’ is simultaneously a classic and contemporary affair recalling the golden era of Louisiana’s dancehalls and juke joints.

—reviewed July 2018 by Dan Willging

Eric Lindell: Revolution in your Heart (Alligator Records) Everything Lindell and drummer Willie McMains bring to Revolution In Your Heart sounds good.

—reviewed October 2018 by John Wirt

Jonathon Long: Jonathon Long (Wild Heart) Throughout Long gives his vocals justice especially when Samantha Fish and Long sing a duet of Kenny Tudrick’s “The River.”

—reviewed October 2018 by John Wirt

Darcy Malone & the Tangle: Pure as Gold (Independent) Darcy Malone found a tougher singing voice, more steeped in classic Southern soul.

—reviewed July 2018 by Brett Milano

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Ross' All For One features his soulful vocal prowess on a disc of many flavors.

—reviewed January 2018 by Geraldine Wyckoff

Keith Stone with Red Gravy: Blues with a Taste of New Orleans (Independent) The guitarist has finally found his secret sauce with talented pianist/ producer/arranger Tom Worrell and Crescent City favorite son drummer Eddie Christmas.

—reviewed October 2018 by Dan Willging

Jourdan Thibodeaux et les Rôdailleurs: Boue, Boucane, et Bouteilles (Valcour Records) His debut album is loaded with a dozen diverse originals, no covers, all sung in Cajun French. It’s all very honest and real, nothing is fabricated.

—reviewed April 2018 by Dan Willging

The Tin Men: Sing With Me (Independent) It’s a joyous album that is sure to be a new favorite for New Orleans music fans.

—reviewed Jazz Fest Bible 2018 by Stacey Leigh Bridewell

www.OFFBEAT.com

Horace Trahan: Until the End (Independent) Trahan specializes in attention-grabbing songs like the cranking zydeco number “Legalize It,” an obvious pro-weed nod that has been a live staple for years.

—reviewed May 2018 by Dan Willging

Tuba Skinny: Nigel’s Dream (Independent) Here we have a delightful new album by Tuba Skinny. The rhythm section is dead on, relaxed yet still driving.

—reviewed Jazz Fest Bible 2018 by Stacey Leigh Bridewell

Various Artists: Live at Little Gem Saloon Basin Street Records Celebrates 20 Years (Basin Street Records) Live at Little Gem celebrates 20 impressive years of Basin Street Records while reveling in New Orleans itself.

—reviewed December 2018 by Geraldine Wyckoff Various Artists: Travailler, C’est Trop Dur: The Lyrical Legacy of Caesar Vincent (Swallow Records) On this two-disc tribute, 20 of Vincent’s songs spring to life with astounding new interpretations done by approximately 60 Acadiana musicians.

—reviewed December 2018 by Dan Willging

Jamie Lynn Vessels: Storm Coming (Independent) Her songwriting is deceptively good—she begins with the massive title track, stacks up a series of really sharp relationship songs, then twists the drama deeper and deeper as the album progresses.

—reviewed October 2018 by John Swenson

The Wanting: Dark Road (Planetary Magnetics) This seven-track collection fits loosely into the Southern Gothic genre, although it’s really more haunting than it is harrowing.

—reviewed December 2018 by Bill Forman

Water Seed: Say Yeah! Live at the Blue Nile (Louisiana Red Hot Records) If this album doesn’t make you want to go to one of their live shows, then you must not like to dance.

—reviewed August 2018 by Stacey Leigh Bridewell

Jasen Weaver: The Voscoville (Independent) Cerebral but never mathematic, this is the long-time-coming debut from one of the most talented bassists NOCCA, and New Orleans helped produce.

—reviewed April 2018 by Nick Benoit

Shawn Williams: Motel Livin’ (Independent) It’s her less obvious inspirations, such as Billie Holiday and shoegaze icon Mazzy Star, that set her apart from the pack.

—reviewed August 2018 by Raphael Helfand

Luke Winslow-King: Blue Mesa (Bloodshot) Blue Mesa is a mature, reflective recording that should help garner Luke Winslow-King the recognition he truly deserves.

—reviewed Jazz Fest Bible 2018 by Christopher Weddle O

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50 BEST ALBUMS

The Nominations The complete list of nominees for the Best of the Beat

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he OffBeat Music and Cultural Arts Foundation’s Best of the Beat Nominations are in.

We solicited nominations from musicians and others in the music community. We then gave the results to our writers and editors and with input from both, determined the nominations in each category.

The public already started voting on the resulting ballot. Voting ends on January 15, so if you haven’t voted, you need to before voting closes.

Winners will be announced at the Best of the Beat, which returns to Generations Hall on Thursday, January 31.

Many of the city’s fine restaurants will be serving food that night at

Generations Hall; last year, more than 20 restaurants served our guests, and we expect a similar number this year.

The 2018 Best of The Beat Awards and Party will feature performances

by Grammy-nominated Cha Wa and Sean Ardoin as well as Water Seed, Gregg Martinez & the Delta Kings with special guest T.K. Hulin, Nesby Phips, Iceman Special and a tribute to Walter “Wolfman” Washington.

Sponsors for this year’s Best of the Beat Awards include OffBeat Media, Positive Vibrations Foundation, Lyft, Generations Hall, WWNO, WYES and WHIV. Tickets for the Best of the Beat are on sale now at Eventbrite.com.

Artist of the Year Quiana Lynell Samantha Fish Tank & the Bangas The Revivalists Walter “Wolfman” Washington

Best R&B/Funk Album Big Sam’s Funky Nation: Songs in the Key of Funk, Volume 1 (Independent) Cha Wa: Spyboy (UPT) Jon Cleary: Dyna-Mite (FHQ Records) Shamarrr Allen: True Orleans (P.O.M.E.) Water Seed: Say Yeah! Live at the Blue Nile (Louisiana Red Hot Records)

Trombone Shorty

Album of the Year Jamison Ross: All for One (Concord Jazz) Jason Marsalis and the 21st Century Trad Band: Melody Reimagined book 1 (Basin Street Records) Jon Cleary: Dyna-Mite (FHQ Records) Paul Sanchez: One More Trip Around the Sun (Independent) The Revivalists: Take Good Care (Loma Vista) Walter “Wolfman” Washington: My Future is My Past (Anti)

Best Rock Artist Darcy Malone & the Tangle Givers LVVRS Revivalists Sweet Crude

Best Rock Album

Best Emerging Artist Bon Bon Vivant Iceman Special Julie Odell LVVRS Sabine McCalla & the Tumbling Wheels

Song of the Year “All My Friends” by Dave Bassett and David Shaw “Chapters” by J’Wan Boudreaux “Dyna-Mite” by Jon Cleary “I Love You” by Shamarr Allen “One More Trip Around the Sun”

by Paul Sanchez and John Rankin

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Best Blues Performer

Billy Iuso & the Restless Natives: Home By The Sea (Independent) Darcy Malone & the Tangle: Pure as Gold (Independent) Future Cowboys: Going Kamikaze (Pantherburn) The Radiators: Welcome to the Monkey House (Radz Records) The Revivalists: Take Good Care (Loma Vista)

Eric Lindell Johnny Sansone Jonathon Long Samantha Fish Walter “Wolfman” Washington

Johnny Sansone: Hopeland (Shortstack) Jonathon Long: Jonathon Long (Wild Heart) Walter “Wolfman” Washington: My Future is My Past (Anti)

Best Blues Album

Best R&B/Funk Artist

Best Rap / Hip-Hop / Bounce Artist

Eric Johanson: Burn it Down (Whiskey Bayou Records) Eric Lindell: Revolution in your Heart (Alligator Records)

Big Sam’s Funky Nation Cha Wa Jon Cleary PJ Morton Water Seed

Alfred Banks Chase N Cashe LG Paasky Ze11a

www.OFFBEAT.com

Jon Cleary

Best Rap / Hip-Hop / Bounce Artist Album Chase N Cashe and Negus: We Never Close 2 (Independent) Curren$y & Freddie Gibbs: Fetti (Jet Life Recordings) LG: Jahvon (Creative Archive) Nesby Phips: Therapy (Audacious Recordings) Supreme Beings: Supreme Beings (Independent)

Best Traditional Jazz Artist Dr. Michael White Mark Braud Mike Harvey’s Hot Club Preservation Hall Jazz Band Tuba Skinny

Best Traditional Jazz Album Dr. Michael White: Tricentennial Rag (Basin Street Records) Mark Braud: Living the Tradition (Independent) Mike Harvey’s Hot Club: Mike Harvey’s Hot Club (Independent)

www.OFFBEAT.com

Shake ’Em Up Jazz Band: A Woman’s Place (Independent) Tuba Sknny: Nigel’s Dream (Independent)

Best Contemporary Jazz Artist Adonis Rose Ashlin Parker Gregory Agid Jamison Ross Jason Marsalis

Best Contemporary Jazz Album Gregory Agid Quartet: Jamz (Bubble Bath) Jamison Ross: All for One (Concord Jazz) Jason Marsalis and the 21st Century Trad Band: Melody Reimagined book 1 (Basin Street Records) Jon Batiste: Hollywood Africans (Verve) Nolatet: No Revenge Necessary (Royal Potato Family)

Best Brass Band Da Truth Brass Band Free Agents Brass Band Hot 8 Brass Band Soul Rebels Treme Brass Band

Best Cajun Artist Bruce Daigrepont Feufollet Kevin Naquin and the Ossun Playboys Michot’s Melody Makers Steve Riley & the Mamou Playboys

Best Cajun Album Blake Miller & the Old Fashioned Aces: Quelle Belle Journée (Independent) Jourdan Thibodeaux et les Rôdailleurs: Boue, Boucane, et Bouteilles (Valcour Records) Kevin Naquin and the Ossun Playboys: Man in the Mirror (Flat Town) Michot’s Melody Makers: Blood

Moon (Sinking City Records) Various Artists: Travailler, C’est Trop Dur: The Lyrical Legacy of Caesar Vincent (Swallow Records)

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Dwayne Dopsie

Best Zydeco Artist

Paul Sanchez Spencer Bohren

Chubby Carrier & the Bayou Swamp Band Corey Ledet and His Zydeco Band Dwayne Dopsie and the Zydeco Hellraisers Nathan & The Zydeco Cha Chas Sean Ardoin

Best Female Vocalist Erica Falls Quiana Lynell Robin Barnes Samantha Fish Susan Cowsill

Best Zydeco Album Chubby Carrier & the Bayou Swamp Band: Black Pot (Swampadelic Records) Horace Trahan: Until the End (Independent) Keith Frank & The Soileau Zydeco Band: Return of the King (Soulwood Records) Leon Chavis and the Zydeco Flames: This All I Know (Independent) Sean Ardoin: Kreole Rock and Soul (Louisiana Red Hot Records)

Best Roots Rock Artist Jamie Lynn Vessels Paul Sanchez Shawn Williams Spencer Bohren Yvette Landry & the Jukes

Best Roots Rock Album Jamie Lynn Vessels: Storm Coming (Independent) Paul Sanchez: One More Trip Around the Sun (Independent) Shawn Williams: Motel Livin’ (Independent) Spencer Bohren: Makin’ It Home to You (Valve Records) Yvette Landry & the Jukes: Louisiana Lovin’ (Soko Music)

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Best Male Vocalist Cyril Neville David Shaw Gregg Martinez Jamison Ross John Boutte

Best Country/Folk/SingerSongwriter Artist Ever More Nest Gal Holiday Sarah Quintana The Wanting Zachary Richard

Best Country/Folk/SingerSongwriter Album Ever More Nest: The Place That You Call Home (Parish Road Records) Gal Holiday: Lost and Found (HTRP Music) Joel Savoy, Kelli Jones, Caleb Klauder and Reeb Willms: Farewell, Alligator Man (Valcour Records) The Wanting: Dark Road (Planetary Magnetics) Zachary Richard: Gombo (RZ Records)

Best Gospel Group Lyle Henderson McDonogh #35 High School Gospel Choir Pastor J’ai Reed The Electrifying Crownseekers Tyrone Foster

Stanton Moore Derek Douget Donald Harrison James Martin Khari Allen Lee

Best Bass Player George Porter, Jr. James Singleton Jasen Weaver Pat Casey Roland Guerin

Best Clarinetist Aurora Nealand Dr. Michael White Evan Christopher Gregory Agid Tim Laughlin

Best Guitarist Alex McMurray Anders Osborne Jonathon Long June Yamagishi Samantha Fish

Best Trumpter Ashlin Parker Eric Benny Bloom Leroy Jones Leon “Kid Chocolate” Brown Nicholas Payton

Best Drummer Jamison Ross Johnny Vidacovich Russ Broussard Shannon Powell Stanton Moore

Best Trombonist Corey Henry Craig Klein Delfeayo Marsalis Mark Mullins Troy Andrews

Best Saxophonist Aurora Nealand

Best Tuba/Sousaphonist DJ Soul Sister

Ben Jaffe Benny Pete John Cannon Matt Perrine Phil Frazier

Best Cover Band

Best Piano / Keyboardist

Bag Of Donuts Bucktown All-Stars Jamaican Me Breakfast Club Top Cats Where Y’acht

David Torkanowsky Jon Cleary Kyle Roussell Ocsar Rossignoli Tom McDermott

Songwriter of the Year

Best Accordionist

Dave Shaw Dayna Kurtz Jon Cleary

Andre Michot Bruce “Sunpie” Barnes Chubby Carrier www.OFFBEAT.com

Sean Ardoin Steve Riley

Best Violin / Fiddle Player Amanda Shaw Joel Savoy Kelli Jones-Savoy Louis Michot Matt Rhody

Best DJ DJ RQ Away DJ Soul Sister Legatron Prime Lil Jodeci Raj Smoove

Best Other Instrument Helen Gillet (cello) Jason Marsalis (vibes) Johnny Sansone (harmonica) Mike Dillon (vibes) Washboard Chaz (washboard)

Best Music Video “All My Friends” The Revivalists, UMG (on behalf of Concord Loma Vista) https://www.youtube.com/ watch?v=ZygSY-2on0c “Over You” LVVRS, Alexander Breaux, videographer https://www.youtube.com/ watch?v=48K7nLIzFcA “Save Your Love For Me” Walter “Wolfman” Washington, directed by Sam Radutzky https://www.youtube.com/ watch?v=_qGB2VRnpWk “Chapters” Cha Wa, directed by Cameron Wheeless https://www.youtube.com/ watch?v=Ik4n7H4Y4Bo “I Love You” Shamarr Allen, directed Damian Gordon https://www.youtube.com/ watch?v=Hit10kFN2BQ "Rent" Big Freedia, directed

by Greenhouse Collective: Zac Manuel, Milo Daemgen and Chris Haney https://www.youtube.com/ watch?v=FtU1zjRuTdU O

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DORIS BASTIANSEN

BEST OF THE BEAT

Lifetime Achievement in Music Business

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ew Orleans has a long list of storied music venues known the world over for their timeless performances that connect musicians with the spirit of their audience members. And yet there is an even longer list of music venues perhaps lesser known, yet equally important for their role in serving as central hubs for local communities of music and musicians. This year, the OffBeat Music & Cultural Arts Foundation honors Doris Bastiansen with the Best of the Beat Lifetime Achievement in Music Business and her French Quarter bar and music venue, the Kerry Irish Pub, now in its 25th year of business, for its role in maintaining tradition, offering space for songwriters, and serving as a community space for the French Quarter and far beyond.

Born and raised in Lakeview, Doris Bastiansen grew up surrounded by music. Her grandmother and sister were singers; another brother played flute and was in a band. Another brother was an opera singer and performed for many years in Austria and beyond. Her parents always played records, from swing to jazz to Pete Fountain, and her mother and grandmother listened to the Irish and Irish-American music so dear to their ancestry.

Doris’s mother’s family originally came from County Westmeath in the middle of Ireland, from where they were forced to leave during the Famine. Doris’s ancestor, Catherine Lynch, traveled with her own mother, who died in the ship voyage, which left from Cork with a stop in Liverpool before journeying directly to the Port of New Orleans.

During the early ’90s, one of

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Doris’ best friends, Kay Harris, owned a small Irish imports shop called the Wild Irish Rose on Toulouse Street. Miss Harris decided she wanted to open an Irish pub in the quarter, so the two friends set out to look for locations. Eventually they decided upon the current home of the bar, and Kerry Irish Pub opened

There’s something different every night, with Irish music, blues, country, honky-tonk, and roots music of all kinds represented. In time, the Kerry made a name for itself as a spot that was supportive of songwriters. All performers are paid 20 percent of the bar, plus tips, with guarantees on top of that on the weekends. Today,

on 331 Decatur Street in 1993.

When Kay Harris died of cancer in 2000, Doris bought the Kerry from Harris’s estate. “I probably bought the bar for all the wrong reasons,” Doris says. “I approached it from a sentimental, emotional point of view, which is also what music does for people.”

“I never had a desire to open a bar,” she continues, “but with Kay’s passing I wanted to honor her and create a space for music and musicians, a traditional Irish pub that would continue on in her memory.”

Kerry Irish Pub has live music every night, seven nights a week, with a traditional Irish session once a month on Sunday afternoons.

local songwriters and touring musicians alike stop in at the Kerry to perform, from Lynn Drury and Kim Carson all the way to touring Irish musicians of all varieties. “The highest compliment the musicians who play here give me,” Doris says, “is that they feel like they’re playing in their own living rooms.

At the end, we always try to stay true to the music first.”

It was also important to Doris to help people understand the beauty of Irish culture and the importance of Irish identity to the story of New Orleans. She serves as a sponsor for several Irish community festivals and celebrations, including a large festival in September put on by the Muggivan School of Irish Dance,

by Holly Hobbs

which commemorates the Famine.

“If the walls could talk here at the Kerry, they would sing,” Doris says.

“We do many things, but first and foremost we’re dedicated to the music. It’s a traditional Irish pub and we want to keep it that way.”

In the aftermath of Hurricane Katrina, the Kerry became a hub for first responders. They were open less than a month after the storm, and the inside of the bar had no visible damage. The first responders working to assist in New Orleans’s recovery would gather there in the evening to talk, drink and heal.

Regulars made a point to come to the Kerry during this time, since the inside looked as if nothing had occurred and it was a small space of normalcy within a city recovering from disaster. Today, policemen and firemen who have come through the Kerry from all over the country still send in their patches, which the bar displays proudly.

Kerry Irish Pub also prides itself in showcasing songwriters and supporting original songwriting for musicians who may have day jobs, or families, or other obligations that keep them from performing more frequently or touring. “While some of our musicians are lucky enough to play the larger venues like House of Blues and Tipitina’s or tour nationally or internationally,” she says, “I feel dedicated to helping musicians of all kind find a stage, from well-known to lesserknown to not known at all. At the end of the day, we support songwriting and songwriters,” Doris concludes. “I wish there were more than seven nights a week so we could program more musicians, but we give everyone a shot. We do our best to support live, local music in New Orleans and we’ll continue to serve our community long into the future.” O www.OFFBEAT.com

PHOTo: GUS BENNETT

Doris Bastiansen of the Kerry Irish Pub

www.OFFBEAT.com

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DORIS BASTIANSEN

BEST OF THE BEAT

Positive Vibrations HeartBeat Award (Culture Bearer)

H

erreast Harrison’s life story sings of destiny. A soft-spoken yet sharpwitted and culturally astute and involved woman, Harrison, 81, took her cues from her mother, Mattie Johnson, in her love of books and artistic creation.

“I had a quest for knowledge,” Harrison says, remembering that her mother read to her children and taught them how to read at an early age. “I was a curious child, it was just how I was wired I guess,” adds Harrison, who excelled throughout her academic life and holds a master’s degree in Museum Studies. “It just came naturally.”

Her mother also taught a young Herreast the art of quilting, a skill passed down from her own mother. Later in life Herreast’s talent with a needle and thread would also be utilized when she would help her husband, the late Donald Harrison Sr., the Big Chief of the Guardians of the Flame, sew his Mardi Gras Indian suits.

“I was introduced to Donald by his mother,” says Herreast, who attended Joseph S. Clark High School with Donald’s sister. “She said, ‘I would like for you to meet my son—he is very bright and you are very bright and I bet the two of you would have a lot in common.’”

She couldn’t have been more right. Donald was a voracious reader and after the two were married, on July 17, 1958, books remained a priority in their household. “Donald and I provided our children with lots of books,” says Herreast, recalling that they even put aside money to purchase an encyclopedia. She also made sure that there were plenty of books and educational toys at the nursery school she ran for 32 years.

Their mutual love of books continues to be reflected through the Guardians Institute, which

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Herreast established in 2006.

Its cornerstone is the Big Chief Donald Harrison Sr. Book Club that provides under-served children with hardcover books. It was her way of paying tribute to Donald, who passed away in 1998.

of the Flame in 1988, following a period when he didn’t mask, Herreast did offer her informed suggestions on his designs.

“We had been married for many years and I had grown—I was not the same person,” says Herreast.

“I wanted to honor him and our existence together because that had been the essence of my life,” says Herreast, adding that her favorite song is, “The Best Thing That Ever Happened to Me.” “That was him…”

When Herreast first met Donald she wasn’t aware that he was involved with the Black Indians. She found out in 1957 when he asked her mother to make a yellow satin shirt for him. “Then he had to tell us why,” she remembers.

Early in their marriage, Herreast would help her husband sew his Indian suits. “So he taught me how to sew and bead and he told me what to do but I had no input on what he was producing. When Donald formed the Guardians

“Then I introduced him to the African aspect, a deeper more pertinent aspect of the tradition he held so dear.”

Herreast has kept her needle and thread busy since Donald’s death, sewing for her daughter, Cherice Harrison-Nelson, the Big Queen of the Guardians of the Flame as well as for the Young Guardians of the Flame. In 2015, she established the Donald Harrison Sr. Museum next to her home in the Upper Ninth Ward.

Open by appointment, it houses beaded patches, memorabilia, photos and other items related to her family’s involvement with the Black Indians as well books and other cultural items donated to the museum by the community. Music

by Geradline Wyckoff

and dance and other presentations take place at the attached Legacy Performance Pavilion.

“It’s not just about dancing and singing, it has a deeper meaning,” Herreast points out. “It’s a cultural heritage based on the memory of the people who started it and the resistance of what they were facing here in New Orleans.”

A passion for music, particularly jazz music, was another common denominator between Herreast and Donald Harrison, though she is quick to point out that when they were first married it was her husband who brought some 200 to 300 records into their home. “I just fell in love with the genre of music,” says Harrison, the mother of internationally renowned saxophonist Donald Harrison Jr., who leads the Congo Square Nation Black Indian tribe, and grandmother to Grammynominated trumpeter Christian Scott aTunde Adjuah.

Herreast Harrison’s works, most notably her impressive quilts, have been exhibited in acclaimed museums both locally and nationally and she has received numerous awards for her contributions to the arts and culture and enriching the lives of children.

“What better way to give to young children than to empower them with knowledge and just to instill in them how important it is to know things—to be curious and to want to excel?” she asks while living the answer.

“What Donald and I collectively felt was that you should give back in whatever way you can,” she continues. “We were not wealthy so we had to give a lot of ourselves.

Donald was a giver to a fault. I think he got it from his mother and I think I got it from my mother too and we passed that down to our children.” O www.OFFBEAT.com

PHOTo: GUS BENNETT

Herreast Harrison

www.OFFBEAT.com

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Dr. Michael White

BEST OF THE BEAT

Positive Vibrations HeartBeat Award (Musician)

PHOTo: GUS BENNETT

Dr. Michael White

R

enowned and multipleaward-winning clarinetist, composer and educator Dr. Michael White came to learn that just performing New Orleans jazz was not enough.

Part of the deal was carrying on the tradition for future generations.

“It came as a result of circumstances,” White explains.

“I was playing with a lot of older musicians [born between the late 1890s and 1910] and at the time many of them got sick and started dying out so I ended up having a lot of hospital visits. The thing that started recurring over and over, which I found strange at the time, was that a lot of them would say stuff like, ‘It’s up to you to keep this music going.’ I thought it was really strange that somebody was dying and they were thinking about music.”

In time, White began to comprehend traditional jazz’s importance in this city’s culture that went beyond the music’s entertainment value.

“What I came to realize, is that one of the liberating forces of the music when it originated was to help black people overcome this imposed status of invisibility,” he says.

White first played with trumpeter and bandleader Doc Paulin’s band from 1975 until 1979. Again, it wasn’t just musical lessons Paulin provided but, says the clarinetist, the “spiritual values of the tradition.” The veteran bandleader stressed the importance of properly representing the culture by wearing the correct attire, being punctual and taking care of business. “He gave me a foundation,” says White of Paulin.

The clarinetist’s next stop was with the “second generation”

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by Geradline Wyckoff

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of the Fairview Baptist Church Band, led by another wise veteran musician, guitarist/banjoist and composer Danny Barker.

“He and Doc together were two very important sources coming from different perspectives but also sharing certain similarities,” the clarinetist suggests.

White, 64, got what some might consider a late start in the world of New Orleans jazz.

Inspired by his clarinet-playing aunt and encouraged by his parents, he began playing his life-long instrument as a student of Edwin Hampton at St. Augustine High School.

It wasn’t until he was in college that jazz sparked his interest.

Around 1974, he started going to the Maple Leaf on Saturday nights when the Uptown club presented jazz. That’s where he met trumpeter Gregg Stafford, who he had previously heard leading the Young Tuxedo Band at Jazz Fest. The two, who many would consider like-minded in their passion for traditional jazz, finally got together when Stafford asked the clarinetist to sit with the Tuxedo one afternoon at Tulane University’s quad. They’ve continued to perform together ever since.

“Gregg came up as a kid hearing and seeing the music of the brass bands in the community,” White says. “We would talk about the music and as the older musicians passed, it became more apparent that a lot of the other guys were playing a different style even if they were playing traditional songs.”

“I got more interested in the history of music and the meaning of it,” he continues. “So I got into the early styles more than the revival style that most of the older guys played. I started to focus more on the idea of style.”

“Some people think that New Orleans jazz is just a simple set of songs so if you just play them you’re playing it. Others recognize that New Orleans jazz is a style—a language. You can do anything within its guidelines and rules.”

“The principles of the style can www.OFFBEAT.com

apply to many different types of songs. With my original tunes, I’m trying to do what they did in early jazz without always doing exactly what they did, in other words use songs from various genres and within that make something new and different. Events in our personal lives and experiences should be an inspiration for new expressions and sounds.”

White, who leads his own Original Liberty Jazz Band, has also contributed to the preservation of traditional jazz through playing clarinet. Though it once held a prominent position in the music, unfortunately to him and many the clarinet has become a “secondary instrument.”

“I think it has had an important role in New Orleans jazz as a solo instrument and one that makes characteristic harmony as it blends with the trombone and trumpet.

It makes a good voice for calland-response with the trumpet and at jazz funerals its role is to represent a weeping widow. It adds great color and contrast to the brass instruments and it’s one of the defining instruments of New Orleans jazz. It’s king!”

Though White suggests that for a lot of people tradition is “a concept or a catchword rather than a reality,” he nonetheless remains optimistic on the style’s future. He’s encouraged by what he sees as a transition happening with younger musicians taking up the music and taking it seriously.

White also finds reassurance in the fact that New York’s Juilliard School, where he acts as a “guest coach,” now includes a course in New Orleans jazz in its curriculum.

“All of the saxophone players have to learn how to play the clarinet and along with that they have to go back and learn the earlier styles.

That’s a great, great thing.”

“I hold on to the hope of preserving the music in New Orleans especially among native New Orleanians and especially among people like myself, descendants of early generations of musicians.” O JA N U A RY 2 019

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JOHN SNYDER

BEST OF THE BEAT

Lifetime Achievement in Music Education

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hen John Snyder joined the Loyola University faculty as the Conrad N. Hilton Eminent Scholar in Music Industry Studies, he brought decades of creativity and expertise to the job.

“One of my early goals was to prevent brain drain, to keep the kids in New Orleans, keep them from going to Los Angeles and New York,” Snyder said in his office at Loyola’s Communications/ Music Complex. “Now that’s happened. We run clubs here.

We run management companies and agencies here. Our students are part of the fabric of the music industry in the city.”

Snyder’s 14 years of preparing Loyola students for music careers more than qualify him for the Best of the Beat Lifetime Achievement Award in Music Education. Prior to his tenure at Loyola, he’d already made vast contributions to music, producing nearly 350 original recordings and more than 400 compilations and reissues.

His productions have won five Grammy Awards and received 32 Grammy nominations.

The record labels Snyder worked with—either on staff or as an independent producer—include CTI, A&M, Atlantic, Fantasy, Concord, RCA, Sony, Sony Legacy, Verve, Private Music, Telarc, GRP, Elektra, Rounder, Columbia, Evidence, Gitanes Blues, House of Blues, Justin Time and his own Artists House Recording Company.

In the field of jazz and blues, the artists Snyder produced include Dave Brubeck, Chet Baker, Ornette Coleman, Sun Ra, George Shearing, Gerry Mulligan, Lucky Peterson, Lightnin’ Hopkins, James Cotton, Etta James, Charles Brown, Clarence “Gatemouth” Brown, Mavis Staples, Maria Muldaur, Junior Wells, Derek Trucks and

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hundreds more. In addition to the original productions he supervised from 1977 on, he produced top-ofthe-line compilations and reissues from 1987 to 1998.

At Loyola, Snyder is a professor and chair of Film and Music Industry Studies. Being surrounded by inquisitive young people keeps him sharp, he said. “Guys my age, who don’t teach in academia, don’t have 18 to 20-year-olds asking them for their opinion all the time. But I do. We have 340 students.

So that keeps me on my toes.

And I realize that this will end at some point, so I’m making the best of it while I have it.”

Loyola’s Music Industry Studies program, offered in conjunction with the School of Music’s jazz and classical training, includes highly relevant courses in management, technology, event production, marketing, publishing, distribution and entertainment law.

“What we’re really training here is the creative work force,” Snyder said. “I wouldn’t call our students only musicians. As a member of the creative work force, they must do a number of things in order to stitch together a life, a career and a sustainable existence. We teach kids how to build websites and shoot video. Those are creative pursuits that fit into the life of a musician and an entrepreneur.”

Scott Billington, a veteran producer, former vice president of A&R at Rounder Records and instructor in music production at Loyola, has known Snyder since Rounder Records distributed Snyder’s Artists House recordings in the 1970s. “Those Artists House albums set a standard for production—in care in preparing

by John Wirt

for the sessions, astute decisions in the studio, recording quality, superb packaging, photography and notes—that many companies still can only hope to emulate.”

In the 1990s and 2000s, Billington and Snyder regularly

produced recordings at Dockside Studio in Maurice. “John and I seemed to be tag-teaming at Dockside when he made a series of wonderful records for Telarc and other labels,” Billington said.

Snyder produced recordings at Dockside by many blues and roots music artists, including Junior Wells and Clarence “Gatemouth” Brown. “Those blues artists had been accustomed to playing with whomever was with them at the time of a show,” said Dockside Studio co-owner Cézanne Nails.

But Snyder, Nails said, paired the veteran artists he produced with world-class session players.

“The result was the funkiest, bluesiest sound to ever come out of Dockside Studio,” Nails said. In the studio, she added, Snyder has

“an amazing ability to squeeze every ounce of talent and heart out of each person in the session.

Sometimes he is really hands on, sometimes he just steers the ship in the right direction. He can open the mind of an artist so that they can believe in their own musical possibilities.”

Nails credits Snyder for helping put the now internationally known Dockside Studio on the map. “He introduced so many talented and recognized musicians to our studio,” she said. “And he was responsible for so much of the recognition we received from the Grammys and people in our industry.”

At Loyola, Billington said, “John strives for the same excellence in education that he achieves with his records.

He runs one of the best music business programs in the country. Really, he never stops inspiring me and others, by his words and actions, to reach for the best and to think deeply about what we are doing.”

Snyder takes students on field trips to Dockside Studio, the 12acre studio complex near Lafayette.

“John covers every aspect of recording with them,” Nails said.

“Not just strumming a guitar and singing in tune. He is all about lifting the kids to their highest standard and watching them grow.”

Snyder’s lifetime in music began with a Louis Armstrong concert he attended in his native North Carolina. He was 10. “I was in the front row,” he said. “All I remember is a big handkerchief and a lot of sweat and a lot of teeth. I just couldn’t believe what I was hearing. It made me want to play trumpet. Louis Armstrong got me into this.” www.OFFBEAT.com

PHOTo: Cathy Weeks

John Snyder

“I thought, ‘I can go back into these executive ranks and participate in the music business scam and make a good deal of money—or I can live by my wits. Nobody will pay me unless I convince them to buy an idea.’ So, I woke up one morning and said, ‘You’ve got a job. You’re a music producer. So, go produce something.’

That change of mind and focus made all the difference.”

Snyder’s father had kept the cornet he’d played in high school.

“Daddy would bring it down from the attic maybe once a year when my brother and I were little,” Snyder recalled. “But he hadn’t played it in years. If you stop playing, you lose it. I was always fascinated by the cornet.

So, I got it.”

At first, the music Snyder heard mostly came from TV, including crooner Perry Como’s weekly variety show. “And I fell into Al Hirt and Herb Alpert records,” he said. “But those records were kind of too white for me. I moved into other things.” The other things included Count Basie, George Shearing and Miles Davis’ Birth of the Cool.

Snyder soon played trumpet in school bands. His performance of “Java” at a talent show during his sophomore year of high school was a turning point. “Girls didn’t talk to me before that, but, all of a sudden, after I played ‘Java,’ they talked to me.”

A 15, Snyder became the youngest member of the Rivieras, a popular local band that specialized in the rhythm-and-blues music known in the Carolinas and Virginia as “beach music.” “That was Maurice Williams and the Zodiacs, the Tams, the Drifters, Major Lance,” Snyder said. “We were a totally white band, but we played totally black music.”

After high school, music was the only subject Snyder wanted to study in college. “To me, I wasn’t anything but a musician,” he said.

Because Snyder’s father refused to pay for such foolishness, he paid for his music education at the University of North Carolina at Greensboro via gigs and scholarships. The gigs included the circus, a jazz quintet that played

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country clubs and pickup dates with traveling stars such as Brenda Lee and Sonny and Cher.

Snyder found the classical music curriculum at UNCG disconcerting.

“It was all about girls who were training to teach for the two years before they get married,” he remembered. “That wasn’t me.

And there was no jazz there. In fact, they said jazz music would ruin your embouchure and your sense of time, all these things that were not true.”

Bucking the system, Snyder and some of his fellow students founded a non-accredited jazz band. “We were aggressive,” he said. “And I wrote papers that argued for teaching jazz in secondary schools. I was an agitator.”

After the concerts his renegade jazz band performed outdrew performances by the school’s orchestra, concert band and chorus, UNCG administrators hired a jazz instructor. They also granted a half-credit for participation in jazz band. UNCG is now home to the Miles Davis Jazz Studies Program.

In 1973, Snyder’s post–music school sidestep into UNCG’s law school helped get him a job in New York City with CTI Records.

Hired as assistant to Creed Taylor, CTI’s president, he oversaw the company’s legal and business affairs, publishing, manufacturing, distribution and A&R operations.

Snyder followed two years at CTI Records with two years as director of A&M Records’ Horizon Jazz Series. In 1977, he founded his independent label, Artists House Recording Company. “I was an idealist,” Snyder said of the latter venture. “I was so dedicated to the artist. I wanted every project to be the artist’s best record, representative of who they

are. And I didn’t want to have a production style, where somebody could say, ‘Oh, that’s a John Snyder production.’ No. It wasn’t about me.”

At Artists House, Snyder brought LP packaging to an unprecedented level of completeness. The albums he released included artist interviews, discographies, sheet music, even transcribed solos.

“And every artist wrote a little note and signed it,” he said. “I was all about informing the listener.”

During his 1977–1983 run at Artists House, Snyder also managed Ornette Coleman, Chet Baker, Gil Evans, Jim Hall and Art Pepper. The work could be challenging. “Ornette wasn’t a drug user, but he was just so far out,” he recalled. “When I first met him, I couldn’t understand his syntax.”

Hoping to better understand Coleman, Snyder regularly taped conversations with the innovative saxophonist and composer using a Sony professional Walkman. He studied the tapes and learned to decipher Coleman’s usual way with the English language.

“When Ornette accepted the Lifetime Achievement Award at the Grammys, I must have been the only person there who understood his speech,” Snyder said. “It was so far out and so great. Then the scary thing was I started talking and thinking like Ornette. He made me hypercreative. I can’t stop. I’m an idea guy. Whatever you say, I can spin something back.”

The ability to reply to anything that anyone says sounds like jazz.

“Jazz is the music of democracy, an example of the power of one,” Snyder said. “It’s not the totalitarian stage that a symphony orchestra is.”

But Snyder’s Artists House

Recording Company folded under the weight of his idealism. “I messed up because it was too expensive,” he said. “I couldn’t stay in business.”

Retreating temporarily from music, Snyder returned to North Carolina, spending two years being a stay-at-home dad while his wife taught school. In 1985, he returned to New York and the music business for a 15-month stay at Atlantic Records as director of jazz production. With the end of that position—his last fulltime job working for someone other than himself in the music industry—Snyder came to a realization.

“I thought, ‘I can go back into these executive ranks and participate in the music business scam and make a good deal of money—or I can live by my wits. Nobody will pay me unless I convince them to buy an idea.’

So, I woke up one morning and said, ‘You’ve got a job. You’re a music producer. So, go produce something.’ That change of mind and focus made all the difference.”

Snyder’s production of Clarence “Gatemouth” Brown’s Grammynominated album The Man brought him to Dockside Studio for the first time. His prolific production work at Dockside sessions led to his position as Loyola’s Conrad Hilton N. Eminent Scholar in Music Industry Studies.

“I call music education creative education,” he said. “It’s all about the power of the individual to solve problems, usually through the application of teamwork. And those are big lessons. Educators who don’t seek a balance between math and science and art are doing a great disservice to their young people.” O www.OFFBEAT.com

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Best of the Beat

Lifetime Achievement in Music

W a lt e r

Wolfman

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Wa s h i n g to n

b y J o h n Sw e n s o n

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P HOTOGR A P HS BY G U S BENNETT

All but a few of the direct links to the days when New Orleans R&B ruled the world have passed, but Walter “Wolfman” Washington still provides a window into that world on a regular basis. Washington, still vital at 75, plays frequently in New Orleans with two different groups—the long running Walter “Wolfman” Washington and the Roadmasters, a Wednesday night fixture at d.b.a.; and a trio with organist Joe Krown and drummer Russell Batiste Jr. at the Maple Leaf.

Washington’s discography includes numerous recordings with those bands along with his crucial work with Johnny Adams, Eddie Bo, Lee Dorsey and others. His new album recorded with a different group of musicians, My Future Is My Past, is an intimate collection of acoustic performances showcasing Washington’s sensitive, emotional baritone and plaintive falsetto. The recording, produced by Galactic’s Ben Ellman and featuring a gallery of New Orleans musicians including Irma Thomas, Ivan Neville, Jon Cleary, Stanton Moore, James Singleton and David Torkanowsky, has brought Washington to the attention of a new generation of fans. I caught up with

Washington next door to Tipitina’s right at the moment when Galactic was about to complete the purchase of the club and days before Washington was set to celebrate his 75th birthday with a concert at the storied venue.

The affable Washington, resplendent in his trademark dark red suit and jaunty cap, carried on an eccentric and fascinating conversation full of elliptical reminiscences and philosophical observations. Washington talks like he sings, hovering through an intimate, sotto voce monologue then leaping unexpectedly into exclamations, usually accompanied by sweeping, arching hand gestures and a comic tilt of his head.

Walter’s conversational style is not linear, but it is revealing because it contains so much of his personality. You must listen closely when you speak with this gentleman. We started by talking about his family, parents Marie and Edward Washington and assorted uncles and cousins, and how the instruction he learned from them growing up in Central City directed his life.

In Walter’s extended family there were many musicians including his cousin Ernie K-Doe and uncles Lightnin’ Slim and Guitar Slim.

You just had a big Thanksgiving celebration at your house.

Yes. We like to have members of the band over and some friends every Thanksgiving.

Is this a tradition that goes back to your own family history?

Yes. We had some big gatherings. There was 14 on my mama’s side. I had an adopted sister.

They had me at a time when I came along they weren’t expecting to have any children. My dad was in World War II. I didn’t hear too much about it. He was in combat but he didn’t want to talk about it when he came home.

My mama she sung in the choir. We had a group called the True Love and Gospel Singers.

That kind of got me interested in music. I had an uncle and a couple of cousins in that group.

But I wasn’t playing guitar then.

How did you start on electric guitar?

K-Doe had bought an electric guitar and amp and he tried to learn how to play it but that didn’t work out so he gave it to me. From then on I played electric guitar. I had learned how to play chords. It just came to me natural when I picked it up and started to play. I learned by watching people. Because I knew how to sing it was easy for me to play a chord.

At first I had it tuned to open chords.

Growing up in Central City you must have seen the Mardi Gras Indians.

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K-Doe, he masked for a couple of years. When he decided he was gonna mask he had everybody sewing his suit.

Around this time of the year he started to get his suit together. I would sit there and help him.

Was there a lot of music in your house growing up?

There was always music on the radio.

WBOK... I would listen to Bobby Blue Bland, B.B. King—then when I got a chance to meet them that was really good.

The first one I met on a gig was B.B. King. He had just put out ‘Three O’Clock in the Morning’ and it just so happened I was staying in the same hotel and the next time I met him I was opening up for him.

I only met Bobby once when he came to New Orleans to do a recording and his guitar player fell and broke his arm.

I was with David Lastie in the Lastie Brothers. I was the only guitar player that was in the studio at that time. So I played on the record but I couldn’t get credit for it because I wasn’t in the musicians union.

Did K-Doe hook you up with a lot of gigs?

Well he knew a lot of people that I wanted to know so that’s how that happened. People would come by the house and play, talk. We lived in the same house. He stayed on one side, I stayed on the other side.

That’s how you met Lee Dorsey?

Well that was really accidental, because the bass player was getting ready to go on the road with Lee, but they needed a guitar and he asked me if I wanted to go. I told him you gotta talk to my mama, so Lee came by the house and told her I would be all right. That was my very first what you would call... experience.

Your first gig was at the Apollo in New York.

Right. Very first gig.

Was that scary?

Yeah. I wanted to prove myself. I went out there and I started playing too loud. That was an experience. I played right before Joe Tex. But that wasn’t the first time I hung out with him. I had started working at the sugar mill in Racine. On weekends we would go down to Thibodaux to see the band and sometimes I would sit in with the cats. Joe Tex came into town and he was looking for a band. But when I got the gig with

“I realized ... he [Ernie K-Doe] always was my favorite cousin.

He was my favorite. He was the one who told me that whenever you go to the Apollo then you got your career. Wherever you go you have that. Mostly he would talk to me about how to live.

When he bought that first Cadillac it was something. When you buy a Cadillac in those days you had to be making some money or have some prestige or something.”

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Lee, that’s when I met up with him in New York.

You went out on the road with Lee for a period of time.

Two years and six months.

And you sent all the money home to mama.

At that time we were playing ballrooms. I was making $700 dollars a week. She put it in the bank and when I got home I had $43,000. It took me 12 years to spend it.

What were you doing during that time?

I just sat around the house. Irma decided she wanted to have a band and she knew I was home so she hired me. She had a band, no keyboards, but five horns. The Tornados.

It came out pretty good. Except that we had to go out of town every www.OFFBEAT.com

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week in a station wagon. The last gig I played with Irma was in Tampa, Florida opening up for Wilson Pickett. We stayed at an army base. Wilson stayed at a hotel. There were a bunch of girls at the gig and we said we’re gonna bring them back with us. When the gig was over all of them followed us.

They even left me behind, they had to come back and get me.

After that time with Irma I just sat around until David gave me a call, then I went with them. I started out with Lee, then I went with Irma, then the Lasties.

After that I started working with David. We were playing mostly Dixieland funk. I did Ray Charles stuff and blues and they did Dixieland. At that point I learned a lot more about playing. I learned a lot of chords. I learned a lot more about phrasing. I learned more about what it really means to play a chord. How to think on that chord as a word instead of a chord. It’s not as simple as it sounds. You have to understand the message that the title was giving. If you understand the title, it’s easy to understand the chord changes. I learned a lot of that from the keyboard player Ed Frank. When I started playing with David, he would pull me on the side and say ‘You got to play this chord like this...’ I was interested in playing, so I would be out at the club in my neighborhood Off Limits, until 3 o’clock in the morning, that’s where all the musicians would come after their gigs. Sometimes they would have four or five drummers, three or four guitar players, beaucoup horn players, one or two organ players.

It was fun.

And you played at the Dew Drop?

That was one of the gigs that I got from Johnny Adams.

Johnny used to come by the house when we had the spiritual group.

Later Johnny was working at the Dew Drop and I told him I was looking for a job. So he got me a job at the Dew Drop. I lived upstairs.

You went on to work for Johnny for two decades, including the famous gig at the late night club Dorothy’s Medallion, with the gogo dancers dancing in cages. How did you get that job?

“Looking back at all these years now it has come to the point where I see where I’m going and how I have to get there but I’m just gonna take it slow now. I came in on the tail end of the time when most of the great musicians were out there. I paid attention to a lot of the elders.”

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She [Dorothy] didn’t have no band when I first started. It was so funny because I had played with Johnny there and she said ‘How would you like to be the house band? I’ll work with you. You can stay here.’ So I was living there. It was wild. There wasn’t much room to dance. You could hardly see who was dancing. It was dark. All they had was candle lights on the tables. She had these black lights on the girls in the cages.

Everything was dark. We played until the sun came up.

Does the music take on a special quality when you play in a club like that?

It’s more of an intimate thing. The way we was set up we was right by the men’s bathroom in the corner. There were tables right in front of us.

They didn’t have much room to dance. Dorothy had some apartments across the street. I was staying there because I was playing in the club.

You made several records for Rounder with producer Scott Billington when you were with Johnny. Then you started making www.OFFBEAT.com

PHOTO: JERRY MORAN

VE CO

your own records for Rounder.

When I was with Irma I had a chance to record some songs for Senator Jones but I had never recorded an album so I had a lot of material that I did. We made Wolf Tracks. That came out pretty good.

How did you get the Roadmasters together?

I was playing with a vocalist, Timothea, and she wanted to get a band together. I already had a drummer, Wilbert Arnold, so we needed a bass player and that’s when I met Jack Cruz and we’ve been together ever since.

You also play with Joe Krown and Russell Batiste in a classic organ trio.

I got into that trio thing playing at the Dew Drop and at some of the churches I sang at.

Even though your music is about fun and partying to a large extent there’s a deeply spiritual element to it.

That’s from coming up in the church. I understood there was a supreme being. I went to church but after a while they stopped talking about God and they got into all this ‘What Sally did to John’ stuff [that night I dreamed Walter wrote a song called ‘Mustang Salome’]. I wasn’t interested in that stuff. I was just interested in God, in the spirit. It just make you feel good.

Music is central to almost all religions. You’ve tapped into something there. And now, this far into your career, you’ve made an acoustic record that concentrates on your singing. It’s a whole new direction for you.

It made me feel very strong in my projection. I didn’t listen to it until it was finished and then I said ‘Oh Lord this is really great!’

There are a lot of songs I used to do on it. The sound of the record is really good. Better than my other records.

The record kind of brings you full circle. There’s a song you sing with Irma Thomas, “Even Now,” written by Johnny Adams, and a song you used to do with Johnny, Percy Mayfield’s “Lost Mind.”

And then there’s a song by K-Doe, “I Cried My Last Tear.”

I’ve been wanting to do one of K-Doe’s songs for a long time but I just couldn’t find the right one. But I have a couple of other ones that I would like to do.

Looking back at your life and having K-Doe be such a www.OFFBEAT.com

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part of it what do you think about him?

I realized ... he always was my favorite cousin. He was my favorite.

He was the one who told me that whenever you go to the Apollo then you got your career. Wherever you go you have that. Mostly he would talk to me about how to live. When he bought that first Cadillac it was something. When you buy a Cadillac in those days you had to be making some money or have some prestige or something. He hired me one time to play with him. He had a group called the Matadors. His guitarist went into the service and I played with him for like three or four months.

So here you are at 75 with an amazing career behind you and one still ahead of you.

Looking back at all these years now it has come to the point where I see where I’m going and how I have to get there but I’m just gonna take it slow now. I came in on the tail end of the time when most of the great musicians were out there. I paid attention to a lot of the elders. To me this is one of the glory times. I’ve been wanting every day to become a pillar of New Orleans music. And it seems to have gotten to that point.

Always try. Even now I’m not giving up I’m just trying to make it better.

I got a lot to be thankful for. I’m looking forward to being the King of Krewe du Vieux. I don’t know if they gonna make me wear a crown instead of my cap. O

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MEDITERRANEAN Mona’s Café: 504 Frenchmen St., 949-4115

MEXICAN/CARIBBEAN/SPANISH Barú Bistro & Tapas: 3700 Magazine St., 895-2225 El Gato Negro: 81 French Market Place, 525-9846; 300 Harrison Ave., 488-0107; 800 S Peters St., 309-8804 Juan’s Flying Burrito: 2018 Magazine St., 569-0000

MUSIC ON THE MENU

AMERICAN Poppy’s Time Out Sports Bar & Grill: 1 Poydras St., 247-9265 Port of Call: 838 Esplanade Ave., 523-0120

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

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 New Orleans Creole Cookery: 508 Toulouse St., 524-9632

FINE DINING Commander’s Palace: 1403 Washington Ave., 899-8221 Josephine Estelle: Ace Hotel, 600 Carondelet St., 930-3070 Mr. B’s Bistro: 201 Royal St. 523-2078

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

Banks Street Bar & Grill: 4401 Banks St., 486-0258 Buffa’s: 1001 Esplanade Ave., 949-0038 Chickie Wah Wah: 2828 Canal St., 304-4714 Gattuso’s: 435 Huey P Long Ave., Gretna, 368-1114 House of Blues: 225 Decatur St., 412-8068 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 NOLA Cantina: 437 Esplanade Ave Palm Court: 1204 Decatur St., 525-0200 Rivershack Tavern: 3449 River Rd., 834-4938 Siberia Lounge: 2227 St. Claude Ave., 265-8865 Southport Hall: 200 Monticello Ave., 835-2903 Snug Harbor: 626 Frenchmen St., 949-0696 Three Muses: 536 Frenchmen St., 298-8746

NEIGHBORHOOD JOINTS Cake Café: 2440 Chartres St., 943-0010 Dat Dog: 601 Frenchmen St., 309-3362; 5030 Freret St., 899-6883; 3336 Magazine St., 324-2226 Lucy’s Retired Surfers Bar & Restaurant: 701 Tchoupitoulas St., 523-8995 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 Ye Olde College Inn: 3000 S. Carrollton Ave., 866-3683

PIZZA

Midway Pizza: 4725 Freret St., 322-2815 Pizza Delicious: 617 Piety St., 676-8482 Breaux Mart: 3233 Magazine St., 262-6017; Slice Pizzeria: 1513 St. Charles Ave., 525-7437 2904 Severn Ave. Metarie, 885-5565; Theo’s Pizza: 4218 Magazine St., 894-8554; 9647 Jefferson Hwy. River Ridge, 737-8146; 4024 Canal St., 302-1133; 1212 S Clearview, 315 E Judge Perez, Chalmette, 262-0750; 733-3803 605 Lapalco Blvd., Gretna, 433-0333 Mardi Gras Zone: 2706 Royal St., 947-8787 SEAFOOD Crazy Lobster Bar & Grill: 1 Poydras St. 569-3380 INDIAN Deanie’s Seafood: 841 Iberville St., 581-1316; Nirvana: 4308 Magazine St., 894-9797 1713 Lake Ave. Metairie, 834-1225

GROCERY STORES

JAPANESE/KOREAN/SUSHI/THAI Sukho Thai: 4519 Magazine St., 373-6471; 2200 Royal St., 948-9309 Wasabi: 900 Frenchmen St., 943-9433

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

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

VIETNAMESE Namese: 4077 Tulane Ave., 483-8899

WEE HOURS Buffa’s Restaurant & Lounge: 1001 Esplanade Ave., 949-0038

www.OFFBEAT.com

PHOTO: Gabrielle Geiselman-Milone

DINING OUT

Saba Review by Michael Dominici

C

hef Alon Shaya made his mark in New Orleans by elevating regionally inspired Italian cuisine with Domenica and Pizza Domenica, then again, with Shaya, inspired by the exotic flavors of the Israeli diaspora, Alon’s homeland. His numerous accolades include receiving two James Beard Awards.

Located at the corner of Magazine and Nashville, previously occupied by Kenton’s, Saba, which means grandfather in Hebrew, is filled with a warm, welcoming light pouring in from the wraparound windows. The dining room is divided by a bar stocked with highend libations, all sorts of housemade tinctures, juices, herbs, teas, and exotic liqueurs flavored with allspice and cardamom. Syrups such as Jallab is made with carob, dates, grape molasses and rose water and is one of the ingredients used to make one of the many well-made, unique cocktails, such as Burnt Offerings. Another highlight, Ein Gedi, made from turmeric pisco, Yellow Chartreuse, lemon, Angostura and frothy egg whites sets the tone of the embarrassment of riches offered at Saba, including Arak service. The carefully curated wine list includes rare selections from the Middle East, one of many well-thoughtout details that enhance the overall dining experience at Saba.

Saba’s menu begins with salatim selections of elegant cold dishes such as the lush, unctuous, ikra dip with salmon roe and scallions and a classic version of labneh with pink peppercorns, shallots and mint. More robust items include tabouleh, zucchini baba ganoush, and the intensely flavored lutenitsa made with fire-roasted eggplants, tomato and red pepper. A spiral of a single roasted apple was as beautiful as it was delicious. Even www.OFFBEAT.com

simple presentations, such as red grapes with pickled onions and pine nuts, and/or Bulgarian feta with preserved leeks, impart a sublime sense of deep satisfaction.

Well regarded for its creamy smoothness and incredible flavor, the hummus at Saba did not disappoint. Accoutrements such as charred poblano, lamb tongue and Brussels sprouts are offered to enhance one’s hummus experience, but it was the pairing with locally sourced blue crab that kinda blew my mind. Of course, all of it is exalted by the house-made pita bread which is served warm with a little pool of olive oil scented with the most flavorful Za’atar I’ve ever had.

Some of Saba’s most savory dishes emanate from the woodgrilled shishklik portion of the menu. The charred delicata squash with wonderfully crispy chickpeas, the lamb kebab, and hanger steak with celeriac puree and pomegranate were all solid choices. The octopus as well as the foie gras with date honey and Marcona almonds are among the most exotic items on the menu. The small plates selections feature classics such as dolmades stuffed with ground lamb, matzoh ball soup and falafel. Saba also highlights one of the first dishes Alon Shaya learned how to

prepare: shakshouka, a hearty egg dish made with onions, peppers, tomatoes, typically cooked in a cast iron skillet and at Saba garnished with roasted parsnips, and zhoug (made with jalapeño, garlic, cilantro and parsley). This is a meal that Alon used to prepare at home for his mother, then has served as a go-to dish ever since. Family-style presentations include whey-brined harissa roasted chicken served on a bed of bay leaves, Alon’s version of Sephardic fish stew with striped bass, green tahini and chraime, as well as short ribs with the North African spice blend ras el hanout.

The side dishes include crispy potatoes, couscous with dried cherries and Persian lime butter, and mujadara, the wildly popular Middle Eastern dish of black lentils with shawarma rice. Saba also offers three types of caviar all served with Zapp’s potato chips: trout, paddlefish and osertra.

Desserts at Saba are not to be overlooked! Warm chocolate babka, and Labneh cheesecake with cardamom meringue and espresso sauce are show-stoppers.

Service as Saba is as smooth as the vibe created by the subtle, often esoteric music selections punctuated by “deep tracks” by local artists featured on their delightful playlist. Our server, Kayla, was unobtrusive but always

engaging, kind and helpful. Having read the Pomegranate Hospitality mission statement (and being a service industry veteran myself going on three decades) I was very curious to see how all the high-mindedness played out in real space and time. It was clear that the atmosphere at Saba was indeed different than many other restaurants, if not a wholesale sea change. Everyone seemed to work in harmony and to be in good spirits. There was a calm energy in the dining room and that, above all else, endeared me and gave me hope that the best is yet to come.

The creation of Pomegranate Hospitality and Saba Restaurant cements Alon Shaya’s enduring legacy and sustained contribution to the local culinary scene, placing him in the company of great local restaurant industry shapeshifters such as Susan Spicer, Emeril Lagasse, Paul Prudhomme, Donald Link, John Besh, the Brennan family, and John Folse. With Shaya, and now Saba, Alon Shaya has entered the fray of world-class restaurants such as Mashya and Machneyuda in Israel, or Zahav in Philadelphia.

Saba, 5757 Magazine St, New Orleans, LA 70115. (504) 3247770. Open Wednesday through Sunday for lunch and dinner until 10 p.m. O JA N U A RY 2 019

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Reviews

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

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

Stories and Songs

Spencer Bohren Makin’ It Home to You (Valve Records) They call him the storyteller.

Spencer Bohren has been plying his trade as a New Orleans– based singer-songwriter, guitarist and sometimes bandleader over the last 40 years. Somewhere during that run he became known as well for his stories as his songs. He has recorded numerous albums along the way, mixing his own songs with retellings of other tales.

This one is both a meditation on his lengthy career and a showcase for his latest band, the Whippersnappers, an all-star collection of nextgeneration players. Spencer’s son Andre plays drums in the Whippersnappers. His bandmates are Alex McMurray on guitar, Dave Pomerleau on bass, Casey McAllister on keyboards and Aurora Nealand on saxophones.

They share this easygoing romp through history like the trusted partners they are.

Bohren begins with “Travelin’,” his version of the itinerant musician’s ballad that

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namechecks cities where he’s played. Bohren sings it Hank Williams–style, carefree but with an underlying desire to return to his New Orleans home. “A Thousand Dusty Miles” is a more uptempo road song driven by Andre’s spirited drumming, Spencer’s cranked up lap steel playing and the nastiest of guitar accompaniments from McMurray. The title track is another song along this theme, a piece written by Clark Vreeland back in the 1970s when he and Bohren played together in a band called Room Service.

Today McMurray is Bohren’s partner in the Write Brothers and Nealand plays with him in Rory Danger and the Danger Dangers. They both, along with Andre, harmonize effectively with Bohren, a collaboration heard to great effect on the gospel shout “I’ve Been Delivered.” Elsewhere the band supports Bohren on the brooding “Thief in the Night,” the beautiful ballad “Is Your Heater Hot Tonight,” the Louisiana inundation tale “The River’s Risin’” and a terrific recounting of the old American folk song “Delia.”

Bohren also performs two songs without the band, a reading of Dolly Parton’s “Lost Forever in Your Kiss” and a rare political piece from Spencer, “In the Absence of the Sacred,” a commentary on current events that needs no explication.

—John Swenson

Various Artists Travailler, C’est Trop Dur: The Lyrical Legacy of Caesar Vincent (Swallow Records) About the time you’d think all of the discoveries in Cajun music had been made, along comes obscure balladeer Caesar Vincent (1882–1970) with his encyclopedic repertoire of ancient French songs.

He’s credited for the first known recording of “Travailler, C’est Trop Dur” (recorded in 1957 by Dr. Harry Oster) which has become iconic in the Francophone world.

Awhile back, ULL Professor Emeritus Barry Ancelet pondered what else Vincent recorded and discovered this a cappella treasure trove in his university’s archives.

On this two-disc tribute, 20 of Vincent’s songs spring to life with astounding new interpretations done by approximately 60 Acadiana musicians. A few, like those by fiddler David Greely and guitar flat-picker David Doucet, are imaginably what Vincent would have sounded like if accompanied by an instrumentalist. Though contributions by Steve Riley, the Lafayette Rhythm Devils and

Bonsoir, Catin are accordionfiddle driven, stylistically, other interpretations vary considerably.

Anna Laura Edmiston sings a 25-verse murder ballad, “Les anneaux de Marianson,” in perfect pitch over a surreal ambience. Feufollet, Megan Brown and Kelli Jones reimagine Vincent as an indie-pop rocker with a penchant for tuneful melodies. “Avec Sa Mary Jane et du coton du nord” finds Roddie Romero, Zachary Richard, Wayne Toups and Ancelet riding a cool funky groove propelled by bassist Lee Allen Zeno and drummer Curley Taylor.

Sam Broussard’s rendition of “Là bas oh dans ces bois” is simply brilliant. Broussard ingeniously overdubbed his jaw-dropping guitar wizardry, percussion and harmony vocals to accompany Vincent’s singing.

When it came time to record “Travailler, C’est Trop Dur,” Richard proposed using Vincent’s original field recording instead of creating yet another new version.

“Why don't we let the man have his own song back?" he asked, thus bringing the decades-long, worldwide odyssey back to the man who inspired it all.

—Dan Willging

Grayson Brockamp and the New Orleans Wildlife Band A Dream or a Nightmare (Brockamp Music) One could hardly wish for a more uplifting number than “Got Your Back, Yes Indeed,” www.OFFBEAT.com

REVIEWS

unassuming ground of gospel music and its cousins soul and jazz. Rap interjects as do the sometimes overly complex lyrics that move the music away from its promised intentions.

—Geraldine Wyckoff

which opens bassist Grayson Brockamp and the New Orleans Wildlife Band’s album, A Dream or a Nightmare. The tune, which finds its roots in gospel music, has everything, starting with the soulful lead vocals by Bailey Hinton backed up by Gio Blackmon. “Got Your Back” is rhythmically progressed by Brockamp’s bass, the drums of Simon Lott and the superb piano riffs by Shea Pierre. Saxophonist Ricardo Pascal, a New Orleans transplant, moves the tune into some strong hard-boppin’ before Pierre intuitively jumps in. There you go—foot-stompin’, handclapping gospel, deep soul and gutsy jazz.

Hinton, a Mississippi native and Brockamp’s brother-in-law, gets in on the jazz mood on the bassist’s original “The Night You Never Made It Home,” one of 10 cuts from Brockamp’s pen. Trumpeter Ashlin Parker mixes it up with Pascal on this solid tune with additional input from Blackmon.

The tune is revisited on “Part II,” which is one of several cuts, or more descriptively interludes, on which Brockamp raps. They tend to feel disruptive in this setting that also includes a few rather overly romantic songs.

Significantly, they don’t take advantage of the hugely talented members of the band.

The title cut, “A Dream or a Nightmare,” stands apart as a ballad that relies on its simplicity and the quality of the musicians.

Lotts’ drums sing along with the vocalist.

A Dream or a Nightmare begins with great hope on the solid, spiritual and wonderfully www.OFFBEAT.com

Corey Ledet and His Zydeco Band Accordion Dragon (Independent) As explained on the opening Chinese-themed “Intro” track, the dragon symbolizes prosperity, auspicious power and good fortune in East Asian culture.

When it comes to zydeco accordionists, Corey Ledet is truly a dragon, one of the best ever to strap on the bulky piano note squeezebox. His tenth disc showcases his rich, dazzling technique and abundant creativity, as evidenced by the Clifton Chenier–inspired “Dragon’s Boogie,” the old-school drumwhipping “Muscle Zydeco” and the funky “Mom Sue” where he unleashes a hellacious, scorching tear. Interestingly, he slows the pace down on “Dragon’s Blues” to really dig deep into the lower registers for a mood-altering, hypnotic effect.

But as much as Ledet’s the accordion dragon, he’s also the songwriting dragon, with this being his first all-original affair.

Based on the initial tracks, one might surmise this is Ledet’s return-to-roots CD, but there was never any premeditation to do that. It’s more about how he felt, which explains the contemporary selections like “I Just Want to Be Your Loving Man.” The duet with JA N U A RY 2 019

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Breannah Richard on “I Never Meant to Fall in Love” is quite the believable love story with playful interaction between the vocalists.

Also among the highlights are Axel’s arty jazz fusion bass lines and the lip-splitting horn section who help embellish the beautiful sentiment of “Erika Potier’s Waltz.” Compared to Ledet’s previous effort, Standing on Faith, Accordion Dragon feels more artistically comfortable, achieving a rootsy-modern balance that Ledet should continue to leverage.

After all, he’s more than just an accordion dragon.

—Dan Willging

Jason Schell Band To the Hunt (Independent) Jason Schell’s latest release, To the Hunt, is a fun-filled tribute to life in the sportsman’s paradise, and as one might expect, Schell creates images that will ring true to anyone who has spent time on the water. The title

“Camp Crump” and one cannot help but feel that this a fishing camp version of “Stand Up and Get Crunk.” Valley (keyboards) and Clay Diamond (guitar) really get a chance to shine as they kick the party into overdrive with Carlo Nuccio chiming in on vocals.

“On the Boat Again” is a tip of the hat to Willie Nelson and describes a boat trip with a boat “fresh out the shop and screaming like my wife ’n’ dem.” Next up is “Hey Girl,” propelled forward by a solid beat courtesy of Schell (drums) and Mike DeLaCerda (bass). This has a real roadhouse blues feel as Diamond and Valley provide fine solos. Schell and company switch modes and slow things down on “Blue Saturday” providing ample opportunity for Valley to deliver another fine performance on keys. Diamond closes things out with a heartfelt solo over Schell’s steady drumming.

Schell closes things out with “Shiners on the Yo-Yo.” This is the only song I’ve ever heard written from the point of view of shiners (bait for you non-fishers). It’s a humorous romp and will have you singing along for sure. So next time you are out fishing, make sure you catch your limit of fun with Jason Schell’s To the Hunt.

—Christopher Weddle

John Medeski’s Mad Skillet Mad Skillet (Indirecto Records) track kicks things off as the band immediately settles into a feel-good groove led by Schell’s rhythmic strumming and Jeremy Valley’s tasteful accordion playing.

Much like growing up in a musical family, growing up in a hunting and/or fishing family fosters an appreciation for what makes south Louisiana such a wonderful place to live and raise a family.

To that end, Jason lives up to his part by featuring his son Harrison (vocals and duck call) on the title track—showing that he gets to live in both a sportsman’s and a musician’s paradise.

A funk-laden groove kicks off

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John Medeski, a multi-faceted and genre-stretching keyboardist who is best known as a member of the hugely successful trio Medeski Martin & Wood, takes a New York– meets–New Orleans approach on this collaborative venture.

Perhaps adventure would be a more descriptive term as when he and fellow New Yorker (via San Francisco) guitarist Will Bernard hook up with sousaphonist Kirk Joseph and drummer Terence Higgins—both Crescent City natives and members of the Dirty Dozen—the musical route certainly takes unusual pathways.

The album starts funky on Bernard’s “Man About Town,” with Higgins and Joseph laying down the groove on which Medeski’s keys suggests an organ and the guitarist plays a tasty solo.

With these musicians involved, it sounds just—in a good way—as this combo should.

When a cut by the legendary Sun Ra, the Latin-tinged “The Golden Lady,” stands as one of most melodic songs on the album, it’s apparent that Mad Skillet takes some rather bizarre detours on its journey. On this tune, Bernard’s virtuosity is fully realized and Medeski makes good use of the

My Dawlin’ Little Queenie Purple Heart (Deeva) There are plenty of reasons why Leigh (Little Queenie) Harris is beloved in New Orleans, but here’s why she’s beloved by me: Back in 1999, I happened into Levon Helm’s short-lived Decatur Street club, where she was doing happy hour. With just piano accompaniment, she launched into a version of the Lambert, Hendricks & Ross standard “Cloudburst” that was astounding—it’s a tough song to master in the best of times, and she made each of its rapid-fire syllables ring with joy and sensuality.

From there it was a short jump to the more mysterious, gospelinfused material on House of Secrets, the album she was promoting at the time. Overall it was as fine a vocal performance as I’d seen in years, and there were maybe 20 people in the room.

Harris has released frustratingly little music in the years since then, and this is only the third album since House of Secrets (you can hear “Cloudburst” on the middle one, Polychrome Junction). Purple Heart was set for release back in 2004 when Katrina got in the way; she left town and only came back to play once (at a Percolators reunion after the storm, where an early version of this CD was available). At this writing she is in hospice after braving a long cancer battle; the CD is finally getting a proper release to offset her medical expenses.

Don’t get it just for that reason, though; the music is reason enough. The disc opens with her best-known song, “My Dawlin’ New Orleans,” a faithful recreation (with Bonerama) of the original Percolators single. Like everything else here it’s essentially a love song, and her voice is in the most familiar mode—brassy and exuberant. Yet the other tracks show how wide a range of material she could inhabit, and how mysteries of the heart were her natural territory: “Come Inside” is an inviting ballad, while “Down Home Girl” outdoes the Alvin Robinson and Stones versions for raunch (and does so without any lyric changes).

The real showpiece here is “Stay,” the Station to Station Bowie song. During his Thin White Duke phase Bowie was keeping a safe distance from the pull of love and desire; Harris gives it just the opposite interpretation, and the spell is enhanced by the band’s turning the song’s groove from disco to voodoo. “If Ever I Cease to Love”—a solo-piano version of the Mardi Gras standard—seems like an intentionally teary end for the album, but it was still there on the 2004 version. It will probably make you tear up anyway.

—Brett Milano www.OFFBEAT.com

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Mellotron to augment the sound.

Medeski takes off on his own, rapid-fire “Piri Piri” with Bernard following suit, both driven by Higgins’ complex yet right-onthe-money rhythms and Joseph holding it all together—a good one.

One has to wonder if anyone will, or can, listen to the group’s “Psychedelic Rhino” more than once. Same goes for “Tuna in a Can.” Anyone like squeaky?

The band ends with a toetapping, danceable number, Medeski’s “The Heart of Soul,” the title of which tells it all.

It includes some fine slide by Bernard and Medeski’s acoustic piano providing a wonderful tonal change.

Medeski’s Mad Skillet is a wild bunch of talented guys. Everything needed is there. For the listener it’s just about picking how far to follow these adventurers.

—Geraldine Wyckoff

Blake Miller & the Old Fashioned Aces Quelle Belle Journée (Independent) A mixture of sugar, bitters, whiskey and a twist of citrus rind, the Old Fashioned is a potent cocktail you don’t want to overindulge in if you want to keep your car keys. Blake Miller & the Old Fashioned Aces’ sonic concoction is comparably potent since Miller (accordion, fiddle), Amelia Biere (guitar) and AJ Srubas (fiddle) stir its ingredients creatively to cover a vibrant breadth of Cajun music on this bountiful 16-track affair. There are passionately played waltzes www.OFFBEAT.com

(“Mermentau Waltz,” “Amitié Cassé”); there are fiddle duets like “Courville-McGee Waltz,” where Srubas and Miller burrow into the melody line for an entrancing performance. A handful of tracks are rousing dancehall numbers (“Pointe Aux Pins”) propelled by guests Jimmy Breaux, drums, and Joseph Vidrine, doghouse bass.

On these tracks, Srubas jumps on steel for some twangy rides that add yet another angle to the Aces’ broad palette of sound.

Yet it’s the vocals that really seal the deal. Biere plays a huge role in this regard with her spirited, hardscrabble vocals. She and Miller harmonize magically together, as evidenced by the novel rendition of the Keith Whitley-Lorrie Morgan country hit (popularized regionally by Johnny Sonnier and Helen Boudreaux) “Til a Tear Becomes a Rose” sung in both English and French.

Of Miller’s two originals, the sans-accordion “Quelle Belle Journée” is quite distinct from other Cajun tunes with driving, weaving fiddles, and an infectious melody with Biere relaying the story from her imagined perspective. Regardless of how the Aces stir it, trust me; your car keys are safe.

—Dan Willging

Beth McKee Dreamwood Acres (Independent) Singer, songwriter and keyboardist Beth McKee has lived many musical lives. They include her early-1990s membership in the all-female New Orleans country-pop band Evangeline, JA N U A RY 2 019

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and a 2009 solo album of Bobby Charles songs, I’m That Way. McKee’s fifth solo album, Dreamwood Acres, finds her performing 10 often lushly arranged original songs on the adult-alternative-pop side of her musical spectrum.

The craftsmanship in the album’s songwriting recalls such classic singer-songwriters as Jackson Browne, J.D. Souther and Christine McVie. And the carousels of keyboards heard in the arrangements—played

by McKee and her producer,

sometime co-writer John Pfiffner—echo the keyboardsaturated ’80s. With the exception of a few songs that

A Tribute to Blue Lu Barker Maria Muldaur Don’t You Feel My Leg – The Naughty Bawdy Blues of Blue Lu Barker (Last Music Company)

To put the spotlight on the late great New Orleans vocalist and composer Blue Lu Barker deserves kudos. Singer Maria Muldaur gathered the right musicians to back her on a worthy tribute to Lu as well as her husband, guitarist/banjoist/vocalist/composer Danny Barker, whose tunes, once sung by Blue Lu, also appear on Don’t You Feel My Leg – The Naughty Bawdy Blues of Blue Lu Barker.

Muldaur and the group, led by pianist and music director David Torkanowsky with drummer Herlin Riley, guitarist Chris Adkins and bassist Roland Guerin, plus a rotation of fine New Orleans horn players, also work on other classic tunes that were part of Blue Lu’s repertoire, like the well-done album opener, “Georgia Grind.”

Wisely, Muldaur doesn’t attempt to imitate Barker’s voice, which, with its softer, naïve young girl quality, was actually less “bawdy” than Muldaur’s vocals as heard on her interpretations of these songs.

Blue Lu’s pen was at work in writing her “Scat Skunk,” which was also recorded by bandleader Cab Calloway. Tork takes the intro on this rather traditionally presented number, which includes amusing background vocals by the ensemble that were also present on the 1939 original with Danny Barker’s Fly Cats.

Danny Barker had a penchant, it seems, to compose songs about certain dances (think his later tune, “Palm Court Strut”) that’s well represented here on the rockin’ “Now You’re Down in the Alley,” with all of the horns in for the fun. Muldaur bravely takes a few more, perhaps ill-advised, improvisational liberties with Blue Lu and Danny Barker’s original, “Don’t You Feel My Leg.” After all, it’s such a beloved classic.

Many of the tunes, such as Blue Lu’s hilarious “Nix on Those Lush Heads,” presented on Don’t You Feel My Leg could be considered somewhat lost in time. Muldaur and company bring them back with much love and another reason to revisit the originals.

—Geraldine Wyckoff

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sound sparsely arranged, the album is beautifully produced.

McKee’s extensive musical history includes turning piano pro at 14. She learned about blues in her native Mississippi.

Following a move to Austin, McKee performed with Texas blues and bar bands. She later moved to New Orleans and joined Evangeline.

Signed to Jimmy Buffett’s MCA-linked Margaritaville Records, Evangeline released a self-titled album in 1992 and French Quarter Moon in 1993.

By the mid-’90s Evangeline had disbanded. Although McKee and another former member of Evangeline, Sharon Leger, formed a new group with Gary Hirstius, McKee soon moved to Orlando.

Dreamwood Acres is McKee fifth solo album. She recorded the project in Winston-Salem, North Carolina, with Pfiffner, a multi-instrumentalist protégé of East Coast jangle-pop maestro and R.E.M. producer Mitch Easter.

Other Easter associates contribute to Dreamwood Acres, too. Their participation is especially obvious in the trebly electric guitar decoration heard in “You Make It Look Easy” and R.E.M.-like “Resurrection Mary.” Despite being easily identifiable, it’s good stuff.

In Dreamwood Acres’ poprock songs, McKee comes off as a pleasantly dialed-down version of Heart’s Ann Wilson. For more rootsy material—“Mad Potter of Biloxi” and “Echo Chamber,” for instance—she could almost be mistaken for Bonnie Raitt. Either way, this project’s well-turned songs and McKee’s engagingly understated vocals make it a listening pleasure.

—John Wirt

Various Artists Stax Singles, Vol. 4: Rarities & the Best of the Rest (Craft/Stax) Stax Records continues its 60th anniversary celebration with Stax Singles, Vol. 4: Rarities & the www.OFFBEAT.com

Best of the Rest. The six-disc box represents deep exploration of the Memphis soul label’s archives.

While Stax is famous for soul hits by the Staple Singers, Sam & Dave, Isaac Hayes and more, this collection is big enough to feature famous Stax artists plus the company’s often obscure rock, pop, blues, gospel and country acts.

Stax Singles, Vol. 4 includes New Orleans singers Jean Knight (Stax released “Mr. Big Stuff”) and Bobby Marchan (he toured with Redding); the famous Delaney & Bonnie; the obscure girl-group the Goodees; and early Southern rock artist and major “Memphis Sound” producer Don Nix. Disc one includes “Deep Down Inside,” Carla and Rufus Thomas’ downhome R&B ballad duet from 1960; Marchan’s “That’s the Way It Goes,” a feverish example of early funk from 1964; and the Baracudas’ instrumental “Free for All,” an unmistakable example of Stax’s soulful sound.

Disc two delivers “Love-EyeTis,” the deep-soul B-side for William Bell and Judy Clay’s international hit, “Private Number.” Little Willie John’s sister, Mable John, a major soul artist in her own right, sings three songs spread over discs one and two.

Disc three moves into the 1970s with the Mad Lads’ smooth yet still soulful “Did My Baby Call.”

Jean Knight’s “Pick Up the Pieces” features production by her “Mr. Big Stuff” producer, Wardell Quezergue. And Johnnie Taylor brings funk and soul together for “Stop Teasing Me.” JA N U A RY 2 019

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On disc four, Sid Selvidge’s orchestra-backed “The Ballad of Otis B. Watson” compares favorably with Elvis Presley’s late ’60s comeback recordings.

Clark Sullivan’s “Reaching for a Rainbow” and Chuck Boris’ “Why Did It Take So Long” were among Stax’s overtures to the pop audience. Don Nix’s 1973 recording, “Black Cat Moan,” bridges blues and Southern rock.

Disc five includes the campy psychedelia of Southwest F.O.B.’s “Smell of Incense.” Camp appeal

also shows up in the Goodees’ “Condition Red,” a spinoff of the Shangri-Las’ “Leader of the Pack” and Wayne Cochran’s “Last Kiss.” There’s no denying the jangling pop charm of Big Star’s “September Girls.”

Gospel comes to the forefront for disc six. Produced for the Chalice and Gospel Truth subsidiaries, the gospel recordings more than hold their own alongside the box set’s secular discs.

—John Wirt

Proudly Eclectic Shamarr Allen True Orleans (P.O.M.E.) Shamarr Allen has always been proudly eclectic: He used the title Box Who In? for his second CD 10 years ago, and he’s lately a sometime member of both the Treme Brass Band and Galactic. And a quick glance at his latest disc suggests he’s gone even further outside the box: The band has live brass and a programmed rhythm section; the guest list includes two wildly different divas (Erica Falls and Big Freedia), and the tracks include a Saints anthem (“Hit the Sean Payton,” already getting local airplay), a couple social-conscience numbers and an old-school soul classic. So you’d expect this CD to be all over the map.

Not quite the case, though. Instead Allen’s done something more impressive; he’s worked all his various influences into a coherent style, one where all the drum-machine hooks, horn jams, rap breaks and old-school touches fit together smoothly. Vintage ’70s soul is really his home-base, but he’s given it quite a few creative tweaks: There’s a bit of Prince, a little Kendrick Lamar, and yes, a bit of Shorty too (he’s namechecked in “Feel Good Music,” so no rivalry). As always Allen’s glad to wave a few flags for his hometown, but “Greatest Place in the World” gets a few details that such anthems usually miss (including the fact that your car will get ticketed). Freedia’s presence lifts the song both musically and conceptually: This is an anthem inclusive enough for the bounce insiders and the Superdome crowds.

Allen gets a few solid horn solos in, but it’s the songwriting that really stands out. “Love And Happiness” isn’t a straight-up cover of the Al Green tune, but a new piece that refers to it; it’s one of a few songs here about swearing off bad habits and committing to a relationship (along with “I Love You,” whose lyrics include a marriage proposal). “Got Me Loaded” falls into that category too, but it also sets up “Break Up Song,” whose intro points out that anyone receiving the song by email is being dumped. His jazz roots return on the closing “Momma’s Boy,” which adds live rhythm and a more surprising acoustic guitar. Overall it’s the strongest R&B album to come out of the city this year.

—Brett Milano

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These listings are abbreviated. For complete daily listings, go to offbeat.com. These listings were verified at the time of publication, but are of course subject to change. To get your event listed, go to offbeat.com/add-new-listings or send an email to listings@offbeat.com.

AF African AM Americana BL Blues BU Bluegrass BO Bounce BB Brass Band BQ Burlesque KJ Cajun CL Classical CR Classic Rock CO Comedy CW Country CB Cover Band DN Dance DX Dixieland DB Dubstep EL Electro FO Folk FK Funk GS Gospel GY Gypsy HH Hip-Hop HS House IN Indian Classical ID Indie Rock IL Industrial IR Irish JB Jam Band

MJ Jazz Contemporary TJ Jazz Traditional JV Jazz Variety KR Karaoke KZ Klezmer LT Latin MG Mardi Gras Indian ME Metal RB Modern R&B PO Pop PK Punk RE Reggae RC Rockabilly RK Rock RR Roots Rock SS Singer/ Songwriter SK Ska PI Solo Piano SO Soul SW Spoken Word SP Swamp Pop SI Swing VR Variety ZY Zydeco

SATURDAY DECEMBER 29

Buffa’s: Marla Dixon Blues Project (BL) 6p, Molly Reeves and Nahum Zdybel (JV) 9p Café Beignet (Musical Legends Park): Steamboat Willie Jazz Band (TJ) 10a d.b.a.: Frog and Henry (JV) 4p, Tuba Skinny (JV) 7p, Dirty Dozen Brass Band (BB) 11p Gattuso’s: the Strays (VR) 7p House of Blues: Bustout Burlesque (BQ) 7:30p Kermit’s Mother-in-Law Lounge: Neisha Ruffins (JV) 8:30p Kerry Irish Pub: Beth Patterson (FO) 5p, Van Hudson and Will Dickerson (FO) 9p One Eyed Jacks: Allman Brothers Tribute (VR) 9p Preservation Hall: Preservation Brass with Mark Braud (TJ) 5p, Preservation AllStars feat. Rickie Monie (TJ) 8p Saenger Theatre: Maze feat. Frankie Beverly (RB) 8p Siberia: Loose Cattle (CW) 9p Snug Harbor: Donald Harrison Quintet (JV) 8 & 10p Spotted Cat: James Martin Band (JV) 10p Three Muses: Chris Christy (JV) 5p, Arsene DeLay (JV) 6p, Shotgun Jazz Band (JV) 9p Tipitina’s: the Main Squeeze, Khris Royal and Dark Matter (RK) 10p

SUNDAY DECEMBER 30

Buffa’s: Some Like It Hot (TJ) 11a, Fr. Ron and

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friends (VR) 4p, Steve Pistorius Quartet (JV) 7p Café Beignet (Musical Legends Park): Steamboat Willie Jazz Band (TJ) 10a d.b.a.: Palmetto Bug Stompers (SI) 7p, Lightnin’ Malcolm, Deltaphonic (VR) 10p Howlin’ Wolf (the Den): Hot 8 Brass Band (BB) 10p Kermit’s Mother-in-Law Lounge: TBC Brass Band (BB) 7p Kerry Irish Pub: Lynn Drury (FO) 8p Maison: NOLA Jitterbugs, Catie Rodgers and her Swing Orchestra (SI) 10a, Royal Street Winding Boys, Opulence Hour Burlesque, Higher Heights (VR) 7p Snug Harbor: Dr. Michael White and Original Liberty Jazz Band (JV) 8 & 10p Three Keys (Ace Hotel): Marc Stone Band (BL) 8p Three Muses: Raphael et Pascal (JV) 5p, the Clementines (JV) 8p Tipitina’s: Kermit Ruffins and the Barbecue Swingers (JV) 9p Trinity Episcopal Church: Delfeayo Marsalis and his Uptown Jazz Orchestra perform the Nutcracker Suite (JV) 5p

MONDAY DECEMBER 31

Buffa’s: Arsene DeLay (VR) 5p, Dayna Kurtz and Robert Mache (VR) 8p, Candace Mache (VR) 11p Café Beignet (Musical Legends Park): Steamboat Willie Jazz Band (TJ) 10a Cannery: Mid-City New Year’s Eve Rooftop Party feat. the Wiseguys (VR) 8:30p Civic Theatre: DJ Soul Sister’s New Year’s Eve Soul Train (FK) 10p d.b.a.: Hot 8 Brass Band (BB) 11p Dos Jefes: Sunpie and the Louisiana Sunspots (ZY) 9p House of Blues: Zebra (RK) 9p Howlin’ Wolf: Rebirth Brass Band (BB) 10p Hyatt Regency: New Year’s Gala feat.

Amanda Shaw, Cha Wa, Cowboy Mouth, Brass-A-Holics (VR) 9p Jazz Playhouse: New Year’s Eve Special with Michael Watson and Nayo Jones (JV) 9:30p Kerry Irish Pub: Beth Patterson (FO) 5p, Van Hudson and Will Dickerson (FO) 9p Little Gem Saloon: Kermit Ruffins and the BBQ Swingers (JV) 7 & 10p Maison: Chicken and Waffles, Aurora Nealand and the Royal Roses (JV) 4p, Soul Rebels, DJ Dizzi (VR) 10p Mardi Gras World: NYE with the Revivalists, Tank and the Bangas (VR) 9p One Eyed Jacks: Boyfriend (VR) 9p Palm Court Jazz Cafe: New Year’s Eve Gala Special (TJ) 8:30p Preservation Hall: Preservation Jazz Masters feat. Leroy Jones (TJ) 4p, Hall Lang Syne Foundation Benefit Show (TJ) 9p Siberia: United Bakery Records Ball feat.

Museum People, Julie Odell, Nondi, DJ Heelturn (ID) 10p Snug Harbor: Topsy Chapman and Solid Harmony (JV) 8 & 10:30p Starlight: Modern Jazz Mondays with Maude Callait (MJ) 6p, Hot Jazz New Year’s Eve Ball (JV) 9p Three Muses: Monty Banks (JV) 5p,

Salvatore Geloso (JV) 9p Tipitina’s: Galactic New Year’s Eve (FK) 10p

TUESDAY JANUARY 1

Buffa’s: New Year’s Day Jazz Brunch with Some Like It Hot (JV) 11a, Tacos, Tequila, and Tiaras with Vanessa Carr (VR) 7p Café Beignet (Musical Legends Park): Steamboat Willie Jazz Band (TJ) 10a d.b.a.: Dinosaurchestra (JV) 7p, Treme Brass Band (BB) 10p Howlin’ Wolf (the Den): Comedy Beast (CO) 8:30p Jazz Playhouse: James Rivers Movement (JV) 8p Kerry Irish Pub: Jason Bishop (FO) 8:30p Little Tropical Isle: Mark Pentone (RK) 5p, Frank Fairbanks (RK) 9p Maison: Baby Giants Jazz Band, New Orleans Swinging Gypsies, Gregory Agid Quartet, Gene’s Music Machine (JV) 12:30p Siberia: Piano Night: Josh Wexler (PI) 9p Snug Harbor: John Mahoney Big Band (JV) 8 & 10p Three Muses: Gary Negbaur (JV) 5p, Mia Borders (JV) 8p Tropical Isle Bourbon: Wild Card (RK) 5p, Jezebels Chill’n (RK) 9p

WEDNESDAY JANUARY 2

Buffa’s: Open Mic Night with Nattie Sanchez (SS) 7p Carousel Bar (Hotel Monteleone): James Martin Band (JV) 8:30p Circle Bar: the Iguanas (VR) 7p, Jean Bertrand (KJ) 9:30p d.b.a.: Tin Men (RK) 7p, Walter “Wolfman” Washington and the Roadmasters (BL) 10p House of Blues (Foundation Room): Michael Liuzza (TJ) 6p Jazz Playhouse: Big Sam’s Crescent City Connection (JV) 8:30p Kerry Irish Pub: Patrick Cooper (FO) 8:30p Little Tropical Isle: Mark Parsons (RK) 5p, Reed Lightfoot (RK) 9p Maison: Bon Bon Vivant, New Orleans Jazz Vipers, B Miller Zone (VR) 4p Palm Court Jazz Cafe: Lars Edegran and Palm Court Jazz Band (TJ) 7p SideBar NOLA: Boyana Trayonova’s Blato Trio (VR) 9p Snug Harbor: Uptown Jazz Orchestra with Delfeayo Marsalis (JV) 8 & 10p Starlight: Tuba Skinny (JV) 8p, Hot Jazz Jam with Nahum Zdybel (JV) 11p Three Muses: Leslie Martin (VR) 5p, Hot Club of New Orleans (JV) 8p Tropical Isle Original: Debi and the Deacons (RK) 5:15p, Late As Usual (RK) 9:15p

THURSDAY JANUARY 3

Buffa’s: Rebecca Leigh, Harry Mayronne and Chris Wecklein (JV) 5p, Tom McDermott and friends (JV) 8p d.b.a.: Alexis and the Samurai (ID) 7p, Funk Monkey (FK) 10p Hi-Ho Lounge: John Paul Carmody: Unpluggery (SS) 6p House of Blues: NOLA Rocks (RK) 8p House of Blues (Foundation Room): Todd Adams and Damon Kirn (SS) 6p

Howlin’ Wolf (the Den): Comedy Gumbeaux (CO) 8:30p Kerry Irish Pub: Denise Marie (FO) 8:30p Le Bon Temps Roule: Soul Rebels (BB) 11p Little Gem Saloon: Creole String Beans (JV) 7:30p Maison: Good for Nothin’ Band, Sweet Substitute, A Neo-Vintage Dance Party with Southern Dynasty DJs, Dysfunktional Bone (VR) 4p Palm Court Jazz Cafe: Tim Laughlin and Crescent City Joymakers (TJ) 7p Saturn Bar: Alex McMurray and his Band (RK) 8p Siberia: Eastern Bloc Party: G-String Orchestra (KZ) 9p SideBar NOLA: Cyrille Aimee (VR) 7p, Tangerine Dreams Burlesque (BQ) 9p Snug Harbor: Alexey Marti Septet (JV) 8 & 10p Three Keys (Ace Hotel): Roland Guerin Band (JV) 9p Three Muses: Tom McDermott (JV) 5p, St. Louis Slim (JV) 8p Vaughan’s Lounge: DJ Black Pearl 504 (VR) 9p, Corey Henry and the Treme Funktet (FK) 10p

FRIDAY JANUARY 4

Buffa’s: Debbie Davis and Josh Paxton (JV) 6p, Berthena and Joe Welnick (JV) 9p Café Beignet (Musical Legends Park): Steamboat Willie Jazz Band (TJ) 10a Carousel Bar (Hotel Monteleone): James Martin Band (JV) 9p d.b.a.: Swinging Gypsies (JV) 6p, Dave Jordan and the NIA (RR) 10p House of Blues (Foundation Room): Jake Landry and the Right Lane Bandits (BL) 7p Jazz Playhouse: Nayo Jones Experience (JV) 7:30p, Trixie Minx’s Burlesque Ballroom feat. Romy Kaye (BQ) 11p Kerry Irish Pub: Tim Robertson (FO) 5p, Beth Patterson (FO) 9p Little Gem Saloon: John Mooney and Marc Stone (BL) 7:30p Maison: Rhythm Stompers, Swinging Gypsies, Shotgun Jazz Band (JV) 1p, Gene’s Music Machine, Buena Vista Social Latin Night (VR) 10p One Eyed Jacks: Run for the Shadows: A David Bowie Birthday Tribute (VR) 9p Palm Court Jazz Cafe: Kevin Louis and Palm Court Jazz Band (TJ) 7p Siberia: Bayou Pipeline Social Justice fundraiser: Dirty Rain Revelers, Dayna Kurtz, Lani Ramos (VR) 9p Snug Harbor: Ellis Marsalis Trio (JV) 8 & 10p Starlight: Shaye Cohn (PI) 4p, Michael Watson and the Alchemy (JV) 7p, Hanna Mignano (GY) 10p Three Keys (Ace Hotel): Ally BEA (HH) 11p Three Muses: Royal Roses (JV) 5:30p, Esther Rose (JV) 9p

SATURDAY JANUARY 5

Buffa’s: Krewe of SDCE King’s Jazz Brunch with Red Hot Brass Band (JV) 11a, Camile Baudoin and Brint Anderson (VR) 6p, Mike Doussan (VR) 9p JA N U A RY 2 019

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LIVE LOCAL MUSIC d.b.a.: Tuba Skinny (JV) 7p, Little Freddie King (BL) 11p House of Blues (Foundation Room): Mighty Brother (FO) 7p House of Blues (the Parish): House of the Young (VR) 8p House of Blues: Departure: Journey Tribute Band (RK) 8p Jazz and Heritage Center: Don Vappie and the Creole Jazz Serenaders (JV) 8 & 9:30p Kerry Irish Pub: Beth Patterson (FO) 5p, Roux the Day (FO) 9p Little Tropical Isle: Reed Lightfoot (RK) 5p, Styk (RK) 9p Mahalia Jackson Theater: Rock of Ages (VR) 8p Maison: Chance Bushman and the Ibervillianaires, Leah Rucker, Smoking Time Jazz Club (SI) 1p, Sierra Green and the Soul Machine, Next Level Nightclub Experience feat. DJ FTK, Big Easy Brawlers (FK) 10p Palm Court Jazz Cafe: Will Smith and Palm Court Jazz Band (TJ) 7p SideBar NOLA: Johnny Sansone (VR) 7p, Gettin’ Fess-tive with Reggie Scanlan, Tom Worrell and Lionel Batiste Jr. (VR) 9p Snug Harbor: Jamison Ross Trio (JV) 8 & 10p Starlight: Flamenco with John Lawrence and Ven Pa’CA (LT) 5p, Shawan Rice (SO) 7p, Tasche de la Rocha and Theresa Romero (SS) 10p, Julie Odell (SS) 11p Three Keys (Ace Hotel): DJ Soul Sister (FK) 11:30p Three Muses: Chris Christy (JV) 5p, Russell Welch (JV) 6p, Shotgun Jazz Band (JV) 9p Tipitina’s: Delta Revelry Album-release show, Roadside Glorious, Them Ol’ Ghost, Dustin Cole and the Deadmen (VR) 10p

SUNDAY JANUARY 6

Buffa’s: Some Like It Hot (JV) 11a, Pfister Sisters (JV) 4p, Steve Pistorius Quartet (JV) 7p Bullet’s: VL and Just Right Band (RB) 6p Café Beignet (Musical Legends Park): Steamboat Willie Jazz Band (TJ) 10a d.b.a.: Palmetto Bugs Stompers (SI) 6p 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: Will Dickerson (FO) 8p Mahalia Jackson Theater: Rock of Ages (VR) 2p Maison: NOLA Jitterbugs (JV) 10a, Royal Street Winding Boys, Opulence Hour Burlesque, Higher Heights, Elevated (VR) 7p Palm Court Jazz Cafe: Gerald French and Palm Court Jazz Band (TJ) 7p Snug Harbor: Cindy Scott Quartet (JV) 8 & 10p Starlight: Gabrielle Cavassa Jazz Session (JV) 10p Three Muses: Raphael et Pascal (JV) 5p, the Clementines (JV) 8p Tropical Isle Bayou Club: Roland Cheramie and friends (KJ) 5p, Faubourg Ramblers (KJ) 9p Vaughan’s Lounge: the Storyville Stompers (BB) 9p

MONDAY JANUARY 7

Buffa’s: Arsene DeLay (VR) 5p, Antoine Diel (JV) 8p Café Beignet (Musical Legends Park): Steamboat Willie Jazz Band (TJ) 10a d.b.a.: John Boutte (JV) 7p, Soul Brass Band (BB) 10p Funky Pirate: Willie Lockett Band (BL) 8p Jazz Playhouse: Gerald French and the

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Original Tuxedo Jazz Band (JV) 9p Kerry Irish Pub: Patrick Cooper (FO) 8p 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 (VR) 4p Snug Harbor: Charmaine Neville Band (JV) 8 & 10p Starlight: Infinite Trio (JV) 6p, Kathryn Rose Wood, Amanda Walker, Keith Burnstein and Jess Gerber (SS) 8p Three Keys (Ace Hotel): Drinks and Diversions Game Night (VR) 7p Three Muses: Bart Ramsey (JV) 5p, the Raisin Pickers (VR) 8p Tropical Isle Original: Graham Robinson Band (RK) 5:15p, Trop Rock Express (RK) 9:15p

TUESDAY JANUARY 8

Buffa’s: Meryl Zimmerman (VR) 7p Café Beignet (Musical Legends Park): Steamboat Willie Jazz Band (TJ) 10a d.b.a.: Dinosaurchestra (JV) 7p, Treme Brass Band (BB) 10p Ellis Marsalis Center For Music: Germaine Bazzle (JV) 6p Howlin’ Wolf (the Den): Comedy Beast (CO) 8:30p Jazz Playhouse: James Rivers Movement (JV) 8p Kerry Irish Pub: Jason Bishop (FO) 8:30p Little Gem Saloon: Margie Perez (JV) 7:30p Maison: Jazmarae Beebe, Gregory Agid, Gene’s Music Machine (VR) 4p Siberia: Piano Night: Andre Bohren (PI) 9p Snug Harbor: Stanton Moore Trio (JV) 8 & 10p Starlight: Tom McDermott (PI) 6p, Asher Danziger and Daiquiri Rene Jones (FO) 9p Three Muses: Sam Cammarata (JV) 5p, Steve DeTroy (JV) 8p Tropical Isle Original: the Hangovers (RK) 5:15p, F.A.S.T. (RK) 9:15p

WEDNESDAY JANUARY 9

Buffa’s: Open Mic Night with Nattie Sanchez (SS) 7p Carousel Bar (Hotel Monteleone): James Martin Band (JV) 8:30p d.b.a.: Tin Men (RK) 7p, Walter “Wolfman” Washington and the Roadmasters (BL) 10p House of Blues (Foundation Room): Michael Liuzza (TJ) 6p Jazz Playhouse: Big Sam’s Crescent City Connection (JV) 8:30p Kerry Irish Pub: Beth Patterson (FO) 8:30p Little Gem Saloon: Anais St. John (JV) 7:30p Maison: Hector Gallardo Cuban Jazz Band, Jazz Vipers, RnR Music Group (VR) 4p Palm Court Jazz Cafe: Lars Edegran and Palm Court Jazz Band (TJ) 7p Siberia: Fantasy Non Fiction, Go on Get (ID) 9p SideBar NOLA: James Singleton and Aurora Nealand (VR) 9p Snug Harbor: Uptown Jazz Orchestra with Delfeayo Marsalis (JV) 8 & 10p Starlight: Keith Burnstein (PI) 5p, Tuba Skinny (TJ) 8p, Hot Jazz Jam with Nahum Zdybel (JV) 11p Three Muses: Leslie Martin (JV) 5p, Hot Club of New Orleans (JV) 8p Tipitina’s: Donna the Buffalo (VR) 9p Tropical Isle Original: Debi and the Deacons (RK) 5:15p, Late As Usual (RK) 9:15p

THURSDAY JANUARY 10

Buffa’s: Tender Moments with Andre Bohren and Harry Hardin (VR) 6p, Tom McDermott and Aurora Nealand (JV) 9p Bullet’s: Shamar Allen and the Underdawgs (JV) 7p

d.b.a.: Alexis and the Samurai (ID) 7p House of Blues (Foundation Room): Shawan Rice (RB) 6p Howlin’ Wolf (the Den): Comedy Gumbeaux (CO) 8:30p Kerry Irish Pub: Chip Wilson (FO) 8:30p Orpheum Theater: Sheku Kanneh-Mason (CL) 7:30p Palm Court Jazz Cafe: Leroy Jones and Katja Toivola with Crescent City Joymakers (TJ) 7p SideBar NOLA: Susanne Ortner, James Singleton and Nahum Zdybel (VR) 9p Silk Road: Patrick Cooper (FO) 6:30p Snug Harbor: Danny Barker Birthday Party with Detroit Brooks (JV) 8 & 10p Starlight: Shea Pierre (PI) 5p, Shawan Rice, Sam Friend and Samantha Pearl (JV) 8p Three Keys (Ace Hotel): Motel Radio (ID) 9p Three Muses: Tom McDermott (JV) 5p, Arsene DeLay (VR) 8p Tipitina’s: Jon Cleary and the Absolute Monster Gentlemen (VR) 9p Tropical Isle Bayou Club: Cajun Drifters (KJ) 5p, Faubourg Ramblers (KJ) 9p Vaughan’s Lounge: DJ Black Pearl 504 (VR) 9p, Corey Henry and the Treme Funktet (FK) 10p

FRIDAY JANUARY 11

Buffa’s: Lynn Drury (VR) 5p, H.G. Breland (VR) 9p Café Beignet (Musical Legends Park): Steamboat Willie Jazz Band (TJ) 10a Central City BBQ: Where Y’acht (RK) 8p d.b.a.: Hot Club of New Orleans (JV) 6p, Mike Dillon (MJ) 10p House of Blues (Foundation Room): Jake Landry and the Right Lane Bandits (BL) 7p Howlin’ Wolf (the Den): Baby Bartels and the Boys (ID) 10p Jazz Playhouse: Nayo Jones Experience (JV) 7:30p, Trixie Minx’s Burlesque Ballroom feat. Romy Kaye (BQ) 11p Joy Theater: the Amity Afflictions, Senses Fail, Belmont, Silent Planet (ME) 7p Kerry Irish Pub: Patrick Cooper (FO) 5p, Will Dickerson and friends (FO) 9p Little Gem Saloon: Rechelle Cook (JV) 7p; Ramp Room: Luther Dickinson and Johnny Vidacovich (JV) 8:30p Maison: Rhythm Stompers, Swinging Gypsies, Shotgun Jazz Band (JV) 1p, Big Easy Brawlers, Buena Vista Social Latin Night (VR) 10p One Eyed Jacks: DJ Soul Sister presents Soulful Takeover (FK) 10p Palm Court Jazz Cafe: Kevin Louis and Palm Court Jazz Band (TJ) 7p Snug Harbor: Ellis Marsalis Trio (JV) 8 & 10p Starlight: Shaye Cohn (PI) 4p, John Zarsky Trio (JV) 7p Three Keys (Ace Hotel): DJ Nice Rack (VR) 11p Three Muses: Matt Johnson (JV) 5:30p, Doro Wat Jazz Band (JV) 9p Tipitina’s: New Orleans Suspects with Jennifer Hartswick and Marcus King (VR) 10p Tropical Isle Bayou Club: Faubourg Ramblers (KJ) 5p, T’Canaille (KJ) 9p

SATURDAY JANUARY 12

Buffa’s: Red Hot Brass Band (JV) 11a, Freddie Blue and the Friendship Circle (VR) 6p, Museé Musique (JV) 9p d.b.a.: Tuba Skinny (JV) 7p, Brass-A-Holics (BB) 11p House of Blues: the Sweet Spot (BQ) 7p House of Blues (Foundation Room): Them ’Ol Ghosts (RR) 7p Howlin’ Wolf: State Property (HH) 10p Jazz Playhouse: Cyril Neville and Swamp Funk (JV) 8:30p Kerry Irish Pub: Denise Marie (FO) 5p, Hurricane Refugees (FO) 9p

Little Gem Saloon: Kermit Ruffins and the BBQ Swingers (JV) 7 & 9p Little Tropical Isle: Reed Lightfoot (RK) 5p, Styk (RK) 9p One Eyed Jacks: Oh You Pretty Things: A David Bowie Burlesque and Music Tribute (VR) 8p Orpheum Theater: Sheku Kanneh-Mason (CL) 7:30p Palm Court Jazz Cafe: Will Smith and Palm Court Jazz Band (TJ) 7p SideBar NOLA: Carmela Rapazzo and Oscar Rosignolli (VR) 7p, Brad Webb and RyanScott Long Percussion Jungle (VR) 9p Snug Harbor: Davell Crawford (JV) 8 & 10p Starlight: Neal Todten (PI) 2p, Flamenco with John Lawrence and Ven Pa’CA (LT) 5p, Shawan Rice (SO) 7p, Davis Rogan (VR) 10p Three Keys (Ace Hotel): NOJO 7 (JV) 9p Three Muses: Chris Christy (JV) 5p, Debbie Davis (JV) 6p, Shotgun Jazz Band (JV) 9p Tipitina’s: Soul Rebels (FK) 10p Tropical Isle Original: the Hangovers (RK) 5:15p, Late As Usual (RK) 9:15p

SUNDAY JANUARY 13

Buffa’s: Some Like It Hot (JV) 11a, Al Ferrell (VR) 4p, Steve Pistorius Quartet (JV) 7p d.b.a.: Palmetto Bugs Stompers (SI) 6p Funky Pirate: Mark and the Pentones (BL) 4p, Willie Lockett Band (BL) 8p House of Blues (the Parish): Cracker, Camper Von Beethoven (RK) 6p Jazz Playhouse: Germaine Bazzle (JV) 8p Kerry Irish Pub: Beth Patterson (FO) 8p Maison: NOLA Jitterbugs (JV) 10a, Tuba Skinny, Opulence Hour Burlesque, Higher Heights, Elevated (VR) 7p One Eyed Jacks: King Tuff, Stonefield (VR) 8p Palm Court Jazz Cafe: Mark Braud and Sunday Night Swingsters (TJ) 7p Rock ‘N’ Bowl: Big Lebowski Fundraiser Benefit (VR) 6p Saenger Theatre: Les Miserables (VR) 1p & 6:30p Siberia: Caitlin Hill, Mikey Collins, Leland Sundries (SS) 9p SideBar NOLA: Mike Dillon and friends (VR) 9p Snug Harbor: Kristofer Tokarski Jazz Band feat. Jonathan Doyle (JV) 8 & 10p Starlight: Ingrid Lucia (LT) 7p, Gabrielle Cavassa Jazz Session (JV) 10p Three Muses: Raphael et Pascal (JV) 5p, the Clementines (JV) 8p Tipitina’s: Super Fais Do Do feat. Bruce Daigrepont Cajun Band with David Doucet (KJ) 5:30p

MONDAY JANUARY 14

Buffa’s: Arsene DeLay (VR) 5p, Antoine Diel (JV) 8p Café Beignet (Musical Legends Park): Steamboat Willie Jazz Band (TJ) 10a d.b.a.: Soul Brass Band (BB) 10p Dos Jefes: John Fohl (JV) 9p Funky Pirate: Willie Lockett Band (BL) 8p Jazz Playhouse: Gerald French and the Original Tuxedo Jazz Band (JV) 8p Kerry Irish Pub: Denise Marie (FO) 8:30p 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 SideBar NOLA: Dayna Kurtz and Robert Mache (VR) 7p, Instant Opus Series (VR) 9p Snug Harbor: Charmaine Neville Band (JV) 8 & 10p Starlight: Davis Rogan (VR) 5:30p, Joy Clark, Keith Burnstein and Amanda

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LIVE LOCAL MUSIC Walker (SS) 8p Three Keys (Ace Hotel): Too Trill Trivia (VR) 6p Three Muses: Monty Banks (JV) 5p, Washboard Rodeo (JV) 8p

TUESDAY JANUARY 15

Buffa’s: Vanessa Carr (VR) 7p Café Beignet (Musical Legends Park): Steamboat Willie Jazz Band (TJ) 10a Circle Bar: Tom Boil, Plastic Psalms (PK) 9:30p d.b.a.: Dinosaurchestra (JV) 7p, Treme Brass Band (BB) 10p Dos Jefes: Tom Hook and Wendell Brunious (JV) 9p Howlin’ Wolf (the Den): Comedy Beast (CO) 8:30p Jazz Playhouse: James Rivers Movement (JV) 8p Kerry Irish Pub: Jason Bishop (FO) 8:30p Maison: Gregory Agid, Gene’s Music Machine (VR) 6:30p SideBar NOLA: Johnny Vidacovich and Helen Gillet Duo (VR) 9p Smoothie King Center: Justin Timberlake (PO) 7:30p Snug Harbor: the Sleazeball Orchestra (JV) 8 & 10p Starlight: Joe Welnick (PI) 6p, Asher Danziger and Never Ever (FO) 9p Three Keys (Ace Hotel): Think Less, Hear More (VR) 8p Three Muses: Davis Rogan (VR) 5p, Kris Tokarski (JV) 8p Tropical Isle Original: the Hangovers (RK) 5:15p, F.A.S.T. (RK) 9:15p

WEDNESDAY JANUARY 16

Buffa’s: Open Mic Night with Nattie Sanchez (SS) 7p Café Beignet (Musical Legends Park): Steamboat Willie Jazz Band (TJ) 10a Carousel Bar (Hotel Monteleone): James Martin Band (JV) 8:30p d.b.a.: Tin Men (RK) 7p, Walter “Wolfman” Washington and the Roadmasters (BL) 10p House of Blues (Foundation Room): Michael Liuzza (TJ) 6p Jazz Playhouse: Michael Watson and the Alchemy (JV) 8p Kerry Irish Pub: Chip Wilson (FO) 8:30p Little Tropical Isle: Mark Parsons (RK) 5p, Reed Lightfoot (RK) 9p Maison: Reid Pool’s Boppin’ 5, Jazz Vipers, B Miller Zone (VR) 4p One Eyed Jacks: Vixens and Vinyl (VR) 10p Palm Court Jazz Cafe: Lars Edegran and Palm Court Jazz Band (TJ) 7p Siberia: Bushwick Book Club (ID) 8p Snug Harbor: Uptown Jazz Orchestra with Delfeayo Marsalis (JV) 8 & 10p Starlight: Anuraag Pendyal (JV) 5p, Hector Gallardo Cuban Jazz Band (JV) 8p, Hot Jazz Jam with Nahum Zdybel (JV) 11p 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 JANUARY 17

Buffa’s: Rebecca Leigh, Leslie Cooper and Harry Mayronne (JV) 5p, Tom McDermott and Aurora Nealand (JV) 9p Bullet’s: Shamar Allen and the Underdawgs (JV) 7p Civic Theatre: Gregory Alan Isakov, Shook Twins (SS) 8p d.b.a.: Alexis and the Samurai (ID) 7p, Little Freddie King (BL) 10p House of Blues (Foundation Room): Samantha Pearl (FO) 6p Howlin’ Wolf (the Den): Comedy Gumbeaux (CO) 8:30p

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Jazz Playhouse: Brass-A-Holics (JV) 8:30p Kerry Irish Pub: Patrick Cooper (FO) 8:30p Little Gem Saloon: Sam Price and the True Believers (RK) 7:30p Little Tropical Isle: Allen Hebert (RK) 5p, Jezebels Chill’n (RK) 9p Palm Court Jazz Cafe: Duke Heitger and Crescent City Joymakers (TJ) 7p Saturn Bar: Alex McMurray and his Band (RK) 8p Siberia: Eastern Bloc Party: Klezervation Hall (KZ) 9p Snug Harbor: Leon “Kid Chocolate” Brown Sextet (JV) 8 & 10p Starlight: Oscar Rossignoli (PI) 5p, Troubadour Matt Campbell and Gina Marie Leslie (VR) 8p Three Keys (Ace Hotel): Unteitled Jerry Garcia Funk Tribute (RK) 9p Three Muses: Tom McDermott (JV) 5p, Mia Borders (JV) 8p Tipitina’s: the Radiators (VR) 10p Tropical Isle Bayou Club: Cajun Drifters (KJ) 5p, Faubourg Ramblers (KJ) 9p Vaughan’s Lounge: DJ Black Pearl 504 (VR) 9p, Corey Henry and the Treme Funktet (FK) 10p

FRIDAY JANUARY 18

Buffa’s: Jamie Bernstein and Dave Easley (VR) 5p, Gregg Molinario Project (VR) 9p Café Beignet (Musical Legends Park): Steamboat Willie Jazz Band (TJ) 10a Carousel Bar (Hotel Monteleone): James Martin Band (JV) 9p d.b.a.: Smoking Time Jazz Club (JV) 6p, Sweet Crude (ID) 10p House of Blues: Bricks in the Wall: Pink Floyd Experience (CR) 8p House of Blues (Foundation Room): Jake Landry and the Right Lane Bandits (BL) 7p Howlin’ Wolf (the Den): Montu (FK) 10p Jazz Playhouse: Chucky C and Clearly Blue (JV) 7:30p, Trixie Minx’s Burlesque Ballroom feat. Romy Kaye (BQ) 11p Kerry Irish Pub: Hugh Morrison (FO) 5p, Lynn Drury (FO) 9p Little Tropical Isle: Reed Lightfoot (RK) 5p, Styk (RK) 9p Maison: Rhythm Stompers, Swinging Gypsies, Shotgun Jazz Band (JV) 1p, Soul Project, Buena Vista Social Latin Night (VR) 10p New Orleans Creole Cookery: the Cookery 3 (JV) 6p One Eyed Jacks: Jon Spencer and the HITmakers (VR) 9p Palm Court Jazz Cafe: Kevin Louis and Palm Court Jazz Band (TJ) 7p Snug Harbor: John Boutte and Company (JV) 8 & 10p Starlight: Tom McDermott (PI) 4p, Michael Watson and the Alchemy (JV) 7p Three Keys (Ace Hotel): Nesby Phips and the Grid (HH) 9p, G-Cue (RB) 11p Three Muses: Royal Roses (JV) 5:30p, Doro Wat Jazz Band (JV) 9p Tipitina’s: the Radiators (VR) 10p Tropical Isle Original: the Hangovers (RK) 5:15p, Late As Usual (RK) 9:15p

SATURDAY JANUARY 19

Buffa’s: Red Hot Brass Band (JV) 11a, Royal Rounders (VR) 6p, Asylum Chorus (VR) 9p d.b.a.: New Orleans Cottonmouth Kings (JV) 7p Gasa Gasa: Bourgeois Mystics, the Painted Hands, Hydra Plane (PK) 10p House of Blues (Foundation Room): Them ’Ol Ghosts (RR) 7p Howlin’ Wolf (the Den): Scott Mulvahill (SS) 10p

Jazz and Heritage Center: Tango and Tequila with Dr. Jee Yeoun Ko (JV) 8 & 9:30p Jazz Playhouse: Nayo Jones Experience (JV) 8p Joy Theater: the Steeldrivers (BU) 8p Kerry Irish Pub: Mike Kerwin and Geoff Coats (FO) 5p, Paintbox feat. Dave James and Tim Robertson (FO) 9p Little Gem Saloon: Kermit Ruffins and the BBQ Swingers (JV) 7 & 9p Maison: Chance Bushman and the Ibervillianaires, Leah Rucker, Smoking Time Jazz Club (JV) 1p, Big Easy Brawlers, Next Level Nightclub Experience feat. DJ FTK (FK) 10p One Eyed Jacks: Amen Dunes, Arthur (VR) 9p Palm Court Jazz Cafe: Will Smith and Palm Court Jazz Band (TJ) 7p Starlight: Flamenco with John Lawrence and Ven Pa’CA (LT) 5p, Heidijo (VR) 7p Three Keys (Ace Hotel): Muevelo and Mambo Orleans (LT) 9p Three Muses: Chris Christy (JV) 5p, Debbie Davis (JV) 6p, Shotgun Jazz Band (JV) 9p Tipitina’s: the Radiators (VR) 10p

SUNDAY JANUARY 20

Buffa’s: Some Like It Hot (JV) 11a, Lil Coquette (JV) 4p, Steve Pistorius Quartet (JV) 7p d.b.a.: Palmetto Bug Stompers (JV) 6p, Eric Tessmer (VR) 10p Gasa Gasa: Joan of Arc (PK) 9p Hi-Ho Lounge: Terra Terra (ID) 11p Howlin’ Wolf (the Den): Hot 8 Brass Band (BB) 10p Jazz Playhouse: Germaine Bazzle (JV) 8p Kerry Irish Pub: Denise Marie (FO) 8p Little Gem Saloon: Gospel Brunch with Cynthia Girtley (GS) 11a Maison: NOLA Jitterbugs, Bon Bon Vivant (JV) 10a, Swinging Gypsies, Opulence Hour Burlesque, Higher Heights, Elevated (VR) 7p Old Point Bar: Sunday Night Jazz Jam (JV) 7p One Eyed Jacks: Kathryn Rose Wood (SS) 9p Palm Court Jazz Cafe: Mark Braud and Sunday Night Swingsters (TJ) 7p Siberia: Tim Higgins, Guts Club (ID) 9p Starlight: Trixie Minx Burlesque Brunch (BQ) 3p, Gabrielle Cavassa Jazz Session (JV) 10p Three Muses: Raphael et Pascal (JV) 5p, the Clementines (JV) 8p Tipitina’s: Perpetual Groove (VR) 9p

MONDAY JANUARY 21

Buffa’s: Arsene DeLay (VR) 5p, Antoine Diel (JV) 8p Café Beignet (Musical Legends Park): Steamboat Willie Jazz Band (TJ) 10a Circle Bar: Dem Roach Boyz (RB) 7p d.b.a.: John Boutte (JV) 7p, Soul Brass Band (BB) 10p Funky Pirate: Willie Lockett Band (BL) 8p Hi-Ho Lounge: Bluegrass Pickin’ Party (BU) 8p, Americana Music Series (FO) 10p House of Blues: Young Dolph (HH) 7p Jazz Playhouse: Gerald French and the Original Tuxedo Jazz Band (JV) 8p Kerry Irish Pub: Patrick Cooper (FO) 8p 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 SideBar NOLA: Instant Opus Series (VR) 9p Snug Harbor: Charmaine Neville Band (JV) 8 & 10p Starlight: Brad Webb Jazz Trio (JV) 6p, Full Moon House party with DJ Nene, Shaw, Trickey Mickey (VR) 10p Three Keys (Ace Hotel): Movement Mondays (VR) 5p

Three Muses: Bart Ramsey (JV) 5p, Joe Cabral (JV) 8p

TUESDAY JANUARY 22

Buffa’s: Tom Worrell (VR) 7p Café Beignet (Musical Legends Park): Steamboat Willie Jazz Band (TJ) 10a Circle Bar: Eke Buba, Fried E/M (PK) 9:30p d.b.a.: Dinosaurchestra (JV) 7p, Treme Brass Band (BB) 10p Howlin’ Wolf (the Den): Comedy Beast (CO) 8:30p Jazz and Heritage Center: National Day of Racial Healing Concert feat. Sunni Patterson, Donney Rose, Sol Galeano, Gray Hawk Perkins (JV) 7:30p Jazz Playhouse: James Rivers Movement (JV) 8p Kerry Irish Pub: Jason Bishop (FO) 8:30p Little Gem Saloon: NOLA Dukes (VR) 7p Maison: Gregory Agid, Gene’s Music Machine (JV) 6:30p Siberia: Guitar Night (VR) 9p Snug Harbor: Stanton Moore Trio (JV) 8 & 10p Starlight: Tom McDermott (PI) 6p, Asher Danziger and Jeremy Joyce (FO) 9p Three Muses: Sam Cammarata (JV) 5p, Josh Gouzy (JV) 8p Tropical Isle Bourbon: Wild Card (RK) 5p, Jezebels Chill’n (RK) 9p

WEDNESDAY JANUARY 23

Buffa’s: Open Mic Night with Nattie Sanchez (SS) 7p Café Beignet (Musical Legends Park): Steamboat Willie Jazz Band (TJ) 10a d.b.a.: Tin Men (RK) 7p, Walter “Wolfman” Washington and the Roadmasters (BL) 10p Dos Jefes: Carl LeBlanc and Ellen Smith (JV) 9:30p Funky Pirate: Blues Masters (BL) 8:30p Gasa Gasa: Parker Gispert, Scorpedos (ID) 9p House of Blues (Foundation Room): Michael Liuzza (TJ) 6p Kerry Irish Pub: Chip Wilson (FO) 8:30p Maison: Jazmarae Beebe, Jazz Vipers, RnR Music Group (VR) 4p One Eyed Jacks: Vixens and Vinyl (VR) 10p Palm Court Jazz Cafe: Lars Edegran and Palm Court Jazz Band (TJ) 7p SideBar NOLA: Mike Dillon and friends (VR) 9p Snug Harbor: Uptown Jazz Orchestra with Delfeayo Marsalis (JV) 8 & 10p Starlight: Cristina Maria (PI) 5p, Bad Penny Pleasure Makers (VR) 9p, Hot Jazz Jam with Nahum Zdybel (JV) 11p Three Muses: Leslie Martin (JV) 5p Tropical Isle Original: Debi and the Deacons (RK) 5:15p, Late As Usual (RK) 9:15p

THURSDAY JANUARY 24

Buffa’s: Andre Bohren (CL) 5p, Tom McDermott and Aurora Nealand (JV) 9p Bullet’s: Shamar Allen and the Underdawgs (JV) 7p Circle Bar: Dark Lounge feat. Rik Slave (VR) 7p, Primpce, Social Circle, Laura Fisher (RK) 9:30p d.b.a.: Jon Cleary (JV) 7p, Sam Price and the True Believers (RK) 10p House of Blues (Foundation Room): Conor Donohue (RR) 6p Howlin’ Wolf (the Den): Comedy Gumbeaux (CO) 8:30p Jazz Playhouse: Brass-A-Holics (JV) 8:30p Kerry Irish Pub: Beth Patterson (FO) 8:30p Le Bon Temps Roule: Soul Rebels (BB) 11p Little Tropical Isle: Allen Hebert (RK) 5p, Jezebels Chill’n (RK) 9p Maison: Good for Nothin’ Band, Tuba Skinny, A Neo-Vintage Dance Party with Southern Dynasty DJs, Dysfunktional Bone (VR) 4p

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LIVE LOCAL MUSIC Saturn Bar: Alex McMurray and his Band (RK) 8p Snug Harbor: Martin Krusche and On the Corner (JV) 8 & 10p Starlight: Shea Pierre (PI) 5p Three Muses: Tom McDermott (JV) 5p Tipitina’s: the Devil Makes Three (VR) 9p Tropical Isle Original: the Hangovers (RK) 5:15p, Late As Usual (RK) 9:15p Vaughan’s Lounge: DJ Black Pearl 504 (VR) 9p, Corey Henry and the Treme Funktet (FK) 10p

FRIDAY JANUARY 25

Buffa’s: Raynel Shepard with Harry Mayronne (VR) 5p, Larry Scala’s Blue Five (JV) 9p d.b.a.: Aurora Nealand and the Royal Roses (JV) 6p, Shamarr Allen and the Underdawgs (FK) 10p House of Blues: Cherub (EL) 8p House of Blues (Foundation Room): Jake Landry and the Right Lane Bandits (BL) 7p Howlin’ Wolf: TrapxArt (HH) 10p Jazz Playhouse: Shannon Powell Quartet (JV) 7:30p, Trixie Minx’s Burlesque Ballroom feat. Romy Kaye (BQ) 11p Joy Theater: Boogie T.rio with Russ Liquid Test, Sexual Thunder, Boarcrok (EL) 10p Kerry Irish Pub: Tim Robertson (FO) 5p, Van Hudson and friends (FO) 9p Little Gem Saloon: Germaine Bazzle and the Peter Harris Trio (JV) 7:30p Palm Court Jazz Cafe: Kevin Louis and Palm Court Jazz Band (TJ) 7p Siberia: the Essentials (SO) 9p Snug Harbor: Ellis Marsalis Trio (JV) 8 & 10p Starlight: Shaye Cohn (PI) 4p, Heidijo (VR) 7p, Kings of the Small Time with Alex McMurray and Glenn Hartman (RK) 10p,

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DJ NeNe (VR) 11:59p Three Keys (Ace Hotel): Raj Smoove (RB) 11p Three Muses: Matt Johnson (JV) 5:30p, Doro Wat Jazz Band (JV) 9p Tipitina’s: the Far Out 50th Freak Out: Billy Iuso’s Birthday Celebration (VR) 10p

SATURDAY JANUARY 26

Buffa’s: Red Hot Brass Band (JV) 11a, Darcy Malone and Amasa Miller (VR) 6p, Marina Orchestra (VR) 9p d.b.a.: Tuba Skinny (JV) 7p, Soul Rebels (BB) 11p Funky Pirate: Mark and the Pentones (BL) 2p, Blues Masters (BL) 8:30p Gasa Gasa: Makari, Softspoken, Wonder Kid, the Weekend Transit (RK) 8p House of Blues (the Parish): Fruition (ME) 8p House of Blues: Chippendales (VR) 8p Howlin’ Wolf (the Den): Sean Hobbes and the Hi Res (ID) 10p Howlin’ Wolf: Mike Dillon’s Punk Rock Percussion Consortium (MJ) 10p Jazz Playhouse: Cyril Neville and Swamp Funk (JV) 8:30p Joy Theater: Boogie T.rio with Esseks, Toadface, Sfam (EL) 10p Kerry Irish Pub: Dave Hickey (FO) 5p, Hurricane Refugees (FO) 9p Little Tropical Isle: Reed Lightfoot (RK) 5p, Styk (RK) 9p One Eyed Jacks: Franks and Deans Live (VR) 10p Palm Court Jazz Cafe: Palm Court Jazz Band (TJ) 7p SideBar NOLA: Judge Dali (VR) 7p, New Orleans Klezmer All-Stars (VR) 9p Snug Harbor: Herlin Riley Quintet (JV) 8 & 10p

Starlight: Flamenco with John Lawrence and Ven Pa’CA (LT) 5p, Heidijo (VR) 7p Three Keys (Ace Hotel): Smoke N Bones (FK) 9p Three Muses: Chris Christy (JV) 5p, Linnzi Zaorski (JV) 6p, Shotgun Jazz Band (JV) 9p UNO Lakefront Arena: Old Skool Funk Party (RB) 8p

SUNDAY JANUARY 27

Buffa’s: Some Like It Hot (JV) 11a, Nattie Sanchez Songwriter Circle (SS) 4p, Steve Pistorius Quartet (JV) 7p Bullet’s: Big Frank and Lil Frank (RB) 6p d.b.a.: Palmetto Bug Stompers (SI) 7p House of Blues (the Parish): Ensiferum (ME) 7p Howlin’ Wolf (the Den): Hot 8 Brass Band (BB) 10p Jazz Playhouse: Germaine Bazzle (JV) 8p Kerry Irish Pub: Irish Session (FO) 5p, Patrick Cooper (FO) 8p Maison: NOLA Jitterbugs, Eight Dice Cloth (JV) 10a, Royal Street Winding Boys, Opulence Hour Burlesque, Higher Heights, Elevated (VR) 7p Palm Court Jazz Cafe: Mark Braud and Sunday Night Swingsters (TJ) 7p Siberia: Noelle Tannen (VR) 10p Starlight: Tango hosted by Valerie Hart (LT) 7p, Gabrielle Cavassa Jazz Session (JV) 10p Three Muses: Raphael et Pascal (JV) 5p, the Clementines (JV) 8p

MONDAY JANUARY 28

Buffa’s: Arsene DeLay (VR) 5p, Antoine Diel (JV) 8p Café Beignet (Musical Legends Park):

Steamboat Willie Jazz Band (TJ) 10a d.b.a.: John Boutte (JV) 7p, Soul Brass Band (BB) 10p Hi-Ho Lounge: Bluegrass Pickin’ Party (BU) 8p, Americana Music Series (FO) 10p Jazz Playhouse: Gerald French and the Original Tuxedo Jazz Band (JV) 8p Kerry Irish Pub: Beth Patterson (FO) 8p Maison: Chicken and Waffles, Aurora Nealand and the Royal Roses, Sierra Green and the Soul Machine (VR) 4p Saenger Theatre: Tedeschi Trucks Band (BL) 7:30p SideBar NOLA: Instant Opus Series (VR) 9p Snug Harbor: Charmaine Neville Band (JV) 8 & 10p Starlight: Kirk Duplantiss Jazz Trio (JV) 6p, Noelle Tannen, Amanda Walker and Keith Burnstein (SS) 9p Three Muses: Monty Banks (JV) 5p

TUESDAY JANUARY 29

Buffa’s: Joe Krown (VR) 7p d.b.a.: Dinosaurchestra (JV) 7p, Treme Brass Band (BB) 10p Gasa Gasa: Alex Cameron, Roy Malloy, Holiday Sidewinder (EL) 9p House of Blues: Andrew McMahon (RK) 6p House of Blues (Foundation Room): Shawan Rice (RB) 6p Howlin’ Wolf (the Den): Comedy Beast (CO) 8:30p Jazz Playhouse: James Rivers Movement (JV) 8p Kerry Irish Pub: Jason Bishop (FO) 8:30p Maison: Gregory Agid, Gene’s Music Machine (VR) 6:30p Saenger Theatre: Tedeschi Trucks Band (BL) 7:30p

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LIVE LOCAL MUSIC Siberia: Dream Chambers, Softie, Psychic Hotline (ID) 9p SideBar NOLA: Oliver Bonie’s South Suite feat. Simon Lott (VR) 9p Snug Harbor: Stanton Moore Trio (JV) 8 & 10p Starlight: Greg Schatz (PI) 6p, Tumbling Weeds and Asher Danziger (FO) 9p Three Muses: Albanie Falletta (VR) 5p, Josh Gouzy (JV) 8p

WEDNESDAY JANUARY 30

Buffa’s: Open Mic Night with Nattie Sanchez (SS) 7p Café Beignet (Musical Legends Park): Steamboat Willie Jazz Band (TJ) 10a Carousel Bar (Hotel Monteleone): James Martin Band (JV) 8:30p Circle Bar: the Iguanas (VR) 7p d.b.a.: Tin Men (RK) 7p, Walter “Wolfman” Washington and the Roadmasters (BL) 10p House of Blues: August Burns Red, Fit For A King, Miss May I, Crystal Lake (RK) 6:30p House of Blues (Foundation Room): Michael Liuzza (TJ) 6p Kerry Irish Pub: Will Dickerson (FO) 8:30p Orpheum Theater: Rebelution, Iya Terra (RK) 8:30p Palm Court Jazz Cafe: Lars Edegran and Palm Court Jazz Band (TJ) 7p Siberia: OoST, Meredith Moon, Dem Roach Boys, Raccoon Riviera (ID) 9p Snug Harbor: Uptown Jazz Orchestra with Delfeayo Marsalis (JV) 8 & 10p Starlight: Yoshitaka “Z2” Tsuji (JV) 5p, Tuba Skinny (TJ) 8p, Hot Jazz Jam with Nahum Zdybel (JV) 11p Three Keys (Ace Hotel): Khris Royal (FK)

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11:30p Three Muses: Leslie Martin (JV) 5p, Giselle and the Swinging Three (JV) 8p Tropical Isle Original: Debi and the Deacons (RK) 5:15p, Late As Usual (RK) 9:15p

THURSDAY JANUARY 31

Buffa’s: Doyle Cooper (JV) 5p, Tom McDermott and Aurora Nealand (JV) 9p Bullet’s: Shamar Allen and the Underdawgs (JV) 7p Café Beignet (Musical Legends Park): Steamboat Willie Jazz Band (TJ) 10a d.b.a.: Jon Cleary (JV) 7p, Lynn Drury, Mia Borders (VR) 10p Funky Pirate: Mark and the Pentones (BL) 4p, Blues Masters (BL) 8:30p Generations Hall: OffBeat’s Best of the Beat Awards feat. Sean Ardoin, Cha Wa, Iceman Special, Gregg Martinez and the Delta Kings with T.K. Hulin, Water Seed, Nesby Phips and a tribute to Walter “Wolfman” Washington (VR) 6p House of Blues (Foundation Room): Jamey St. Pierre (BL) 7p Howlin’ Wolf (the Den): Comedy Gumbeaux (CO) 8:30p Kerry Irish Pub: Patrick Cooper (FO) 8:30p Palm Court Jazz Cafe: Duke Heitger and Crescent City Joymakers (TJ) 7p Saturn Bar: Alex McMurray and his Band (RK) 8p Snug Harbor: James Singleton Quintet (JV) 8 & 10p Starlight: Oscar Rossignoli (PI) 5p, Sam Price and the True Believers (RK) 9p Three Keys (Ace Hotel): Lilli Lewis Project (JV) 9p

Three Muses: Tom McDermott (JV) 5p, Arsene DeLay (VR) 8p Tipitina’s: Singing For Spencer Benefit feat. Anders Osborne, George Porter, Jr., Johnny Vidacovich and many others (VR) 8p Tropical Isle Original: the Hangovers (RK) 5:15p, Late As Usual (RK) 9:15p UNO Lakefront Arena: Winter Jam feat.

Newsboys United, Danny Gokey, Mandisa, Rend Collective, Ledger, Newsong, Hollyn (VR) 7p Vaughan’s Lounge: DJ Black Pearl 504 (VR) 9p, Corey Henry and the Treme Funktet (FK) 10p

SPECIAL EVENTS December 31 The annual New Year’s Eve celebration includes a fleur de lis drop at Jax Brewery, with live music in Jackson Square and fireworks along the riverfront. NewOrleans.com

FESTIVALS

Through December 31 NOLA Christmas Fest at the New Orleans Convention Center includes familyfriendly activities, an indoor ice skating rink, ice slides, a carousel, carnival rides, inflatables, Santa and friends, gingerbread houses, decorated trees and more. NolaChristmasFest.com

January 8-13 The Danny Barker Banjo and Guitar Festival present music performances, educational clinics and panels at various venues. DannyBarkerFestival.com

Through January 1 Visit the holiday lights during Celebration in the Oaks at City Park.

NewOrleansCityPark.com/CelebrationIn-The-Oaks

January 16-19 The New Orleans Cigar Box Guitar Festival celebrates handmade stringed instruments with performances by local and international musicians at three venues. NewOrleansCBG.com

January 31 OffBeat’s Best of the Beat Awards feat.

Sean Ardoin, Cha Wa, Iceman Special, Gregg Martinez and the Delta Kings with T.K. Hulin, Water Seed, Nesby Phips and a tribute to Walter “Wolfman” Washington, Generations Hall, 6 p.m.

January 19-20 The Central City Oyster Jam at Central City BBQ celebrates music and mollusks with performances including Raw Oyster Cult, the Iceman Special, Louis Michot and others. CentralCityOysterJam.com

Ongoing The “Drumsville!: Evolution of the New Orleans Beat” exhibit is on display at the New Orleans Jazz Museum.

NolaJazzMuseum.org

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BACKTALK

Derek Trucks

talks back

PHOTO: courtesy of the artist

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nited in marriage and music, Susan Tedeschi and Derek Trucks lead the sprawling, improvising, steepedin-roots music Tedeschi Trucks Band. The twelve-piece group includes a three-piece horn section and trio of backup vocalists. And reflecting the 15 years Trucks spent in the Allman Brothers Band alongside his late uncle, Butch Trucks, the Tedeschi-Trucks road show features two drummer-percussionists.

Despite the overhead that comes with such a large ensemble, the Tedeschi Trucks Band plays as many as 200 shows a year. In 2019, the group’s multi-night stands at classic theaters will include January 28 and 29 dates at the Saenger Theatre in New Orleans.

The Saenger is a special place for Tedeschi and Trucks. They met there in 1999, when Tedeschi was touring as the Allman Brothers Band’s opening act. The couple married two years later.

The Boston-born Tedeschi is a blues, soul and gospel-inspired singer-guitarist and songwriter. Derek Trucks, a native of Jacksonville, Florida, is a brilliant slide guitarist in the tradition of his hero, Duane Allman.

In 2010, they both relinquished their solo careers to form the Tedeschi Trucks Band.

They’ve since toured the world, built their

growing audience and won a Grammy for their 2011 album debut, Revelator. The band’s sixth album is scheduled for release in early 2019.

With nearly 200 songs in its repertoire, the group’s concerts feature full-dress interpretations of rock, blues, soul, country and jazz classics and original compositions inspired by all of the above.

Trucks spoke to OffBeat recently from the couple’s home in Jacksonville.

You met Susan at the Saenger Theatre in 1999?

She was on tour with the Allman Brothers, which I’d just joined. We were out on the road together for a few months. Almost 20 years later, here we are with a band and two kids.

You and Susan just hit it off?

We became friends first. After we were on the road together, we stayed in touch. Then we moved in together, we had kids together, we bought a house together. Sometimes when you meet somebody, you just know.

But you didn’t put the Tedeschi Trucks Band together until much later.

We probably had the notion early on, but we were both deep in our solo careers. And you want to make sure that you’re ready to

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By John Wirt

be in a band together. You don’t want that to ruin what you have outside of music.

In 2019, you’re playing a four-night residency in Chicago, two nights in New Orleans and three nights in both Nashville and Washington, D.C. Does the band especially enjoy these multi-night stands?

We like setting up shop. But it’s work, digging deep and playing as many tunes as we can. The arc of the shows gets stronger as we go. Some of our best stuff on stage happens during these multi-night stands.

You’ll spend a few days in New Orleans when you play at the Saenger Theatre.

We have a lot of friends in New Orleans. It’s nice to reconnect with them and get a good meal. When you’re in New Orleans, Chicago, New York City, a few of them, you can plan your days off around a good meal. The whole band enjoys that.

Have you considered playing one night at arenas rather than multiple nights in theaters?

There’s been thought about moving up to bigger rooms. But a lot of times we see familiar faces night-to-night. 10,000 tickets don’t always mean 10,000 different people.

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“We could take blues tunes and rewrite them and put our name on it, but it’s better to just play a Son House tune. And then when we write our own tunes, they usually occupy their own space. Musicians are always borrowing things and being influenced by things, but it’s important to nod to where they came from.” theater, there’s something magical about that.

Will the Tedeschi Trucks Band play 200 shows in 2019?

When you release a record, you have to tour behind it. And with a 12-piece band, you’ve got to work to keep the band going and healthy.

Will 2019 be an album year for you?

The album is finished. I’m excited to get this one out there. It’s been a long, crazy few years for the whole planet—definitely for our circle, too; a lot of ups and downs and loss.

All that was in the air when we were writing and making the record.

This album feels different to me on a lot of levels. We did everything on two-inch tape.

It’s a slower process when you’re doing all analog with a 12-piece band. You’ve got to mean it. You’ve got to commit. In the end, we captured something with the sound and the spirit of it.

The Tedeschi Trucks Band could play only your original music on stage, but you perform many classics that stretch over multiple genres. Why do you interpret so much music?

Part of the tradition of the music that we play is honoring where we got it from.

The Allman Brothers were playing Blind Willie McTell, McKinley Morganfield [Muddy Waters] and Bobby “Blue” Bland tunes. We could take blues tunes and rewrite them and put our name on it, but it’s better to just play a Son House tune. And then when we write our own tunes, they usually occupy their own space. Musicians are always borrowing things and being influenced by things, but it’s important to nod to where they came from.

George Harrison’s Indian music–based “Within You Without You” is one of the non-original songs in the band’s repertoire. That’s not a widely performed song.

The more I listen to the Beatles’ catalog, the more I’m drawn to the Harrison tunes.

They’re gorgeous melodies. His song 'Something,' the changes are simple but

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they’re so right. And that opens me up when I write. Sometimes learning a song written by a great songwriter unlocks a door for you.

You could work as a five-piece band or even a four-piece. Why do you tour with such a large group?

There’s just something to the feel and the sound of a big, powerful group like this. It is a hard thing to do, but people appreciate it. We decided to give it a go after seeing the Mad Dogs & Englishmen documentary. We were thinking about Delaney & Bonnie and the Allman Brothers ethos. Those were the seeds of it. There has been turnover over in our band through the years, but it’s been minimal.

As long as the spirit’s intact and the core’s intact, it’s in a good place.

And now it’s been working for eight years.

It’s an amazing run. And it’s brought Susan and I closer in a thousand ways.

You took the plunge with the Tedeschi Trucks Band even though you couldn’t be sure it would work.

There was blowback in the beginning from her crowd and my crowd. A vocal minority didn’t think it was the right thing to do.

Luckily, I’ve never gone down the rabbit hole of paying attention to that stuff. I still have yet to have any social media presence anywhere. I refuse to do it. It just seems dark and disgusting. I’ll stay away.

You mentioned the losses you’ve had recently. Your bandmates in the Allman Brothers Band—Gregg Allman and your uncle, Butch—both died in 2017.

And Col. Bruce Hampton, too—he was family. They were all larger than life figures who shaped my music and life. The Allman Brothers Band was the reason I started playing music. And when I was 11 or 12 years old, being on the road with Col. Bruce Hampton changed my life. So those are the kind of losses that never go away. But you realize you’ve got to take the positiveness they left you with, be a keeper of those flames and roll on.

Isn’t the Allman Brothers’ 1971 album

At Fillmore East a touchstone for you?

I cut my teeth on that record. And everything about it still holds up. The band was on fire. And Tom Dowd was behind the wheel recording it. [A producer and engineer, Dowd’s credits include John Coltrane, the Drifters, the Coasters, Ray Charles, Otis Redding, Cream, Lynyrd Skynyrd and Susan Tedeschi.] That’s hard to beat. When I joined the Allmans, Tom was still around. He was probably the only guy they still listened to.

Tom was a presence and one of a kind. And he was everywhere. When things went down, Tom Dowd was there.

You joined the Allman Brothers Band at 19. You were already extremely experienced then, but did you learn a lot working with the group?

On stage with that band, if you’re paying attention at all, you’re learning. My uncle, Butch, that dude came to play every time. He could have been limping offstage, but when he hit the stage, he was 35 again. He never gave it anything less than more than what he had. You don’t run across that a lot anymore.

Vibe just dripped off Gregg. Some people just have the thing. He had it. Those guys were cut from a different cloth. They informed their time and led the charge. An interracial band in the Deep South in the late ’60s was not a common thing. Especially playing the type of music they were playing.

Unlike your uncle, Butch, your parents weren’t musicians. How did you get into music?

I saw a guitar at a garage sale for five bucks. I had five bucks. One thing led to another. It wasn’t like I was really trying to play at that point but, once I started, music spoke to me. I had a picture of Duane Allman hanging in my room.

How old were you when you brought that guitar at a garage sale?

Nine. I started sitting in with people about four, five months later. It came quick. I was lucky that way.

The Tedeschi Trucks Band plays the Saenger Theatre January 28 and 29. O www.OFFBEAT.com