OffBeat Magazine November 2017

The St. Claude Avenue Drag Scene Tipitina's 40th Anniversary New at NOJO

Picking

flowers at Voodoo Fest

PELL

Yeah!

LOUISIANA MUSIC, FOOD & CULTURE—NOVEMBER 2017 Free In Metro New Orleans US $5.99 CAN $6.99 £UK 3.50

Bonerama Ani DiFranco

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Voodoo Schedules and Map Inside!

PHoto: elsa hahne

Towards the Sun

BLAST FROM THE PAST "The Mind of Mystikal"

By Keith Spera June 1995

Pell plants the seeds for New Orleans’ hip-hop resurgence.

Page 28 LETTERS

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IN THE SPIRIT

MOJO MOUTH

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William Evans at Maypop mixes up Makes Me Feel So Fine for Hot 8 Brass Band.

FRESH

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Five Questions with Benjamin Booker; My Music with Unicorn Fukr; Celebrating 30 Years: Tom Petty on “Growing Up Petty;” Five Questions with Ms. Linda Green; Floyd’s Record Shop is back; Is Voodoo losing its New Orleans identity?

DRAG CITY

REVIEWS 16

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“Every time we played there it was like church.”

CHANGING OF THE GUARD

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Adonis Rose takes over the New Orleans Jazz Orchestra.

SEXUAL IMPROPRIETY

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Katie Sikora’s photography explores gender-based discrimination.

TOUR OF THE AMERICAS The Rolling Stones launch in Baton Rouge.

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Alex McMurray is In the Spot at Pizza Delicious and Peter Thriffiley reviews El Pavo Real.

You think you know what drag is, but you have no idea.

TIPITIINA'S CELEBRATES 40 YEARS

OFFBEAT EATS

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Bonerama, Roderick Paulin, Pope, Feufollet, Smoking Time Jazz Club, Jason Ricci & the Bad Kind, Ann Savoy, Tony Seville and the Cadillacs, Aural Elixir and more.

LISTINGS

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BACKTALK with Ani DiFranco

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"If I have any regrets about all my years of being independent, it’s that I didn’t place a team of professionals around me when I made recordings. I just followed my spleen. A lot of those recordings are not great documents of good songs, and I feel bad for those songs."

—Ani DiFranco

New Orleans had its own flavor—bounce. Or people try to rap hardcore, but it all sounds the same.

When he came along, it was a hardcore style that was different. I thought he was from New York or somewhere like that.

To read more, this issue can be purchased at www.offbeat.com/issues/ june-1995/.

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Letters Dickish Behavior The following letters are in response to Elsa Hahne’s feature “Here’s looking at you, Dick,” in the October issue.

I ache for my girlfriends and the awful things that happened to them.

I have known Beth [Patterson] since she was 17, and I never realized she was dealing with such creeps. No one has ever offered me such insults.

The things that have happened to me have been funny or heart breaking, but never physical.

The funniest was years ago playing at the “Yellow Door” in Montreal. As David and I came off the stage this guy came up to us and said, “You guys are pretty good, but you should play in different keys.”

David started to tell him that we had done practically every song in a different key, but I interrupted him and said, “Okay, thanks, we’ll try that next set!”

He smiled and went back to his seat. David looked at me in puzzlement and said, “We did practically every song in a different key.”

I grinned and said, “Yeah, but we’re going to do every song in the next set in the key of E!” David grinned back and we did just that.

After the show, the guy came up and said, “See what I mean. That was much better.”

David and I just smiled our thanks.

The heartbreaker was a gig in Detroit. We had the top half of the page of the Free Press, with a great picture of us and a well written story.

Opening night we filled every seat. We were excited and performing at the top of

“I’m a vet and I think kneeling is beautiful! You kneel to pray!

Kneel to the Queen! Kneeling is what men in armor did to become knights!”

—Roselyn Lionhart, New Orleans, Louisiana our game. Then I did “Summertime” and the entire club was quiet, except for one table where one guy was chattering loudly with a friend.

We got wonderful applause, but the guys at that table started talking loudly again just as we started the next song. David stopped the music and politely asked him to lower his voice and he apologized and was quiet, but left before the set was over.

When we finished the set the owner told us we were fired!

It seems the noisy guy owned a factory in the next block and he and his employees came in every day and spent more money daily than our audience had spent that evening.

But it was nowhere near as demeaning as sexual abuse and I’m sorry my friends did not at least give such mistreatment a verbal lesson in manners loudly enough. A scream, and a jump and shout, “How dare you!”

If one allows oneself to be victimized, it continues!

Racial victimizing is what our football players are protesting. I’m a vet and I think kneeling is beautiful! You kneel to pray! Kneel to the Queen! Kneeling is what men in armor did to become knights!

I think it is racist to consider such a gentle response to the continuing murder of black men, women and children anything but wonderful.

—Roselyn Lionhart (David and Roselyn), New Orleans, Louisiana

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

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Louisiana Music, Food & Culture

November 2017 Volume 30, Number 12 Publisher and Editor-in-Chief Jan V. Ramsey, janramsey@offbeat.com Managing Editor Joseph L. Irrera, josephirrera@offbeat.com Consulting Editor John Swenson Food Editor Elsa Hahne, elsahahne@offbeat.com Listings Editor Katie Walenter, listings@offbeat.com Contributors Stacey Leigh Bridewell, Rory Callais, Frank Etheridge, Ken Franckling, Alex Galbraith, Holly George-Warren, Elsa Hahne, Jeff Hannusch, Amanda Mester, Jennifer Odell, Randy Savoie, John Swenson, Peter Thriffiley, Dan Willging, John Wirt, Geraldine Wyckoff Cover Elsa Hahne Art Director/Food Editor Elsa Hahne, elsahahne@offbeat.com Web Editor Amanda Mester, amanda@offbeat.com Copy Editor Theo Schell-Lambert, theo@offbeat.com Advertising Sales/Promotions Coordinator Camille A. Ramsey, camille@offbeat.com Advertising Design PressWorks, 504-944-4300 Business Manager Joseph L. Irrera Interns Emily Carmichael, Gracie Davis, Marine Laval, Elina Tons Distribution Patti Carrigan, Doug Jackson OffBeat (ISSN# 1090-0810) is published monthly in New Orleans by OffBeat, Inc., 421 Frenchmen St., Suite 200, New Orleans, LA 70116 (504) 944-4300 • fax (504) 944-4306 e-mail: offbeat@offbeat.com, web site: www.offbeat.com facebook.com/offbeatmagazine twitter.com/offbeatmagazine Copyright © 2017, OffBeat, Inc. No part of this publication may be reproduced without the consent of the publisher. OffBeat is a registered trademark of OffBeat, Inc. First class subscriptions to OffBeat in the U.S. are available for $45 per year ($52 Canada, $105 foreign airmail). Back issues are available for $10, except for the May issue for $16 (for foreign delivery add $6, except for the May issue add $4). Submission of photos and articles on Louisiana artists are welcomed, but unfortunately material cannot be returned.

LETTERS This is an article I’ve been waiting to see for a long time. I hope it gets republished at the influx of every busy season. As I step out to step it up [Sarah McCoy just moved to Paris, France], I’m glad to see a little light shed on a very widely discussed topic. I’ve had days where every single one of these things happened to me during just one show.

Here’s a little outline, and I’ve added a few points of my own: 1. Musicians are not dogs—don’t pet us. (I bite.)

2. We are not jukeboxes.

3. Your bachelor/bachelorette party is NOT what people came to listen to.

4. YES, sexual harassment is still sexual harassment even if you like the band.

5. Unless you’ve been touched by the hand of God and you now have the gift, do NOT bring your own tambourine to play along with.

6. You don’t get to pretend to be the new singer of a band

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because you’re trashed and have lost all manners. Go do karaoke.

7. NEVER. EVER. EVER. NEEEEEVER TOUCH OUR EQUIPMENT. Just go ahead and cut off your hands first.

8. Sitting right up next to a musician or band and talking about menial BS at the top of your lungs, or rewatching your crappy iPhone recordings of the last song at top volume is unacceptable, and unbelievable, and people do it all the time.

Spread the word, because the struggle is real y’all.

—Sarah McCoy, Paris, France

Mayor, Mayor, Mayor The following letters are in response to Jan Ramsey’s blog post, “Mayor, Mayor, Mayor.

What To Do?” about the Mayoral Forum at the Carver Theater in September.

Politics is such a long game.

Perhaps one strategy is to recruit and run a single-issue candidate for mayor solely focused on

articulating a vision for New Orleans as a music city. She/he may not win, but would likely generate a lot of noise and support among like-minded members of the community.

As someone from “another place,” I have seen this strategy be successful in starting a conversation, and forcing other, “better-funded and thus likely to win” candidates to at least react and address the issues articulated by the music-focused candidate.

It has the additional benefit of educating some necessary allies among the citizenry who are likely focused on pocketbook and infrastructure issues. If successful, some items gain a context for presentation / packaging for consideration by whichever administration is in power.

—Rich Grogan, West Chesterfield, New Hampshire I recommend that the new mayor appoint you [Jan Ramsey] as his Music Ambassador. Your

job would be to visit other music cities to see what they have done regarding issues you brought up, as well as consider what is needed by locals. After the findings you would present an 8–10 year proposal that would become an 8–10 year plan. Who would be better than you. IF not you, who?

—John Ariatti, Hendersonville, North Carolina

Charlie Halloran The following letter is in response to Brett Milano’s review of Charlie Halloran’s recording direct to 78-rpm acetate for “Cé Biguine!” complaining that to his ears it completely undercuts the joy in the music.—ED My take is the opposite: that Charlie Halloran is conjuring up a particular time and place.

According to the Yale University Library, 78s were recorded into the “late 1950s.”

—Paul Goode, Richmond, Virginia

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MOJO MOUTH

The End of The World As We Knew It

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he appeal of New Orleans never wanes, despite hurricanes, storms, crumbling infrastructure, crime, educational issues and lack of police.

In fact, I daresay that’s part of its appeal: the danger factor. You love it so much you’re willing to put up with the crap that you must endure to live in such a fascinating city. But isn’t that always the way in great cities?

New Orleans made historic progress on October 14, when we held our primaries for city leadership, with the mayor’s race being the focus.

This city has never had a woman mayor, ever. And now it will. The runoff will be between two great women: LaToya Cantrell (currently City Councilmember of District

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B) and Desiree Charbonnet, an attorney and former municipal judge. So there’s no question about it: This time we’ll elect a female mayor. Hallelujah!

I used to be one of those people who believed that government could be more efficiently run by someone who'd been successful in the business world—it could be “run like a business.” I no longer feel that way (and no, not because of our current U.S. president—don’t get me started). I’ve been involved on the board of nonprofits and government agencies, and I can tell you that running a business and operating the government are not in parity, no way.

Government serves all the people; business serves the acquisition of capital and profit.

By Jan Ramsey The two do not equate. Business is out for the almighty dollar, sometimes at the expense of its employees and markets.

Government needs to get the best deal for the taxpayers it serves, and it has to be used to compromise to serve all its constituents well and equitably. The two do not equate.

I supposed because I’ve reached a golden age, I value experience (which I didn’t necessarily as a cocky twenty-, thirty- and even fortysomething). Experience and historical perspective matter in the success of any enterprise, with a generous soupçon of openness to innovation and positive change.

As a publisher of a music and culture magazine, I think it’s important for me to take a position

on who our media endorses as next mayor. Our selection has served us well as City Councilmember and she knows how the government operates from day-to-day experience. She’s been a community activist; she has community roots— not merely a familiar name. She’s knowledgeable about what needs to be done in this city and is dedicated to make it better for its citizens. I’m sure (and hoping) that she’s going to ruffle some feathers in the good ole boy and established political groups and lobbies. She knows from where our local music and culture are derived and is committed to keeping them alive and nourished and vital.

For these reasons, we are supporting LaToya Cantrell for Mayor of New Orleans.

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FRESH

Five Questions with Ms. Linda Green

OffBeat.com

SWEET TWEETS

H

ow did you learn to cook?

I learned to cook through my mother and grandmother—they taught me how to cook. My mother retired after 30 years cooking with Orleans Parish School Board. I had 25 years with Orleans Parish but after Katrina I lost my job. I was fortunate enough to be doing catering for Tipitina’s. They brought me back from Texas, and I am forever grateful for that.

Even though you’re known as ‘The Ya-Ka-Mein Lady,’ you won a Food Network award for vegan gumbo. What’s your secret to a good gumbo?

My mom and my grandmother used to do the vegan gumbo. They used to go on the neutral ground to pick what they called ‘the greens’ and they used the greens in their gumbo. The secret is the Ms. Linda’s seasoning. The seasoning is what makes it taste good.

You do a lot of public events. When you talk about your food, do you have a sense of preserving local culinary traditions and passing that knowledge on to others?

I am from New Orleans, born and raised. We have a lot of out-oftowners that come and want to learn about New Orleans cooking. I want them to know how our city is different, culturally. So I don’t mind demonstrating what I cook and how to cook it. I want them to know that they came to a city that is one of the best in the world.

What are the origins of ya-ka-mein?

It is important to know where all our food comes from. Ya-ka-mein is a New Orleans dish with Chinese in it. I’m doing research right now with Amistad [Research Center at Tulane University] and finding out ya-ka-mein really came from Storyville, which was next to where the Chinese lived at the time. And African-Americans, what we did was add spices and herbs to it.

Did you ever think you’d become famous for cooking food?

No. I say no right quick, but then I think about my mom. And she was quite popular as a caterer—her name was Shirley Green. She cooked for all the judges back-of-town, and she was the lady cooking for the Zulus for many years, making breakfast for them before they got on their trucks on Mardi Gras. She was selling ya-ka-mein and it was such a hit that we were telling her to quit her school board job. But I’m glad she didn’t, because it wasn’t her time. She always told me, ‘Someday you can use this.’ Now it’s my time.

—Frank Etheridge Find Ms. Linda Green at the Treme Creole Gumbo Festival, Sat.–Sun., November 18–19, in Armstrong Park. Free admission.

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Photo: Jes

Fostering Musicianship And Community At Open Mic Night

SOUNDCHECK

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@PELLYEAH “N*ggas will borrow ya style like you wasn’t about to do nothing with it”—@CurrenSy_Spitta @MarkMullins Due to weather, Bonerama’s album release show has been postponed to 11/18 @Tipitinas. @AmyTrailSongs I regularly walk by topless women, dudes with snakes and hobos that wouldn’t be out of place in a Dickens novel. @AlisonF_NOLA What’s that feeling when you’re living your real life in NO but it’s so NO it feels like a scene from Treme? @miaborders “Oh, God. I hope that’s my blood.”—Me when I smash a mosquito. @jeffalbert Ever noticed how The Matrix and The Blues Brothers are kind of the same movie? Sunglasses, office building standoffs.... @Tromboneshorty Thanks for having us today @PilgrimageFest. Honored to finally meet one of my favorites @jtimberlake.

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FRESH

MUSIC STORE REVIVAL

Floyd’s Record Shop Is Back

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nce Louisiana’s longest tenured record retailer, Ville Platte’s legendary Fioyd’s Record Shop is now Louisiana’s newest music retailer. Say what? Its true, mes amis. Floyd’s original shop opened in 1956 on East Main Street. While the store and record wholesaling business thrived for decades, after three years of rapidly declining business, the shop was shuttered in December of 2012 and the building was sold.

The “new” Floyd’s Record Shop will celebrate its grand reopening/ rebirth with a ribbon-cutting ceremony on October 25. The new retail outlet shares space with the Flat Town Music offices, warehouse and tape vaults, its facility, as well as a drop off depot for UPS. Its location is 700 South Chataignier, off Highway 29 which links Ville Plate to nearby Eunice and Point Blue.

“It’s kind of a mini version of the old store,” said Floyd Soileau. “I guess you could call it a boutique shop. We’ll sell the Cajun, zydeco and swamp pop music on our labels and some other independent labels as well. But no major label product like the old store stocked.

We’re also stocking oldies like Fats Domino and Little Richard along with CDs on consignment by our local artists. We have books, T-shirts, spices, rubboards and other Cajun items too. Basically, the same stuff we’ve been selling on our website. But we’ve also got a vinyl section with some of our rare and old Jin, Maison de Soul and Swallow 45s and LPs. “We’ve put up a brand new street sign—the old sign is still stored in the warehouse. We’re saving a lot of memorabilia from the old store, like photos from the old days, and putting it in the new store.

It’s a much smaller space but we want to give it the feeling of an old-time record shop. We might not get the Japanese and European collectors like we used to, but we’re hoping that the locals and people driving in from some of the surrounding towns come by to buy some of our music. We’re not looking to make a lot of money with the shop—I just hope we can make enough to pay the utility bills.”

—Jeff Hannusch www.OFFBEAT.com

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CELEBRATING

FRESH

May 2012 SOUNDCHECK

Five Questions with Benjamin Booker

“Growing Up Petty”

1988-2018

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ffBeat Magazine is celebrating 30 years and reaches that milestone with this November 2017 issue. To mark the anniversary, over the next 12 months OffBeat will re-publish excerpts from features and interviews from the past 30 years.

In our second installment, from our May 2012 issue, Holly GeorgeWarren interviews singer-songwriter and guitarist Tom Petty. With the recent untimely passing of Tom Petty we revisit his interview with OffBeat.

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hat’s your favorite decade of the blues?

Probably the 1920s. I never got into electric blues, the Chicago style or later stuff like Eric Clapton. The reason I got into blues was because, when I was going to high school in the mid-2000s, there was a lot of electronic stuff out and the radio was pretty intense and heavy or pretentious and complicated. I was listening to punk first. I had friends who invited me to the skate park where they had a DIY venue. I would go there and see bands and that’s when I started playing guitar. I liked stuff from the ’20s because there was just a dude with a guitar and it still worked.

What does it take to be a good songwriter?

I don’t think that there’s a good answer for that because it depends on what it is you’re going for. Sometimes I like people who have a little couplet that really hits you in the chest, but sometimes I just like listening to trap music. When it comes to writing songs, if you’re doing what you enjoy, that’s the important part.

Where is blues going in the 2020s?

I don’t think it works like that anymore. I don’t think people think about tracks like that anymore. If you listen to Young Thug’s last album [Beautiful Thugger Girls], it’s a country album with hip-hop on it. I think hip-hop has a lot to do with people not thinking about genres.

What made you fall in love with New Orleans enough to live here for a while?

I moved there for work with AmeriCorps right after college and started working for a nonprofit. I knew nothing about the city when I moved there. I grew up in Florida and just never made it out there. I loved it and stayed there. For my Voodoo Fest last couple years there I lived in the Friday, October 27 Bywater. There was a band called 6 p.m. (South Course) Babes I really loved, they opened up for me at One Eyed Jack’s. I also love BottomFeeders. Coming from Florida and the punk scene, I just wasn’t used to people who were, like, 24 and just killing it. [Local musicians] were way more professional.

How will your performance at Voodoo Fest this year compare to your previous appearance?

I have a bigger band now and different musicians, which will make for a better show overall, I think. The last time we went out to Voodoo, we were kind of a punk garage band, just going hard the whole time. I’m happy with the show now because I think that we can do a lot of different stuff and there’s something for everybody in it. It’s more fun for me, so I think it’ll be more fun for the audience [laughs].

—Amanda Mester

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“We stuck a lot of country and ’50s rock into our stuff and tried to blend it all together.”

When did you first get a guitar and start learning how to play?

It never struck me that I might play or perform. I just wanted to listen.

It wasn’t until the Beatles that there was a real bolt of lightning to the brain: ‘Oh, a self-contained band.’ They had the singers and the band all in one thing. Then, the kids around the neighborhood would talk about ‘let’s form a group and be like the Beatles.’ It looked to me like a really good job. They were obviously young and in charge of their own lives.

What were your band’s influences?

Mudcrutch was strongly British Invasion–influenced and hung on to that into the early ’70s. Then we were trying to be the Southern version of the Flying Burrito Brothers. We stuck a lot of country and ’50s rock into our stuff and tried to blend it all together.

Does your own Southern-ness need sustaining?

I can never get rid of it. I think it really helped [the Heartbreakers].

We really did have to learn to play, to deliver. Once you got up onstage, you really gotta play, or it would be ‘Okay, that’s enough of you. We have some guys up here that work on tractors all day, but they can play like crazy.’ We were all just shitkickers then.

Read more at www.offbeat.com/news/tom-petty-growing-up-petty/. www.OFFBEAT.com

FRESH

MY MUSIC

Unicorn Fukr (Erik Browne)

“I

never intended to do anything more than just collect records and spin them at home and have friends over. I wasn’t trying to do it as a career. But after my first official club gig, it was like, ‘Wow. I love this. And this is what I want to do.’

My dad was really into the Beatles and Jimi Hendrix. My mom had a lot of funk and disco records, which I loved—funk and disco essentially being the precursors to today’s dance music. At a young age, I remember going to visit my cousins in Norway and first hearing electronic music. I was immediately drawn to it. As far as my musical training, it was in classical violin.

Prior to [Sunday night Dragon’s Den series] Church*, I was working with the Louisiana Dubstep crew. We were into dubstep before it was even really popular here; the only DJ that I knew that did it was Black Swan, who started the dubstep movement in Louisiana. It started in Lafayette and then Baton Rouge before coming here. I also happened to have, during this 2007–09 time frame, a KLSU show I co-hosted where we’d feature different DJs, promote the Dirty Disco parties, and generally try to educate people on the music.

New Orleans used to be this rave mecca, with the State Palace Theatre and everything. But with Voodoo Fest the Rave Act in 2002 and Katrina Sunday, October 29 in 2005, it disappeared. Raves 12 p.m. (Le Plur) weren’t quite legal or accepted.

You had a club night here or there, but it never became mainstream. But when dubstep came around, in 2009–2010, it exploded. So then we went from a small underground scene here to something, because of dubstep, that really took over.

Overall, New Orleans has gotten back on the map. When I got involved with Herb Christopher, people were traveling from New Orleans to Baton Rouge for this music. It’s come from that to now with Buku as a big annual event and Voodoo where what used to be the dance tent is now the second-largest stage.

On a simple level, I’d like the audience to get out of the music what I do. It makes me want to move. I get a weird sense of satisfaction every time I hear music. It’s fascinating to drop a track with one high-hat element and see the energy go up and people dance a step harder. That, to me, is interesting—to get people’s attention, get them locked in. To do a whole 6–8 hour set and have people go the distance with you because they just can’t stop dancing.

I try to appeal to their energy level and find a track that matches the mood and vibe. Once you get that locked in, you can really take people anywhere.”

—Frank Etheridge www.OFFBEAT.com

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FRESH

VOODOO MUSIC + ARTS EXPERIENCE

Is it losing its New Orleans identity?

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Photo: GOLDEN G. RICHARD, III

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n 2009, my former band—whom you’ve assuredly never heard of— played the Voodoo Music Experience. I had a chance encounter with the talent buyer for the kids’ stage, which was desperately looking for acts. My band, while very good in my biased opinion, was by no means setting the world on fire. Yet we found a way to play Voodoo.

We had this chance because of Voodoo’s layout at the time. Under founding production company Rehage Entertainment, Voodoo featured two main stages with a phalanx of smaller niche tents and stages. These tents featured everything from the kids’ area to an electronica tent to a New Orleans Bingo! Show tent to a WWOZ stage to a Preservation Hall tent.

While the two main stages had the feel of a standard large festival, the tents collectively provided an accurate re-creation of the New Orleans music and arts scene. New Orleans is obviously known for its jazz and blues, but Voodoo gave festivalgoers a platform to experience local indie rock, burlesque, sideshow, hip-hop and electronica as well.

Voodoo offered a glimpse into the multi-faceted New Orleans music and arts scene found outside the usual tourist traps.

However, such opportunities are increasingly rare for unsigned local artists. Voodoo was acquired by Live Nation Entertainment in 2013, and its subsidiary C3 Presents has produced the Halloween weekend festival ever since.

Structural changes came with new Morning 40 Federation—not at ownership. The grounds were consolidated into Voodoo this year fewer stages for main acts, electronica artists, and a “Le Flambeau” stage that was loosely New Orleans–based (Le Flambeau is not a part of the 2017 festival).

This move was notoriously plagued with sound bleed issues for the first few years, but it also caused a far more devastating side effect.

Fewer stages meant fewer available spots, and many smaller, unsigned local acts were pushed out of the festival. Only a few local bands now pepper the lineup, usually in the early slots as the gates open.

While Jazz Fest and the increasingly popular Buku feature various New Orleans artists of different genres, there are only so many festival spots to go around. With Voodoo increasingly inaccessible, many up-and-coming indie, hip-hop, and electronic acts are missing a key opportunity to further their careers, raise their profiles, and—most importantly—pick up new fans.

There are many benefits to corporate backing. Kendrick Lamar may be the most relevant headliner Voodoo has seen in a decade. But in the process, the festival is losing its New Orleans identity. What once offered an intriguing glimpse into the less-publicized side of New Orleans art and music is slowly becoming a standard corporate festival that could take place in any American city. If Voodoo wants to achieve the same longevity as Jazz Fest, its connection to its host city must be stronger than a cool name.

—Rory Callais

DRAG SCENE

Drag City photo: erik vincent

You think you know what drag is, but you have no idea.

Neon Burgundy

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ost people have the same general idea of what defines a “drag queen”: a man dressing up as a woman, using large wigs, sequined dresses, fake breasts, feather boas and capricious amounts of makeup to get on a nightclub stage and sing Donna Summer or Whitney Houston songs.

Not skinny queens with no fake body parts getting beer poured on them as they sing Warrant’s “Cherry Pie.” Not a loud bearded lady wrangling jock-strap-laden men in a lube-soaked wrestling match. Not androgynous aliens who don’t feel a particular need to chose one gender over another.

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Yet throughout the city— particularly in the St. Claude corridor—a new vision for drag is emerging. “I think the scene has changed in a really good way. I feel we are engaging audiences a lot more,” says Gag Reflex and Jock Strap Lube Wrestling host Neon Burgundy.

“On our side of town, we occupy different venues. We put on themes with our shows, and the drag queens are in costumes based on that theme. Everything is a little more conceptual.”

Burgundy (pronounced burGUN-dy, like the street) is one of the pioneers and prominent figures of this new St. Claude drag

By Rory Callais

scene, producing both her shows at the AllWays Lounge. While the AllWays is home to many drag and burlesque shows, Burgundy cites the club’s lighting rig as one of its more appealing attributes. “When someone is working the lights and using them to tell a story, it makes such a difference. You don’t get that everywhere.”

Burgundy uses the lights to full capacity for both her shows.

Gag Reflex (which returns for a third season on October 28) is a monthly variety show built around themes such as the news (with queens dressing as WDSU meteorologist Margaret Orr) or impersonations (where queens

impersonate one another). She also includes a drag queen duet with each show, something more rare than one may think.

Her most popular show, however, is Jock Strap Lube Wrestling (the next show is October 20). Like many hits, it came about almost as an accident.

“I also bartend at the AllWays Lounge, and there was a night where I had nothing going on.

I just wanted to make some money, so I threw together a very DIY last-minute Jock Strap Lube Wrestling,” recalls Burgundy.

“It was a total shit show. The club smelled like baby oil for two weeks after. Everything was www.OFFBEAT.com

photos: roy guste

“I was inspired by the drag queen Brigitte Bidet, who does shows with no actual set stage and just the crowd all around you."

slippery with baby oil. But so many people came out.”

While it is uncommon for a drag show to resemble the aftermath of a GWAR concert, Burgundy understands the importance of giving the audience a memorable experience. “Our audience members just want to be engaged.

They want to think about the show before the show is even happening, and they want to go home thinking about it as well.”

Some take the idea of “audience engagement” to a whole new level. Slenderella’s monthly show at the Bywater’s Bud Rip’s—Rips N’ Tits—breaks down barriers between audience and performer.

Literally. There is no stage, no designated space for either group.

“I call it the ‘Drag Gauntlet,’ says Slenderella. “I was inspired by the drag queen Brigitte Bidet, who does shows with no actual set stage and just the crowd all around you. I really liked that idea of just being in the middle of the crowd and fighting for your life. Now the people are right in front of you.”

Breaking down these walls has opened up what a drag performance can be. “When you think of traditional drag, you think of the old disco numbers like Donna Summer or Aretha Franklin,” says Slenderella, “but then there are those type of songs that don’t translate on a stage, but you have the crowd you can interact with. I once did ‘Cherry Pie’

by Warrant, which is not a lip-syncing song at all. But I just got in the crowd and had people pour beer on me. It’s really interactive, although it ruined my wig.”

Beer-soaked wigs aside, Slenderella feels the potential for audience interactions has expanded the palette of drag. “I think it’s opened up more avenues for different kinds of performers because some girls don’t want to do www.OFFBEAT.com

Neon Burgundy

Midori Tajiri / LibeRaunchy

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traditional drag,” says Slenderella.

“They want to do something where they don’t wear any hair or do a song sung by a boy.”

Things have opened up for the audience as well. Bud Rip’s—in the heart of the Bywater—was once a dive bar when the neighborhood was more working class. While the bar followed suit when the Bywater became more upscale, it is still not exactly the type of place one would associate with cutting edge avant-garde drag queens.

However, Rips N’ Tits is expanding the parameters of both drag performance and drag audience. “The crowd we get there is really weird,” says Slenderella. “It’s a lot of straight people, a lot of gay people, a lot of queers, and then a lot of people I would never expect to see at a drag show, like full on big daddy bikers. That’s the fun part about it. Having this show at Bud Rip’s has opened up a lot more people to the queer scene and drag in general.”

The idea of pushing drag forward extends well beyond the Marigny and Bywater.

Liberaunchy—the drag persona of local makeup artist Midori Tajiri—performs in the Uptown and Central City areas with an act that goes beyond gender impersonation. What started as a “Louis XIV/David Bowie mashup” has become much more. “He is now an alien who has come to earth and can’t tell the difference between modern things and artifacts,” says Tajiri. “Every time he masquerades, whether it is a lip-sync or some kind of human behavior, he’s oblivious to how bad he is at human-ing. Having a character outside both gender or age gives me freedom to explore things from a very childlike point of view.”

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Liberaunchy’s main show is the T.M.I. Talk Show, a format that gives the androgynous alien a chance to finally make human connections.

“The T.M.I. Talk Show is very close to my heart because, to me, T.M.I. stories are a way to become instantly closer to people, says Tajiri. “Over-sharing helps the other person share back. It can be really cathartic. It’s partly performance, but it also encourages other people to perform and share and be cathartic as well. If audience members are one less button buttoned up during the show, it can be a butterfly effect of freedoms that you give to other people when they see that you can do it and you can spread that joy with them.”

Liberaunchy, the female Tajiri's vaguely male persona, is not a traditional “drag queen” by any stretch of the imagination.

But challenging traditional gender norms provides immense opportunities. “It’s refreshing for audience members to see drag that is beyond gender impersonation or a binary of gender portrayal,” says Tajiri. “It doesn’t have to be about gender at all. It can be about creatures, it could be from space, it could be an amoeba. It doesn’t even have to be human.”

Some of you may be wondering how a group of similar, like-minded performers in the same discipline are all coming into their own at the same time.

The answer, it turns out, is simple: Vinsantos.

At the risk of oversimplifying, there would be no alternative drag scene without Vinsantos. Originally from San Francisco, Vinsantos performed the night she moved to New Orleans. She also immediately recognized a scene in need of some variety. “There was a lot of drag, and it was cool to me because I had never really experienced

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photo: Midori Tajiri-Byrd (Bottom), roy guste (top)

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Vinsantos (in gray, looking up, in the back row)

Southern pageant-style drag, but it was very one-note,” says Vinsantos. “There was nothing really avant-garde or experimental.

It was very traditional, and that was frustrating to me because I didn’t really have a place to work within those communities.”

As Vinsantos began to inspire up and coming “alt-queens” through performance, she slowly began to realize that in order to create a truly thriving scene, young performers needed discipline. “A little tiny alternative drag scene started to pop up in the Bywater

Midori Tajiri / LibeRaunchy

with these young kids I knew,” recalls Vinsantos. “After the very first show they produced, I thought it could be something cool, but no one seemed to be working very hard at being good or professional. It was more like a party and a playground.”

Vinsantos had the idea of producing a drag workshop so that performers could hone their craft. “I just approached a group of friends and asked about forming a workshop environment where we worked on these acts and tried to make them better and hold each other accountable for the art itself.

And then on top of that we can have fun,” says Vinsantos. “I grew up with what I consider some of the best performers in the business, and I just wanted to see these kids who have the interest actually put some work into it. In doing the workshop and this ten-week program, you really watch people develop themselves.

It’s all about confidence. If you have total confidence, you’re going to be a more memorable performer.”

The New Orleans Drag Workshop—of which Neon Burgundy, Slenderella, and Liberaunchy are all graduates— more or less directly led to the thriving alternative drag scene. www.OFFBEAT.com

DRAG SCENE “I don’t want to take credit for expanding the drag scene into what it is today, but I will take credit for it,” laughs Vinsantos. “The first incarnation of the workshop made me realize there are formulas that make up a great performer, and if we take this little set of rules or ideas and apply them to drag, we can create something really interesting and memorable. I think that was the spark that started to get people really into this other side of drag.”

In doing the workshop, Vinsantos realized she struck on something much bigger than a few kids in the Bywater learning about proper makeup. “I thought the school was just going to be a bunch of us weirdos trying to create an experimental drag scene, but it has turned into people from all walks of life who want to do all kinds of drag,” says Vinsantos. “It gives people a starting point and a group that is accepting of them so they could get out there and experiment; the only rule is that you have to be good by the time you graduate, or ‘draguate.’”

The students took this lesson of inclusion to heart, and they now pass it on to the audience.

An inclusive, accepting workshop begat an inclusive, accepting scene where performers try to find a deeper connection with audience members, be it physically, mentally, or emotionally. In doing so, the alternative drag scene—which includes the shows by Neon Burgundy, Slenderella, Liberaunchy and Vinsantos, as well as shows like High Profile at the Hi-Ho Lounge and various performers appearing in burlesque and vaudeville shows— has led to some experimental art in the city that pushes boundaries the audience didn’t even know existed.

The members of the alternative drag scene are not interested in replacing traditional drag. They are merely trying to carve out their own place in the city’s drag and art scene. “If you’re different, you’re just going to have to do your own thing,” says Tajiri. “It’s a growing scene and genre where you’re just going to have to jump in and figure out your own place in it as you go.”

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TIPITINA'S

Tipitina’s Celebrates 40 Years

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n 1977, a gang of young local music lovers founded Tipitina’s. One of New Orleans’ legacy music venues, Tipitina’s will mark its 40th year on November 24 with “A Neville Family Groove - Celebrating 40 years of Music at Tipitina’s with the First Family of Funk.”

Tipitina’s’ Neville connections date to the venue’s early days. Neville brothers Art, Cyril and Aaron lived on nearby Valence Street. Both the club and the Neville Brothers band began in early 1977.

The 40th anniversary event at Tipitina’s will be historical, Cyril Neville said. “I’m glad they reached out to us to do this,” he said. “That was one of the first places the Neville Brothers played.

We were one of the bands that helped put it on the map.”

Various Nevilles and the founders of Tipitina’s collaborated before Tipitina’s opened on January 14, 1977. The venue’s founders previously presented parties in houses, union and VFW halls and other on-the-fly places.

The roots of Tipitina’s can be traced to Hank Drevich, a Miami native who moved to New Orleans to attend Tulane University. In his junior year, Drevich discovered the local music scene. “I realized that musicians I’d listened to on a little AM radio when I was a kid in Miami were New Orleans stars like Fats Domino and Irma Thomas and Ernie K-Doe,” he said.

A concert on the Tulane campus, presented by the New Orleans Jazz and Heritage Festival, set more wheels in motion. “A bunch of us went,” Drevich remembered. “It was Professor Longhair. He blew me away.”

Inspired, Drevich asked Allison Miner, Professor Longhair’s manager, “Can we have a party with him?”

Drevich and his nomadic band of

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Ian Neville party-starters, later dubbed the Fabulous Fo’teen, booked Professor Longhair and more local talent at a string of parties. “Any kind of excuse for a party,” he said of the group’s Alligator Balls.

“We were a bunch of kids recently out of college,” added attorney Steve Armbruster, another Fabulous Fo’teen member. “We had free time on our hands and we wanted to have fun.” A lack of music venues in New Orleans compelled the Fabulous Fo’teen to stage their own shows, Armbruster said. “There may have been two or three places with music in New Orleans in the early to late ’70s.”

Ivan Neville remembers playing his first professional engagement at a Fabulous Fo’teen house party. He couldn’t believe it when his father, Aaron, paid him $100 for the gig.

Cyril Neville remembers the Alligator Ball scene as an extended family of musicians and music lovers.

“Those people really were doing that to have places for Professor Longhair, Tuts Washington, my Uncle Jolly (George Landry) and

By John Wirt

people like that to play and make a decent wage,” Neville said.

For several consecutive events, the Fabulous Fo’teen rented the back room of a bar on the corner of Napoleon Avenue and Tchoupitoulas Street. Recurring shows at the 501 Club set a serendipitous precedent.

Normally, Drevich remembered, “we never could go back to the same place twice.”

When the 501 Club’s owner told the Fabulous Fo’teen he wasn’t going to renew his lease, Drevich got another idea: “Gee. We can have a club.”

Drevich consulted with his Fabulous Fo’teen colleagues, some of whom belonged to prominent New Orleans families. “They helped us with influence in getting licenses and things like that,” he said.

The Fabulous Fo’teen, which was actually 17 or 18 people, pooled $14,000, enough money to sign a lease, pay for licenses, do rudimentary renovations and make the first month’s rent. Drevich named the venue after his favorite Professor Longhair song, “Tipitina.”

On opening night, paint on some of the walls was still wet.

The first big show, featuring Professor Longhair and the Meters, happened later that month.

Drevich and the Fabulous Fo’teen were especially interested in creating a venue where Professor Longhair could perform at least two nights every weekend. The venue also presented the Rhapsodizers, which evolved into the Radiators, the newly formed Neville Brothers band and more.

“We felt like it belongs to us,” Cyril Neville said of Tipitina’s in the early years. “We invested our blood, sweat and tears into it. Every time we played there it was like church. So, coming back 40 years later to play in that same club means a hell of a lot.”

Tipitina’s endured through troubled times and multiple owners. In 1984, it briefly closed.

Real estate developer Roland Von Kurnatowski bought and upgraded the club in 1996. The venue has since broadened its influence through the Tipitina’s Foundation educational and cultural programs.

In 2016, OffBeat recognized Von Kurnatowski and his wife, Mary, with the Best of the Beat Lifetime Achievement Award in Music Business. Honoring the original spirit of Tipitina’s, Von Kurnatowski credited its founders.

“The club was their baby and their hangout,” he said. “It wasn’t all about making money. They were more interested in bonding with the musicians. The musicians weren’t used to that and they loved that. That’s what gave Tip’s its character.”

O A Neville Family Groove Celebrating 40 years of Music at Tipitina’s with the First Family of Funk featuring Ivan, Charles, Cyril and Ian Neville, Big Chief Juan Pardo, Jason Neville, Omari Neville and the Fuel and DJ Soul Sister.

November 24 at Tipitina’s. www.OFFBEAT.com

PHoto: elsa hahne

"Every time we played there it was like church."

ADONIS ROSE

Changing of the Guard

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feel like we need to reintroduce the band in a way,” says drummer Adonis Rose, who has been named as the artistic director of the New Orleans Jazz Orchestra (NOJO). “Everybody’s back—all of our core members—so it’s the same configuration,” Rose adds, mentioning musicians like pianist Victor Atkins, saxophonist Ed Petersen, trumpeter Leon “Kid Chocolate” Brown and others.

The Grammy-winning ensemble, which was founded in 2002 by trumpeter Irvin Mayfield, has been on hiatus since presenting its last show in May 2016. Following restructuring, the nonprofit organization performed again under its new leader in October at the New Orleans Jazz Market.

“I really missed playing with NOJO,” says Rose, a New Orleans native who moved to Fort Worth, Texas after Katrina. During his 10 years there, the drummer taught at the University of Texas and continued to travel back to his hometown to play with the orchestra. He returned to the Crescent City in December 2015. “That was my chance to be connected to home while I was gone,” he continues. “NOJO was really on a roll and we had a lot of momentum working with Dee Dee [vocalist Dee Dee Bridgewater]. We went all over the world—we went from 100 to zero.”

What Rose really missed during the period that NOJO was idle were his fellow musicians. “The thing I love most about the band is being able to see the cats—it’s like a family. I love the music too. There’s no other band in the world like this one.”

Rose, 42, comes highly qualified for the artistic director’s

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position. For one, he has been a member of NOJO since its inception and remembers playing its first gig at Tipitina’s.

He’s also performed in several other big bands, including an early edition of Wynton Marsalis’ Jazz at Lincoln Center Orchestra and vocalist/pianist Harry Connick Jr.’s large ensemble.

While in Texas, Rose established the nonprofit Fort Worth Jazz Orchestra, which he based conceptually on his experience with NOJO. As he did for that ensemble, Rose will hire another, yet to be named drummer to join NOJO so he will have the flexibility of either playing or conducting. As artistic director, he’s responsible for anything “music related” like running rehearsals and composing new material. “I write but I don’t arrange for big bands,” Rose explains. “It’s a skill set. Guys like Ed and Victor, they can do a chart in like two days. So I leave it to them.”

Rose has had drumsticks in his hands since he was four years old, and to this day they’re usually close by. Musical skills,

By Geraldine Wyckoff

particularly behind a drum set, run in his family. His father is drummer Vernon Severin, who is perhaps best recognized with the Treme Brass Band, and his grandfather, Wilfred “Crip” Severin, also made a mark at the drums. Noted bassist Chris Severin is his uncle and his grandmother was a member of the musical Pichon family.

Rose attended Warren Easton High School while also a student at the New Orleans Center for the Creative Arts (NOCCA). He was there at the same time as trumpeter Nicholas Payton, with whom he would later perform and record. “At one point he was playing drums better than I was,” Rose admits. “He was teaching me all the things that I needed to know when I was at NOCCA.” Payton once remembered when Rose came to NOCCA with sticks so large and thick that the trumpeter described them as “turkey” drumsticks.

“From the marching band, that’s why,” Rose explains with a laugh, adding that he abandoned the big sticks except to warm up with on practice pads. “I wouldn’t

have drums if I used the sticks I used to use back then.”

Rose has also minimized his habit of tapping on everything in sight and now restricts that action to a drum pad. “Yeah, I never stop but I’m more conscious of furniture at this point,” he offers, again with a chuckle.

A graduate of the Berklee School of Music and leader of his own combos, Rose has been touring with a variety of musicians for 25 years. He first hit the road at 17 with trumpeter Terence Blanchard.

“Terence was my introduction to being a touring musician,” Rose adds. “Everything I learned about being on the road, being consistent with my playing, playing on a high level every night and being pushed to be my best, I learned from him.” On a regular basis, Rose presently tours with artists including vocalists Bridgewater and Nnenna Freelon, trombonist Delfeayo Marsalis and pianist Ellis Marsalis.

Ellis now holds a position on NOJO’s artistic development committee along with Bridgewater and Cassie Worley.

Sarah Bell has been named NOJO’s president and CEO. “He’s very active,” Rose says of Marsalis. “I call him and bug him all of the time. I bug him about everything—what to play, educational ideas, programming for performances, writing ideas...

He just has so much information.”

Getting up to speed, Adonis Rose and the New Orleans Jazz Orchestra look forward to presenting a holiday performance in early December and offering full spring and fall concert seasons. Rose, as well as fans and supporters, are ready to see NOJO go from zero back to 100 again.

O www.OFFBEAT.com

PHoto: corey anthony

Adonis Rose takes over the New Orleans Jazz Orchestra.

THE SEXISM PROJECT

Sexual Impropriety

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pen secret.” That phrase lingered in headlines, on social media platforms and over dinner tables after producer Harvey Weinstein was fired from his own company last month amid allegations he’d sexually harassed and assaulted dozens of women in his industry over a period of decades. It turned out plenty of people in Hollywood knew about Weinstein’s alleged sexual impropriety, they just failed to discuss it publicly.

The fact is, sexism in its most elemental form is in many ways an “open secret” that can be hard to define and is often shameful to identify. In a country where the symptoms of systemic sexism range from a severe gender wage gap to a backlog of untested rape kits, it can feel useless to speak out. Yet there is power in finding a finding a voice to talk about secrets like these.

Thousands recently attested to that fact by sharing stories of sexual harassment and assault in solidarity with the #MeToo movement on social media. This month, a group of women in the New Orleans music industry are poised to go a step further.

On November 2, 3 and 5 at Preservation Hall, photographer Katie Sikora debuts The Sexism Project, an exhibit featuring portraits of 60 women who shared stories of sexism and gender-based discrimination with her over the past year and a half.

The photos and excerpts from the interviews will be on view each day of the event, which also features performances by many of the musicians who participated in the project, including Big Freedia, Helen Gillet, Maggie Koerner, Tasché de la Rocha, Julie Odell, Alexis Marceaux, Morgan Thielen

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Billie Davies and others. On November 2, the photos and full interview transcripts will also go live on The Sexism Project’s website.

Asked about the genesis of the project, Sikora said she’d noticed a phenomenon in which the topic of sexism seemed to inspire groups of women to share similar experiences without making them public.

“We talk about them briefly behind closed doors and then we open the doors again and go back out in the world and they’re still behind those doors. I wanted to talk to people in an official interview setting and bring those stories to light,” Sikora said.

The project took a few different turns once Sikora began interviewing people and photographing them—mostly in their homes— last spring.

Katie Sikora “When I started the project I thought it was going to be collection of stories about sexism in the music industry, but that’s not how sexism

By Jennifer Odell

works,” Sikora explained. “All the interviews ended up being so much more conceptual and specific to each woman. That was a really powerful part of the project showing how differently everyone can view one topic.”

She initially planned to write a feature comprising the results of her work, but one of her subjects, Alexis Marceaux, encouraged her to do something bigger.

Marceaux ultimately suggested the exhibit at Preservation Hall.

She now serves as the group’s Events Curator alongside Creative Director Morgan Thielen and Katie Budge, who handles marketing and publicity for the project.

“A lot of women don’t realize it’s happening and then when they do it’s kind of almost too late,” said Marceaux, whose own interview for the project details multiple instances in which she’d been overlooked by promoters who repeatedly attempted to pay the man

in her band rather than give her the money, despite her role as the band’s finance handler.

In other interviews, musicians described being chalked up to the girlfriend of some other band member—even if they’d walked into the venue carrying the instrument they’d been hired to play there. A more overt tale of “advice” shared with Sikora involved a woman being told she’d get further in her music career if she would “just get on [her] back.” Unsolicited advice about playing instruments or operating recording equipment was a common theme, too, as was the experience of hearing seemingly innocent directives like, “You should smile more.”

“That’s [like] telling a woman that her appearance is more important than what’s in her head.

It’s not anybody’s place to tell someone what you should wear or what you should do with your facial structure or how you should use your equipment or how you should play a song,” Sikora said.

“There are some more sensitive interviews with some really heavy stories,” she added before admitting the interview process took an emotional toll on her.

“It’s just sad how much people are hurting because of this and it’s sad that other people don’t believe their pain,” said Sikora.

Still, both Sikora and Marceaux feel they’ve already begun learning more about how sexism functions in society—and why speaking out is worthwhile—from working on the project. They hope to cast their net wider going forward, taking The Sexism Project to other demographics like New Orleans men and local service industry employees.

Said Sikora: “60 women is barely scratching the surface.” O www.OFFBEAT.com

photoS: katie sikoRa (TOP), SAM WEIL (BOTTOM)

Katie Sikora’s photography explores gender-based discrimination.

ROLLING STONES

Tour of the Americas The Rolling Stones launch in Baton Rouge.

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PHoto: sidney smith

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t’s the night before the Rolling Stones launch the biggest rock event of 1975— the Tour of the Americas ’75 at LSU in Baton Rouge—and Keith Richards goes down to Rock ’n’ Bowl back when it was upstairs on Carrollton to meet a friend. He’s expecting to get in for free but the woman at the front door is not obliging.

I’m not letting you in for free.

It’s five dollars.

I’m Keith Richards!

Alright, will you let me in free to your show tomorrow night in Baton Rouge?

Richards pulls out his wallet and hands over the five bucks.

A few hours later, Mick Jagger and Keith Richards are warming up onstage at LSU Assembly Center—the first of 58 days on the road.

It’s the honky tonk women, yeah And give me, give me, give me the honky tonk blues (my my) It’s the honky tonk women, yeah And give me, give me, give me the honky tonk blues National media is in town, including Geraldo Rivera with his show Good Night America. Rivera is doing a stand-up report on the arena floor as the Stones practice.

Afterwards, Jagger sits down for an interview with Geraldo and plays Cosell to Jagger’s Ali. Jagger: “I’d just like to say Geraldo has makeup on his eyes and I haven’t [giggles]. He has gloss on his lips. I don’t have any gloss on my lips [laughter].”

Rivera: “Jagger lies—he’s rude.”

Ha ha ha ha.

Geraldo asks Mick if he sees himself still doing this 10 years from now and Jagger says he can’t see that far ahead—3 years, maybe 5 years or maybe he’ll consult a fortune teller. He says he has no desire to be one of those

fossilized lounge singers doing it just to get paid.

They talk about his interview with a British society magazine, Women’s Rodeo, and conclude that in spite of that interview Jagger’s rebellious spirit is still indeed very well intact. Jagger and Richards sound off key in rehearsal at LSU Assembly Center and Jagger looks tired and disheveled and is mostly incoherent in his interview with Rivera.

Richards would later admit in his 2011 auto-biography Life that “The 1975 tour on which we were about to embark [starting in Baton Rouge] was fueled by Merck cocaine. It was when we initiated the building of hideaways behind the speakers

By Randy Savoie

on the stage so that we could have lines between songs. One song, one bump was the rule between Ronnie [Wood] and me.”

The Baton Rouge show was fast approaching and it would be the very first concert with Ron Wood as the Stones’ second guitarist, replacing the departed Mick Taylor.

“The Rolling Stones’ 1975 Tour: Baptized in Baton Rouge, Castrated in San Antone: Worlds’ Greatest Performing Band Bewilders the South,” blares the feature headline in the July 17, 1975 issue of Rolling Stone. There are differing views on why the Stones selected Baton Rouge to launch this giant tour— more than 1.5 million tickets are sold for this three-month journey

that would cover North, South and Central America.

Legendary rock photographer and local entrepreneur Sidney Smith thinks it was the Rolling Stones’ love of New Orleans that was the deciding factor. “They loved New Orleans. They were probably practicing here in New Orleans before the tour.” The band stayed at the Royal Orleans in the French Quarter before the Baton Rouge performances.

Rolling Stone’s Chet Flippo thinks it all came down to risk— none would exist that night for the band on the campus of LSU. “I began wondering about why the Stones opened in Baton Rouge. They said it was to escape the pressures of big cities, but www.OFFBEAT.com

“‘Hey,’ Jagger called after a not entirely successful version of ‘You Got to Move.’ ‘This is the first show of our tour.’"

it was more than that,” Flippo wrote in 1975. “Except for a mild traffic jam, Baton Rouge did not at all acknowledge the presence of a major rock ’n’ roll band. The audience was well behaved and receptive enough, but far from committing itself. That was why they picked a town like Baton Rouge: no physical or musical risk whatsoever. There were only two policemen on duty [at LSU’s Assembly Center] on the night of May 31, when the Stones pulled in for their last rehearsal before the tour opened the next day with two performances at that same hall. And, as Charlie Watts said that Baton Rouge was the last chance to put the show together and iron out the kinks.”

It’s less than an hour before the last rehearsal at LSU’s Assembly Center. Flippo observes Jagger and Billy Preston are reviewing tapes from a concert in Munich scheduled for release in the fall.

Watts and Bill Wyman are regaling journalists from around the world.

Bianca Jagger and Ben E. King are hanging with Atlantic Records royalty and Richards is playing Charlie Rich songs on a piano.

“From the upper reaches, the stage resembled a deep porcelain dish with six gently curving star points, each outlined with a footwide strip of metal mirroring that formed a circle in the middle of the figure” wrote Flippo. “Jagger would stand just in front of the circular trap door that would emit the giant phallus, a confetti-spouting dragon and Jagger himself via a hidden elevator. The 42-foot lightning ring with 300 lights was just beginning to be tested as Richards kicked off the rehearsal with a few bone rattling licks from ‘Little Queenie.’

Richards carries the band in rehearsal—ignoring Mick and www.OFFBEAT.com

coaching the new guitarist Ron Wood.

Charlie wants to hear me…

Mick needs to hear me… drums and himself… and the bass wants to hear the drums… the amps are so directional I basically just hear myself… I don’t care what I hear as long as I hear something….

By three in the morning, Ron Wood knows what he’s doing on “Tumbling Dice” and by 6 a.m. the rehearsal finally grinded to a halt. While not entirely ready, it was as ready as it was going to get, observed Chet Flippo.

After a quick trip back down Interstate 10 for a few hours’ sleep in New Orleans at the Royal Orleans, the Rolling Stones are back in Baton Rouge—less than twelve hours later—and it’s minutes before the launch of Tour of the Americas ’75 at the LSU Assembly Center.

Geraldo Rivera describes the arriving crowd as nonchalant, almost subdued, and says the real test of whether or not the Rolling Stones are still the greatest rock ’n’ roll band in the world will be whether or not Jagger can get this crowd on its feet. The Meters open and after their encore at 5:20 p.m., the lights dimmed.

Aaron Copland’s “Fanfare for the Common Man” blared from the PA system. The lights came back up and the Rolling Stones walked onstage with the Baton Rouge crowd screaming, “Hooray for the Rolling Stones!”

Jagger plays the crowd to the hilt. He dances downstage during “Honky Tonk Woman,” wearing black eye makeup and a black jacket over an outfit described

by Rolling Stone as looking like a “baseball uniform, with red ankle ties and white shoes.” He changes identities from drag queen to

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macho mystery man and he has the crowd cheering with reckless abandon as he pouts, prances and preens across the LSU stage. “‘Hey,’ Jagger called after a not entirely successful version of 'You Got to Move.' 'This is the first show of our tour. We want to find out what we do good and what we’re doing terrible, so we’ll do a whole lot more.' The announcement was met with cheers and it was not at all a bad show; merely a show where the band was still finding its way. And after the second Baton Rouge show set ended, Richards triumphantly holding his Fender overhead, the Stones were virtually whole again” wrote Rolling Stone.

“They were a very good audience. We had never played here. They had never seen us before,” Jagger tells Geraldo Rivera after the show. “So, they weren’t captive Rolling Stones freaks. You know, they may have liked the band but never seen us—the majority of them.”

A sycophantic Rivera gushes backstage to Jagger that he overheard a reporter calling in his report and that the reporter told his editor, “despite some very minor flaws, this show confirmed the Rolling Stones are still the greatest rock ’n’ roll band in the world.”

Jagger, wearing a blue T-shirt, sporting sunglasses and with a cup of coffee in his hand, laughs and says, “I just think it’s a good band, you know, Geraldo. It ain’t great. Ha ha ha ha.”

A student reporter for the LSU yearbook Gumbo exclaims, “Can you believe it? The Rolling Stones kicked off their Tour of the Americas ’75 right here in Baton Rouge. What a trip! The Rolling Stones were here. BR has arrived!”

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Towards the Sun Pell plants the seeds for New Orleans’ hip-hop resurgence.

By Amanda Mester

Photography by Elsa Hahne

S

ince emerging out of its primordial ooze in Congo Square, American music of the African diaspora has thrived to such a degree that hip-hop is arguably the world’s dominant culture. From the way we speak to the way we view fine arts, its inclusive spectrum has embraced corners of the world far removed from its South Bronx birthplace of the 1970s. Here in New Orleans, one need look no further than Master P’s No Limit and Birdman’s Cash Money heydays of the late 1990s and early aughts to see the city’s proverbial place on rap’s map. But where flowers grow, so do clouds obscure the light, and the city has yet to experience a true resurgence in the field.

Pell was cultivated by the same fertile crescent that birthed giants like Lil Wayne, but he is part of a generation creating a sound outside the parameters of what Southern rap “should” sound like. Far removed from the “bling bling” era of acts like Big Tymers, Juvenile and others, Pell’s generation is more musically diverse and introspective. Hailing from Gentilly, the rapper, singer and producer currently splits time between his hometown and Los Angeles, sowing the seeds for an eventual full-time base here. Since his 2014 debut Floating While Dreaming, 25-year-old Jared Pellerin makes what many describe as “cloud rap,” identifiable through its ethereal production and abstract lyrical tropes.

2015’s Limbo—buoyed in large part by lead single “Café du Monde,” which plays like a psychological thriller both lyrically and in its visual counterpart—continued his trajectory towards making layered, contextualized music. Frequently straddling the line between the otherworldly and the pragmatic, Pell’s music will manifest again with November’s Girasoul (a play on the Spanish word for “sunflower”).

Inspired by the concept of rebirth amidst dismal surroundings, Pell says Girasoul is his moodiest Voodoo Fest work to date. “The story is kind of inspired by Saturday, October 28 Tupac [Shakur’s] “The Rose That Grew from 2:30 p.m. (Wisner) Concrete” and I paralleled it to me being from New Orleans, a sunflower that grew from flood water.

I wanted to tackle any type of adversity whether it be racism, whether it be heartbreak, whether it be unemployment, even. I’ve been through a lot of these things and I want to be able to relate in a way that I haven’t before,” he explains.

This time around, Pell hopes to use his music as a tool for even more metaphysical application than his previous works. “Music is meant to expand upon someone’s imagination and make room for things that could be there,” he explains. “And that’s where I feel like the connection between my music being relatable and ethereal comes from. We all want to have this bridge to a greater concept or a greater understanding of our experiences and because of that, because of that longing, we are all one and the same. We are all connected in the spiritual mind.”

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With only six songs, all in 3/4 time signature, Pell says Girasoul is borne out of a desire to explore means of production.

Spending 12-hour days at a studio in Burbank, California, he approached the recording process with a specific game plan: Choose a handful of artists from whom to draw inspiration, including Stevie Wonder and Pharrell Williams in addition to “a wild card of everything that’s hot right now and that sounds current.” An early epiphany arrived when, while listening to Wonder’s Innervisions, Pell took notice of a very specific musical earmark and mentioned it to instrumentalist and producer Bill DeLelles. “There was a song that had pauses in it, and I said ‘Oh, we need to have pauses in our music. Pauses are underappreciated.’”

From there, he began embracing unexpected influence from elsewhere. “I got a call from my godbrother who had recently visited the Guggenheim [Museum in New York City],” he says, “and he was talking to me about the spiral ramp [inside] … it forces you to walk down it. You can’t just go left, right, left, right; you have to shuffle down it.” Such an intentioned approach to space and movement became Girasoul’s key signature.

“The way an architect makes you walk a specific way, I want people to move in a specific way to my beats,” Pell explains of his decision to implement that notable time signature. “I want people to feel like they can only move a certain way to a Pell record and that’s how they know it’s my production, you know what I mean?” Rather than try to sound too current, his modus operandi remains reliant on his own creative freedom, and he credits Tyler, the Creator’s July 2017 album Flower Boy as a recent stimulus.

It was the work of photographer Natsumi Hayashi, whom he calls “the queen of levitation photography,” that informed much of the

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music he’s made over the last few years. Similar to the suspensionin-air her work conveys, Pell’s music sounds like the embodiment of lucid dreaming, where we toe the line between what’s in front of our eyes and living between our synapses.

“All of us dream, and we all have goals,” he says. The trick is getting from the ideation of a dream to its fulfillment, a journey www.OFFBEAT.com

“A lot of the kids [I played with] weren’t like me.

I went to a private school where I was lucky to have my parents who could afford to get me there, but other kids had mansions and stuff.

We’re middle class.” he repeatedly explores in song. Synonymizing “dreamer” with “goal chaser,” Pell says it can feel like getting from point A to Z, from cultivation to fruition, “you’re going through the motions or essentially floating to your dreams. That’s what I felt like Floating While Dreaming was.” Having used that debut as a means of detaching himself from the things holding him back, he’s now focused on one-ness and how it affects our communication with one another.

Girasoul’s title is a vestige of Pell’s experiences on a recent trip to South America. “I went to Colombia in August and I’ve really been inspired by the whole idea that they have of family,” he explains.

“I love how important family is to them. And I feel like a lot of this record is talking about, you know, isolation and how it plays to how you communicate with your family.”

Pell’s October 28 performance on the Voodoo Fest stage is, by far, his biggest hometown look to date. He spent much of his childhood not far from City Park, frequenting the Lakeview baseball field beginning at age six. He says the sport, which he played until his teens, taught him about community and interpersonal bonding, an important skill for a young kid traversing various sectors of social life. “A lot of the kids [I played with] weren’t like me. I went to a private school where I was lucky to have my parents who could afford to get me there, but other kids had mansions and stuff. We’re middle class,” he recalls. “My parents were spending all of their money to make sure that I got a good education, but because of that I was in a different environment than what I experienced back home [in Gentilly].” He remembers the stark difference between visiting a friend’s mansion before returning to a two-bedroom house, but his memories of that remain positive.

“I feel like I had an appreciation for how Lakeview just inspired camaraderie around the communication between friends,” he says before remarking on another strong New Orleans childhood memory.

“There used to be sock hops at the Jewish Community Center on Saint Charles Avenue, right in front of De La Salle [High School],” he says with a smile on his face. “You’d wear your freshest stuff, try on your dad’s cologne. It was a teen club type of thing. This was before everybody had cellphones, so sometimes you would have to get a girl to write her number on your arm. So you would come with a Sharpie and you were just prepared, already ready [laughs]. I had a whole sleeve. I was tatted up one night and I was proud of myself.

And I remember that was the first time I gained confidence when it came to dealing with girls. That was definitely a moment for me.”

Saint Roch Avenue is the physical locale he credits with shaping many of his thoughts about his blackness. There, he says, “I was able to be around a lot of successful young black people and I didn’t realize how important that was until I grew up. Especially my parents; they’re divorced now, but, I always felt like they showed me love and that allowed me to be the best that I can be. You need that information as a child—that you can take it this far or that far, you know what I mean? That there are no limits. The neighborhood that I grew up in was really one of the most important things in my life.” www.OFFBEAT.com

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Now that he’s a twentysomething adult with considerable acclaim, tens of thousands of followers and streaming numbers well into the millions, Pell is able to view his hometown through a more nuanced lens, particularly as it pertains to the music industry. Though New Orleans has a huge radio market and carries vast cultural wealth, it today suffers from a fractured local rap scene lacking in a framework for emergent talent. When asked about local infrastructure a young hip-hop artist can rely on for career help, Pell says “there is none.” Indeed, in a city where rocking with a supreme live band is commonplace, it can be exceedingly difficult for local MCs to pack a house. Whereas other cities in the regional market like Houston and Miami have a seemingly endless collection of mainstream success stories who collaborate with one another, New Orleans rap is often far more fragmented.

“It’s so ironic because rap loves to speak about the community which it influences, but rarely do rappers take the time to build with other people within the community,” says Pell. “That goes from artists, visual artists, rappers and singers in a real way outside of ‘Help me on this project, and I’ll help you on this project.’ I think we need to be able to see each other for who we are as people before we shut off the idea of working with them musically.” Outside of Curren$y’s Jet Life Recordings, there are few New Orleans rappers who have not only attained great success but who have also used the success to put others on. As Pell puts it, “I love Curren$y’s music. I grew up on that shit, but I mean, like, we’re two completely different people. But that doesn’t stop me from being a fan and listening to his music and actually liking his personality and all that stuff. I think that that’s been one of my influences even though we come from these two different places. But, a lot of times, a Pell and a Curren$y won’t link up and make music. I think we have to, as a city, show support to everybody that exists within it so that we can all uplift one another. Because, without that information, we’re just a bunch of crabs in a bucket. I always felt like the artists I look up to the most are those who can reinvent themselves. I am just trying to continue the trend. That starts with doing something that’s inventive, whether it be lyrically, whether it be musically, whether it be, you know, rhythmically, and I feel like that’s where I’m trying to fit in. Or trying to break out.”

Pell says all of this while acknowledging the realization that, in some ways, it was the very act of leaving New Orleans that allowed him to garner the buzz he has today. But it’s important to him to collect all of his experience and use it to foster similar opportunity for artists here. “I’m in Los Angeles a lot because there’s infrastructure out there, but I want to be here. I’m not coming from the point of a conceited asshole. I still have a lot more to do. But I think that what’s important as a community of artists, is for that information to be shared and for these networks to be shared so that we can have a resurgence moment like an Atlanta, a Chicago, or a New York and like all these other cities have. I think that we could have it. We just need to work together. And I know that’s cliché, but it comes from understanding that you’re different but being okay with that. Like, I’m not going to say I’m hood or N O VEMBER 2 017

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“I think that it’s cool to have a personality, and it’s great to have it on social media, but that shit’s making you more of a computer than a real human.”

be fake gangster just so that I can get on a track with somebody else.

We need an institution. New Orleans really needs a hiphop institution that will showcase all different sides of the spectrum when it comes to genres of rap or hip-hop and make that something that can be accessible to the world.

And that way you’re showcasing the best talent, and you’re also getting it out there in the right way, and in the right light. And at the same time when it blows up, whoever blows up from that movement, they have something to fall back on.

That’s what we all want at the end of the day; we want that community to support us when we come back to the city, if we go to L.A., if we go to New York.”

It’s easier said than done, of course. Pell argues there is a solution, but it will require a centralization of effort.

“It’s hard to get people to focus because there are so many different avenues.” Whereas Cash Money and No Limit relied on traditional modes of marketing and self-promotion like television, artists today are armed with a tool equal parts beneficial and problematic. “You have the internet, which is the greatest common denominator,” says Pell. “There are so many different avenues of success or of listening power or reach that you can have as an artist that to blow up outside or inside of New Orleans would really take a commitment to work. And that’s one that I’m not sure every artist or recording artist here is willing to make in a way that it can be beneficial to creating a community. We don’t need all of these little individual movements. Cash Money, Young Money, No Limit, these people have movements because they connected a bunch of different people from the city and created a community of artists to showcase to the world. And I haven’t seen that yet, personally. I know there are people working on that. And I don’t think New Orleans is lazy. I think that sometimes we’re misguided.

“In the same way that companies market to all these different avenues—we have to pick up artists from all these different avenues so that everyone in their respective channels is fed and everybody gets what they want at the end of the day. Then there’s a tumbling-down effect that allows an artist to be more free and expressive in doing what they want to do and doing their art.”

Such a system would absolve an artist of worrying about getting a cosigner or having a certain sound. “That’s all it is. That’s all it takes—a community. It takes a village to raise a child, and it takes a community of artists to raise a movement. And I think that that’s really what we’re trying to do here. Me, PJ Morton, Tank, and anybody else who I left off.”

Self-analysis is just as important to Pell as the more external process of community building, especially when it comes to vulnerability within the context of the internet—something that affects the way artists today brand themselves. “There needs to be more of that in rap in terms of being a real person, which is so misrepresented right now. Social media allows us to be vulnerable, but at the same time it allows us to feel like we have to program

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ourselves for attention. And a lot of times I think that it’s cool to have a personality, and it’s great to have it on social media, but that shit’s making you more of a computer than a real human. Because at the end of the day, you’re more dynamic than what you show the world. No one is ever going to show you all their deepest darkest things. And if they are, then how real is it?”

Voodoo Fest will afford Pell the opportunity to showcase his dynamism to others, but it’s also a chance for him to step into the sun for the first time, in some respect. “It’s my first time in a while performing in New Orleans, so that’s really huge for me, more than anything else in the world. The fact that I’m going to be around my friends and family and thousands of people is nerve-racking. Honestly, I still have a little bit of a jitter thinking about it right now because I know how much I’m going to give to it, and I hope that everybody enjoys themselves. I think it’s going to be my greatest show I’ve ever done.” For a native New Orleanian with a home base elsewhere for now, it’s taken on more gravity than a simple live set. “It’ll probably be one of the few moments in my life that I’ll actually have the people that I grew up with surrounding me at a performance. So I don’t think it’ll even feel like I’m an outsider, so to speak. Because you can change the address on your lease, but New Orleans is always home.”

Immediately beyond the performance lies Pell’s next chapter as a musician. He’s calling Girasoul “a dark twist” in a personal journey that still has chapters waiting to be written. “I went through a dark phase in traveling and visiting home that I still want to talk about.

I feel like there are certain things that I left out [of the EP] that I needed to leave out in order for me to be happy in a way that I want to be for my [next full-length] album, which is probably going to be the happiest thing I’ve ever dropped in my life.” For now, his music will embrace isolation not as a spiritual hindrance but rather an impetus for connection to others. “There’s light at the end of the tunnel,” as he puts it.

Before dropping a full-fledged, full-length album, Pell is perfectly content allowing his new EP and its anatomy to speak for itself. “I separated this EP in my mind into three different acts to coincide with the three things necessary for photosynthesis. The first act is dirt; you need the soil, something to grow in, and that’s your experiences. That is all the shit you went through that makes you who you are. And then, number two is the water. You’re starting to realize that you’re growing but at the same time, it’s all muddy. You’re not really sure.

Nothing is clear yet to you. You’re in this darkness. The rain comes down on you, too. It’s like baptizing, in terms of you understanding of what’s going on with you. And all that dirt that you resented, it’s getting loosened by that water allowing this acceptance of it. And then, third stage is sunlight. I think the third process involves sun and I think that’s the light at the end of the tunnel. That’s full acceptance and understanding of who you are and being happy about it. And then you truly are allowed to grow. And that’s where you become a tall, ten-foot sunflower.”

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EATS

photos: Elsa Hahne

William Evans/Maypop

“H

ot 8 Brass Band, I love that they do the cover for ‘Sexual Healing,’ which was one of my favorites growing up. Honestly, it’s the second line drums, the brass, that’s just my type of music—feelgood music that keeps your spirits up. I’m definitely a happy music kind of guy, something to help pump me up for the day. Oldschool songs like ‘Sexual Healing’ that my parents made me listen to as a child—I’m glad they did.

I’m very emotional so I choose not to do the sad songs because if I’m feeling sad about a song, you’re going to know. ‘What’s he crying for?’ ‘Oh, it’s just the song...’ [laughs] But music is definitely one of my favorite things ever. I’ve got tattoos of music; I have a cross with a clef note wrapped around it. I believe in God, absolutely, but when I’m upset—some people might pray when they’re down—I

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personally choose to listen to music.

Music always lifts my spirits.

The name of this drink is from one of the lyrics in ‘Sexual Healing.’

It made sense because this drink makes me feel so fine. I like words like ‘crispy’ and ‘refreshing.’ If you’re eating something salty, this drink will bring back all the moisture that the salt took out of your mouth.

Originally, I’m from Pennsylvania.

I was always in the restaurant business. My family owned pizza shops, and from there I went to a mom-and-pop bar, where you’ve got your beer and rum-and-cokes, that kind of stuff. And once I ventured down to New Orleans I went straight to Bourbon Street and got a bartending job. I was always told that if you’ve got that under your belt, you’re pretty much golden for other bars—once they see that you can handle that kind of business. In New Orleans, Mardi Gras comes once a year, but

By Elsa Hahne

when you’re on Bourbon Street, it’s every day.

The way I am has a lot to do with how I was brought up. My family was always very open with each other, very loud—there was no thinking before speaking, really. With bartending, I’m a chameleon in the best way possible. You just got to be able to switch personalities, blend with other people. I can’t give the same smile to you that I give to that 60year-old straight man sitting over there who’s looking for the girl bartender. I can’t interact the same way with both of you.

I’m an open book and I’m out of the closet. I’m a Gemini, a homosexual, and I’m also Italian. I have a lot to share with everybody!”

Makes Me Feel So Fine 1 spray lavender bitters (any brand)

4–5 fresh basil leaves 4–5 fresh mint leaves 1 1/4 ounces basil-mint simple syrup (see recipe at offbeat.com) 1/2 ounce fresh lemon juice 2 ounces Hendrick’s gin 1 splash Torre Oria cava sparkling wine Spray lavender bitters into a glass, and fill with crushed ice.

Muddle fresh herbs in simple syrup; add lemon juice and gin; shake with ice and strain into glass. Top off with cava. Optional: Garnish with cucumber balls topped with Himalayan salt and Korean red pepper flakes. www.OFFBEAT.com

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

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

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

INDIAN Nirvana: 4308 Magazine St., 894-9797

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

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

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

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

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

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

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

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

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

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

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

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

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

MUSIC ON THE MENU Banks Street Bar & Grill: 4401 Banks St., 486-0258 B.B. King’s Blues Club: 1104 Decatur St., 934-5464 Buffa’s: 1001 Esplanade Ave., 949-0038 Chickie Wah Wah: 2828 Canal St., 304-4714 Dmac’s Bar & Grill: 542 S Jefferson Davis Pkwy, 304-5757 Gattuso’s: 435 Huey P Long Ave., Gretna, 368-1114 Hard Rock Café: 125 Bourbon St., 529-5617 House of Blues: 225 Decatur St., 412-8068

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

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

SEAFOOD Basin Seafood and Spirits: 3222 Magazine St., 302-7391 Crazy Lobster Bar & Grill: 1 Poydras St. 569-3380 Deanie’s Seafood: 841 Iberville St., 581-1316; 1713 Lake Ave. Metairie, 834-1225 Pier 424 Seafood Market: 424 Bourbon St., 309-1574 Royal House Oyster Bar: 441 Royal St., 528-2601

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

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

VIETNAMESE Namese: 4077 Tulane Ave., 483-8899

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

Alex McMurray hits the

Spot

This isn’t your first time at Pizza D? Not at all. I live two blocks away and I’m here at least once a week—every Wednesday for sure. A lot of families meet up at Markey Park and eat pizza while the kids run around.

Did you go when Pizza D was just a pop-up?

Yes. The first pie I had was a meatball pie, which was fantastic. I’ve been hooked since then.

What about New Orleans pizza in general?

I’m from New Jersey. I was shocked how bad it was when I moved here to go to Tulane. Growing up, you had two career paths as a teenage male in New Jersey. You could work in a pizza place or you could be a landscaper, and as a landscaper you had to get up at six in the morning and work outside all day. I was a pizza delivery guy in high school and then I started making pizza in Pizza Delicious college. I always thought that if music didn’t pan 617 Piety St. out I could always open a pizza place. That was my fallback. These guys crushed my dream.

(Bywater) —Elsa Hahne 504-676-8482 www.OFFBEAT.com

Photo: ELSA HAHNE

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

Howlin’ Wolf’s Wolf Den: 907 S. Peters St., 529-5844 Le Bon Temps Roule: 4801 Magazine St., 895-8117 Little Gem Saloon: 445 S. Rampart St., 267-4863 Maison: 508 Frenchmen St., 289-5648 Mid City Lanes Rock ‘N’ Bowl: 4133 S. Carrollton Ave., 482-3133 NOSH: 752 Tchouptoulas St., 581-7101 Palm Court: 1204 Decatur St., 525-0200 Rivershack Tavern: 3449 River Rd., 834-4938 Southport Hall: 200 Monticello Ave., 835-2903 Snug Harbor: 626 Frenchmen St., 949-0696 Three Muses: 536 Frenchmen St., 298-8746 Three Muses Uptown: 7537 Maple St., 510-2749

DINING OUT

El Pavo Real Chef Lindsey McLellan spent nearly a decade overseeing the kitchen at Lola’s, churning out pans of paella to customers willing to “suffer” hour-long waits spent sipping sangria. Then one day in 2014, she was walking her daughters down Napoleon Avenue near Fontainebleau Drive and noticed a “For Lease” sign in a window. Thus began one of the very few tales of restaurateur epiphany that involves a former Time Saver location.

Although she'd spent the vast majority of her time in New Orleans cooking Spanish specialties, McLellan had deep roots in the cuisine of Mexico, having started her career in Mexican restaurants in New York and then marrying a native Mexican. Authenticity is the main ingredient in nearly every dish at El Pavo Real, and many of the dishes are grounded in recipes passed down by her husband’s family.

The most prominent is the mole, a deep

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brown sauce with aromas of chocolate, cinnamon and chile that is the ultimate comfort food. A close second would be caldo del pollo, the kind of chicken soup your grandmother used to make if you grew up in Puebla or Oaxaca.

Tacos come two to an order on freshly griddled corn tortillas. Small filets of fresh fish (drum on the most recent visit) are battered and fried and then paired with a chipotle mayo and cabbage slaw. Thin strips of hanger steak are rubbed with chipotle before a quick sear and a self-applied smear of cool, smooth and slightly spicy tomatillo avocado salsa. Pork lovers can choose al pastor tacos but would be wise to instead select the carnitas entrée, an oversized serving of achiote and chile-rubbed pork shoulder braised until the meat barely holds up to the pressure from a fork. The absolute can’t-miss dish is the enchiladas, stuffed with either chicken or cheese and smothered in an addictively delicious guajillo sauce before an added layer of chihuahua cheese is melted on.

Photo: elsa hahne

EATS

McLellan had to obtain a zoning variance for the property, and during that process she endeared herself to her neighbors, who have embraced the restaurant. After opening without a liquor license, El Pavo Real has since obtained a permit and now serves up freshly squeezed margaritas and a short selection of wines and beers.

The friendly and attentive wait staff (which includes McLelllan, who also runs orders from the kitchen) fits the casual vibe.

—Peter Thriffiley 4401 S. Broad Street; Tues 9a–3p, Wed– Thur 9a–8p, Fri–Sat 9a–9p, Sun 9:30a–3p; (504) 266-2022; elpavorealnola.com

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REVIEWS

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

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

High Intensity

Bonerama Hot Like Fire (Basin Street Records) New Orleans, always part of the tidal flow of American music, has subtly reintroduced itself into the current. Just as in the early twentieth century, when the city’s sonic innovators dispersed around the world to create the international language of jazz, and during the post–WWII years when New Orleans was the incubator for rock ’n’ roll, it all happened without (maybe even because of) the presence of a music industry infrastructure. The music was left to the musicians.

Today the music industry has returned to the grassroots, where New Orleans musicians have always thrived. So it is that one of the signature bands of the new era, Bonerama, has dropped its best album on the city’s most important indie label, Basin Street Records.

When Bonerama was formed in 1998 by trombonists Craig Klein and Mark Mullins, the band resisted categorization.

With a trombone front line and Matt Perrine’s tuba anchoring the rhythm section, some folks called the group a brass band.

Mullins, a master of both acoustic and amplified trombone, insisted it was a rock band, and covers

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of Hendrix and Black Sabbath supported that claim. Klein’s inspiration for the group came from watching the incredible Salsa Meets Jazz jam sessions at New York’s Village Gate during the ’80s. And like so many other New Orleans musical institutions, Bonerama was solidly grounded in Meters-style funk.

This kind of stylistic mashup fits neatly into New Century music. Trombone Shorty, who formed his Orleans Avenue band eight years after Bonerama started and plotted a similar course, even coined a name for the style: “Supafunkrock.” Like Shorty’s terrific band, Bonerama is all about the collective sound, and Hot Like Fire is a terse, closely knit framework of high intensity compositions played with clockwork precision and emotional depth. Mullins, Klein and Greg Hicks form a massive trombone front line with Perrine, guitarist Bert Cotton and drummer Walt Lundy laying down the beats. The pop cover this time is Radiohead’s “Paranoid Android,” among the album’s most ambitious arrangements (by Mullins); and the group gives a nod to Allen Toussaint on the gorgeous “Basic Lady.” Mullins wrote and arranged two songs, Klein checks in with the title tune and the great “Mr. Okra,” but the icing on the cake comes from three masterful pieces written and arranged by Perrine: “Bad Dog,” “Sun Lion” and “Christiana.”

—John Swenson There’s no mistaking that it’s New Orleans’ own Bonerama working Hot Like Fire’s opening cut, “Bad Dog.” The tromboneled band with founders Mark

Mullins and Craig Klein plus Greg Hicks boasts a sound distinctly its own that is exemplified on the tune written and arranged by the very capable sousaphone and electric bass man Matt Perrine.

That there are three trombones upfront obviously put the group, formed in 1998, in a class of its own. Beyond that, however, is the musicians’ broad range of knowledge, which allows the ensemble to power up and funk out while remaining tightly knit on a number of sophisticated arrangements.

Bonerama knows there’s a time to mellow out and add some vocals, as they do on another Perrine composition, the reggae and doo-wop tinged “Sun Lion.”

It sets itself apart as each of the band members can be heard and enjoyed individually. Alex “A.J.” Hall, the power drummer of “Bad Dog,” applies a lighter touch here and the electrifying Bert Cotton on guitar displays his finesse.

Bonerama brings a lot of humor both lyrically and musically to their tunes, as heard on “Mr. Okra” and “Happy,” a song that lives up to its title. Also clever was the group’s opening Allen Toussaint’s “Basic Lady” with a few bars of his giant hit “Java,” with the trombone trio taking the place of Al Hirt’s trumpet.

Pianist Mike Lemmler comes in for this well-executed, in the spirit, somewhat countrified cover.

Hot Like Fire is Bonerama’s first release on the local Basin Street Records and was produced by Mullins, Klein and Tracey Freeman, all of whom have deep knowledge of the city’s sound. On the hornfilled and funky album, Bonerama all but screams, “This is who we are and we’re from New Orleans.”

—Geraldine Wyckoff

Roderick Paulin Slow But Steady (Independent) When asked who’s on saxophonist Roderick Paulin’s new release, Slow But Steady, the immediate response might be “everybody.” More accurately, a ton of primarily veteran artists who make up today’s close-knit New Orleans jazz scene are represented here. Paulin, who was born into the music as the son of legendary trumpeter Ernest “Doc” Paulin, gathered together in various configurations folks who have been performing with each other for years if not decades.

The total number onboard stands at over 35 musicians and, remarkably, the saxophonist has been side-by-side on stages and/ or in recording studios with all of them.

At first, Slow But Steady might not sound like a particularly New Orleans album, as many cuts—like “Misty” and “In a Mellow Tone”—come from the standards’ songbook. Yet, considering the wealth of artists boasting Crescent City roots and backgrounds, the music represents their and Paulin’s true musical experiences in this city where the ability and willingness to play “it all” was a given. www.OFFBEAT.com

REVIEWS The two-disc, 24-cut album starts swinging on a big band number, “Little Sheri.” For many local musicians, including Paulin, who plays with trombonist Delfeayo Marsalis’ Uptown Jazz Orchestra every Wednesday night at Snug Harbor, being a part of large ensembles has not only provided their bread and butter gigs but has enabled them to enjoy the musical camaraderie.

A tune that certainly jumps out with a New Orleans flair is Horace Silver’s “Sister Sadie.” Paulin’s got that honkin’ rhythm and blues tenor sound down and you can’t lose with David Torkanowsky behind the big Hammond B-3, George French layin’ it down on bass and Shannon Powell drivin’ the rhythm.

Paulin, who switches between tenor, soprano and alto saxophones throughout, took pen in hand to compose two

stylistically different numbers. He does some of his most modern blowing on “The Other Side,” performing with a septet and trading bars with trombonist Delfeayo Marsalis and trumpeter Andrew Baham, who acted as co-executive producers of the album. Meanwhile, “Song for Paul G,” dedicated to tenor great Paul Gonsalves, finds Paulin fronting a stacked up big band with standout performances by pianist Thaddeus Richard and drummer Herlin Riley.

We learn from Paulin’s introduction that Slow But Steady took a dozen years to produce. It proves itself to be worth the time and dedication both musically and as a true historic documentation of the artists and the sound of the city. That’s what makes Slow But Steady a real New Orleans album.

—Geraldine Wyckoff

Crunchy Guitars Pope True Talent Champion (Community Records) Do kids still make each other mixtapes?

People love being right and being cool. Finding a band that your friends will love first is two birds, one side. We have to think that the desire to discover something for someone else still exists, even if the cassette has fallen by the wayside. And if any mixmasters want to flex on their friends with a few cuts they might not otherwise hear, Pope’s new album would be a great place to start.

The Houston-cum-NOLA alt-rockers have been away for two long years, but their commitment to unearthing and revitalizing the sounds of the original Alt Nation hasn’t wavered.

The crunchy guitar work, layers of fuzz and slack-as-hell vocals could have easily slotted into a mix back when they were still played on decks.

Standouts like “Feels Like Home” set the slurred sonics of Pavement to the rapid heartbeat of Superchunk, topping the whole thing off with a nyah-nyah playground sneer of a riff.

While most of True Talent Champion could soundtrack a very special episode of The Adventures Of Pete & Pete, the band strolls out of the shadow of Robert Pollard for the truly touching and bright country tune “Slice.”

The harmonies on that cut and a few others betray the band’s status as millennials who love ’90s bands and not the genuine article. Nobody from Gen X would be caught dead putting in the work needed to sound this pretty.

—Alex Galbraith www.OFFBEAT.com

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Feufollet Baby’s on Fire (Valcour Records) Ah, vinyl—it once followed the footpath of dinosaurs, at least until club DJs spun it into hipster status and resurrected it from near extinction. Hence, the inspiration for Feufollet and Valcour Records’ debut 45, a random colored 7” vinyl.

“Baby’s On Fire,” the A side, takes Brian Eno’s iconic classic and applies jaunty Keith Frank accordion stylings on top of thrusty rhythms and layers of twangy guitars, fiddles and organ all skanking along. The B side “Clair de la lune” was first written and recorded by a 20-year-old Vin Bruce for Columbia Records in 1952. Compared to the original, Feufollet’s version is considerably more souped up and basks in a grandiose, mystical aura. Kelli Jones-Savoy’s high vocals lead the charge while the arrangement climaxes with Andrew Toups’ space-traveling cosmic keyboard ride. Midway through, Feufollet modulates keys, thereby injecting more energy and life into one of Bruce’s career-defining originals.

If there were ever two songs that captured the essence of Feufollet, these would be them.

—Dan Willging

Tony Seville and the Cadillacs Vale La Pena (Mahogany Jazz Records) There’s something about this album that makes me want to sip on a cocktail—it has a smooth, lounge-y feel. Tony Seville started playing music professionally in the

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mid ’60s. He toured the world for 27 years playing jazz, R&B, show tunes and even disco. Eventually he landed on Bourbon Street playing at The Famous Door, Storyville Jazz Parlor and The Bombay Club, among others. In 2013 he and his wife bought the Mahogany Jazz Hall, where you’re most likely to find him playing with this band today.

Even though Seville has traveled the world over and through many genres, you can still sense his roots in the late ’60s/early ’70s on this album.

Tony plays sax, trumpet, flute and bongos, each with equal mastery.

There’s a rhythmic Latin version of “Willow Weep for Me,” a swinging “I’ve Got You Under My Skin” and the Isley Brothers classic “For the Love of You.” If the album makes you think of zebra print couches and martini glasses, it might just be due to the bongos and electric bass.

One can’t help but wonder how it would have turned out if he’d used a more traditional rhythm section. I don’t think it’d be quite as much fun.

—Stacey Leigh Bridewell

Aural Elixir Better (Independent) Nearly two decades on, Jesse Maclaine is the sole remaining member of the Colorado-based jazz-folk band Aural Elixir.

Their latest release serves as a showcase for the act’s main draw: Maclaine’s powerhouse vocals.

The de facto leader of this trio can’t help but bring to mind standard bearers of the ’90s coffee shop sound—angry and vulnerable mystics like Alanis and Fiona who shouted prayers over their own forceful piano hammering—as she belts in a way that would lift the roof off of any espresso hole that hosted her.

That being said, Maclaine and the rest of Elixir are a little too in love with cheekiness to occupy the same sphere as those latter-day Liliths. A little levity doesn’t hurt, but tracks like “I

straightforward cuts like the title track and album closer “When Will I See You Again?” show the power of simple statements said with conviction.

—Alex Galbraith

Lil Bob and the Lollipops Sweet Soul Swinger... & The Jin Singles (Jin) File this one in the category of Bayou Soul. Opelousas’ Camille “Lil” Bob was a singer/drummer whose horn-laden band worked the South Louisiana club/prom circuit, often playing seven nights a week during the 1960s. Best known for the copiously covered hit “I Got Loaded” (not heard here), he recorded these tracks in Ville Platte in the late ’60s.

Largely containing covers from

Like Coffee!” are little more than T-shirt slogans stretched over three and a half minutes. Sandwiched between anthems of escape like “A Way Away” and the affirmational “Perhaps,” it can’t help but have the opposite effect of the band’s favorite brew.

While Maclaine doesn’t possess the same gift for wordplay as the artists she references, the

Frenchmen Street Trad Smoking Time Jazz Club Take Your Time and Fly (Independent) If you’ve had your ears open for the better part of this decade in New Orleans, you’ve probably heard Smoking Time Jazz Club. This is their ninth album, but they’re still often regarded as up-and-comers.

Hey, it’s a good thing to stay that fresh nine albums in!

Rather than a collection of rip-roaring stand-alone dance tunes, as on their previous albums, Take Your Time and Fly seems to build on itself. It begins with “Stingeree Blues”, which is the pacesetter for the dreamy, vampy first part of the album. Each song feels measured and highly arranged for effect, most evidently on “Dear Old Southland.”

In true Smoking Time fashion, they’ve opted for “Weed Smoker’s Dream,” which is the obscure precursor of the more commonly heard “Why Don’t You Do Right?” Track six, “Birmingham Black Bottom Stomp,” is when the clouds seem to part and the album wakes up. From there they return to their more familiar style of Spotted Cat–ready numbers, like the perennial favorite “My Man,” rendered bittersweet by Sarah Peterson’s distinct vocals. They finish with “Temptation Rag,” “Crazy Blues” and “Weary Blues” just to show you they haven’t forgotten how to be old-school.

The horns and reeds on this album sound wonderful. Us jazz nerds would love a more detailed breakdown of who’s playing when, as there’s a lot of double duty going on here. The arrangements are tight and impressive and deserving of credit. It’d be nice to have more info on that as well. It’s great to hear Sarah again, as she was absent from the last album. She even did the surreal, Klimt-ish album art. All in all this is a must-listen for fans of Frenchmen trad.

—Stacey Leigh Bridewell www.OFFBEAT.com

REVIEWS

likes of Gene Chandler, James Brown, James Carr and Arthur Conley, this was the material that the Lollipops played hundreds of times on the bandstand.

However an original (written by swamp popper Tommy McLain), “Who Needs You So Bad,” serves as the opener. The song is buoyed by a semi-early James Brown horn arrangement, and could be the best song of the lot. Speaking of Brother James, Bob recycles Brown’s pleading “I Found Someone” and the funky “Cold Sweat,” where Bob requests that the Lollipops “give the drummer some.” Also on the funky side is the dance floor filler “Sweet Soul Music,” done with a dash of St. Landry Parish.

The most interesting track here is the treatment of “You Know It Ain’t Right.” The Joe Hinton hit actually served as the template for the South Louisiana standard “Kidnapper” (Van Broussard, Jewel & the Rubies, etc.).

Certainly these various versions demand the comparison test by listeners. The sole true Lil Bob original “Peaches (You Got Love)” really is a sweet soul swinger.

Hard to believe the original Jin single never took off. Fifteen tracks in all here that capture the South Louisiana soul sound of the ’60s. Would have loved to have seen and heard this band back in the day.

—Jeff Hannusch

Jason Ricci & the Bad Kind Approved By Snakes (Ellersoul Records) It’s a small wonder that Jason Ricci decided to put a coiled snake on the cover of his latest www.OFFBEAT.com

release. The best songs on the veteran bluesman’s new album, his first with the backing band the Bad Kind, come when Ricci lets himself slither and hiss.

Album opener “My True Love Is A Dope Whore” is a perfect example. Ricci spends a good bit of the track in a Waitsian grumble, floating over a slow rolling, black water groove. His slow and easy delivery brings to mind a cottonmouth luxuriating on top of the water. Like that critter, he seems to be in no hurry to get anywhere as he comments on junkies suffering from something a little more inconvenient that an arid tongue for a leisurely eight-and-a-half minutes.

Even after Ricci slinks away from the cool and shady sound of his more measured tracks to the hot, radiating pavement of harmonica jams like “I Got Cleaned Up,” his delivery remains positively serpentine.

Ricci litters the album with sibilant sounds, stretching out every consonant until even the hard ones carry a bit of a hiss.

And he uses that sound to tell stories of people who would rather not be tread on. Not because they’ll bite, mind you, but because they already have enough problems as it is.

That’s not to say that the album is all menace and misery lying in wait. Ricci has been around long enough to know he needs tracks that will make an audience want to move. Cuts like “Disconnect” and the left-field cover of Die Antwoord’s “I Fink U Freeky” are sure to get a crowd stepping. Just watch where you place your feet.

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REVIEWS le Sable” expresses how love can quickly wash away. While this EP leaves you craving more, Cleoma couldn’t have had better representation than what she has here.

—Dan Willging

Juju Child The Power of Me (Independent)

Ann Savoy Plays the Music of Cleoma Falcon (Independent) Throughout her career, Cajun renaissance woman Ann Savoy has championed Cleoma Breaux Falcon, who recorded the genre’s first song, “Allons à Lafayette,” with husband Joe Falcon in 1928. As time went on, Falcon experimented with hillbilly, jazz and blues. So when it came time to fill the role of Cleoma in playwright Carolyn Woosley’s monologue play Cleoma, there wasn’t a better choice than Savoy. In conjunction with the play, Savoy recorded this eightsong EP: six songs Cleoma recorded and two lovely originals imagined in the spirit of Cajun music’s first heroine.

Though Savoy’s known as a white-knuckled guitarist chunking out rhythms via barre chords, here she also plays fiddle, t-fer and accordion on four songs. Her old-timey accordion playing has a delightfully raw edge unlike today’s slicker dancehall variety, and is replete with honking bass notes. Among the accordiondriven tunes are the rockin’ “Prends Donc Courage” and the waltzing “Mon Coeur T’Appelle,” better known as “J’ai Passé Devant ta Port.”

Four songs are sans accordion, stringband style and are fueled by son Joel’s frolicking fiddling, Lee Tedrow’s slide/steel guitar and Glenn Fields’ whacking fuzzed beats. Of Savoy’s originals, “Je sera fidele a quiqu’un que moi j’aime” speaks poignantly of eternal, unrequited love while the drifty, Hawaiianflavored “Lettres D’amour Dans

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There are good impressionists and there are good comedians.

While both came up aping the stars of their youth, learning the routines and mannerisms of their favorite famous folks, only the good comedians went on to innovate on the routines.

Blues has a similar issue. There are plenty of people who can make their guitar wail and sing over the standard 12-bars, but many of them are just putting on the airs of the songs they grew up hearing. Juju Child no doubt heard the same dusty old records.

But more importantly, they heard the dust.

The Power of Me is one long attempt to blow off some of the dirt gathered on the blues by injecting a few genres that grew out of the Delta’s most-famous export back into the mix. That’s how you end up with tracks like “Family Man”—which runs the Beatles “Come Together” riff through the same sort of processing that made “Under Mi Sleng Teng” a Caribbean sensation. That’s why “Strange Blues” strips away the predictable shuffle of a typical blues song in favor of menacing guitars and cymbal hits that sound like a truncated snake’s rattle.

The originality and skill of the backing band helps to paper over the fact that some of the lyrics can be clunky, particularly when the band aims for more socially conscious fare. But a few spins of the Frankensteined ass-shaker “Dropping It”—which pairs a Bo Diddley riff with a ballpark organ and the Meters’ “Hey Pocky A-Way” melody—will more than make up for any missteps.

—Alex Galbraith

Garth Alper Stratus (Independent) The fourteenth century maxim “familiarity breeds contempt” has nothing at all to do with jazz. In the best circumstances, the situation is quite the opposite. This session, by University of Louisiana, Lafayette jazz studies coordinator Garth Alper and four of his faculty colleagues, reveals that familiarity enhances musical moments.

Stratus, pianist Alper’s fourth recording as a leader, is a mainstream jazz session featuring a range of swing and bebop material. The band

includes saxophonist Michael Jenner, guitarist Jeff George, bassist Bob Nash and drummer Chris Munson.

Familiarity and trust abound here as they explore a variety of moods on seven original compositions and two standards from the jazz canon. The players

Jewels from the Swamp Various Artists Swampland Jewels (Yep Roc Records) Originally released on LP by Lake Charles’ Goldband Records in 1979 and reissued on CD in ’91, the third incarnation of Swampland Jewels, now on Yep Roc, is a significant departure from its predecessors.

Produced by curator Steven Weiss, for the University of North Carolina Library’s Southern Folklife Collection, this remastered compilation is sonically crisper than its predecessors but without sacrificing any of its gritty rawness. Rather than relying on the album masters, Weiss rebuilt this eclectic collection using the un-dubbed original session masters and replaced deteriorating tracks with seven previously unreleased tunes.

The centerpiece songs remain the same: Boozoo Chavis’ “Paper in My Shoe” and Cleveland Crochet and Jay Stutes’ “Sugar Bee,” which exudes unbridled bluesy passion.

But what becomes salient is how innovative Goldband honcho Eddie Shuler was in trying new things. Shorty LeBlanc’s “Boss Cajun” is built on a mambo foundation. Joe Bonsall’s “La Cuca Rochman” is essentially a Cajun adaptation of “La Cucharacha” while Jo-El Sonnier and Robert Bertran’s “Mois Cinquantas Sous” feels more like a Norteño ballad than anything rooted in traditional Cajun music. Sonnier and Louisiana’s first accordion maker Sidney Brown play twin squeezeboxes on “Fee Fee Poncho.”

“My Little Cabbage,” also by LeBlanc, brims with ingenuity. The accordion starts with a cha-cha rhythm, shifts into a tempo-changing swing section, switches back to the cha-cha and repeats the exhilarating pattern a few more times. Weiss’ expanded liner notes give you a greater appreciation of Goldband’s artists but could have benefitted from including the year of the recording. Still, without Weiss’ herculean efforts, Goldband’s contributions to the annals of South Louisiana music could have drifted into obscurity. With this in hand, it returns to the forefront.

—Dan Willging www.OFFBEAT.com

REVIEWS have a sense where each other are headed, and find ways to complement that journey.

“Garthbanzo Beans,” “Catharsis” and the session closer, the twisty-turny “Off Kilter,” are favorites because of their various sprightly and playful feels. Their momentum is carried to a higher level in each case by the intense soloing of Jenner on saxophones and George on guitar.

Alper’s “Out of the Woods” is a study in contrasts, with the pianist exploring the groove in subdued fashion, setting up a Jenner’s intense tenor sax solo.

The vamp-like “Quackery” builds on Munson’s shuffle beat. The title track is filled with mystery and spaciousness and teases at times with an oriental flavor, particularly at the end of the piano solo.

The session includes two homages. The piano trio digs deep into the bop classic “Celia,” which was composed

by Bud Powell, one of Alper’s musical heroes. The other is “Ode to Mr. Brubeck,” an Alper original featuring a vampish 5/4 time signature, and terrific piano, bass and guitar interplay.

The band’s take on Jimmy Van Heusen and Johnny Burke’s “It Could Happen to You” provided an opportunity to take familiar material and find interesting new facets through solid improvisation.

—Ken Franckling

Smithfield Fair Evermore (Stevenson Productions) Groups enduring 40 years and 31 albums together aren’t supposed to sound this invigorated. But as evidenced here, Baton Rouge’s Smithfield Fair does so by pushing its craft forward and not resting on its legacy laurels. “Love Is a Mystery,” the whirlwind opening track by Jan Smith, ranks among the group’s best songs with its peppy tempo, glistening background vocals and www.OFFBEAT.com

crystal-clear mandolin picking.

The neatly dovetailed lyrics mention patience and sharing, time-tested attributes rarely mentioned in other amorous fare.

Love, of course, is the overarching theme. Many songs resemble a dialogue between husband-and-wife Dudley-Brian and Jan, who alternate vocals to offer various perspectives on their longstanding relationship.

Dancing is also a reoccurring theme, as is spending quality time together in the solace of home. As lovestruck as the proceedings may seem, they are never gushy, uncomfortable or sickeningly sweet but sincere, honest and fireplacecozy like a life together can yield.

Instrumentals offer a novel change of pace. While Jan has always contributed to Smithfield’s distinct folk-centric sound with her accordion, on two tracks she adds another dimension by playing piano.

Her tinkly composition “The Bells of Evermore Cottage” is predicated on cascading high notes and swelling tempos; the gorgeous reading of J.S. Bach’s “My Heart Ever Faithful” finds her dueting with herself on accordion and piano.

Though everything makes its public debut here, some songs (“Love Goes Cold”) are decades old and were never released. Without this inside information, you wouldn’t know it since everything sounds amazingly warm and fresh as if it came out of the oven this morning.

—Dan Willging N O VEMBER 2 017

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FRIDAY OCTOBER 27

Bombay Club: Scott Myers (JV) 8:30p Buffa’s: Linnzi Zaorski (JV) 5p, Alexandra Scott and her Magical Band (SS) 9p Chickie Wah Wah: Michael Pearce (BL) 6p, Will Kimbrough and friends (VR) 8p Crazy Lobster: Ken Swartz and the Palace of Sin (VR) 5p d.b.a.: George Porter Jr. and his Runnin’ Pardners (FK) 10p House of Blues (Foundation Room): Gypsy Carnival feat. Bon Bon Vivant (TJ) 10p Minx’s Burlesque Ballroom feat. Romy Kaye and the Mercy Buckets (BQ) 11p Joy Theater: An Official Deja Voodoo Aftershow feat. Yellow Claw (VR) 10p Kerry Irish Pub: Roy Gele (FO) 5p, Crossing Canal with Patrick Cooper and Ruby Ross (FO) 9p Little Gem Saloon: Irvin Mayfield with Kermit Ruffins (JV) 7:30p Little Tropical Isle: Reed Lightfoot (RK) 5p, Johnny Rodriguez (RK) 9p Maison: the 8th Annual Baller’s Ball with the Big Tymers feat. Mannie Fresh, Birdman aka Baby (HH) 10p Maple Leaf: Eric Struthers and friends feat. Roland Guerin, Joe Ashlar, Khris Royal, Terry Scott Jr. (VR) 10p NOSH: DJ Abibas, Khris Royal, Andy Daniels (VR) 8p Palm Court Jazz Café: Kevin Louis and Palm Court Jazz Band (TJ) 8p Preservation Hall: Preservation Legacy Band feat.

Wendell Brunious (TJ) 6p, Preservation Brass feat.

Daniel Farrow (TJ) 8p, Salon Series: A Preservation HALLoween with Boyfriend (VR) 11:59p

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Rock ‘n’ Bowl: Mixed Nuts (VR) 9:30p Siberia: United Bakers Records presents Tumbling Wheels, Duke Aeroplane, TV Pole Shine (FO) 10p Snug Harbor: Ellis Marsalis Quintet (JV) 8 & 10p Spotted Cat: Andy J. Forest (JV) 2p, Washboard Chaz Blues Trio (JV) 6p, New Orleans Cottonmouth Kings (JV) 10p Three Muses: Matt Johnson (JV) 5:30p, Doro Wat Jazz Band (JV) 9p Tropical Isle Bayou Club: Faubourg Ramblers (KJ) 5p, T’Canaille (KJ) 9p Tropical Isle Bourbon: Wild Card (RK) 5p, Debi and the Deacons feat. Maggie Havens (RK) 9p

SATURDAY OCTOBER 28

Bombay Club: Riverside Jazz Collective (JV) 8:30p Buffa’s: Davis Rogan (VR) 6p, Dr. Sick (VR) 9p Chickie Wah Wah: Red, Gold, Green and Blues with Jamaican Me Breakfast, the Fortifiers (VR) 9p Crazy Lobster: the River Gang (VR) 11a, Poppy’s Poppin’ Saturday Review (VR) 4p Creole Cookery: Trad Stars Jazz Band (JV) 11a d.b.a.: Meschiya Lake and the Little Big Horns (JV) 7p Funky Pirate: Mark and the Pentones (BL) 2p, Blues Masters feat. Big Al (BL) 8:30p House of Blues: Endless Night: New Orleans Vampire Ball feat. the Cruxshadows (VR) 10p Kerry Irish Pub: Beth Patterson (FO) 5p, Hurricane Refugees (FO) 9p Lafitte’s Blacksmith Shop: Lucky Lee (SS) 9p Little Gem Saloon: Irvin Mayfield with Kermit Ruffins (JV) 7:30p Little Tropical Isle: Reed Lightfoot (RK) 5p, Styk (RK) 9p Maple Leaf: Honey Island Swamp Band (RR) 10p Morning Call City Park: Billy D. Chapman (JV) 10a NOSH: DJ Abibas, Khris Royal, Andy Daniels (VR) 8p One Eyed Jacks: the Nth Power, Ghost-Note, MonoNeon (VR) 9p Orpheum Theater: Deja Voodoo presents LCD Soundsystem (VR) 11p Palm Court Jazz Café: Tom Fischer and Palm Court Jazz Band (TJ) 8p Preservation Hall: Preservation Jazz Masters feat.

Leroy Jones (TJ) 5p, Preservation All-Stars (TJ) 8p, Salon Series: A Preservation HALLoween with Boyfriend (VR) 11:59p Republic: An Official Deja Voodoo Aftershow feat.

Illenium (VR) 11p Rock ‘n’ Bowl: Karma (VR) 9:30p Snug Harbor: Terence Blanchard E-Collective (JV) 8 & 10p Spotted Cat: Monty Banks (JV) 12p, Jazz Band Ballers (JV) 2p, Panorama Jazz Band (JV) 6p, Dominick Grillo and the Frenchmen St. All-Stars (JV) 10p Three Keys (Ace Hotel): the Big Easy Playboys (VR) 6p Three Muses: Chris Christy (JV) 5p, Debbie Davis (JV) 6p, Shotgun Jazz Band (JV) 9p Tipitina’s: Galactic, Space and Harmony (FK) 11p Tropical Isle Bayou Club: the Troubadour (KJ) 1p, Faubourg Ramblers (KJ) 5p, T’Canaille (KJ) 9p Vaughan’s Lounge: Greasy Alice, Malevitus, Rough 7 (VR) 9p

SUNDAY OCTOBER 29

Bombay Club: Kris Tokarski with Tim Laughlin (JV) 8p Buffa’s: Some Like It Hot! (TJ) 10:30a, Nattie’s Songwriters Circle (SS) 4p, Steve Pistorius, Orange Kellin and Benny Amon (JV) 7p

Chickie Wah Wah: Meschiya Lake and the Little Big Horns Quartet (JV) 8p Crazy Lobster: the Gator Bites (VR) 11a, the Neon Shadows (VR) 4p d.b.a.: Palmetto Bugs Stompers (SI) 6p, Pink Slip Halloween Bash (RK) 10p Howlin’ Wolf (the Den): Hot 8 Brass Band (BB) 10p Kerry Irish Pub: Patrick Cooper (FO) 8p Maple Leaf: Walter “Wolfman” Washington Trio (RB) 10p Morning Call City Park: Billy D. Chapman (JV) 10a One Eyed Jacks: LoveBomb GoGo Marching Band (VR) 8p Palm Court Jazz Café: Mark Braud and Sunday Night Swingsters (TJ) 8p Preservation Hall: Preservation Legacy Band feat.

Will Smith (TJ) 5p, Preservation All-Stars feat.

Wendell Brunious (TJ) 8p Rock ‘n’ Bowl: D Play (VR) 5:30p Siberia: Greg Butera, Erin Durant, Esther Rose (FO) 8p Snug Harbor: Quiana Lynell (JV) 8 & 10p Spotted Cat: Monty Banks (JV) 12p, Shotgun Jazz Band (JV) 2p, Kristina Morales and the Inner Wild (JV) 6p, Pat Casey and the New Sound (JV) 10p Three Keys (Ace Hotel): La Noche Caliente with Muevelo (LT) 8p Three Muses: Raphael et Pascale (JV) 5p, Linnzi Zaorski (JV) 8p Tropical Isle Bourbon: Rhythm and Rain (RK) 5p, Debi and the Deacons (RK) 9p Tropical Isle Original: the Hangovers (RK) 5:15p, Late As Usual (RK) 9:15p

MONDAY OCTOBER 30

Bombay Club: Kris Tokarski (PI) 8p Buffa’s: Arsene DeLay (VR) 5p, Antoine Diel (JV) 8p Chickie Wah Wah: Golden State/Lone Star Revue feat. Mark Hummel and Anson Funderburgh (FO) 10p Chickie Wah Wah: Justin Molaison (VR) 5:30p, Alex McMurray (SS) 8p Crazy Lobster: the Insta-Gators (VR) 5p d.b.a.: John Boutte (JV) 7p, Cyril Neville and Swamp Funk, the Fuel (FK) 10p Hi-Ho Lounge: Bluegrass Pickin’ Party (BU) 8p, Instant Opus Improvised Series (MJ) 10p Joy Theater: Joyce Manor, Wavves, Culture Abuse (VR) 7p Kerry Irish Pub: Beth Patterson (FO) 8:30p Lafitte’s Blacksmith Shop: Lucky Lee (SS) 9p Maple Leaf: George Porter Jr. Trio (FK) 10p Morning Call: Valerie Sassyfras (VR) 10a One Eyed Jacks: Bounce Night with Sissy Nobby, Rusty Lazer and others (BO) 8p Preservation Hall: Preservation Jazz Masters feat.

Leroy Jones (TJ) 6p, Preservation All-Stars (TJ) 8p Rock ‘n’ Bowl: West Coast Swing Night (SI) 7p SideBar NOLA: Mike Dillon, James Singleton and Cliff Hines (VR) 9p Snug Harbor: Charmaine Neville Band (JV) 8 & 10p Spotted Cat: Royal Street Winding Boys (JV) 2p, Dominick Grillo and the Frenchmen St. All-Stars (JV) 6p, Jazz Vipers (JV) 10p Tipitina’s: Here Come the Mummies, Johnny Sketch and the Dirty Notes (RK) 9p Tropical Isle Bourbon: Rhythm and Rain (RK) 5p, F.A.S.T. (RK) 9p Tropical Isle Original: Graham Robertson (RK) 5:15p, Trop Rock Express (RK) 9:15p

TUESDAY OCTOBER 31 Bombay Club: Matt Lemmler (PI) 8p

Buffa’s: Tacos, Tequila and Tiaras with Vanessa Carr (VR) 8p Chickie Wah Wah: Chip Wilson and Marcello Benetti (VR) 5:30p, Jon Cleary (FK) 8p, Jamey St. Pierre and the Honeycreepers (SO) 10:30p Crazy Lobster: AC and the Heat (VR) 5p d.b.a.: Treme Brass Band (JV) 7p, Morning 40 Federation (RK) 11p Funky Pirate: Blues Masters feat. Big Al (BL) 8:30p Hi-Ho Lounge: Halloween Dance Party (VR) 8p House of Blues (the Parish): Spafford, Southern Avenue (FK) 8p Joy Theater: Crowbar, Eyehategod (ME) 8p Kerry Irish Pub: Jason Bishop (FO) 8:30p Lafitte’s Blacksmith Shop: Lucky Lee (SS) 9p Maple Leaf: Rebirth Brass Band (FK) 10p Music Box Village: Halloween: Dante’s Disco Inferno feat. Cauche Mar, DJ Rotten “Spooky” Milk (VR) 6pm One Eyed Jacks: Quintron and Miss Pussycat (VR) 8p Preservation Hall: Preservation Legacy Band feat. Wendell Brunious (TJ) 5p, Preservation All-Stars (TJ) 8p Rock ‘n’ Bowl: Latin Night (LT) 7p Snug Harbor: Walter “Wolfman” Washington and the Roadmasters (JV) 8 & 10p Spotted Cat: Andy J. Forest (JV) 2p, the Little Big Horns (JV) 6p, Smoking Time Jazz Club (JV) 10p Superdome: Ed Sheeran (SS) 7p Three Keys (Ace Hotel): Selectors (VR) 8p Three Muses: Loose Marbles (JV) 8p Tipitina’s: Toadies, Local H (RK) 9p Tropical Isle Bayou Club: Cajun Drifters (KJ) 7p Tropical Isle Original: the Hangovers (RK) 5:15p, F.A.S.T. (RK) 9:15p

WEDNESDAY NOVEMBER 1

Bombay Club: Kris Tokarski (JV) 8p Buffa’s: Open Mic Night with Nattie Sanchez (SS) 7p Chickie Wah Wah: Ivor Simpson-Kennedy (VR) 5:30p, Brad Walker and friends (VR) 8p Crazy Lobster: Ken Swartz and the Palace of Sin (VR) 5p d.b.a.: Tin Men (BL) 7p, Walter “Wolfman” Washington and the Roadmasters (BL) 10p Gasa Gasa: the War and Treaty (FO) 8p Joy Theater: Flying Lotus in 3D feat. Seven Davis Jr., PBDY (VR) 8:30p Kerry Irish Pub: Chip Wilson (FO) 8:30p Little Gem Saloon: Reid Poole (JV) 7p Little Tropical Isle: Mark Parsons (RK) 5p, Reed Lightfoot (RK) 9p Maison: Royal Street Winding Boys, Jazz Vipers, Organized Crime (VR) 4p Maple Leaf: Johnny Sketch and the Dirty Notes (FK) 10p Morning Call: Valerie Sassyfras (VR) 10a, Krewe du Two (VR) 1p New Orleans Healing Center: La Source Ancienne Ounfo presents Day of the Dead/Fet Gede (VR) 5:30p Palm Court Jazz Café: Topsy Chapman and Palm Court Jazz Band (TJ) 8p Preservation Hall: Preservation Hall All-Stars (TJ) 8p Rock ‘n’ Bowl: the Yat Pack (SI) 8p Sandbar at UNO: Jazz at the Sandbar feat. Mike Moreno (JV) 7p SideBar NOLA: Mark Southerland and Jessica Lurie (VR) 9p Snug Harbor: Uptown Jazz Orchestra with Delfeayo Marsalis (JV) 8 & 10p

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LIVE LOCAL MUSIC Spotted Cat: Chris Christy (JV) 2p, Shotgun Jazz Band (JV) 6p, Antoine Diel and the New Orleans Power Misfits (JV) 10p Three Keys (Ace Hotel): Helen Gillet and Brian Haas (MJ) 9p Three Muses: Leslie Martin (JV) 5p, Hot Club of New Orleans (JV) 8p Tropical Isle Bourbon: Rhythm and Rain (RK) 5p, Debi and the Deacons (RK) 9p Tropical Isle Original: Debi and the Deacons (RK) 5:15p, Late As Usual (RK) 9:15p

THURSDAY NOVEMBER 2

Bombay Club: Kris Tokarski with Oliver Bonie (JV) 8p Buffa’s: Yvette Voelker (JV) 5p, Night of Randy Newman feat. Tom McDermott, Banu Gibson and Debbie Davis (JV) 8p Café Istanbul: Night of the Day of the Dead feat. Dave Malone, Camile Baudoin, Reggie Scanlan, Mitch Stein, Eric Bolivar and Brad Walker (VR) 8:30p Chickie Wah Wah: Phil DeGruy (VR) 6p, Marshland (VR) 8p, Todd Day Wait’s Pigpen (VR) 10p Crazy Lobster: the Spanish Plaza 3 (VR) 5p d.b.a.: Alexis and the Samurai (ID) 7p, Luke Winslow King, Sarah Quintana (JV) 10p Funky Pirate: Mark and the Pentones (BL) 4p, Blues Masters (BL) 8:30p Gasa Gasa: Day of the Dead feat. Maxtaylor, Skylarallen, Nick Coleman, Nye, Kip and others (HH) 8p Howlin’ Wolf (the Den): Comedy Gumbeaux (CO) 8:30p Kerry Irish Pub: Vincent Marini (FO) 8:30p Lafitte’s Blacksmith Shop: Lucky Lee (SS) 9p Little Gem Saloon: Reid Poole (JV) 7p Little Tropical Isle: Allen Hebert (RK) 5p, Jezebels Chill’n (RK) 9p Maple Leaf: Johnny Vidacovich, George Porter Jr. and Skerik (FK) 10p NOSH: DJ Torque, Alexey Marti (JV) 7p Palm Court Jazz Café: Mark Braud and Tim Laughlin with Crescent City Joymakers (TJ) 8p Preservation Hall: Preservation Legacy Band feat.

Will Smith (TJ) 5p, Preservation All-Stars feat.

Louis Ford (TJ) 8p, Salon Series: the Sexism Project Opening Day feat. DJ Dominomnom (VR) 11p Rock ‘n’ Bowl: Chubby Carrier (ZY) 8:30p Siberia: Eastern Bloc Party feat. G-String Orchestra (GY) 9p SideBar NOLA: Alex McMurray and Dayna Kurtz (VR) 9p Snug Harbor: Lucian Ban and Matt Maneri (JV) 8 & 10p Spotted Cat: Up Up We Go (JV) 2p, Miss Sophie Lee (JV) 6p, Jumbo Shrimp (JV) 10p Three Keys (Ace Hotel): Ari Teitel album-release show (VR) 9p Three Muses: Tom McDermott (PI) 5p, Mia Borders (VR) 8p Tipitina’s: Corey Smith (VR) 9p Tropical Isle Original: the Hangovers (RK) 5:15p, Late As Usual (RK) 9:15p Vaughan’s Lounge: DJ Black Pearl (VR) 9p, Corey Henry and Treme Funket (FK) 10p

FRIDAY NOVEMBER 3

Bombay Club: Don Vappie (JV) 8:30p Buffa’s: Catie Rodgers and the Gentilly Stompers (JV) 6p, Jerry Jumonville and the Jump City Band (VR) 9p Chickie Wah Wah: Michael Pearce (BL) 6p, Paul Sanchez and the Rolling Road Show (VR) 8p d.b.a.: Hot Club of New Orleans (JV) 6p, R. Scully and the Rough 7, Malevitis (RK) 10p Dragon’s Den: Comedy Fuck Yeah (CO) 7p, the Tipping Point with DJ RQ Away (HH) 10p; Upstairs: Johnny Vidacovich, Skerik and Brian Haas (JV) 7p, Latin Night (LT) 11p Gasa Gasa: Anarbor, My Heart Might Explode (PK) 9p House of Blues (the Parish): LouMuzik Live (HH) 10p House of Blues: Issues, Volumes (RK) 7p

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Howlin’ Wolf (the Den): Jake J. and the Killjoys (RK) 9p Kerry Irish Pub: Patrick Cooper (FO) 5p, Lynn Drury (FO) 9p Little Gem Saloon: Lilli Lewis (SS) 5p, Reid Poole, Shannon Powell and special guests (JV) 7p Maple Leaf: Johnny Vidacovich, Benny Bloom and Skerik (RR) 10p Morning Call: Valerie Sassyfras (VR) 10a NOSH: WAGS and guests (VR) 8p Old U.S. Mint: Bon Bon Vivant live-music recording (TJ) 8p One Eyed Jacks: DJ Soul Sister presents Soulful Takeover (FK) 10p Preservation Hall: Salon Series: the Sexism Project Day 2 feat. Tasché de la Rocha, the Misses of Mojo with Mikayla Braun, Julie Odell, Big Freedia (VR) 12p, Preservation Legacy Band feat. Wendell Brunious (TJ) 5p, Preservation AllStars feat. Daniel “Weenie” Farrow (TJ) 8p Rock ‘n’ Bowl: Groovy 7 (VR) 9:30p Saenger Theatre: Jim Gaffigan (CO) 7p Siberia: Theatre Bizarre Orchestra (VR) 10p SideBar NOLA: Aurora Nealand and Annie Ellicott (VR) 9p Snug Harbor: John Boutte and the Hot Calais (JV) 8 & 10p Spotted Cat: Andy J. Forest (JV) 2p, Washboard Chaz Blues Trio (JV) 6p, New Orleans Cottonmouth Kings (JV) 10p Three Keys (Ace Hotel): Zo! and Carmen Rodgers, Collective Peace, CoolNasty feat. Josef Lamercier (FK) 9p Three Muses: Royal Roses (JV) 5:30p, Doro Wat Jazz Band (JV) 9p Tropical Isle Bourbon: Wild Card (RK) 5p, Debi and the Deacons (RK) 9p Tropical Isle Original: the Hangovers (RK) 5:15p, Late As Usual (RK) 9:15p

SATURDAY NOVEMBER 4

Bombay Club: Steven Gordon (JV) 8:30p Buffa’s: Debbie Davis and Josh Paxton (VR) 6p, Rebecca Zoe Leigh and Josh Paxton (VR) 9p Chickie Wah Wah: the Johnny Sansone Band with Jake Peavy (VR) 9p Crazy Lobster: the River Gang (VR) 11a, Poppy’s Poppin’ Saturday Review (VR) 4p Creole Cookery: Trad Stars Jazz Band (JV) 11a d.b.a.: Tuba Skinny (JV) 7p, Little Freddie King (BL) 11p Funky Pirate: Mark and the Pentones (BL) 2p, Blues Masters (BL) 8:30p Gasa Gasa: Will Payne Harrison, Steven Dunn, Chris Lenox (FO) 7p Howlin’ Wolf (the Den): the Dustbowl Revival (RR) 10p Howlin’ Wolf: Love Gun: Kiss Tribute Band (CB) 8p Jazz and Heritage Center: Derek Douget, Stephen Riley and Ed Petersen (JV) 8p Kerry Irish Pub: Dave Hickey (FO) 5p, Beth Patterson (FO) 9p Lafitte’s Blacksmith Shop: Lucky Lee (SS) 9p Little Gem Saloon: Lili Lewis Trio (JV) 7p Maple Leaf: Alex Massa’s Big Fat Trio feat. Jameson Ross, Brad Walker and Brian Haas (FK) 10p Morning Call City Park: Billy D. Chapman (JV) 10a NOSH: Dino Brawl, Alexey Marti (VR) 8p One Eyed Jacks: Glamrock Superfoxx (VR) 8p Palm Court Jazz Café: Charlie Fardella and Tim Laughlin with Palm Court Jazz Band (TJ) 8p Preservation Hall: Salon Series: The Sexism Project Day 3 feat. Cooties, Helen Gillet, Maggie Koerner, Closing night dance party with DJ Nice Rack (VR) 12p Preservation Hall: Preservation Jazz Masters feat.

Leroy Jones (TJ) 6p, Preservation All-Stars (TJ) 8p Rock ‘n’ Bowl: Latin Night with Asheson (LT) 9:30p Siberia: Cauche Mar, Maggie Belle Band (PK) 10p Snug Harbor: Donald Harrison Quintet (JV) 8 & 10p Spotted Cat: Monty Banks (JV) 12p, Antoine Diel and Arsene DeLay (JV) 2p, Panorama Jazz Band (JV) 6p, Davis Rogan Band (JV) 10p SEPTEMBER 2017

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LIVE LOCAL MUSIC Three Keys (Ace Hotel): Dwayne Dopsie and the Zydeco Hellraisers (ZY) 9p Three Muses: Chris Christy (JV) 5p, Dana Kurtz (JV) 6p Time Out: Andre Bouvier and the Royal Bohemians (VR) 11a Tipitina’s: Basin Street Records 20th Anniversary feat. Kermit Ruffins, Irvin Mayfield and Cirque du Freque (JV) 9p Tropical Isle Bourbon: Rhythm and Rain (RK) 5p, Debi and the Deacons (RK) 9p Tropical Isle Original: the Hangovers (RK) 5:15p, Late As Usual (RK) 9:15p

SUNDAY NOVEMBER 5

Bombay Club: Tim Laughlin Trio (JV) 8p Buffa’s: Some Like It Hot! (TJ) 10:30a, Pfirst Sunday Pfister Sisters (JV) 4p, Steve Pistorius, Orange Kellin and Benny Amon (JV) 7p Bullet’s: the Wizz (RB) 6p Crazy Lobster: the Gator Bites (VR) 11a, the Neon Shadows (VR) 4p d.b.a.: Sunday Swampede with Feufollet (KJ) 5p, Uncle Nephew feat. Shannon Powell (JV) 10p Gasa Gasa: Making Movies (RK) 9p House of Blues (the Parish): Wild Child (ID) 8p Howlin’ Wolf (the Den): Hot 8 Brass Band (BB) 10p Joy Theater: Sal Vulcano, Bert Kreischer and Nate Bargatze’s Bayou Birthday Bash (VR) 7p Kerry Irish Pub: Chip Wilson (FO) 8p Little Tropical Isle: Styk (RK) 5p, Frank Fairbanks (VR) 9p Maple Leaf: Joe Krown Trio feat. Walter “Wolfman” Washington (RB) 10p Morning Call City Park: Billy D. Chapman (JV) 10a Palm Court Jazz Café: Mark Braud and Sunday Night Swingsters (TJ) 8p Preservation Hall: Preservation Legacy Band feat.

Will Smith (TJ) 5p, Preservation All-Stars feat.

Wendell Brunious (TJ) 8p SideBar NOLA: Sasha Masakowski and Annie Ellicott (VR) 9p Snug Harbor: Stanton Moore All-Stars with Skerik and Eric Bloom (JV) 8 & 10p Spotted Cat: Monty Banks (JV) 12p, Aurora Nealand and the Royal Roses (JV) 2p, Kristina Morales and the Inner Wild (JV) 6p, Pat Casey and the New Sound (JV) 10p Three Keys (Ace Hotel): Juju Child Blues Band (BL) 9p Three Muses: Raphael et Pascale (JV) 5p, Linnzi Zaorski (JV) 8p Tropical Isle Bayou Club: Roland Cheramie and friends (KJ) 5p, Faubourg Ramblers (KJ) 9p Tropical Isle Bourbon: Rhythm and Rain (RK) 5p, Debi and the Deacons (RK) 9p

MONDAY NOVEMBER 6

Bombay Club: David Boeddinghaus (PI) 8p Buffa’s: Arsene DeLay (VR) 5p, Antoine Diel (JV) 8p Chickie Wah Wah: Justin Molaison (VR) 6p, Alex McMurray and Johnny Sansone (VR) 8p d.b.a.: John Boutte (JV) 7p, Egg Yolk Jubilee (BB) 10p Howlin’ Wolf (the Den): Hungry Skinny, Slow Hound, Bad Moon Lander (RK) 9p Kerry Irish Pub: Patrick Cooper (FO) 8:30p Lafitte’s Blacksmith Shop: Lucky Lee (SS) 9p Little Tropical Isle: Mark Parsons (RK) 5p, Reed Lightfoot (RK) 9p Maple Leaf: the Porter Trio feat. George Porter Jr., Terrence Houston and Mike Lemmler (FK) 10p Morning Call: Valerie Sassyfras (VR) 10a One Eyed Jacks: Bad Suns, Hunny, QTY (VR) 8p Preservation Hall: Preservation Jazz Masters feat.

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

Charlie Gabriel (TJ) 8p Rock ‘n’ Bowl: West Coast Swing Night (SI) 7p Snug Harbor: Charmaine Neville Band (JV) 8 & 10p Spotted Cat: Royal Street Winding Boys (JV) 2p, Dominick Grillo and the Frenchmen St. All-Stars (JV) 6p, Jazz Vipers (JV) 10p Three Muses: Luke Winslow King (JV) 8p Tipitina’s: Saint Motel (VR) 9p Tropical Isle Bourbon: Rhythm and Rain (RK) 5p, F.A.S.T. (RK) 9p

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Tropical Isle Original: Graham Robinson Band (RK) 5:15p, Trop Rock Express (RK) 9:15p

TUESDAY NOVEMBER 7

Bombay Club: Matt Lemmler (PI) 8p Buffa’s: Tacos, Tequila and Tiaras with Vanessa Carr (VR) 8p Chickie Wah Wah: Chip Wilson and Marcello Benetti (VR) 5:30p, Andrew Duhon (VR) 8p, Jamey St. Pierre (VR) 10p Crazy Lobster: AC and the Heat (VR) 5p d.b.a.: DinosAurchestra (JV) 7p, Treme Brass Band (BB) 10p Funky Pirate: Blues Masters (BL) 8:30p Howlin’ Wolf (the Den): Comedy Beast (CO) 8:30p Kerry Irish Pub: Jason Bishop (FO) 8:30p Lafitte’s Blacksmith Shop: Lucky Lee (SS) 9p Little Gem Saloon: Evan Christopher and Clarinet Road (JV) 7p Maple Leaf: Rebirth Brass Band (FK) 10p Preservation Hall: Preservation Legacy Band feat.

Wendell Brunious (TJ) 5p, Preservation All-Stars (TJ) 8p Rock ‘n’ Bowl: Latin Night (LT) 7p SideBar NOLA: Helen Gillet and Loren Pickford (VR) 9p Snug Harbor: Stanton Moore Trio (JV) 8 & 10p Spotted Cat: Andy J. Forest (JV) 2p, the Little Big Horns (JV) 6p, Smoking Time Jazz Club (JV) 10p Three Muses: Sam Cammarata (JV) 5p, Messy Cookers (JV) 8p Tropical Isle Bourbon: Wild Card (RK) 5p, Jezebels Chill’n (RK) 9p Tropical Isle Original: the Hangovers (RK) 5:15p, F.A.S.T. (RK) 9:15p

WEDNESDAY NOVEMBER 8

Bombay Club: Kris Tokarski (JV) 8p Buffa’s: Open Mic Night with Nattie Sanchez (SS) 7p Chickie Wah Wah: Ivor Simpson-Kennedy (VR) 5:30p, Meschiya Lake and Tom McDermott (VR) 8p Crazy Lobster: Ken Swartz and the Palace of Sin (VR) 5p d.b.a.: Tin Men (RK) 7p, Walter “Wolfman” Washington and the Roadmasters (BL) 10p House of Blues (the Parish): Lil Peep, Goth Boy Clique, Bexey (HH) 8p Kerry Irish Pub: Roy Gele (FO) 8:30p Little Gem Saloon: Evan Christopher and Clarinet Road (JV) 7p Maple Leaf: Johnny Sketch and the Dirty Notes (FK) 10p Morning Call: Valerie Sassyfras (VR) 10a, Krewe du Two (VR) 1p Palm Court Jazz Café: Lars Edegran and Topsy Chapman with Palm Court Jazz Band (TJ) 8p Preservation Hall: Salon Series: An Evening with Noam Pikelny (VR) 10p Rock ‘n’ Bowl: Joe Krown (SI) 8p Sandbar at UNO: Jazz at the Sandbar feat. Rufus Reid (JV) 7p Siberia: Ariel Ruin, Bosque Fragmentados, Meschiya Lake (FO) 9p SideBar NOLA: David Torkanowsky and friends (VR) 9p Snug Harbor: Uptown Jazz Orchestra with Terrence Taplin (JV) 8 & 10p Spotted Cat: Chris Christy (JV) 2p, Shotgun Jazz Band (JV) 6p, Antoine Diel and the New Orleans Power Misfits (JV) 10p Three Muses: Leslie Martin (JV) 5p, Hot Club of New Orleans (JV) 8p Tipitina’s: Ariel Pink (VR) 9p Tropical Isle Bourbon: Jezebels Chill’n (RK) 5p, Debi and the Deacons (RK) 9p Tropical Isle Original: Debi and the Deacons (RK) 5:15p, Late As Usual (RK) 9:15p

THURSDAY NOVEMBER 9

Bombay Club: Kris Tokarski with Evan Christopher (JV) 8p Buffa’s: Gumbo Cabaret (JV) 5p, Tom McDermott and Chloe Feoranzo (JV) 8p

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LIVE LOCAL MUSIC Bullet’s: Kermit Ruffins and the BBQ Swingers (JV) 6p Chickie Wah Wah: Phil DeGruy (VR) 6p, John “Papa” Gros Band (VR) 8p, New Orleans Guitar Masters (VR) 9p Crazy Lobster: the Spanish Plaza 3 (VR) 5p d.b.a.: Alexis and the Samurai (ID) 7p, the Iguanas (VR) 10p Funky Pirate: Mark and the Pentones (BL) 4p, Blues Masters (BL) 8:30p Howlin’ Wolf (the Den): Comedy Gumbeaux (CO) 8:30p Kerry Irish Pub: Beth Patterson (FO) 8:30p Lafitte’s Blacksmith Shop: Lucky Lee (SS) 9p Little Gem Saloon: Evan Christopher and Clarinet Road (JV) 8p Little Tropical Isle: Allen Hebert (RK) 5p, Jezebels Chill’n (RK) 9p Maple Leaf: Johnny Vidacovich, George Porter Jr. and special guest (FK) 10p NOSH: Dino Crawl, Alexey Marti (JV) 7p Ogden Museum of Southern Art: the Iguanas (RR) 6p One Eyed Jacks: Sage Francis, Jonathan Brown (VR) 8p, Fast Times ‘80s and ‘90s Night (VR) 10p Orpheum Theater: Old Crow Medicine Show (FO) 8:30p Palm Court Jazz Café: Tim Laughlin and Ben Polcer with Crescent City Joymakers (TJ) 8p Preservation Hall: Preservation Legacy Band feat.

Will Smith (TJ) 5p, Preservation All-Stars feat.

Louis Ford (TJ) 8p Rock ‘n’ Bowl: Rusty Metoyer and Zydeco Krush (ZY) 8:30p Saenger Theatre: the Illusionists present Adam Tent (VR) 8p Siberia: Eastern Bloc Party feat. Blato Zlato (GY) 9p SideBar NOLA: Chappy with Denise Bonis and Dave Sobel (VR) 9p Smoothie King Center: Jay-Z (HH) 8p Snug Harbor: Rufus Reid All-Stars with Ellis Marsalis and Herlin Riley (JV) 8 & 10p Southport Hall: Stache Gordon, the Jak Locke Rock Show (VR) 7p Spotted Cat: Up Up We Go (JV) 2p, Miss Sophie Lee (JV) 6p, Jumbo Shrimp (JV) 10p Three Muses: Tom McDermott (JV) 5p, Arsene DeLay (JV) 8p Tropical Isle Bayou Club: Cajun Drifters (KJ) 5p, Faubourg Ramblers (KJ) 9p Tropical Isle Original: the Hangovers (RK) 5:15p, Late As Usual (RK) 9:15p Tulane University (Lavin-Bernick Center): Jazz at the Rat feat. Todd Duke (JV) 7p Vaughan’s Lounge: DJ Black Pearl (VR) 9p, Corey Henry and Treme Funket (FK) 10p

FRIDAY NOVEMBER 10

Bombay Club: Larry Scala (JV) 8:30p Buffa’s: Betty Shirley (JV) 6p, Luna Mora (LT) 9p Chickie Wah Wah: Michael Pearce (BL) 6p, John Doe (VR) 8p Crazy Lobster: Ken Swartz and the Palace of Sin (VR) 5p Gasa Gasa: Tera Melos, Speedy Ortiz, Matron (RK) 9p House of Blues: Bustout Burlesque and the Bustout Jazz Band (BQ) 9p Howlin’ Wolf (the Den): Radioactive Red, Sunquakes (RK) 10p Joy Theater: This Is NOLA feat. Stoop Kids, Roar!, Sexy Dex and the Fresh, DJ Kathi (VR) 8p Kerry Irish Pub: Chappy with Denise Bonis and Dave Sobel (FO) 5p, Paintbox with Dave James and Tim Robertson (FO) 9p Little Gem Saloon: Henry Butler (PI) 7p, Lilli Lewis Trio (SS) 8p Mahalia Jackson Theater: New Orleans Opera Association presents Orpheus in the Underworld (CL) 8p Maple Leaf: Naughty Professor with Chali 2na (FK) 10p Morning Call: Valerie Sassyfras (VR) 10a NOSH: DJ Subie and guests (VR) 8p Old Point Bar: Rick Trolsen (PI) 5p, Truman Holland and the Back Porch Review (RK) 9:30p

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Orpheum Theater: Les Nubians, Cyril Neville, Ernie Smith (FK) 8p Palm Court Jazz Café: Kevin Louis and Palm Court Jazz Band (TJ) 8p Preservation Hall: Preservation Legacy Band feat.

Wendell Brunious (TJ) 5p, Preservation All-Stars feat. Daniel “Weenie” Farrow (TJ) 8p Rock ‘n’ Bowl: 90 Degrees West (CW) 9:30p Snug Harbor: Ellis Marsalis Quintet (JV) 8 & 10p Spotted Cat: Andy J. Forest (JV) 2p, Washboard Chaz Blues Trio (JV) 6p, New Orleans Cottonmouth Kings (JV) 10p Three Muses: Matt Johnson (JV) 5p, Doro Wat Jazz Band (JV) 9p Tipitina’s: Jagged Little Pill: Tribute to Alanis Morisette (SS) 10p Tropical Isle Bayou Club: Faubourg Ramblers (KJ) 5p, T’Canaille (KJ) 9p Tropical Isle Original: the Hangovers (RK) 5:15p, Late As Usual (RK) 9:15p

SATURDAY NOVEMBER 11

Bombay Club: Hal Smith’s On the Levee Band (JV) 8:30p Buffa’s: Camile Baudoin and Marc Paradis (VR) 6p, 11:11 Radiators Tribute with Darcy Malone, Margie Perez, Marc Paradis, Dave Pomerleau, Josh Paxton (VR) 9p Chickie Wah Wah: Hog Leg (VR) 9p Crazy Lobster: the River Gang (VR) 11a, Poppy’s Poppin’ Saturday Review (VR) 4p Creole Cookery: Trad Stars Jazz Band (JV) 11a d.b.a.: Meschiya Lake and the Little Big Horns (JV) 8p, Sweet Crude (ID) 11p House of Blues (the Parish): Cousin Stizz, Swoosh, Big Leano (HH) 9p Howlin’ Wolf (the Den): Uncomfy (FO) 10p Kerry Irish Pub: Paul Tobin (FO) 5p, Hurricane Refugees (FO) 9p Lafitte’s Blacksmith Shop: Lucky Lee (SS) 9p Little Gem Saloon: Kermit Ruffins and the BBQ Swingers (JV) 9p Little Tropical Isle: Reed Lightfoot (RK) 5p, Styk (RK) 9p Maple Leaf: Naughty Professor with Marcus King (VR) 10p Morning Call City Park: Billy D. Chapman (JV) 10a NOSH: DJ Torque, Alexey Marti (VR) 8p One Eyed Jacks: Merci Raines, Blonde Roses, Ship of Fools (VR) 8p Orpheum Theater: GRiZ (EL) 9p Palm Court Jazz Café: Charlie Fardella and Palm Court Jazz Band (TJ) 8p Preservation Hall: Preservation Jazz Masters feat.

Leroy Jones (TJ) 6p, Preservation All-Stars feat.

Charlie Gabriel (TJ) 8p Rock ‘n’ Bowl: Amanda Shaw and the Cute Guys, Mia Kylie Band (KJ) 9p Snug Harbor: Topsy Chapman and Solid Harmony (JV) 8 & 10p Spotted Cat: Monty Banks (JV) 12p, Shotgun Jazz Band (JV) 2p, Panorama Jazz Band (JV) 6p, Jazz Vipers (JV) 10p Three Muses: Chris Christy (JV) 5p, Debbie Davis (JV) 6p, Shotgun Jazz Band (JV) 9p Time Out: Andre Bouvier and the Royal Bohemians (VR) 11a Tipitina’s: Harvest the Music Benefit feat.

Dumpstaphunk (FK) 10p Tropical Isle Bayou Club: the Troubadour (KJ) 1p, Faubourg Ramblers (KJ) 5p, T’Canaille (KJ) 9p Tropical Isle Original: the Hangovers (RK) 5:15p, Late As Usual (RK) 9:15p

SUNDAY NOVEMBER 12

Bombay Club: Kris Tokarski Trio feat. Clint Baker (JV) 8p Buffa’s: Some Like It Hot! (TJ) 10:30a, Little Coquette (JV) 4p, Gerald French Trio (JV) 7p Chickie Wah Wah: Meschiya Lake and the Little Big Horns Quartet (JV) 8p Civic Theatre: Grizzly Bear, serpentwithfeet (ID) 7p Crazy Lobster: the Gator Bites (VR) 11a, the Neon Shadows (VR) 4p d.b.a.: Palmetto Bugs Stompers (SI) 6p SEPTEMBER 2017

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LIVE LOCAL MUSIC Gasa Gasa: Cindy Wilson, Olivia Jean, Material Girls (RK) 7p Hi-Ho Lounge: NOLA Comedy Hour (CO) 8p, Stripped Into Submission (BQ) 10p Howlin’ Wolf (the Den): Hot 8 Brass Band (BB) 10p Joy Theater: Deorro (EL) 10p Kermit’s Mother-in-Law Lounge: Kermit Ruffins and the BBQ Swingers (JV) 5:30p Kerry Irish Pub: Irish Session (FO) 5p, Beth Patterson (FO) 8p Little Gem Saloon: Blues Brunch with Little Freddie King (BL) 11a Little Tropical Isle: Styk (RK) 5p, Frank Fairbanks (VR) 9p Mahalia Jackson Theater: New Orleans Opera Association presents Orpheus in the Underworld (CL) 2:30p Maple Leaf: Joe Krown Trio feat. Walter “Wolfman” Washington (RB) 10p Morning Call City Park: Billy D. Chapman (JV) 10a Palm Court Jazz Café: Tom Fischer and Clive Wilson with Crescent City Joymakers (TJ) 8p Preservation Hall: Salon Series: Shake ‘Em Up Jazz Band Presents a Tribute to the Women of Preservation Hall (TJ) 3p, Preservation Legacy Band feat. Will Smith (TJ) 6p, Preservation AllStars feat. Wendell Brunious (TJ) 8p Rock ‘n’ Bowl: Fais Do Do with Bruce Daigrepont (KJ) 5:30p Siberia: New Orleans Accordion Festival (VR) 9p Snug Harbor: Shannon Powell Trio (JV) 8 & 10p Spotted Cat: Monty Banks (JV) 12p, John Lisi and Delta Funk (JV) 2p, Pat Casey and the New Sound (JV) 10p Three Keys (Ace Hotel): Juju Child Blues Band (BL) 9p Three Muses: Raphael et Pascale (JV) 5p, Linnzi Zaorski (JV) 8p Tropical Isle Original: the Hangovers (RK) 5:15p, Late As Usual (RK) 9:15p

MONDAY NOVEMBER 13

Bombay Club: David Boeddinghaus (PI) 8p Buffa’s: Arsene DeLay (VR) 5p, Antoine Diel (JV) 8p Carver Theater: Israel Vibrations, Roots Radics, DJ T-Roy (VR) 9p Chickie Wah Wah: Justin Molaison (VR) 6p, Alex McMurray and Mike Dillon (VR) 8p Civic Theatre: Primus (RK) 7p Crazy Lobster: the Insta-Gators (VR) 5p d.b.a.: John Boutte (JV) 7p, Egg Yolk Jubilee (BB) 10p Dragon’s Den: Monday Night Swing feat. Todd Yannacone and the Fully Dressed Po’boys (GY) 7p, Hangover Mondays with DJ Ill Medina (VR) 11p Funky Pirate: Willie Lockett Band (BL) 8p House of Blues (the Parish): Penny and Sparrow, My Bubba (DO) 8p Kerry Irish Pub: Two Sheets To The Wind (FO) 8:30p Lafitte’s Blacksmith Shop: Lucky Lee (SS) 9p Maple Leaf: the Porter Trio feat. George Porter Jr., Terrence Houston and Mike Lemmler (FK) 10p Morning Call: Valerie Sassyfras (VR) 10a One Eyed Jacks: Blind Texas Marlin (VR) 8p Orpheum Theater: Alt-J, NoMBe () 8p Preservation Hall: Preservation All-Stars feat.

Charlie Gabriel (TJ) 8p Rock ‘n’ Bowl: West Coast Swing Night (SI) 7p SideBar NOLA: David Bandrowski and friends (VR) 9p Snug Harbor: Charmaine Neville Band (JV) 8 & 10p Spotted Cat: Royal Street Winding Boys (JV) 2p, Dominick Grillo and the Frenchmen St. All-Stars (JV) 6p, Jazz Vipers (JV) 10 Tipitina’s: Noname (VR) 7:30p Tropical Isle Bayou Club: Cajun Drifters (KJ) 7p Tropical Isle Bourbon: Rhythm and Rain (RK) 5p, F.A.S.T. (RK) 9p

TUESDAY NOVEMBER 14

Bombay Club: Matt Lemmler (PI) 8p Buffa’s: Tacos, Tequila and Tiaras with Vanessa Carr (VR) 8p Chickie Wah Wah: Chip Wilson and Marcello Benetti (VR) 5:30p, Mike Doussan and Company (VR) 8p, Jamey St. Pierre (VR) 10p

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Civic Theatre: the Shins, BAIO (ID) 7p Crazy Lobster: AC and the Heat (VR) 5p d.b.a.: DinosAurchestra (JV) 7p, Treme Brass Band (BB) 10p Funky Pirate: Blues Masters (BL) 8:30p Howlin’ Wolf (the Den): Comedy Beast (CO) 8:30p Kerry Irish Pub: Jason Bishop (FO) 8:30p Lafitte’s Blacksmith Shop: Lucky Lee (SS) 9p Little Gem Saloon: NOLA Dukes Showcase (JV) 7p Mahalia Jackson Theater: Tori Amos (RK) 7:30p Maple Leaf: Rebirth Brass Band (FK) 10p One Eyed Jacks: Cults, She-Devils, Hideouts (VR) 8p Preservation Hall: Preservation Legacy Band feat.

Wendell Brunious (TJ) 6p, Preservation All-Stars feat. Charlie Gabriel (TJ) 8p Rock ‘n’ Bowl: Latin Night (LT) 7p SideBar NOLA: Johnny Vidacovich and Doug Garrison (VR) 9p Snug Harbor: Stanton Moore Trio (JV) 8 & 10p Spotted Cat: Andy J. Forest (JV) 2p, Meschiya Lake and the Little Big Horns (JV) 6p, Smoking Time Jazz Club (JV) 10p Three Muses: Josh Gouzy (JV) 8p Tropical Isle Bayou Club: Cajun Drifters (KJ) 7p Tropical Isle Bourbon: Wild Card (RK) 5p, Jezebels Chill’n (RK) 9p

WEDNESDAY NOVEMBER 15

Bombay Club: Kris Tokarski (JV) 8p Buffa’s: Open Mic Night with Nattie Sanchez (SS) 7p Chickie Wah Wah: Ivor Simpson-Kennedy (VR) 5:30p, Meschiya Lake and Tom McDermott (JV) 8p Crazy Lobster: Ken Swartz and the Palace of Sin (VR) 5p d.b.a.: Tin Men (RK) 7p, Walter “Wolfman” Washington and the Roadmasters (BL) 10p French Market: Patrick Cooper and Natasha Sanchez (FO) 1:30p Funky Pirate: Blues Masters (BL) 8:30p Generations Hall: Playing It Back Hurricane-Relief Benefit feat. Rockin’ Dopsie Jr., the Phunky Monkeys, Armando Leduc y Salsa Royal (VR) 6p House of Blues (the Parish): Jonwayne, Danny Watts, EMV (HH) 8p Kerry Irish Pub: Tim Robertson (FO) 8:30p Little Gem Saloon: Marc Stone Presents Acoustic Roundtable 1 with Jimmy Robinson, Mikayla Braun and Marc Stone (BL) 7p Maple Leaf: Johnny Sketch and the Dirty Notes (FK) 10p Morning Call: Valerie Sassyfras (VR) 10a, Krewe du Two (VR) 1p Palm Court Jazz Café: Lars Edegran and Topsy Chapman with Palm Court Jazz Band (TJ) 8p Preservation Hall: Preservation Legacy Band (TJ) 5p, Preservation All-Stars feat. Charlie Gabriel (TJ) 8p Rock ‘n’ Bowl: the Boogie Men (SI) 8p Sandbar at UNO: Jazz at the Sandbar feat. James Evans (JV) 7p SideBar NOLA: Phil DeGruy and his Multiple Personalities (VR) 9p Snug Harbor: Uptown Jazz Orchestra with Terrence Taplin (JV) 8 & 10p Spotted Cat: Chris Christy (JV) 2p, Shotgun Jazz Band (JV) 6p, Antoine Diel and the New Orleans Power Misfits (JV) 10p Three Keys (Ace Hotel): Burris, Ruby and the Rogues, Nyce (FK) 9p Three Muses: Leslie Martin (JV) 5p, Schatzy (JV) 8p Tropical Isle Bourbon: Jezebels Chill’n (RK) 5p, Debi and the Deacons (RK) 9p

THURSDAY NOVEMBER 16

Bombay Club: Kris Tokarski with Matt Johnson (JV) 8p Buffa’s: Andre Bohren (PI) 5p, Tom McDermott and Chloe Feoranzo (JV) 8p Bullet’s: Kermit Ruffins and the BBQ Swingers (JV) 6p Chickie Wah Wah: Phil DeGruy (VR) 6p, John “Papa” Gros Band (VR) 8p Crazy Lobster: the Spanish Plaza 3 (VR) 5p

d.b.a.: Alexis and the Samurai (ID) 7p, Little Freddie King (BL) 10p Dragon’s Den: Crescent Fresh Stand-Up Open Mic (CO) 7p, Soundclash (HH) 9p Funky Pirate: Mark and the Pentones (BL) 4p, Blues Masters (BL) 8:30p Howlin’ Wolf (the Den): Comedy Gumbeaux (CO) 8:30p Kerry Irish Pub: Van Hudson (FO) 8:30p Lafitte’s Blacksmith Shop: Lucky Lee (SS) 9p Little Gem Saloon: Marc Stone Presents Acoustic Roundtable 2 with Papa Mali, Alexandra Scott and Marc Stone (BL) 7p Loyola University (Nunemaker Auditorium): Loyola Jazz Faculty present 100 Years of New Orleans Music (JV) 7:30p Maple Leaf: Johnny Vidacovich, George Porter Jr. and Keiko Komaki (FK) 10p NOSH: DJ Matt Scott and guest (JV) 7p Ogden Museum of Southern Art: Quintron (VR) 6p Palm Court Jazz Café: Tim Laughlin and Crescent City Joymakers (TJ) 8p Preservation Hall: Preservation Legacy Band feat.

Will Smith (TJ) 6p, Preservation All-Stars feat.

Louis Ford (TJ) 8p Rock ‘n’ Bowl: Lil Nathan and the Zydeco Big Tymers (ZY) 8:30p Siberia: Eastern Bloc Party feat. Panorama Brass Band (GY) 9p SideBar NOLA: Dayna Kurtz and friends (VR) 9p Snug Harbor: Adonis Rose and NOJO Jam (JV) 8 & 10p Spotted Cat: Up Up We Go (JV) 2p, Miss Sophie Lee (JV) 6p, Jumbo Shrimp (JV) 10p Three Keys (Ace Hotel): SONO presents the Shape of Jazz to Come feat. Amina Scott, Noruz, Samir Zarif (JV) 9p Three Muses: Tom McDermott (PI) 5p, Mia Borders (VR) 8p Tropical Isle Bourbon: Wild Card (RK) 5p, Debi and the Deacons (RK) 9p Vaughan’s Lounge: DJ Black Pearl (VR) 9p, Corey Henry and Treme Funket (FK) 10p

FRIDAY NOVEMBER 17

Bombay Club: Riverside Jazz Collective (JV) 8:30p Buffa’s: Davis Rogan (VR) 6p, Marina Orchestra (JV) 9p Chickie Wah Wah: Michael Pearce (BL) 6p, Paul Sanchez and Sean Kelly (VR) 8p, Bill Kirchen and Spencer Bohren (VR) 10p Crazy Lobster: Ken Swartz and the Palace of Sin (VR) 5p d.b.a.: Smoking Time Jazz Club (JV) 6p, Ike Stubblefield Trio (VR) 10p Funky Pirate: Mark and the Pentones (BL) 2p, Blues Masters (BL) 8:30p Historic New Orleans Collection: Concerts in the Courtyard feat. Javier Olondo and AsheSon (LT) 6p House of Blues (the Parish): Pierce Fulton and NVDES (EL) 8p House of Blues: the Maine, Dreamers, Night Riots (RK) 7p Kerry Irish Pub: Patrick Cooper (FO) 5p, Halfway to Bob Dylan’s Birthday Tribute with Foot and friends (FO) 9p Little Gem Saloon: Lilli Lewis (SS) 5p, Marc Stone Presents Fess Up! Professor Longhair Tribute feat. John Mooney, Alfred “Uganda” Roberts, Tom Worrell and Marc Stone (BL) 8p Maple Leaf: Original Criminals (FK) 10p Morning Call: Valerie Sassyfras (VR) 10a NOSH: DJ Funk-All-Night and Crew (VR) 8p One Eyed Jacks: Lost Bayou Ramblers, Mike Dillon Band (VR) 9p Palm Court Jazz Café: Kevin Louis and Palm Court Jazz Band (TJ) 8p Rock ‘n’ Bowl: Phunky Monkeys (VR) 9:30p Snug Harbor: Dr. Michael White and Original Liberty Jazz Band (JV) 8 & 10p Spotted Cat: Andy J. Forest (JV) 2p, Washboard Chaz Blues Trio (JV) 6p, New Orleans Cottonmouth Kings (JV) 10p Three Muses: Royal Roses (JV) 5:30p, Doro Wat Jazz Band (JV) 9p

Tipitina’s: Hiss Golden Messenger (VR) 9p Tropical Isle Bourbon: Wild Card (CW) 5p, Debi and the Deacons (RK) 9p

SATURDAY NOVEMBER 18

Bombay Club: Joe Krown Trio (JV) 8:30p Buffa’s: Odd Fellows Rest (VR) 6p, Royal Rounders (VR) 9p Chickie Wah Wah: Creole String Beans, Thousand Dollar Car (VR) 8p Crazy Lobster: the River Gang (VR) 11a, Poppy’s Poppin’ Saturday Review (VR) 4p d.b.a.: Tuba Skinny (JV) 7p, Hot 8 Brass Band (BB) 11p Funky Pirate: Mark and the Pentones (BL) 2p, Blues Masters (BL) 8:30p Gasa Gasa: Jacob Banks, Vera Blue (RB) 9p House of Blues: DMX (HH) 9p Howlin’ Wolf (the Den): the Jag, Maggie Belle Band, Bantam Foxes (RK) 10p Joy Theater: Troyboi, Slumberjack (VR) 10p Kerry Irish Pub: Mike Kerwin and Geoff Coats (FO) 5p, Roux the Day (FO) 9p Lafitte’s Blacksmith Shop: Lucky Lee (SS) 9p Little Gem Saloon: Marc Stone Presents “All Things Must Pass” performed by Papa Mali, Dayna Kurtz, Jimmy Robinson, David Easley, Jimmy Messa, Alexandra Scott, Micah McKee, Debbie Davis, Thomas McDonald, Luke Quaranta, Terry Scott, Jr., Marc Stone (RK) 7p; Kermit Ruffins and the BBQ Swingers (JV) 9p Maple Leaf: Sonic Bloom (JV) 10p Morning Call City Park: Billy D. Chapman (JV) 10a NOSH: DJ Torque + Alexey Marti (VR) 8p One Eyed Jacks: the Darts, Escobar, Baby Bats (VR) 9p Palm Court Jazz Café: Duke Heitger and Palm Court Jazz Band (TJ) 8p Rock ‘n’ Bowl: Rockin’ Dopsie Jr. and the Zydeco Twisters (ZY) 9:30p Snug Harbor: Rene Marie and Experiment in Truth (JV) 8 & 10p Spotted Cat: Monty Banks (JV) 12p, Russell Welch’s Mississippi Gypsy (JV) 2p, Panorama Jazz Band (JV) 6p, Meschiya Lake and the Little Big Horns (JV) 10p Three Muses: Chris Christy (JV) 5p, Shotgun Jazz Band (JV) 9p Tropical Isle Bourbon: Rhythm and Rain (RK) 5p, Debi and the Deacons (RK) 9p

SUNDAY NOVEMBER 19

Bombay Club: Tim Laughlin Trio (JV) 8p Buffa’s: Some Like It Hot! (TJ) 10:30a, Nattie’s Songwriter Circle (SS) 4p, Steve Pistorius, Orange Kellin and Benny Amon (JV) 7p Chickie Wah Wah: Meschiya Lake and the Little Big Horns Quartet (JV) 8p Crazy Lobster: the Gator Bites (VR) 11a, the Neon Shadows (VR) 4p d.b.a.: Palmetto Bugs Stompers (SI) 6p, Bon Bon Vivant (JV) 10p Dragon’s Den: Open Jazz Jam with Anuraag Pendyal (JV) 7p, Church (EL) 10p Funky Pirate: Mark and the Pentones (BL) 4p, Willie Lockett Band (BL) 8p House of Blues: Ani DeFranco (FO) 8p Howlin’ Wolf (the Den): the Delta Troubadours (RK) 8p, Hot 8 Brass Band (BB) 10p Kerry Irish Pub: Patrick Cooper (FO) 8p Maple Leaf: MoFess Tribute to Professor Longhair (PI) 10p Morning Call City Park: Billy D. Chapman (JV) 10a Palm Court Jazz Café: Mark Braud and Sunday Night Swingsters (TJ) 8p Preservation Hall: Preservation Legacy Band feat.

Will Smith (TJ) 5p, Preservation All-Stars feat.

Wendell Brunious (TJ) 8p Rock ‘n’ Bowl: Fais Do Do with Bruce Daigrepont (KJ) 5:30p SideBar NOLA: James Singleton and Aurora Nealand (VR) 9p Snug Harbor: Andrew Baham and 4AM (JV) 8 & 10p Spotted Cat: Monty Banks (JV) 12p, Gouzy Band (JV) 2p, Kristina Morales and the Inner Wild (JV) 6p, Pat Casey and the New Sound (JV) 10p

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LIVE LOCAL MUSIC Three Keys (Ace Hotel): Juju Child Blues Band (BL) 9p Three Muses: Raphael et Pascale (JV) 5p, Linnzi Zaorski (JV) 8p Tipitina’s: Bonerama CD-release party, Darcy Malone and the Tangle (VR) 9p Tropical Isle Bourbon: Rhythm and Rain (RK) 5p, Debi and the Deacons (RK) 9p

MONDAY NOVEMBER 20

Bombay Club: David Boeddinghaus (PI) 8p Buffa’s: Arsene DeLay (VR) 5p, Antoine Diel (JV) 8p Chickie Wah Wah: Justin Molaison (VR) 6p, Alex McMurray and Spencer Bohren (VR) 8p d.b.a.: John Boutte (JV) 7p, Egg Yolk Jubilee (BB) 10p Funky Pirate: Willie Lockett Band (BL) 8p Hi-Ho Lounge: Bluegrass Pickin’ Party (BU) 8p, Instant Opus Improvised Series (MJ) 10p Joy Theater: Tyler, the Creator (VR) 9p Kerry Irish Pub: Roy Gele (FO) 8:30p Lafitte’s Blacksmith Shop: Lucky Lee (SS) 9p Little Tropical Isle: Mark Parsons (RK) 5p, Reed Lightfoot (RK) 9p Maple Leaf: the Porter Trio feat. George Porter Jr., Terrence Houston and Mike Lemmler (FK) 10p Morning Call: Valerie Sassyfras (VR) 10a One Eyed Jacks: Blind Texas Marlin (VR) 8p Preservation Hall: Preservation Jazz Masters feat. Leroy Jones (TJ) 5p, Preservation AllStars feat. Charlie Gabriel (TJ) 8p Rock ‘n’ Bowl: West Coast Swing Night (SI) 7p SideBar NOLA: Mazz Swift, Alexandra Scott and Keith Burnstein (VR) 9p Snug Harbor: Charmaine Neville Band (JV) 8 & 10p Spotted Cat: Royal Street Winding Boys (JV) 2p, Sarah McCoy and the Oopsie Daisies (JV) 4p, Dominick Grillo and the Frenchmen St. All-Stars (JV) 6p, Jazz Vipers (JV) 10 Three Muses: Washboard Rodeo (JV) 8p Tropical Isle Bourbon: Rhythm and Rain (RK) 5p, F.A.S.T. (RK) 9p

TUESDAY NOVEMBER 21

Bombay Club: Matt Lemmler (PI) 8p Buffa’s: Tacos, Tequila and Tiaras with Vanessa Carr (VR) 8p Chickie Wah Wah: Chip Wilson and Marcello Benetti (VR) 5:30p, Mike Doussan and Company (VR) 8p, Jamey St. Pierre (VR) 10p Crazy Lobster: AC and the Heat (VR) 5p d.b.a.: DinosAurchestra (JV) 7p, Treme Brass Band (BB) 10p Funky Pirate: Blues Masters (BL) 8:30p Howlin’ Wolf (the Den): Comedy Beast (CO) 8:30p Joy Theater: 21 Savage, YoungBoy Never Broke Again (VR) 9p Kerry Irish Pub: Jason Bishop (FO) 8:30p Lafitte’s Blacksmith Shop: Lucky Lee (SS) 9p Little Gem Saloon: the Diaz Trio (JV) 7p Little Tropical Isle: Mark Pentone (RK) 5p, Frank Fairbanks (RK) 9p Maple Leaf: Rebirth Brass Band (FK) 10p Preservation Hall: Preservation All-Stars feat.

Wendell Brunious (TJ) 5p, Preservation AllStars feat. Charlie Gabriel (TJ) 8p Rock ‘n’ Bowl: Latin Night (LT) 7p SideBar NOLA: Mike Dillon and friends (VR) 9p Snug Harbor: Stanton Moore Trio (JV) 8 & 10p Spotted Cat: Andy J. Forest (JV) 2p, Meschiya Lake and the Little Big Horns (JV) 6p, Smoking Time Jazz Club (JV) 10p Three Muses: Sam Cammarata (JV) 5p, Josh Gouzy Quartet (JV) 8p Tropical Isle Bayou Club: Cajun Drifters (KJ) 7p Tropical Isle Bourbon: Wild Card (RK) 5p, Jezebels Chill’n (RK) 9p

WEDNESDAY NOVEMBER 22 Bombay Club: Kris Tokarski (JV) 8p Buffa’s: Open Mic Night with Nattie Sanchez (SS) 7p

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Chickie Wah Wah: Ivor Simpson-Kennedy (VR) 5:30p, Meschiya Lake and Tom McDermott (JV) 8p Crazy Lobster: Ken Swartz and the Palace of Sin (VR) 5p d.b.a.: Tin Men (RK) 7p, Walter “Wolfman” Washington and the Roadmasters (BL) 10p Howlin’ Wolf: Bear Grillz presents American Freakshow (EL) 9p Kerry Irish Pub: Patrick Cooper (FO) 8:30p Little Gem Saloon: the Diaz Trio (JV) 7p Little Tropical Isle: Mark Parsons (RK) 5p, Reed Lightfoot (RK) 9p Maple Leaf: Khris Royal and Dark Matter (FK) 10p Morning Call: Valerie Sassyfras (VR) 10a, Krewe du Two (VR) 1p Preservation Hall: Preservation All-Stars (TJ) 5p, Preservation All-Stars feat. Charlie Gabriel (TJ) 8p Rock ‘n’ Bowl: the Boogie Men (SI) 8p SideBar NOLA: Aurora Nealand and Trapper Keaper (VR) 9p Snug Harbor: Uptown Jazz Orchestra with Delfeayo Marsalis (JV) 8 & 10p Spotted Cat: Chris Christy (JV) 2p, Shotgun Jazz Band (JV) 6p, Antoine Diel and the New Orleans Power Misfits (JV) 10p Three Muses: Leslie Martin (JV) 5p, Gal Holiday and the Honky Tonk Revue (CW) 8p Tropical Isle Bourbon: Jezebels Chill’n (RK) 5p, Debi and the Deacons (RK) 9p

THURSDAY NOVEMBER 23

Bombay Club: David Boeddinghaus Duo (JV) 8p Buffa’s: Tom McDermott and friends (JV) 8p Chickie Wah Wah: Phil DeGruy (VR) 6p, John “Papa” Gros Band (VR) 8p Howlin’ Wolf (the Den): Comedy Gumbeaux (CO) 8:30p Howlin’ Wolf: Juvenile’s 40 Degreez Anniversary Party (HH) 10p Lafitte’s Blacksmith Shop: Lucky Lee (SS) 9p Maple Leaf: the Original Trio feat. Johnny Vidacovich, June Yamagishi and George Porter Jr. (FK) 10p NOSH: DJ Torque, Alexey Marti (JV) 7p Preservation Hall: Preservation Legacy Band feat. Will Smith (TJ) 5p, Preservation All-Stars feat. Louis Ford (TJ) 8p Rock ‘n’ Bowl: Geno Delafose (ZY) 8:30p Spotted Cat: Shotgun Jazz Band Thanksgiving Potluck (JV) 6:30p, Jumbo Shrimp (JV) 10p Three Keys (Ace Hotel): Home Away from Home feat. Todo Mezcla with Bill Summers and friends (LT) 7p Tropical Isle Bourbon: Wild Card (RK) 5p, Debi and the Deacons (RK) 9p Tropical Isle Original: the Hangovers (RK) 5:15p, Late As Usual (RK) 9:15p

FRIDAY NOVEMBER 24

Bombay Club: Leroy Jones (JV) 8:30p Buffa’s: Doyle Cooper’s Trad Jazz Jam Session (JV) 6p, Dirty Rain Revelers (VR) 9p Bullet’s: Original Pinettes Brass Band (BB) 9p Chickie Wah Wah: Michael Pearce (BL) 6p Crazy Lobster: Ken Swartz and the Palace of Sin (VR) 5p d.b.a.: Linnzi Zaorski (JV) 6p, Double-07 (VR) 10p House of Blues (the Parish): House of the Young (HH) 10p House of Blues: $uicideboy$ (HH) 9p Joy Theater: the Annual Last Waltz feat. Papa Mali, Reggie Scanlan, Honey Island Swamp Band, New Orleans Suspects, John “Papa” Gros Band and others (VR) 8p Kermit’s Mother-in-Law Lounge: Guitar Slim Jr. (BL) 9p Kerry Irish Pub: Patrick Cooper (FO) 5p Little Tropical Isle: Reed Lightfoot (RK) 5p, Styk (RK) 9p Maple Leaf: Gravity Dead Feat. Papa Mali and Billy Iuso (RR) 10p SEPTEMBER 2017

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LIVE LOCAL MUSIC Morning Call: Valerie Sassyfras (VR) 10a NOSH: DJ Hologram and guests (VR) 8p Palm Court Jazz Café: Kevin Louis and Palm Court Jazz Band (TJ) 8p Preservation Hall: Preservation Legacy Band feat. Wendell Brunious (TJ) 5p, Preservation All-Stars feat. Daniel “Weenie” Farrow (TJ) 8p Rock ‘n’ Bowl: Bucktown All-Stars (VR) 9:30p Siberia: United Bakery Records presents Sabine McCalla and others (FO) 10p SideBar NOLA: the Geraniums (VR) 9p Snug Harbor: Ellis Marsalis Quintet (JV) 8 & 10p Southport Hall: the Molly Ringwalds (VR) 8p Spotted Cat: Andy J. Forest (JV) 2p, Washboard Chaz Blues Trio (JV) 6p, New Orleans Cottonmouth Kings (JV) 10p Three Muses: Matt Johnson (JV) 5:30p, Doro Wat Jazz Band (JV) 9p Tipitina’s: A Neville Family Groove feat. Ivan Neville, Charles Neville, Cyril Neville and Ian Neville, Big Chief Juan Pardo, Jason Neville, Omari Neville and the Fuel, DJ Soul Sister (FK) 9p Tropical Isle Bourbon: Wild Card (RK) 5p, Debi and the Deacons (RK) 9p Vaughan’s Lounge: DJ Black Pearl (VR) 9p, Corey Henry and Treme Funket (FK) 10p

SATURDAY NOVEMBER 25

Bombay Club: Los Tres Amigos (JV) 8:30p Buffa’s: James Evans Trio (JV) 6p, Calvin Johnson and Native Son (JV) 9p Chickie Wah Wah: Ed Volker’s Radio Days (VR) 9p Crazy Lobster: the River Gang (VR) 11a, Poppy’s Poppin’ Saturday Review (VR) 4p Creole Cookery: Trad Stars Jazz Band (JV) 11a d.b.a.: Meschiya Lake and the Little Big Horns (JV) 7p, George Porter Jr. and his Runnin’ Pardners (FK) 11p

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Funky Pirate: Mark and the Pentones (BL) 2p, Blues Masters (BL) 8:30p House of Blues (the Parish): Tre-G (HH) 10p Howlin’ Wolf (the Den): Stoked (CO) 9p Joy Theater: Partners-N-Crime, DJ Jubilee (HH) 8p Kerry Irish Pub: Beth Patterson (FO) 5p Lafitte’s Blacksmith Shop: Lucky Lee (SS) 9p Maple Leaf: New Orleans Suspects (FK) 10p Morning Call City Park: Billy D. Chapman (JV) 10a NOSH: DJ Hologram and guests (VR) 8p Palm Court Jazz Café: Mark Braud and Palm Court Jazz Band (TJ) 8p Preservation Hall: Preservation Jazz Masters feat. Leroy Jones (TJ) 5p, Preservation AllStars (TJ) 8p Rock ‘n’ Bowl: Tab Benoit (BL) 9:30p Siberia: Tranche, Loudness Wars, Landlocked Seas, Hydra Plane (RK) 10p Snug Harbor: Sullivan Fortner Trio (JV) 8 & 10p Spotted Cat: Monty Banks (JV) 12p, Jazz Band Ballers (JV) 2p, Panorama Jazz Band (JV) 6p, Dominick Grillo and the Frenchmen St. All-Stars (JV) 10p Three Muses: Chris Christy (JV) 5p, Debbie Davis (JV) 6p, Shotgun Jazz Band (JV) 9p Tipitina’s: the Funkin’ Truth feat. Leo Nocentelli, Stanton Moore, Big Sam, John “Papa” Gros, Bill “the Buddha” Dickens, Kris Royal and Erica Falls (FK) 10p Tropical Isle Bayou Club: the Troubadour (KJ) 1p, Faubourg Ramblers (KJ) 5p, T’Canaille (KJ) 9p

SUNDAY NOVEMBER 26

Bombay Club: Tim Laughlin Trio (JV) 8p Buffa’s: Some Like It Hot! (TJ) 10:30a, Gerald French Trio (JV) 7p Crazy Lobster: the Gator Bites (VR) 11a, the Neon Shadows (VR) 4p

d.b.a.: Palmetto Bugs Stompers (SI) 6p Dragon’s Den: Open Jazz Jam with Anuraag Pendyal (JV) 7p, Church (EL) 10p Funky Pirate: Mark and the Pentones (BL) 4p, Willie Lockett Band (BL) 8p Hi-Ho Lounge: NOLA Comedy Hour (CO) 8p, $leazy EZ, Alfred Banks, Kaye the Beast, Kadesh Flow (HH) 10p Howlin’ Wolf (the Den): Hot 8 Brass Band (BB) 10p Kermit’s Mother-in-Law Lounge: Kermit Ruffins and the BBQ Swingers (JV) 5:30p Kerry Irish Pub: Will Dickerson (FO) 8p Little Gem Saloon: Blues Brunch with Little Freddie King (BL) 11a Little Tropical Isle: Styk (RK) 5p, Frank Fairbanks (VR) 9p Maple Leaf: Joe Krown Trio feat. Walter “Wolfman” Washington (RB) 10p Morning Call City Park: Billy D. Chapman (JV) 10a Palm Court Jazz Café: Mark Braud and Sunday Night Swingsters (TJ) 8p SideBar NOLA: James Singleton Trio (VR) 9p Snug Harbor: Joe Dyson Quartet (JV) 8 & 10p Spotted Cat: Monty Banks (JV) 12p, Kristina Morales and the Inner Wild (JV) 6p, Pat Casey and the New Sound (JV) 10p Three Muses: Raphael et Pascale (JV) 5p, Linnzi Zaorski (JV) 8p Tropical Isle Bayou Club: Roland Cheramie and friends (KJ) 5p, Faubourg Ramblers (KJ) 9p Tropical Isle Original: the Hangovers (RK) 5:15p, Late As Usual (RK) 9:15p UNO Lakefront Arena: R. Kelly (RB) 8p

MONDAY NOVEMBER 27 Bombay Club: David Boeddinghaus (PI) 8p Buffa’s: Arsene DeLay (VR) 5p, Antoine Diel (JV) 8p

Chickie Wah Wah: Justin Molaison (VR) 6p, Alex McMurray (VR) 8p Crazy Lobster: the Insta-Gators (VR) 5p Dragon’s Den: Monday Night Swing feat. Jeff Kreis and the Crescent City Blue Blowers (GY) 7p, Hangover Mondays with DJ Ill Medina (VR) 11p Joy Theater: John McLaughlin and Jimmy Herring (VR) 8p Kerry Irish Pub: Beth (FO) 8:30p Lafitte’s Blacksmith Shop: Lucky Lee (SS) 9p Maple Leaf: the Porter Trio feat. George Porter Jr., Terrence Houston and Mike Lemmler (FK) 10p Morning Call: Valerie Sassyfras (VR) 10a Preservation Hall: Preservation Jazz Masters feat. Leroy Jones (TJ) 5p, Preservation AllStars feat. Charlie Gabriel (TJ) 8p Rock ‘n’ Bowl: West Coast Swing Night (SI) 7p Snug Harbor: Charmaine Neville Band (JV) 8 & 10p Spotted Cat: Royal Street Winding Boys (JV) 2p, Dominick Grillo and the Frenchmen St. All-Stars (JV) 6p, Jazz Vipers (JV) 10p Tropical Isle Bourbon: Rhythm and Rain (RK) 5p, F.A.S.T. (RK) 9p Tropical Isle Original: Graham Robertson (RK) 5:15p, Trop Rock Express (RK) 9:15p

TUESDAY NOVEMBER 28

Bombay Club: Matt Lemmler (PI) 8p Buffa’s: Tacos, Tequila and Tiaras with Vanessa Carr (VR) 8p Chickie Wah Wah: Chip Wilson and Marcello Benetti (VR) 5:30p, Mike Doussan and Company (VR) 8p, Jamey St. Pierre (VR) 10p Crazy Lobster: AC and the Heat (VR) 5p Funky Pirate: Blues Masters (BL) 8:30p Gasa Gasa: Ne Obliviscaris, Allegaeon, Cauche Mar (ME) 7p

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LIVE LOCAL MUSIC House of Blues: Tank and Leela James (RB) 8p Howlin’ Wolf (the Den): Comedy Beast (CO) 8:30p Kerry Irish Pub: Jason Bishop (FO) 8:30p Lafitte’s Blacksmith Shop: Lucky Lee (SS) 9p Maple Leaf: Rebirth Brass Band (FK) 10p Preservation Hall: Preservation All-Stars feat.

Wendell Brunious (TJ) 5p, Preservation AllStars feat. Charlie Gabriel (TJ) 8p Rock ‘n’ Bowl: Latin Night (LT) 7p Saenger Theatre: Hip-Hop Nutcracker (HH) 7:30p SideBar NOLA: Metal Cereal feat. Simon Lott, David Polk and Kirk Duplantis (VR) 9p Snug Harbor: Tribute to Scott Joplin feat. Tom McDermott (JV) 8 & 10p Spotted Cat: Andy J. Forest (JV) 2p, Meschiya Lake and the Little Big Horns (JV) 6p, Smoking Time Jazz Club (JV) 10p Tropical Isle Bayou Club: Cajun Drifters (KJ) 7p

WEDNESDAY NOVEMBER 29 Bombay Club: Kris Tokarski (JV) 8p Buffa’s: Open Mic Night with Nattie Sanchez (SS) 7p Chickie Wah Wah: Ivor Simpson-Kennedy (VR) 5:30p, Meschiya Lake and Tom McDermott (JV) 8p Dragon’s Den: Groove Therapy (HH) 9p, Reggae Night (RE) 10p Funky Pirate: Blues Masters (BL) 8:30p Kerry Irish Pub: Chip Wilson (FO) 8:30p Little Tropical Isle: Mark Parsons (RK) 5p, Reed Lightfoot (RK) 9p Maple Leaf: Johnny Sketch and the Dirty Notes (FK) 10p Morning Call: Valerie Sassyfras (VR) 10a, Krewe du Two (VR) 1p Preservation Hall: Preservation All-Stars (TJ) 5p, Preservation All-Stars feat. Charlie Gabriel (TJ) 8p

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Republic: Telefon Tel Aviv, Second Woman, Matt Scott (EL) 9p Rock ‘n’ Bowl: Creole Stringbeans (SI) 8p SideBar NOLA: David Torkanowsky and friends (VR) 10p Snug Harbor: Uptown Jazz Orchestra with Delfeayo Marsalis (JV) 8 & 10p Spotted Cat: Chris Christy (JV) 2p, Shotgun Jazz Band (JV) 6p, Antoine Diel and the New Orleans Power Misfits (JV) 10p Three Keys (Ace Hotel): Magnetic Ear with Cole Williams (FK) 9p Three Muses: Leslie Martin (JV) 5p Tropical Isle Bourbon: Jezebels Chill’n (RK) 5p, Debi and the Deacons (RK) 9p Tropical Isle Original: Debi and the Deacons (RK) 5:15p, Late As Usual (RK) 9:15p

THURSDAY NOVEMBER 30

Bombay Club: Kris Tokarski with Duke Heitger (JV) 8p Buffa’s: Tiffany Ann Pollack (JV) 5p, Meryl Zimmerman (JV) 8p Bullet’s: Kermit Ruffins and the BBQ Swingers (JV) 6p Chickie Wah Wah: Phil DeGruy (VR) 6p Crazy Lobster: the Spanish Plaza 3 (VR) 5p d.b.a.: Meschiya Lake and the Little Big Horns (JV) 7p, Funk Monkey (FK) 10p Dos Jefes: Matt Lemmler Trio feat. Steve Masakowski and James Singleton (JV) 9:30p Gasa Gasa: Susto, Esme Patterson, Julie Odell (FO) 8p House of Blues (the Parish): Tiffany (PO) 8p House of Blues: Yacht Rock Revue (RK) 8p Howlin’ Wolf (the Den): Comedy Gumbeaux (CO) 8:30p Howlin’ Wolf: Perpetual Groove (FK) 9p Kerry Irish Pub: Dave Hickey (FO) 8:30p Lafitte’s Blacksmith Shop: Lucky Lee (SS) 9p

Le Bon Temps Roule: Soul Rebels (FK) 11p Maple Leaf: Johnny Vidacovich, Benny Bloom and special guest (FK) 10p NOSH: DJ Abibas, Andy Daniels (JV) 7p Preservation Hall: Preservation All-Stars feat.

Louis Ford (TJ) 8p Rock ‘n’ Bowl: Nathan and the Zydeco Cha Chas (ZY) 8:30p Saenger Theatre: Michael Carbonaro (CO) 7p SideBar NOLA: Dayna Kurtz and friends (VR) 9p Snug Harbor: Nick Sanders and Logan Strosah (JV) 8 & 10p Spotted Cat: Up Up We Go (JV) 2p, Miss Sophie Lee (JV) 6p, Jumbo Shrimp (JV) 10p Three Keys (Ace Hotel): Slay City x Haute to Death (VR) 10p Three Muses: Tom McDermott (PI) 5p, Arsene DeLay (JV) 8p Tropical Isle Original: the Hangovers (RK) 5:15p, Late As Usual (RK) 9:15p Vaughan’s Lounge: DJ Black Pearl (VR) 9p, Corey Henry and Treme Funket (FK) 10p

FESTIVALS October 27-29 The Louisiana Seafood Festival features cooking demonstrations, seafood vendors, an art village and live music at Woldenberg Park.

LouisianaSeafoodFestival2017.com October 27-29 The Voodoo Music + Arts Experience in City Park includes live music, installations, food vendors and an art market. VoodooFestival. com November 3-5 The Scandinavian Festival at Scandia House (1772 Prytania St.) includes food and desserts,

arts and crafts for sale, kids’ activities, live music and a jazz service. JazzChurch.us November 3-4 The Sugar Magnolia Festival in Kiln, Mississippi, features live music, camping, a beer garden, food court, and arts and crafts.

SugarMagnoliaFest.com November 12 The Oak Street Po-Boy Festival showcases unique variations on the classic sandwich from area restaurants, live music and an art market.

PoboyFest.com November 18-19 The inaugural Boucherie Fest at Central City BBQ features the boucherie process, a hog roast and live music both days closed out by the Lost Bayou Ramblers. CentralCityBBQ.com November 18-19 The Treme Creole Gumbo Festival in Armstrong Park includes live brass bands, gumbo vendors, panel discussions and cooking demonstrations.

TremeGumboFest.com

SPECIAL EVENTS October 27 Gypsy Carnival at HOB’s Foundation features a night of carnival characters, tarot card readers, belly dancers and music by Bon Bon Vivant.

Costumes encouraged. HouseOfBlues.com/ NewOrleans October 27-28 Audubon Zoo presents four nights of family fun during Boo at the Zoo. AudubonNatureInstitute. org/BATZ

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BACKTALK

Ani DiFranco

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conoclast singer-songwriter, indie music pioneer and social activist Ani DiFranco moved to New Orleans in 2003. A lover of the city and its music, she recruited local drummer Terence Higgins into her band. And Ivan Neville, Cyril Neville and horn players from Galactic, Bonerama and the Rebirth Brass Band have all contributed to DiFranco’s made-in-New Orleans recordings.

“I have a blast playing on Ani’s recordings,” Ivan Neville said. “She’s so creative and so urgent with what she says and how she expresses herself in music. And when she has me come over and play on her stuff, she doesn’t tell me what to do. She wants me to play what I hear. That’s how I collaborate with her. I really love that.”

A music pro since her teens, DiFranco moved from her native Buffalo to New York City when she was 18. Her indie recording artist career began when she made a collection of songs available to fans via 500 cassettes. The tape’s sold-out success inspired the 1990 formation of DiFranco’s indie label, Righteous Babe Records.

Constant touring and more self-made albums expanded the singer’s grassroots popularity throughout the ’90s. Her 1995 album, Not a Pretty Girl, and its follow-up, Dilate, made the fiercely independent and political artist a mainstream star.

When she’s not touring, DiFranco lives in New Orleans with her husband, the producer, engineer and musician Mike Napolitano, and their two children. Taking a break this year from songwriting, she’s currently working on her memoir.

House of Blues Sunday, November 19

You moved to New Orleans in 2003.

Many celebrities, musicians, actors and filmmakers move to the city but they don’t stay. Are you still enjoying being here?

I hope I can someday grow old enough to say I’m from New Orleans. It could take 50 years of being a newcomer to earn that. But for me, it’s mecca.

talks back

The connectedness through the musical and cultural history, and the melting-pot cauldron of it all. The landscape here makes me feel grounded, connected to things that came before. Instant, new cities feel disconnected and alienating to me. I love places with history.

If I have any regrets about all my years of being independent, it’s that I didn’t place a team of professionals around me when I made recordings. I just followed my spleen. A lot of those recordings are not great documents of good songs, and I feel bad for those songs.

What do you think of New Orleanians?

People here get right to the heart of one another. For better or for worse, I dig that. In New York and Buffalo, people wear veils between each other. But down here you better be right with who you are, because you can’t hide it.

You approached Binary differently?

A totally different scenario. I had the best of the best. From the people accompanying me, my band and the other guest musicians, to the recordist. My husband recorded it. He’s a genius in the studio.

Your new album, Binary, is beautiful.

I’m happy about it.

You produced Binary yourself but, for a change, you didn’t mix it. Why did you choose Tchad Blake (Sheryl Crow, the Pretenders, Andrew Bird) for that job?

Mike recorded James McMurtry’s album [Complicated Game] in our home studio. He sent a track from that to Tchad, so Tchad could do a different kind of mix for it. Because James’ record had been made in my house, I’d heard it at every phase. What Tchad did to it pops in such a great way. After I recorded Binary, I called Tchad to see if he had time for me.

And it’s your 20th album.

A good round number. There were moments in my recorded canon when I hit on something and made an effective recording. But I think my effective records are few and far between.

What do you love so much about the city?

Why do you think that?

Because I’ve been on my own, in music in general and in the recording studio. And I worked from the aesthetic of the house engineers in whatever studio I walked into.

Later, I formed my own ideas. Some good, some not good. I took control from the house metal-head dude at the little studio in Buffalo, but I didn’t know what I was doing either.

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By John Wirt

How do you like Tchad’s mix for Binary?

Whoa. I gave him the raw tracks and he painted them. I had no idea how much somebody can contribute at that late hour. He added a whole other level of creativity I was missing.

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“When you’re creating art, you tap into a subconscious place that’s not bound by time.”

A level of creativity missing from your previous 19 albums?

Yeah, 19 records! Binary is the beginning of a new era. I never want to go back to doing stuff on my own. I want to be with people smarter than me from now on.

Following your 2014 album, Allergic to Water, which features personal songs, Binary brings you back to the socio-political writing with which you’re so identified.

My political songwriting has been a through-line all the way. But some years and albums I’m more engaged with society and some other years I’m more engaged with my personal sphere.

What inspired your social activism?

I learned to be a citizen from my parents.

Being present and accounted for has always given my life meaning. When I was a little kid, my mother campaigned for liberal candidates in Buffalo. She started a food co-op in our neighborhood. My parents were grateful taxpayers. I was raised with the idea that taxes are a good thing. Just look at what this country gives you. You get civilization. You help each other and the bar rises for everyone.

But more and more in America, we’re seeing what happens when we don’t take care of each other. When people step on and push other people down, the people getting pushed down are hurt the most, but it brings us all down.

Just so you know who you’re talking to, I’m a socialist, basically.

You wrote the outwardly looking songs on Binary before Donald Trump’s presidency. The lyrics, however, are prescient to the present.

I’ve heard other songwriters speak of premonition in writing. When you’re creating art, you tap into a subconscious place that’s not bound by time. It used to spook me when I wrote about stuff and then it happened. But time, as the quantum physicists tell us, is an illusion. A year ago is the same as tomorrow.

Binary means connected. That’s an interesting title during these divisive times.

Americans, I believe, have been pushed by calculating people into combat between

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themselves. It’s making enemies of people who are not enemies. We have common interests. We all bleed. And yet we’ve been mind-melded into vilifying each other.

I think I was graced by being old enough to grow up in the 1970s. I went to public schools in New York when people believed in the value of education and society. I experienced a more unified, hopeful America, before it began to devolve again.

Are current events, including the Trump presidency, inspiring you to write songs?

Honestly, I find myself at a weird crossroads. It reminds of when Katrina hit. I was in New Orleans then, stepping back from my public life. My guitar playing had left me physically injured—tendinitis and stuff. And I’d been mentally overwhelmed for years.

So, I took nine months off. But even when I’m not on stage, I’m always mining for songs.

But I was also in this place where I wanted to keep my thoughts to myself. I needed to just be. And then Katrina hit New Orleans. I’m like, ‘I should get back on my horse! I should get on my soapbox. I should get to work.’ But I needed that time for myself.

And you’re in a similar place now?

I’ve been working on a memoir since the fall of 2016. This new idea I came up with to challenge myself and change it up. It’s a daily slog. A huge undertaking. I’m scared. I’m petrified. It’s a deadline that never goes away.

So, I haven’t been writing songs. I’m writing sentences about the past. Which is weird. But, immediately, when Trump was ordained, I started getting calls and emails.

‘Bring it on! Can’t wait to hear your new songs!’ A lot of pressure came my way. ‘Give us an anthem.’ Not intentional pressure, but I felt the need that thinking, caring people had for songs to sing in this moment. But I’m trying to stay true to what I’ve already established as my purpose right now, and that’s to make a book.

Is writing a memoir at least similar to writing songs?

I’ve been a writer of poetry and songs for 30 years. I’m a first-time memoir author, but my sense of how to express myself, for better

or worse, is specific. When it’s working, it connects with others. And all those songs that I wrote, nobody was there but me and my demons.

In the studio and on stage, bassist Todd Sickafoose and New Orleans drummer Terence Higgins are your rhythm section.

You love their work. What do they bring to your thing?

My love for them increases every day. To be backed up by such amazing and intuitive and giving people is such a blessing. And I’ve been backed by wonderful musicians from the beginning. Everybody brought a different thing to my songs. But with Todd and Terence, I have more bases covered than ever.

What about Terence, specifically?

In that essential way for a drummer in a band, he grounds it. It’s not just that the pockets in his groove are as deep as anybody’s. It’s his spirit. I’ve tried to tell him, in several drunken moments, what it means to me to turn to him on stage during the height of a performance. Everybody’s grooving and I turn and it’s like, ‘Drum solo!’ And I stop playing and Terence, instead of getting all manic like I do, becomes even more subtle and intentional. I find that really instructive.

And Todd?

Todd is on the other side of me with his melodic, orchestral mind. Even after 15 years of performing with Todd, he plays a song different every time. It’s never play the part.

It’s play the moment.

In addition to Terence, you enjoy working with other New Orleans musicians.

I have some of the world’s best musicians within arm’s length. It’s a luxurious place to be.

Ivan Neville is another of your local favorites.

He’ll come into my little trio and, through his fingers, expand the whole thing. I’ve seen him do that with so many people. Ivan is rooted in New Orleans music and royalty, but he’s a sponge who’s soaked up music of all kinds and flavors. He gets it. He translates.

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