OffBeat Magazine

Aretha Franklin Fiend Givers Robert Earl Keen

Derrick Freeman, James Martin and the Soul Brass Band take jazz to a new level.

NEW ORLEANS MUSIC, FOOD, CULTURE—SEPTEMBER 2018 Free In Metro New Orleans US $5.99 CAN $6.99 £UK 3.50

.BLAST FROM

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Leveling Up

THE PAST “The Treme Brass Band“

Derrick Freeman and James Martin are shaping the soul of future brass band music. Page 20 LETTERS

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UNAPOLOGETICALLY REAL

MOJO MOUTH

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Manchu Food Store serves fried chicken wings with a side order of reality.

FRESH

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IN THE SPIRIT

Five Questions with Carlo Ditta; My Music with Gregg Martinez; Send Me A Friend partners with Positive Vibrations Foundation; Professor Longhair exhibit at the New Orleans Jazz Museum at the Old U.S. Mint; The Fillmore at Harrah’s New Orleans; Crazy Waffle Bar and more.

OBITUARY

OFFBEAT EATS

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Givers remains a working-class band.

BOUDIN IN THE CITY The Cajun country super food makes inroads in New Orleans.

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By Jonathan Tabak January 1996

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“As soon as I heard it, I said, ‘That’s the sound I’m looking for,’” says [Chris] Strachwitz [of Arhoolie Records]. It turned out to be the Treme Brass Band, playing live at the Louisiana Music Factory.

Chef R.J. Tsarov dishes on the Thai Moules et Frites at the Delachaise and Elsa Hahne reviews Mikimoto.

Fiend’s musical massage.

NO PARLOR TRICKS

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Denzel Brown mixes up Glass Two Apples for Naughty Professor at Longway Tavern.

Aretha Franklin

CONGO SQUARE IN RAP FORM

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REVIEWS

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Jon Cleary, Sarah Quintana, Helen Gillet, Cyril Neville, Brother Dege, Sean Ardoin and more.

LISTINGS

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BACKTALK with Robert Earl Keen

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ONLINE EXCLUSIVES! 24

• Ivory “Wildman” Holmes was highly regarded in the Black Indian Nation as well as in the music community.

• Singer-songwriter Yvette Landry grew up in a swamp pop–loving family in Breaux Bridge.

• 300 Songs for 300 Years: New Orleans music without Allen Toussaint remains unthinkable.

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Letters

“I’m real glad for New Orleans that all the young musicians who moved here since Katrina got into the town’s old time jazz heritage. And I couldn’t be happier with all the styles...”

—Sunny Duval, Montreal, Canada

Louisiana Music, Food & Culture

September 2018 Volume 31, Number 10 Publisher and Editor-in-Chief Jan V. Ramsey, janramsey@offbeat.com Managing Editor Joseph L. Irrera, josephirrera@offbeat.com

Making a living I just spent a week in New Orleans at the New Orleans Trad Jazz Camp (I play sax and clarinet), run by Banu Gibson and Leslie Cooper. As part of our welcome gift, they gave us a copy of the July issue of OffBeat magazine. I did not read your blog [Jan Ramsey, Making Music For A Living is Harder Than Ever] in that issue until I got home Sunday night, but was blown away by the topic of musicians making a living (or not) in New Orleans. The study being commissioned

by GNO, Inc. was especially interesting—I was going to do that kind of research myself, in anticipation of my next career phase in a couple of years.

I wanted to reach out to you, as someone who is passionate about local musicians in New Orleans, and who has had a finger on the pulse of the city for a long time. I have an affinity for the musicians there, and want to become a resource to make sure the music scene is sustainable, and at more than a hand-to-mouth level. I certainly do not have the answers, but hope to help make progress.

—Jonathan Olson, Green Bay, Wisconsin

Retroglaze Okay, okay, I’m behind on a lot of reading.

However, there was a letter in this issue [Jazz Fest Bible 2018] that was critical of Alex Galbraith’s review of the Toonces album. The writer spouted some nonsense that “Toonces already has their own genre: retroglaze.”

What? There are so many ridiculous nonsensical music labels. I’m sure this is meant (I hope) to mean nothing. But if not, how about an OffBeat scorecard someday for what all these monikers mean? Confused in Cali.

—Jim Rauh, Santa Clara, California

Inconsiderate and disappointing Was just reading the Jazz Fest Redux in my June issue of OffBeat and thought of a change at this year’s Fest that seems worth mentioning. At past Fests, one could always

visit the grandstand for some cool air, clean potties and cold water from several water fountains. This year, still plenty of cool air, and the potties were still as clean and well cared for as always, but every water fountain had been removed from the building.

I don’t need it explained to me that you sell more bottled water if you don’t provide any drinking fountains. Still, an inconsiderate and disappointing move, in my opinion.

—Jay Graham, Tulsa, Oklahoma

Young musicians I’m real glad for New Orleans that all the young musicians who moved here since Katrina got into the town’s old time jazz heritage. And I couldn’t be happier with all the styles that make this city so rich musically.

Now, I’ll be truly happy when there are also kids on Royal Street singing Allen Toussaint, Lee Dorsey, Betty Harris, Irma Thomas, Fats, K-Doe, etc. The New Orleans R&B legacy is such a beautiful thing.

—Sunny Duval, Montreal, Canada

Meschiya Lake moves to Ireland A sensible, obviously well thought-out and yet wonderfully romantic move, Meschiya!

Your old NYC fan.

—Seán Mac an Ultaigh, New York, New York

Greazy Alice Greazy Alice is more than a greasy fire in my skillet. They are the grease that is stuck inside my heart.

—Tristan McGie, New Orleans, Louisiana

Annual trip I just read the July issue of OffBeat, I “dog ear” pages as I read. We now have a list of at least eight musicians to hear, places to eat and places to drink on our next trip.

Thank you Jan [Ramsey] you are a primary information resource for our annual trips back to New Orleans.

—Seven and Linda Steinhoff, Palmyra, Wisconsin

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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Consulting Editor John Swenson Food Editor Elsa Hahne, elsahahne@offbeat.com Listings Editor Katie Walenter, listings@offbeat.com Contributors Stacey Leigh Bridewell, Noe Cugny, Michael Dominici, Frank Etheridge, Elsa Hahne, Rafael Helfand, Amanda Mester, Brett Milano, Christopher Weddle, Dan Willging, John Wirt, Geraldine Wyckoff, Michael Allen Zell Cover Noe Cugny Art Director/Food Editor Elsa Hahne, elsahahne@offbeat.com Web Editor Amanda Mester, amanda@offbeat.com Videographer/Web Specialist Noe Cugny, noecugny@offbeat.com Copy Editor Theo Schell-Lambert, theo@offbeat.com Advertising Sales/Promotions Coordinator Camille A. Ramsey, camille@offbeat.com Advertising Design PressWorks, 504-944-4300 Business Manager Joseph L. Irrera Interns Danika Andrade, Bryce Berman Distribution Patti Carrigan, Doug Jackson OffBeat (ISSN# 1090-0810) is published monthly in New Orleans by OffBeat, Inc., 421 Frenchmen St., Suite 200, New Orleans, LA 70116 (504) 944-4300 • fax (504) 944-4306 e-mail: offbeat@offbeat.com, web site: www.offbeat.com

/offbeatmagazine Copyright © 2018, OffBeat, Inc. No part of this publication may be reproduced without the consent of the publisher. OffBeat is a registered trademark of OffBeat, Inc. First class subscriptions to OffBeat in the U.S. are available for $45 per year ($52 Canada, $105 foreign airmail). Back issues are available for $10, except for the May issue for $16 (for foreign delivery add $6, except for the May issue add $4). Submission of photos and articles on Louisiana artists are welcomed, but unfortunately material cannot be returned.

MOJO MOUTH

The Song’s the Thing

By Jan Ramsey

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just read an article in New York magazine about songwriters and their process and it got me thinking about New Orleans’ music industry, especially as it has to do with songs.

That perennial question is asked: “Why can’t New Orleans be another Nashville?” Do you know what the basis of the music industry is in Nashville? Songwriting and the royalties it creates.

Do you know how songwriters get royalties? They are paid from three potential royalty streams with three distinct names: Mechanical Royalty: Comes from the sale of a song on an album or a legal digital download. Today, the current rate is 9.1 cents (typically split with co-writers and publishers).

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Performance Royalty: Received when a songwriter’s song is performed on terrestrial broadcast radio, in a live performance venue (bars, clubs, restaurants, concerts, etc.), or via online streaming services. Performance royalties are paid out through “Performing Rights Organizations” (ASCAP, BMI and SESAC) and require the PROs to go to a rate court to receive their rates from entities seeking to license the songs they represent.

Synch Fees: Received when a song is licensed for use to synchronize with video (i.e. television, film, videogame, commercial, video). This royalty is subject to the marketplace and is typically split 50 percent to the writer and 50 percent to the artist and record label.

A songwriter (who performs and owns their publishing) who has a hit song can make a lot of money. For example, if a song is on an album that sells 15 million copies, the songwriter could potentially make almost $1.4 million in royalties on that one song just from mechanical royalties (to say nothing of revenue that comes in from performance and synch fees). That’s a lot of “mailbox money.”

Nashville can certainly capitalize on songwriting because it is the country music capital and songwriters can work for publishers who pitch their songs to the many performers who work out of that city. It’s big, big business. Several homeboys have done well in Nashville: Jim McCormick, Anders Osborne and

Greg Barnhill come to mind. By the way, all of them had to work out of Nashville publishing houses to get the benefit of their publishers’ influence with country artists.

Would they be able to do just as well if there were music publishing houses in New Orleans? Hard to say, because New Orleans is not a hotbed for popular music and performers like Nashville is.

Obviously there are local songwriters who have made a lot of money from their music: Allen Toussaint comes to mind.

His famous Rolls Royce didn’t get there from his performances.

Can more New Orleans songwriters capitalize on their songs from NOLA instead of going to Nashville? How? O

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FRESH

Photo: michael alford

David L. Harris Pays Tribute To Nat King Cole At Preservation Hall

SOUNDCHECK

OffBeat.com PHOTO: BARRY KAISER

Five Questions with Carlo Ditta

SWEET TWEETS

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arlo Ditta’s Orleans Records has created an invaluable legacy. The label’s catalog includes Professor Longhair, Danny Barker, Willy DeVille, Mighty Sam McClain, Roland Stone, Little Freddie King, Guitar Slim Jr., Coco Robicheaux and Rockie Charles—also Midnight at St. Jude’s, an inconcert album featuring Aaron Neville and Allen Toussaint.

Ditta, following the advice of singer-pianist Otis Blackwell (composer of “All Shook Up,” “Great Balls of Fire” and “Fever”), moved to New York at 25 to pursue music. For a decade, he worked at music gigs in New York, Los Angeles, Nashville and Santa Cruz. In 1989, after the Loma Prieta earthquake destroyed 6,000 buildings in Santa Cruz, he came home to Louisiana.

In addition to being a producer, Ditta is a singer, songwriter and performer.

On September 13, Ditta and the Orleans Records All-Stars will play a record release show at the Little Gem Saloon for his new single, a remake of Roger and the Gypsies’ “Pass the Hatchet” backed by the Ditta original “Life in Heaven.”

Ditta and members of the All-Stars are also appearing September 21 at John’s Coffeehouse in Covington; September 23 at d.b.a.; and September 29 at the Gretna Heritage Festival.

Who qualifies to be an Orleans Records All-Star?

If they’re on our records, they’re in the all-star band.

And the All-Stars are?

Freddie Staehle (Al Hirt, Dr. John, Mike Bloomfield, Harry Nilsson); Earl Stanley (Roger and the Gypsies, Dr. John, Skip Easterling); Ricky Stelma (Dr. Spec’s Optical Illusion); Anthony Donato (Alex Chilton); Jerry Jumonville (Bonnie Raitt, Bette Midler, the Beach Boys); and Johnny Pennino (Freddy Fender, Professor Longhair, Frankie Ford).

What’s in the pipeline from Orleans Records?

Black Friday we have a Christmas single by Rockie Charles and Coco Robicheaux. We’re working on an All-Stars single and a conceptual album called Hungry for Love. It’s the Sgt. Pepper’s Lonely Hearts Club Band of the West Bank.

You’ve recorded significant but underappreciated artists.

Most of my records, I don’t know who else would have made them.

Danny Barker, Little Freddie King, Guitar Slim Jr., Coco Robicheaux—I never competed to sign any of them.

Can you name some of your favorites?

Roland Stone, Coco Robicheaux, Willy DeVille. They’re great records.

There are some that don’t stand up as good, but there’s still great work on them. I put my heart and soul into every one.

—John Wirt

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@jeffalbert Was just reminded that Jerry Springer went to Tulane. Why is this not on their recruiting materials? @JohnPapaGros When you share the stage with somebody, there is a respect that goes across the stage. You just can’t afford to let that person down.

It’s like lying to your mom. If you let them down, it’s going to come back to haunt you. You just can’t do it. @jonclearymusic And it really is true, Guinness tastes way better in Ireland!

Playing this afternoon in Dublin with Bonnie Raitt, James Taylor and Paul Simon. @WendellPierce My father was born in 1925 a few months before the KKK Marched on Washington DC 50,000 strong. He fought in Saipan against fascism in WWII and came home to New Orleans & couldn’t even vote without fighting more. He has lived 93 years only to see the KKK still marching in DC. #MAGA @dougmaccash Good morning Marigny. There’s been some muraling going on at Elysian Fields and St. Claude. @monicakellystudio and @sosh.0

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FRESH

MY MUSIC

The Fillmore at Harrah’s New Orleans

Gregg Martinez PHOTo: Josette Savoie

BILL GRAHAM'S LEGACY

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ive Nation will open a new music venue in New Orleans in early 2019. The Fillmore at Harrah’s New Orleans, a 2,200-capacity music hall, will fill the long-vacant second floor of Harrah’s Casino.

The Fillmore New Orleans is the eighth location in the Live Nation music hall chain named after the late Bill Graham’s Fillmore West in San Francisco.

Like the other Fillmores, the Fillmore New Orleans will present an eclectic music schedule. Many of the acts previously skipped New Orleans because the city lacked a suitably sized club for them, said Ron Bension, president of Live Nation’s clubs and theaters division.

“We always felt we could bring more music to the New Orleans market,” Bension said. “It’s a vibrant market, but most of the venues are on the smaller side. We’re excited about being able to bring bands that historically bypassed New Orleans.”

Although New Orleans already has the 2,600-capacity Saenger and 2,200-capacity Mahalia Jackson theaters, those are fixed-seating venues. And the Saenger is often booked with touring musicals that run multiple days. The club-oriented Fillmore music hall will combine general admission standing-room attendance and reserved seating. Other features include two large bars, two elevated VIP areas and unreserved bleachers seating in the back of the hall. “It’s not just a flat floor,” Bension said. “We really focus on sightlines.”

The Fillmore’s 2,200-person club configuration exceeds other New Orleans venues that mix standing and seating, including the Joy, Orpheum and Civic theaters and Live Nation’s own House of Blues.

“We’re going to be 500 to 700 higher in capacity than the next guy,” Bension said. “That makes a difference to bands that would normally rather go to another market than play for 1,200 people. House of Blues (in New Orleans) is only 850, so it’s a big leap up from there.”

Ben Weeden, chief operating officer for Live Nation’s clubs and theaters, cited Khalid, Jack White, Miguel and Dropkick Murphys as examples of the acts that sidestepped New Orleans to play larger venues in similarly sized cities.

“In some of our other markets,” Weeden said, “where we have the 2,500-capacity rooms, we’re doing 70 to 100 shows year. So, there’s a lot of opportunity here in New Orleans and we have a built-in pipeline.”

Weeden anticipates 60 to 70 shows a year at the Fillmore New Orleans.

“We have the chance to bring everything we know about live music venues to this new venue in New Orleans,” Bension said. “We will have a state of the art sound system and lighting system.”

—John Wirt

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e’re all just heartbroken—GG Shinn died yesterday and we’re going to bury him Monday. He was my hero. I just left [Lafayette Music] where I picked up his trumpet, which he gave me a few years ago. It’s an iconic symbol of him. I was going to bring it to him this past Monday to get it cleaned and refurbished. But now I had to go and pick it up to take it to the funeral home and put it on display there.

I didn’t start playing the trumpet until about 15 years ago. I grew up listening to GG Shinn; he was one of the guys we could go hear. Like I tell my kids, we didn’t get to see the big-name artists, GG was the singer with the Boogie Kings. We’d see them regularly and I studied them. Nationally, Sam Cooke was my favorite, Marvin Gaye and Otis Redding—that Memphis/Stax soul style was still popular down here. We call it swamp pop.

Swamp pop is not Cajun. It’s basically rhythm and blues. Little Bob and the Lollipops, ‘I Got Loaded.’ Cooke and the Cupcakes, ‘Mathilda.’ That was probably the biggest swamp pop song ever. Fats Domino was swamp pop.

Memphis soul is under the umbrella of swamp pop now. But what makes it different is that Louisiana flavor we put in it. The personality we put in it. It’s hard to hide where you’re from, especially if you‘re from here. Never had accordion or fiddle in my band. The tenor saxophone is the main ingredient of a swamp pop band.

The phrase was coined by a guy in England—he just called it that and it stuck. It’s a label for white guys playing old rhythm and blues.

No real exact definition of swamp pop.

My career in music took me all over the country, all over the world, based out of Atlantic City, New Jersey. I got more homesick as the years went by. I was gone from Louisiana 21 years, moved back 12 years ago.

I had this career that was awesome and going great and I had a seven-figure contract with a guy in Philadelphia who made Teddy Pendergrass. The goal was to make me the white Teddy. I was just one of those guys that slipped through the cracks, no hit records. But if I had achieved those things, maybe I wouldn’t be here now. I love where I am; I love where I’m going.

You got to keep going. GG almost made 79. You don’t quit until you die. My last album [2016’s Soul of the Bayou] got more accolades, more sales than anything I’ve ever done before, so that serves as a benchmark and gives me all the motivations to keep going.”

Gregg Martinez & the Delta Kings play Gretna Heritage Fest 5:30 p.m. Friday, Sept. 28 on the Italian Village Stage.

—Frank Etheridge www.OFFBEAT.com

FRESH

DANCIN’ THROUGH FESS’ LIFE AND MUSIC

The Crazy Waffle Sisterhood

Professor Longhair Exhibit at the Old U.S. Mint

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innidra Taylor and her sister Aisha grew up in the Broadmoor neighborhood of New Orleans. Not seeing any obvious career paths open to her, Sinnidra moved to Houston, Texas to see if she might have better luck there. She didn’t—not really—but as she was looking through food pictures on Instagram one day she came across a weird looking waffle.

“It was so different,” Sinnidra Taylor says. “I was pretty much, ‘I have to know how this tastes!’—I just had to taste it. It looked like golden bubble wrap, but you can eat it.”

Last October, she got a chance to try this newfangled puffer waffle, a popular street food in Hong Kong, during a trip to London. She enjoyed it topped with strawberries, whipped cream, graham crackers and caramel.

“I was impossible during that trip,” Sinnidra Taylor remembers. “My friend would ask me, ‘What do you want to do today?’ ‘Find a waffle.’

‘What do you want to do tomorrow?’ ‘Find a waffle?’”

She liked them so much she decided to locate the manufacturer of the machine that makes the waffles, but the shipping cost to the United States was more expensive than the machine itself.

“But I had to have it,” she says. “So, ‘What if I sell a few of these waffles, to cover the cost?’ I had my first tasting in Houston on Martin Luther King Day and I made almost $1,000 at our first official pop-up in New Orleans at Lot 1701 on Oretha Castle Haley Boulevard!”

Combining her own love of business with her sister Aisha’s knack for the culinary arts, the Taylor sisters applied to be part of the 2018 Catapult Fund program, offered by the New Orleans Jazz & Heritage Foundation to provide business training and grant funds to entrepreneurs in the arts (culinary and otherwise). They were accepted, Sinnidra Taylor moved back home to Broadmoor and the sisters are taking their last Catapult classes this month.

“We’ve learned so much,” Sinnidra Taylor says. “Financial projections, what we need right now to grow, what income we need to make at an event to make it worth the effort—everything. We’re still trying to determine what’s better for us—pop-ups, a food truck or a stand-alone brick and mortar spot. I’m thinking locations in different malls.”

The sisters are still tweaking their recipes. They’re working on a cornbread waffle with fresh jalapeños, another one with praline pieces, and a garlic butter waffle topped with roast beef and gravy or chicken pasta. (Their business isn’t called the Crazy Waffle Bar (CWB) for nothing.)

Follow the Taylor sisters’ crazy waffle progress @crazywafflebar.

—Elsa Hahne

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A

s you enter the Professor Longhair exhibit, formally called “Me Got Fiyo: The Professor Longhair Centennial,” on the second floor of the Old U.S. Mint, a bust of the iconic pianist, vocalist and composer greets you. For those who’ve frequented Tipitina’s, the club established for Fess and named for one of his most memorable songs, it’s a little startling. “Oh, wow,” one might initially think. “Who’s at Tip’s to welcome folks there?” Very soon it becomes apparent that this is a replica of artist Coco Robicheaux’s brilliant original sculpture of Professor Longhair that holds the place of honor at the Uptown club.

Besides, this one is bronze-colored and encased in glass—no affectionate head rubbing possible.

The bust stands at the beginning of an insightful journey into the music and life of Henry Roeland Byrd, a.k.a. Professor Longhair. The exhibit, which runs through July next year, celebrates 100 years since Byrd’s birth on December 19, 1918 in Bogalusa, Louisiana.

Nearby is the old upright Baldwin piano that was installed at Tip’s in 1977 when the club opened and on which Longhair challenged with his hard-driving style. Thankfully it was purchased by the music-loving Sonny Schneidau, who began as a sound man at Tipitina’s and rose to talent buyer.

Perhaps the most appealing aspect of the exhibit is that Professor Longhair’s incredible music can be heard as visitors look at historic photos, old posters, album covers and memorabilia. Patrons can also watch videos such as Stevenson Palfi’s remarkable documentary, Piano Players Rarely Ever Play Together, and interviews with some of those who knew and/or were highly influenced by Professor Longhair. It really hits home when Jazz Fest producer Quint Davis recalls jazz impresario George Wein’s reaction on first hearing a recording of Fess on a jukebox.

As Davis tells it, Wein says to him, “Who is that?” Davis recalls his reply as, “Oh, that’s nobody.” Wein contradicts him saying, “That’s somebody!” and demands that Fess perform at the first Jazz Festival.

Larger wall placards delve into Professor Longhair hits like “Tipitina” and “Big Chief,” though Earl King isn’t mentioned as the latter’s composer. That’s especially significant as the title of the exhibit references King’s lyrics. Of course it’s Fess who kills the tune with his immediately identifiable playing and whistling.

The late photographer Michael P. Smith captured Fess just about everywhere.

His historic photographs encapsulate not only various important moments in Fess’ life and career, but also his spirit. They're essential to this fine exhibit.

—Geraldine Wyckoff

PHOTO courtesy of the jazz museum

PHOTO: Ashley Thomas

HOT OFF THE GRIDDLE

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LIFESHOP

photo: chris reddish

Send Me a Friend Partners with Positive Vibrations Foundation

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fter Anders Osborne got clean and sober, he quickly realized he needed some help at work. A gigging, touring musician, Osborne works at festivals, clubs, theaters and music halls, most of which sell alcohol. Traditional recovery programs maintain that people in recovery should keep their distance from alcohol.

Osborne found that approach a tough sell.

Osborne’s dilemma inspired him to create Send Me a Friend. It’s a network of people across the nation who attend recovering musicians’ gigs. In long-term recovery themselves, the friends are there to support musicians in recovery as well as others in music-related jobs.

Send Me a Friend recently opened an office at Imagine Recovery, an outpatient program at 728 Nashville Avenue. Send Me a Friend is also an official project of Positive Vibrations Foundation. The program has more than 2,000 volunteers throughout the nation.

Send Me a Friend’s newest initiative is a series of monthly “Lifeshops.” Osborne will talk about using songwriting as an aide in recovery on September 20 at 7 p.m. at Imagine Recovery.

Anders’ Lifeshop is an event where people in sobriety can meet with other songwriters and share ideas and inspiration. Participants can learn new tools for staying creative, happy and connective.

The Lifeshops series will move beyond music, Bill Taylor, who co-founded Send Me a Friend with Osborne, adds. “We’re using the term ‘creatives’ rather than musicians. We’ve realized the need for this extends beyond musicians, even though that’s the core of what we do. We want to develop a community. So many people in the music and creative community in New Orleans have in one way or another faced some of these issues.”

Osborne contacted Taylor about his Send Me a Friend concept because of Taylor’s experience at nonprofits. Taylor liked the concept’s straightforwardness. They launched the program in December 2016.

Send Me a Friend’s partnership with Positive Vibrations Foundation began in January.

“With any new endeavor, you’re never sure what the reception will be,” Taylor said. “But we were confident that the idea was simple and strong enough to be well received.”

“It’s a fantastic idea,” said Ben Faulks, executive director of Positive Vibrations Foundation. “I see this as a great way for creative energy to help people recover and grow and live the productive, successful, creative lives they want to live.”

—John Wirt www.OFFBEAT.com

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IN MEMORIAM

Aretha Franklin

A

retha Franklin sounded relaxed and happy during a phone interview that took place while she rolled down the highway in her tour bus—she disliked flying—on her way to New Orleans for her 2012 appearance at the Essence Festival. The show, in which she was joined by this city’s own Paul S. Morton and the Greater St. Stephen Church choir, would be the last time the Queen of Soul would perform in the Crescent City. The much beloved Aretha Franklin, a remarkably talented woman of great voice, influence and humanity, died at home in Detroit, Michigan on Thursday, August 16, 2018 at the age of 76.

During the dialogue, Franklin, who garnered 18 Grammy awards among numerous other accolades, said that she had no notion that her 1967 recording of Otis Redding’s “Respect” would become an anthem for both the civil rights and women’s movements. “I liked it so much that my sisters [Erma and Carolyn Franklin] and I got together and came up with our own version of it. It is wonderful that it became a battle cry for many people.”

Other Aretha hits that struck the right messages during the era include 1968’s “Think,” where she demands, “Freedom, freedom…!” and “Young, Gifted and Black,” on which she plays some tasty piano with a band filled with superb musicians. (Dr. John plays percussion on the cut “Rock Steady.”)

It’s been stated many times that Aretha Franklin came out of the church. However it might be more accurate to say that she invited the secular world into the powerful and compassionate musical tabernacle that remained her roots. In an interview on CBS This Morning,

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Aretha Franklin at the 2012 Essence Festival, her last performance in New Orleans

New Orleans pianist/vocalist Jon Batiste insightfully described Aretha’s approach as having an “ancestral” sound. Hallelujah!

Franklin’s appearances here in recent decades were surprisingly limited. She was a headliner at the 1994 Jazz Fest appearing both at the Fair Grounds and at the UNO Lakefront Arena. In 1995, the Queen of Soul wowed the audience with her power and range at the first Essence Festival.

Naturally much of the previously mentioned 2012 conversation centered on her experiences in New Orleans.

We’ll let Franklin’s words tell that part of her story.

Does Essence Festival have any particular significance for you?

How about New Orleans?

By Geraldine Wyckoff

I love the festival. People come from all over the country.

All roads lead to the Essence Festival. Its vibe is one of unity and brotherhood.

I used to come to New Orleans many years ago as a young singer with my dad [Reverend C.L. Franklin]. I used to sing just before he would get up to speak and, of course, I accompanied him on piano. Many times we came to New Orleans and we stayed on LaSalle, I believe it was. There was a hotel at the time in the 1960s by the name of the Foster Hotel and that’s where we stayed.

I also came after going to New York and I was beginning to sing secular music. I’m aware of the Mardi Gras and I watched it from the windows of the Foster Hotel on a number of occasions. It was just spectacular, a spectacular

event for a young girl to see. And also I would see the concerts at the City [Municipal] Auditorium with Ray Charles and he would be rockin’ the auditorium. So I have many fond memories of New Orleans and it’s always a pleasure to come and it’s wonderful for me to sing there after so long.

I’m aware that you were close to Mahalia Jackson. Did she have any influences on you?

I recall her as being a very beautiful and devout woman who was a great friend of my dad’s and who was revered and cherished by many millions as a vocalist and artist and I can certainly understand why. One of my mentors was Clara Ward who was out of Philadelphia and headed up the Ward Singers.

Although I enjoyed Mahalia very, very much, Clara was a little more of a mentor. But she and Mahalia were great friends of my daddy and the family. So it was nothing for either one of them to just come over to our family home and head straight to the kitchen and start cooking. Mahalia would go in and fix greens, fried corn, baked chicken and dressing and the whole nine yards.

You cook too.

I love to cook. I love being very domestic. I do love my home as much as I love entertaining. I have many specialties—oxtail soup with cornbread, filé gumbo. We used to go to Dooky Chase’s all the time. They would set up big banquet tables for our group. Of course she [Leah Chase] was the Emeril Lagasse of the day.

Amen, Aretha Franklin, for offering the world your own banquet piled high with heartfelt music lovingly prepared by the Queen of Soul.

O www.OFFBEAT.com

PHoto: golden g. richard, III

1942 – 2018

FIEND

Congo Square Rap Fiend’s musical massage.

H

ip-hop as a musical genre can be as elastic as it gets, and International Jones’ (IJ) new Player Chit explores new worlds by going back to the 1970s. Picture a chilled-out hometown hero rapper enjoying the high life to the sounds of a laidback groove. As IJ, better known as Fiend, brought up as Richard “Ricky” Jones, and a.k.a. Sleepy Eyes Jones, says to kick it off, “Cool is definitely in session.”

He sees it as another version of rap, another version of New Orleans. “The sound, the brand—how I look at it is Congo Square in rap form. The Louis Armstrong horn if it could rap. I’ve transitioned from being a kid that grew up on Edinburgh Street in Hollygrove to traveling the world and seeing a lot of things. This is me owning my right of passage.”

How does a man known for die-hard street music, particularly back from the No Limit days when he topped the Billboard charts and was Grammy-nominated, reinvent himself? There’s his voice, for starters, an instrument as distinct and bassy as Isaac Hayes and Barry White. Family too.

“When my father died in 2010, I ended up wanting to celebrate him and our time of him owning Morris Lounge barroom for over 40 years,” IJ said. “Celebrate him instead of being in mourning. I didn’t want to be miserable. The total opposite of loss.”

What kind of music did they listen to? IJ started an endless list with, “Marvin Gaye, Mandrill, Sade, Jamiroquai, Bobby Womack, Maze. These kind of textures.”

“My Uncle House [Theryl ‘Houseman’ DeClouet] was the lead singer of Galactic at that time. My dad would take me to Tipitina’s to see them. He said, ‘I’m

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telling you your trip is live bands.’

When my dad died, it made me reflect on all the great advice he’d given me,” IJ recalled.

The IJ sound is musical massage, but it isn’t soft. “I was a Down South kid who was East Coast influenced. No Limit was cool, but it had its cap. No room for growing.

Ruff Ryders had me in my battle rap mode and to fill in the shoes if not do better than what DMX did.

They wanted to give me the world, but when the main A&R guy went down, the studio went down.”

He self-released his next three albums before signing to Curren$y’s Jet Life label and kicking off the IJ persona. It was transformative, the streets mixed with rooftops and yachts. “It changed my life. Charismatic.

Refined. The kid out of the hood that did good. It made me fall in love with rap all over again.”

By Michael Allen Zell

Mature, youthful and groovy doesn’t easily happen. IJ explained, “Picture a young man trying to figure out a bridge from the time before him to now and tomorrow. A bridge that all ages can connect to. People told me they used to get in fights over my music back then, but now they’re counting money, making love to their woman, and getting more stamps on their passports to it.”

The IJ sound is evocative full-on hip-hop, and it’s almost entirely done by a live band. IJ praised, “Almost none of it’s a sample, but it’s a band that sounds like a sample. I have a nine-piece band and a dee jay when it comes down to doing shows. Horns and backup singers to give people an experience of how hip-hop has evolved. There’s nothing wrong with being mature.”

“I’m challenging myself. I need to go through something to talk about something that’s gonna mean something,” he continued, and his artistic fire was clear.

“Energy creates matter, and then I can create something that matters. I work a lot, but I’m not releasing a mixtape every month like I was doing before. I want it to last.”

Since launching IJ, the former Mr. Whomp Whomp released Tennis Shoes and Tuxedos, Sweetest Hangover, Keep Ya Cool, Cool Is In Session, and maybe even a few more before Player Chit. He’s collaborated over the years with a heady list that includes, to name just a few, Snoop Dogg, Gucci Mane and Just Blaze. He’s produced, written songs, creatively consulted, done A&R, and anything else in between with locals and superstars. So how does he feel about the New Orleans vibe being mined?

“We have the richest culture in the United States, if not the world. That’s not to negate Africa.

People like Beyoncé come here because they want to be close to the spiritual freedom. They can’t help but gravitate toward it. They’re capitalizing on it, because we haven’t capitalized on it ourselves since we don’t have those kind of platforms. I’m not surprised.”

Meanwhile, he keeps on and does his thing with a midnight sound so addictive that as Cydnie Lene sings on “Louis XIII,” “Where does the night go? I want this forever, forever, forever...”

IJ concluded, “I live off the three most valuable entities in this world that sometimes you are able to connect with people off of—music, love and food. The international language.”

O www.OFFBEAT.com

GIVERS

No Parlor Tricks

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hether they know it or not, millions of people have heard the passionate, melodic music made by New Orleans–based indie-pop band Givers. That’s because nearly every song on Givers’ 2011 debut album, In Light, was licensed for television.

In these tough times for recording artists, licensing can be a financial godsend. Some of Givers’ In Light songs were even licensed multiple times.

“We’ve been fortunate,” singerguitarist Taylor Guarisco said from somewhere between San Francisco and Portland. “To do music as a job nowadays, it’s a challenge. People pay less and less for music. We’re relying more on touring and these elusive sync deals. They use our songs for commercials. That helps some bands reach the next point.”

Guarisco keeps tabs on Givers’ licensing deals, but he doesn’t dwell on them. “I stay focused on what it means to make these songs,” he said. “If you think about the numbers too much, you’re not the artist you began as. We started this band as just people making songs. We didn’t know where it would go.”

Now in their ninth year as Givers, Guarisco, singer-percussionist Tif Lamson and bassist Josh LeBlanc can look back at several career highlights. In addition to the licensing deals, Givers is signed to the same label as the British neo-folk stars of Mumford & Sons, French synth-pop band Phoenix and Irish alt-pop trio Two Door Cinema Club.

Glassnote released In Light just two years after the band formed in Lafayette, Guarisco’s and Lamson’s hometown. In 2012, something perhaps even more surprising happened. Classic rock star Neil Young praised Givers in his autobiography, Waging Heavy Peace: A Hippie Dream. Young

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writes: “It sounded like they were in a complete other zone from the rest of music. They blew my mind.”

Givers learned about Young’s compliments when they performed at the Shoreline Amphitheatre in Mountain View, California. That’s the venue where Young staged his annual Bridge School benefit concerts for decades.

“A friend texted us,” Guarisco said. “‘Did you see Neil Young’s book? You’re in it.’ We were like, ‘What do you mean? We’re in it?’

Neil Young,” Guarisco mused. “He’s the godfather of honest music and lyrics, someone we respect so much.”

Givers’ 2018 activities include the band’s West and East Coast tours. And on September 22, they’ll be home in New Orleans to play NOLA on Tap in City Park.

By John Wirt

In August, Givers and Glassnote Records released Movin’ On, an EP recorded at the legendary RCA Studio A in Nashville. They also recorded at Eric Heigle’s studio in New Orleans. The EP is a prelude to Givers’ upcoming third full-length album. Dave Cobb—producer of country stars Sturgill Simpson, Jamey Johnson and Chris Stapleton—coproduced the EP’s Nashville sessions with Heigle and Givers.

With Movin’ On, Givers veer from the sprawling, experimental approach heard in the band’s 2015 album, New Kingdom. Cobb initiated the tighter focus. He entered the picture after demos Givers had recorded in New Orleans made their way to him in Nashville.

“Dave reached out to us,” Guarisco said. “I’d heard of Sturgill Simpson

and Chris Stapleton, but I didn’t know who produced them.” Guarisco followed up the contact by checking out Cobb’s production work. He liked what he heard. “Dave does cool things in the fabric of the Nashville sound. We talked on the phone about music and life and our demos. He invited us to RCA Studio A.” Givers’ and Cobb’s contrasting approach to songwriting complemented each other, Guarisco said. “Dave figures out how to make songs more direct. He has a beautiful, really gracious approach. And he’s got an awesome sense of how to get things moving in the studio.”

For Givers, Movin’ On is a return to the band’s roots. “We started out making upbeat, three-minute to seven-minute pop songs,” Guarisco said. “Then the next record we experimented, taking it in emotional directions. Movin’ On circles back to that pop music feel, but it also throws you a curve here and there. Dave was a part of taking a song to its core. That’s his Nashville approach. We’re a band that’s really into production and getting weird. That’s our forte. It was the perfect balance.”

Despite Givers’ high-profile recordings, licensing deals and international touring, the group remains a working-class band.

“We don’t fly around in a private jet,” Guarisco said. “We don’t drive fancy cars to gigs. Any band has to work its way up and push itself. We do a lot of road hours.”

Staying hungry can be a good thing. “One part of me is never satisfied,” Guarisco said. “I don’t think I’ll ever be a person who’s like, ‘Oh, we did it.’ You lose something important if you get to that point.

But another part of me is so grateful for what’s here in front of us.” O Givers plays at NOLA on Tap, September 22 in City Park. www.OFFBEAT.com

PHoto: S. Berard

Givers remains a working-class band.

By Amanda Mester Photography by Noe Cugny

Derrick Freeman and James Martin are shaping the soul of future brass band music.

“T

he Levels” is the newest song in Soul Brass Band’s repertoire. Written by the band’s founder, Derrick “Smoker” Freeman, it’s a harbinger of his plans for a new album. “It’ll be the best brass band record anybody’s ever heard,” he says.

Together with saxophonist James Martin, Freeman released Soul in June of 2018. The project serves as a bridge between the music of the Martin-Freeman-Genius Trio (more on that later) and the forthcoming album from Soul Brass Band; Soul features a lot of the same musicians who are members of Soul. But, as the two have made very clear, Soul “is a family record. It features all of our cousins—including Soul Brass Band. But it’s NOT a brass band record.”

It’s a little complicated, so let’s rewind.

It was a series of flukes that brought Freeman and Martin together.

They first played together in 2002, but it was more than a decade later when their careers dovetailed. While on a summer tour with Glen David Andrews in 2015, the two musicians were forced to whittle down the four-person backing band into a trio after the pianist missed a flight. The formula proved fortuitous. Together with tuba player Julius McKee, Freeman and Martin formed the MFG Trio and began recording an album.

Then, another fluke presented itself.

Shortly after MFG’s genesis, Freeman was tasked with providing Grammy-winning vocalist CeeLo Green a traditional-looking New Orleans brass band for “Music To My Soul,” a music video filmed in town. He rounded up some musicians and Soul Brass Band was born... only it wasn’t an actual band. When he was again approached to fashion a band, this time for a Nike commercial, Freeman rallied the

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same make-believe troops. This time, it got real.

As footage of the makeshift brass band—complete with decorative headwear, patches emblazoned with the word “SOUL” and sashes— found its way (along with social media posts tagged #SoulBrassBand) on the internet, it was clear “nothing” was shaping into a “something.” People were interested in seeing Soul for themselves.

Freeman got to work on making Soul Brass Band a living, breathing, performing band.

“The characters I wanted to use for that music video weren’t necessarily the right people for an actual band, per se. It took us a few months to figure out who was really going to be in it,” he says. The MFG Trio was now on hold and Martin joined the Soul ranks. Now three years removed from the band’s debut gig as an opener for Red Baraat at Tipitina’s, it’s still hard for Freeman to nail down the group’s fundamental members.

When asked who comprises the core of Soul, Freeman says “James and I, obviously. Leon ‘Kid Chocolate’ Brown I would consider a core member. Also Michael Watson, Aron Lambert, Danny Abel. But there’s also Terrance Taplin, Kevin Louis, Khris Royal…”

“It’s a revolving nucleus,” Martin quips.

Freeman moved to New Orleans from Houston in 1992 and enrolled in the fledgling jazz program at the University of New Orleans. Prior to that, his entry point into music was one of necessity. “My mom was obsessed with me not going to jail, so I was overly involved in activities as a child,” he recalls. “I got straight As but was disruptive in elementary school and got Fs in conduct.” His second-grade teacher, a Creole woman named Miss Spencer who drove an Eldorado, took a liking to young Derrick and helped save him from school www.OFFBEAT.com

administrators eager to send him to a school for wayward kids. He ended up at Parker Elementary, a school for gifted students.

“The one good thing about Texas in the eighties, even though a lot of them were racist, for some reason they were all about alternative education. At the school interview, they asked me what I wanted to do. And I was, like, ‘I’m eight. I don’t know.’” After turning down math, science and computers, he found his way into the music department.

“On the first day, they gave me a music-aptitude test and I scored 100 on it. It was just math to me, things like quarter notes, half notes.

I picked it up immediately. I decided I wanted to play the trumpet, but I’d had multiple dental surgeries because my adult teeth never came

“Life is all about levels I’ll keep climbing high and high.

Never will I settle or let this life pass me by.” down in the front so... the trumpet was not happening. Eventually I quit my piano class because the piano teacher’s daughter was in the class and I beat her in a spelling bee. So the piano teacher started hating on me. I told the school ‘I’m going to join the band.’ I sat in the www.OFFBEAT.com

trumpet section and they were, like, ‘Where the hell are your front teeth? You can’t play trumpet.’

My options were to go to the drum section or go back to piano class.”

Classical percussion it was.

By the time he got to Johnston Middle School, Freeman was under the tutelage of Craig Green, a band director whose notable students include Chris “Daddy” Dave, Eric Harland and Mark Simmons. With Green’s help, Freeman entered the High School for the Performing and Visual Arts (“which is like the N.O.C.C.A. of Houston”). It wasn’t until his senior year that he got thrown into the jazz combo because “someone failed out or something.” Another fluke.

“All the kids in my neighborhood were actively being recruited by the Navy, hard. And this was during Desert Storm. They were selling me wolf tickets, telling me I’d be able to play in the Navy band. They didn’t tell me I was going to be on a boat in the Persian Gulf getting my head shot off,” he says. “Even though I was in an arts school, I was unaware that you could get a scholarship playing music. I was heavily considering going [into the Navy].”

Once he learned of scholarships, he set his eyes on Juilliard but was rejected. Embraced by Oberlin, University of Miami and University of Michigan, Freeman opted for Texas Southern University. “They gave me a free apartment and it was across the street from the church I played at.”

Freeman was now a high-school graduate with a clear path ahead.

For James Martin, a New Orleans native whose father played the clarinet and saxophone (and served as the drum major at De La Salle SEPTEMBER 2018

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“Playing with Glen and Troy was fantastic, but there’s something much more fulfilling for me about getting on stage in front of a packed crowd at the Spotted Cat, singing my own songs.”

—James Martin

High School), pursuing music never felt like a choice. “There was always music in the house. I wanted to play guitar in the Archbishop Rummel High School band. The band director at the time had this rule: You couldn’t be in the jazz band unless you were also in the concert band or marching band. Of course, there’s no guitar. So I chose the saxophone and I fell in love with it.”

Martin entered the New Orleans Center for Creative Arts (N.O.C.C.A.) where his career launched when he began playing with Trombone Shorty. He opted to stay in New Orleans and enrolled at Loyola University.

“Katrina hit on what was supposed to be the first day of my senior year at Loyola. I kinda took that semester off. There wasn’t a lot of anything going on in town, so I was just at home a bunch, not going to school, not gigging, just writing. I think that kind of changed my course a little bit,” he says. “Writing became more of a focal point as opposed to just playing the saxophone.”

Freeman’s college experience was also abruptly interrupted, though not due to a storm. Already enrolled at TSU, he performed with his jazz combo at the Hyatt Regency in Houston a few weeks after graduation from high school. They opened for Ellis Marsalis.

“Turns out, [Dr. Charles] Blanc, who was head of the music department at UNO at the time, was college roommates with my high school band director,” says Freeman. “Ellis approached me and said ‘I don’t know who you know at my school, but they’re telling me you get a full scholarship.’

“My mom got wind of this. She just heard ‘full scholarship’ and she was, like, ‘I called them people and she said you can move in to the dorms, tomorrow. Greyhound bus. Bye. Your uncle will bring your shit next week.’” Freeman became a UNO student overnight.

Ten years later, Martin first became aware of Freeman while subbing for Kermit Ruffins with Trombone Shorty. It was around 2002, when Martin was a senior in high school. Freeman, who was in the midst of a years-long tenure as a member of Kermit’s Barbecue Swingers, remembers that night with a clarity belying the thousands of gigs worth of memories he has stored. “It was a Funky Butt gig [defunct music club on Rampart Street]. Joey Peebles, who played bass drums [for Trombone Shorty] was only 13 and his mom wouldn’t let him come to the bar. So I was subbing for a 13-year-old [laughs].”

When Glen David Andrews called Freeman to say he needed a drummer for a 2015 summer tour, Freeman was momentarily hesitant.

He asked Andrews who else was in the band and, upon hearing Martin’s name, warmed up to the idea. “I was like, ‘I’ll do it if I can room with that guy.’ I wanted to pick his brain and find out about him.

Like, what’s up with James Martin? Let me find out about this cat.”

Martin had been performing with Andrews regularly since 2012, the same year he released his debut solo album, Blue (two songs from his 2017 solo effort, Something’s Gotta Give, appear on Soul).

By the time the Andrews tour ended, Freeman and Martin (and McKee) began molding the MFG Trio into something more permanent than an extemporaneously built band.

“When we started doing the MFG Trio by accident, it sounded good. It was fun and it made sense,” James remembers. “We were

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doing gigs as the Trio but pretty much simultaneously, Derrick had started Soul. I was not yet a part of the band at that point. We went to record the Trio and then we just started calling in more musicians and it became something beyond what just the Trio is. Around the same time, I started playing with Soul and then we became an actual thing, doing tours all over the place. It took precedence over the Trio. So the MFG recording was on the back burner for a while. The recordings we originally did with the Trio kind of formed into this makeshift Soul album that we have.”

For Freeman, shaping Soul Brass Band with Martin signifies the end of a dream deferred. “I had quit Kermit’s band about two months before Katrina. Kermit got back fast after the storm hit and called me.

He said, ‘I got gigs, come home.’ I was like, ‘Fuck it. I’m in your band again.’ We started playing at Bullet’s in January of ’06. From then until 2014, that was my life, [a life] which I didn’t want.”

On the second day of a winter tour with Kermit in 2014, Freeman made a resolute decision to live the sideman life behind. Though he’d already released three albums of his own—including 2012’s Blurple Pain, which OffBeat’s John Swenson said “has just about everything you ask for from a contemporary R&B/hip-hop record”—Freeman felt slighted.

“I’m on [Kermit’s] most famous records, but I’m not on most of his records. It’s fine with me but in the annals of history, when it’s all said and done, there will be a lot of things I wasn’t included in because the recordings didn’t really tell the actual story about what was happening. At this time I was turning 40 and I was thinking about that. I was getting fucked over, historically. So I quit.”

Martin is gently earnest about his own transition from sideman to frontman. “I’ve definitely had some great experiences being a part of the bands that I’ve been involved with. Playing with Glen and Troy was fantastic, but there’s something much more fulfilling for me about getting on stage in front of a packed crowd at the Spotted Cat, singing my own songs, and having the crowd sing along. There’s something about making my own choices, the freedom of that and also the responsibility that you don’t really get being a sideman. After over a decade of playing with other people’s groups, it’s finally time.

Reconnecting with Derrick at this point in our lives, it was a perfect combination. We both felt the same way at the same time. Now we’re having more fun, doing what we want, writing our own music.

For that matter, we were on the same level.”

Freeman and Martin are now back in New Orleans after touring with Soul Brass Band in Ireland, Israel, Turkey and elsewhere. On that tour, while his bandmates returned to the States, Martin took a solo detour elsewhere at the invitation of Danish musicians.

“These musicians from Denmark had been coming to New Orleans for a while. Derrick had known some of them for a while and he brought Soul Brass Band to Copenhagen. I was able to go play my own music and do my own shows there,” he says. “A bunch of Danish musicians learned my music. We rehearsed in a Cold War bunker. It was the first time I really got to do my own shows abroad.

I was headlining shows in the festival. One of the programs put me www.OFFBEAT.com

COVER STORY

on the cover. I got some press and reviews when I was out there.

I did my own Fats Domino tribute. It was great. The crowds were amazing.”

Now, it’s time to begin recording an album, something Freeman was initially dreading.

“It’s 2018 and nobody really listens to whole records,” he says.

“Actually, fuck all of you people for asking for brass band records because nobody’s going to buy that. For some reason, I have to make this brass band record to legitimize us.” But now, a chance encounter (fluke!) on the road has him animated for the shape of things to come.

At a bar in Tel Aviv, Brown and Freeman met an EMT who told the story of a man whose life she’d saved. She never saw the patient again, nor learned of his progress. “Somehow, she ended up on a plane sitting next to the daughter of the dude she saved,” says Freeman. “I was, like, ‘Oh, it’s a full circle.’ And right when I said it, I got floored by an idea. ‘Holy shit, I just came up with the concept of the record.’

“The album is going to be about shapes. Leon is always reading crazy shit and when I told him about this idea he said ‘I’ve been reading these texts about shapes.’ So he just goes in on me for an hour about shapes and colors and how that’s relevant. It all just lined up. I feel like I went from writing a throwaway record to writing a record we might win a Grammy for. Conceptually, this shit is going to be insane.”

Next, the group will pen “The Circles” while continuing to perform. Focus is also being funneled into diversifying the portfolios of band members. N.C.I.S.: New Orleans has already licensed two of Freeman and Martin’s songs: “Maintain Composure” and “Grandma Cunningham.” Though neither of those songs are “particularly New Orleans-y,” says Freeman, there will always be a market for New Orleans in the capricious industry of music. “Licensing is really about survival.”

Freeman champions contemporaries like the Soul Rebels, Rebirth Brass Band and New Breed Brass Band for eschewing the fundamentally simple format of brass bands and elevating the art form. “People see brass bands differently now.”

The album will be buoyed by “The Levels” (“The race is not always given to the one who’s swift or strong/ But to the one who endureth/ And I’ve been running all night long”), though as of now it hasn’t been recorded.

“It’s a philosophy, levels,” Martin says. “It encompasses a lot of epiphanies Derrick has had about how there are different steps to achieve certain goals and different levels of vibing with musicians. I think we can actually make [the album] something special. With the personnel that’s involved, we can put our stamp on brass band music and further that sound through our own compositions and playing.”

Freeman takes a deep breath. “We’re in a position where we can control the narrative now.”

O Soul Brass Band will perform at d.b.a. on the final three Mondays in September and at the Maple Leaf Bar on the 14th. www.OFFBEAT.com

SEPTEMBER 2018

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Chris's Specialty Foods The Cajun country super food that once required a trip westward along the I-10 is making inroads in New Orleans.

By Elsa Hahne Map by Danika Andrade

W

hen the elderly Nook and Mother Bonin closed up shop in New Iberia many years ago, it was a sad day. Their meat market made what I then considered to be the best boudin in Louisiana—a rice, pork and liver miracle with an inexplicably funky, don’t-ask-don’t-tell taste. I knew Bonin’s was the best because I’d scientifically proven it. In the summer of 2002, I drove around Cajun country and sampled as much boudin as was humanly possible. (There’s a picture of the map I created back then on the third page; unfortunately, many of those places have since closed.) Being soft and unctuous by nature, much of the boudin I tasted sort of blended together after the first 20 or so links, so I was happy that I’d taken detailed notes from the first bite.

Bonin’s didn’t require notes, however. That weird and wonderful taste is still fresh in my mind; today I’d probably call it umami. The only other boudin that’s come remotely as close to porcine perfection (which requires generous amounts of spice and grease) is the hot boudin at Trahan’s grocery store in Rayne. It was a little old lady at the annual Frog Festival out there who recommended it. If I could remember her name (no idea if she’s even still alive), I’d track her down and kiss her. Why kiss a frog to maybe get a prince when you can kiss a little old lady and be guaranteed the best boudin?

6251 West End Boulevard, Lakeview, (504) 309-0010 Pork, warm/frozen, $4.99/pound; crawfish, frozen, $7.99/pound (since 2015)

Boudin is Chris’s top seller for a reason. With enough rice, meat, liver and green onions, it’s a contender for best boudin in the city. But where’s the spice? Pass the cayenne, cher.

Creole Country 512 David Street, Mid-City, (504) 488-1263 Pork (regular and smoked), chilled, $7/pound (since 1979)

Pasty and chewy—someone might have left the mixer on a bit too long for this particular batch, but for a company that’s been around for almost 40 years, they must be getting it right most of the time.

The smoky flavor is reminiscent of coffee.

Bourrée

Bourrée 1510 South Carrollton Avenue, Uptown, (504) 510-4040 Pork (regular and spicy), warm/chilled, $3/link; chicken, warm/chilled, $3/link; shrimp, warm/chilled, $4/link (since 2015)

This is excellent boudin, especially when served hot off the grill. Even if you don't like chicken wings or daiquiris, the boudin alone is a good reason to come here.

Boudin is served by the link at Toups South along with mustard and pickles. The reddish color and stand-out flavor comes from smoked paprika. Photo by Elsa Hahne

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Chrisʼs Specialty

“I use chicken liver instead of pork liver beacuse you can add more of it and that will give you a better texture at the same time as it won't taste as strong.

I don't put a ton of rice in my boudin.”

Toups S

1504 Oretha Castle Central City, (5 Pork link, warm, $9; bo $11 (sinc

Toups’ boudin is se at the restaurant one at a time. Chicken paprika come throug can’t buy Toups’ bou

—Chef Isaac Toups

www.OFFBEAT.com

Foods

Shank Charcuterie

Piece of Meat

2352 St. Claude Avenue, Marigny, (504) 218-5281 Pork, chilled, $6/pound or two links heated to order, $10 (since 2015)

3301 Bienville Street, Mid-City, (504) 372-2289 Pork, chilled, $6/pound (since 2018)

Not at all the boudin I was expecting (neither greasy, livery, nor spicy), but Piece of Meat’s rice and pork mix is excellent on its own terms, fresh tasting and fluffy in texture. Tastes like hog’s head cheese mixed with rice—baby food for all ages.

Our tasting panel was weirded out by this one. Slightly sour and darker in color—was crab boil added to the mix?

Creole Country Piece Of Meat

Cochon Butcher 930 Tchoupitoulas Street, Warehouse District, (504) 588-7675 Pork, chilled, $7.50/pound (since 2009)

Meaty and mushy, Cochon makes good boudin, but again, cher...

Where’s the cayenne?

Shank Charcuterie

Congregation Coffee Cochon Butcher Central City BBQ

Congregation Coffee 240 Pelican Avenue, Algiers, (504) 265-0194 Pork, warm, $6/link (since 2017)

Served off of hot dog rollers, this boudin is probably our favorite in town, with the perfect amounts of pork, liver, spice and grease. The proprietors make it fresh every Thursday and start selling Friday and over the weekend. They usually sell out come Sunday.

Toups South

South

e Haley Boulevard, 504) 304-2147 oudin burrito, warm, ce 2016)

erved as an appetizer e link and one plate liver and smoked gh in the flavor. (You udin by the pound.)

Gourmet Butcher Block 2144 Belle Chasse Highway, Gretna, (504) 392-5700 Pork, warm/chilled/frozen, $4.09/pound; crawfish, frozen, $7/pound (since 1994)

Central City BBQ 1201 South Rampart Street, Central City, (504) 558-4276 Smoked pork, warm, $17/pound (since 2016)

With a nice and crispy skin right off the grill, Central City BBQ’s smoked boudin is excellent, but it’s hard not to choke on the price—$17 per pound, for boudin?!

This boudin probably comes closest to the kind of boudin you find out in Cajun country—and you can’t beat the price.

This is the one we’ll be stocking up on to keep in the freezer at home.

Gourmet Butcher Block

BO U

DIN

For a long time, I was making treks out to Cajun country just to stock up at Trahan’s and other places. Over the last few years, however, several boudin makers have emerged in the Greater New Orleans area. There are choices all of a sudden. So with no further ado—this is our guide to most of the local places that make and sell their own boudin.

We’re not including places that sell boudin they don’t make themselves, such as Big Fisherman on Magazine Street, which sells Poché’s

Pork boudin from Gourmet Butcher Block

crawfish boudin and Creole Country’s pork boudin, or Schaefer Seafood in Bucktown, which carries LeBlanc’s from St. Amant (pork, crawfish or shrimp) where the sixth or seventh ingredient unfortunately is monosodium glutamate. Mais non, cher!

Prices are all over the place, from Gourmet Butcher Block’s $4.09/pound to Central City BBQ’s $17/pound. Once you find your favorite, you might end up sitting in a bit of traffic to get your fix. Luckily, boudin was always the optimal road food, traditionally consumed one-handed behind the wheel, or outside groceries and gas stations. At least you won’t starve on your way home!

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photos: Elsa Hahne

liot Guthrie (pictured) and Ian Barrilleaux met while they both were working at Cochon Butcher (part of the Donald Link restaurant group) and opened Congregation Coffee in Algiers last year. Boudin has been on the menu since the beginning. ”Black coffee and boudin pair very well," says Barrilleaux who was the charcutier at Cochon Butcher for eight years and has been making boudin for 10. ”I use more spice now than before, along with pork shoulder, chicken liver and Louisiana popcorn rice.” www.OFFBEAT.com

MANCHU

Unapologetically Real PHoto: noe cugny

Manchu serves fried chicken wings with a side order of reality.

O

ver by the Claiborne Avenue bridge, where the clanking and bang of the highway meets the gentle flow of Esplanade, there’s a crisp smell at all hours. The Manchu Food Store is open and serving. Its purple front, made famous in various local music videos, has a painted-on green sign that gives you a vague idea of what’s on offer.

“My mom’s dad was an absolute hardass,” John Nguyen says as he recalls his grandfather Kevin, a Vietnamese immigrant who bought the original Manchu on Saint Bernard in the 1980s and later opened the Claiborne location. “His pass for marrying his daughters was, you had to come

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to his store and work. He did this to every single one of my uncles who married into the family. My dad was no exception to the rule.”

Manchu is no place for hanging around. On the corner, there’s traffic, and inside there’s traffic. A mad carousel of bodies revolves in hunger.

People walk in in their slippers, looking up at the menu that towers over everyone. The place is chaotic and confusing at first, yet efficient and straight to the point.

“It’s a madhouse sometimes and it’s crazy how we get things to work,” Nguyen explains while sporting a purple Manchu hat.

“Once you walk in, there’s a lot of loud speaking over each other, speakerphone happening,

By Noe Cugny

orders going down to the kitchen, people bouncing in and out of the windows. It’s just like this city, there’s nothing ever calm about it.”

There are no explicit rules, or directions offered to the customer.

“Even though the system seems wacky, to us it’s normal,” Nguyen adds. “And we like it. The noise, the energy, it’s the same composition as a live band.”

When it first opened in 1991, Manchu was your regular New Orleans corner store, a threeemployee operation with a small fryer in the back. It was John’s parents, Tommy and Yen Pham Nguyen who carried the load. “My mom was so badass, she had just had me and she was already back in there two months

later,” Nguyen recounts. “A couple years down the road she came up with the recipe for what was gonna be the most popular item on the menu. The fried chicken wings.”

From there, Manchu found an identity and word-of-mouth publicity that brought new business in. Quickly, it grew from a simple convenience store to that place where you can get obscene amounts of fried wings in no time anytime.

Don’t look for fancy pictures of unearthly staged food. The focus is not set on providing a neat dining experience. No one’s got time for that. The kitchen fries up to half a ton of chicken on a busy day, and it tastes uninhibitedly and unapologetically real.

O www.OFFBEAT.com

EATS

“N

aughty Professor embodies that serious funk groove and all around good-time music that I love. When I went to school at Loyola I started hearing about their music and fell in love with them. The beautiful chaotic melodies they create are just out of this world. I named this cocktail after one of the songs on their 2013 album, Out On a Limb, called ‘Glass Two Apples.’ The guy who wrote it, Bill Daniel—or Wild Bill as I like to call him—he’s the guitarist for the band and essentially went to an art exhibition in San Antonio and saw a painting of a glass and two apples and was inspired

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to write that piece. And I think that’s awesome, that something so simple became the complexity that the song is, and the pretty and dark melodies that the song represents.

There are apples in this recipe—in two forms, actually.

We’ll be doing an American apple brandy and a cider liqueur in a bramble variation incorporating a lot of everything—a little sweet, a little acidity, a little bitter—just like their music, with an end result that’s just really fine; an incredible, enjoyable product.

I started bartending at Dat Dog on Magazine Street, actually. From there, I got really invested in cocktail culture and since I’ve always been

By Elsa Hahne

a history nerd, the history of spirits and liqueurs really piqued my interest. Then I met some awesome people at Atchafalaya who fine-tuned my skills. They made me understand what it takes to make a truly awesome cocktail. And now I’m at Longway, which is a breath of fresh air in the Quarter. We’ve been open for about [three] months now.

I love brambles—they’re my ultimate summer drink. That’s what I want on my porch. They’re never too sweet and always keep me coming back for more. Generally, though, my go-to drink is a daiquiri. That combination of spirits when done right is magical, easy-going and you can crush them one after another.”

photos: Elsa Hahne

Denzel Brown/Longway Tavern

Glass Two Apples 1 ounce Laird’s Straight Apple Brandy 1 ounce Pomo apple cider liqueur 3/4 ounce lemon juice 1/2 ounce orgeat syrup 1 dash Angostura bitters 1/4 ounce Vedrenne Crème de Mure Blackberry Liqueur Shake with ice, strain over fresh ice and garnish lavishly. www.OFFBEAT.com

Kingfish: 337 Chartres St., 598-5005 Mr. B’s Bistro: 201 Royal St. 523-2078

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

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

GROCERY STORES Breaux Mart: 3233 Magazine St., 262-6017; 2904 Severn Ave. Metarie, 885-5565; 9647 Jefferson Hwy. River Ridge, 737-8146; 315 E Judge Perez, Chalmette, 262-0750; 605 Lapalco Blvd., Gretna, 433-0333 Mardi Gras Zone: 2706 Royal St., 947-8787

ICE CREAM/CAKE/CANDY Aunt Sally’s Praline Shops: 2831 Chartres St., 944-6090 Bittersweet Confections: 725 Magazine St., 523-2626 Sucré: 3025 Magazine St.,520-8311 Tee-Eva’s Praline Shop: 4430 Magazine St., 899-8350

AFRICAN Bennachin: 1212 Royal St., 522-1230

INDIAN

AMERICAN

Nirvana: 4308 Magazine St., 894-9797

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

LOUISIANA / SOUTHERN

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 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 Compere Lapin: 535 Tchoupitoulas St, 599-2119 Josephine Estelle: Ace Hotel, 600 Carondelet St., 930-3070

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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 Saba: 5757 Magazine St, 324-7770 Shaya: 4213 Magazine St, 891-4213

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

MUSIC ON THE MENU 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

Sammy’s Food Services: 3000 Elysian Fields Ave., 948-7361 Tracey’s: 2604 Magazine St., 897-5413 Ye Olde College Inn: 3000 S. Carrollton Ave., 866-3683

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

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

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

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

VIETNAMESE Namese: 4077 Tulane Ave., 483-8899

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

The Dish Chef R.J. Tsarov on creating the Thai Moules et Frites at the Delachaise

JAPANESE/KOREAN/SUSHI/THAI

COFFEE HOUSE

CREOLE/CAJUN

Biscuits and Buns on Banks: 4337 Banks St., 273-4600 Cake Café: 2440 Chartres St., 943-0010 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 Lucy’s Retired Surfers Bar & Restaurant: 701 Tchoupitoulas St., 523-8995 Parkway Bakery and Tavern: 538 Hagan Ave., 482-3047

Adolfo’s: 611 Frenchmen St., 948-3800

The Joint: 701 Mazant St., 949-3232 Café du Monde: 800 Decatur St., 525-4544 Morning Call Coffee Stand: 56 Dreyfous Dr., (504) 300-1157

NEIGHBORHOOD JOINTS

ITALIAN

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

BARBECUE

Cocina de Liberación at Fontaine Palace: 218 S. Robertson St, 525-9775 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 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 Tchoupitoulas St., 581-7101 Palm Court: 1204 Decatur St., 525-0200 Rivershack Tavern: 3449 River Rd., 834-4938 Siberia Lounge: 2227 St. Claude Ave., 265-8865 Southport Hall: 200 Monticello Ave., 835-2903 Snug Harbor: 626 Frenchmen St., 949-0696 Three Muses: 536 Frenchmen St., 298-8746

So glad these are still on the menu, even after you left!

How did you come up with the recipe?

“About 4-5 years ago, I wanted to do a Thai mussel special, but I didn’t want to use coconut milk. I’d made mussels before with wine, butter, garlic, tomato and basil, so I started by adding Thai aromatics to that—fish sauce and lime juice. It became a joke in the kitchen; my sous chef thought it was ridiculous. “Fish sauce and butter don’t mix!” And I’d still hear that whenever an order for mussels came in, which was a lot.

When you experiment, you sometimes hit on something, and sometimes it’s a mess. Fusion cuisine can sometimes be confusion cuisine. I figured out that there’s only one fish sauce that will work for this dish, the Three Crabs brand. I get it at Hong Kong Market. When they were out, I tried another, and it was a disaster. And I use a very special Pinot Grigio—I went through probably six different types of wine.

I’m really proud of the mussels.”

—Elsa Hahne www.OFFBEAT.com

DINING OUT

Mikimoto It's a sugar cube! It's a garage! It's a ... sushi bunker? The exterior of the building that's housed the Japanese restaurant Mikimoto on Carrollton Avenue for the last 19 years is absolutely no frills. It's a white cube. With a uniformed security guard often posted out front, you'd think this would be the headquarters of Brink's or some underground arms dealer if it wasn't for the big blue sign out front. The unassuming pickup/drive-through window is similarily void of decoration, and no one seems to care. It's busy at all hours. Circling the cube for parking, you have to be careful as there's likely a moving car around each corner where the driver can barely see because of mountains of takeout boxes.

The menu is huge. The sushi rolls alone offer 73 choices, plus more special rolls on the dry-erase board up by the bar. It's probably impossible to

www.OFFBEAT.com

reduce the menu to a readable selection by now as each item has developed its own champions.

I'd be willing to smack someone if they took the Yellow Dragon Roll off the menu, for example.

With cucumber, avocado, snowcrab and smelt roe wrapped with seaweed and rice and topped with fresh salmon and—here's the magic—thinly sliced lemon (peel, pith and all!), it's my favorite roll of all time—and I never even liked lemon on fish. The pith adds just a hint of bitterness to accentuate the richness of the salmon and the sharpness of the zest makes up for the mayo in the snowcrab.

The Yellowtail Roll is a simple, honest sidekick to larger maki. Fresh green onion lords over the other subtle flavors and it's refreshing and clean-tasting (read, void of cream cheese, mayonnaise, tempura flakes and eel sauce, which in my opinion pollute much too many selections in most sushi restaurants. For this reason, I tend to opt for the Chef's Special Roll, a stocky cornucopia of tuna, salmon, yellowtail, avocado, smelt roe and asparagus.

At lunch, Mikimoto offers lip-smacking deals.

Chirashi, an assortment of sashimi-cut raw fish on a bed of sushi rice, is only $10.95 and served with both soup and salad. If you'd rather go with the assorted Sushi Platter, that's $9.95. Can you even buy a po-boy for less than $10 these days?

Photo: ELSA HAHNE

EATS

Sushi bunker?

One of the wonders of Mikimoto is how far they'll deliver. If you're curious, there's a map marked up in black Sharpie on the inside of the pickup window. The line to the right outlines the French Quarter, continues up St. Bernard Avenue and Paris Avenue towards the lake, while Riverdale Drive, Causeway Boulevard (up to the I-10) and Bonnabel Boulevard in Metairie make up the boundary to the left. I know Uber and Lyft drivers who won't drive that far, while Mikimoto just might take you to heaven in a single bite.

—Elsa Hahne 3301 S Carrollton Avenue; 11a-10:30p MonThur, 11a-11p Fri, 4-11p Sat, 11:30a-10:30p Sun; mikimotosushi.com; (504) 488-1881

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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

Simply a Blast

Jon Cleary Dyna-Mite (FHQ Records) From the very opening of the title cut of Dyna-Mite there’s no doubt that the album’s musical roots lie deep in New Orleans. Jon Cleary might have been born in England, but his piano playing, sense of rhythm and funk tell a different story. He is and has long been considered an adopted son of this city. This tune has all the New Orleans rhythm and blues essentials and most importantly Cleary’s lilting piano, which echoes those greats like Fess and Allen Toussaint who influenced him down to his soul. There are other touches too like the repeated refrain, “Don’t tell nobody,” that is most associated with the classic “I’ve Got Big Fat Woman.”

Leo Nocentelli’s guitar licks with Jamison Ross’ drums laying down the rhythm just emphasize the whole New Orleans experience. Of course, Cleary adds his own unique bag of humorous, lyrical tricks.

Dig that in listing the personnel on the cut, it simply describes the additional singers as “a whole gang on background vocals.”

Often, “a whole gang of horns” would have summed up those blowing on cuts like the soul groove tune, “Unputdownable,” which includes the trinity of

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trombone, saxophone and trumpet—Charlie Halloran, Ryan Zoidis and Eric “Benny” Bloom, respectively.

Narrowing down the participants considerably, Cleary and drummer Ross go it alone on the reggae, “soon come” rhythm of “Big Greasy.” As he is often throughout the album, Cleary is on piano, guitar and Hammond B3, as well as bass in this case.

Cleary’s pen was at work on every cut of the album including a collaboration with blues legend Taj Mahal on the ballad “21st Century Gypsy Singing Lover Man.” Old school, late night New Orleans soulful R&B, the kind that couples on a dance floor barely move to, finds a strong place in the album’s stylistic mix with Cleary’s heartbreaker, “Best Ain’t Good Enuff.” The background vocals of Nigel Hall, who is often featured on keyboards throughout the disc, Jamison Ross and Quiana Lynell provide the perfect foundation for Cleary’s voice and emotional interjections.

The album dances out with a very catchy “All Good Things,” and as the saying and the lyrics continue, “…got to come to an end.”

Apparently, Cleary wasn’t ready to let it go as he adds a full minute piano solo coda to take it out.

Like the explosive Jon Cleary himself, Dyna-Mite is simply a blast.

—Geraldine Wyckoff

Sarah Quintana Daddy Lies (Independent) Sarah Quintana’s latest, sixsong effort, Daddy Lies, finds her at the crossroads between

her imaginative and ambitious Miss River recording and several new collaborations, including an upcoming recording she’s working on in France. Quintana’s lucid guitar playing is joined by Richard Comeaux on pedal steel, Robin Sherman on bass, and Jim Kolacek on drums. The songs here are lighthearted and easy on the ears.

“Cherry Tree” sets the tone with breezy lines as Quintana sings about the bittersweet yearnings of a long distance relationship. “Je n’en

Connais Pas La Fin” is an exquisite interpretation of a Jeff Buckley song about a childhood memory.

The title track “Daddy Lies” is a loving tribute to her father spiked with sassy sweet lyrics. The closer “Good Old Fashioned Goodbye” is a perfect New Orleans–flavored upbeat second line that also serves as a last will and testament of sorts.

All in all Daddy Lies is nice treat to tide over the Sarah Quintana fans until her next project is realized.

—Michael Dominici

The Essence of New Orleans Cyril Neville Endangered Species: The Complete Recordings Endangered Species: The Essential Recordings (Louisiana Red Hot Records) If you don’t know how incredibly epic singer/songwriter/percussionist Cyril Neville’s career has been, you need to educate yourself. Seriously, go look him up right now… Do you see what I mean? He’s a member of New Orleans’ first family of music, the Nevilles, and is the nephew of Chief Jolly of The Wild Tchoupitoulas.

He has played with the Neville Brothers and the Meters. He used to hang out with James Booker, toured the world three times alongside the Rolling Stones, is an avid environmental activist, and the list of badass things about him goes on and on.

Whether you’re a total neophyte or a longtime fan, Cyril’s latest multialbum release is structured to introduce new listeners to his solo career and/or indulge the already initiated. Endangered Species: The Complete Recordings is a 5-disc retrospective of his work with the Endangered Species label. It includes the albums New Orleans Cookin’, Soulo, Solemnly Yours, The Fire This Time and Medicine. If you want to go full tilt into Cyril’s post-Meters career, this is the place to jump in. If you’re just encountering Cyril’s music for the first time, Endangered Species: The Essential Recordings is the perfect primer, culling select gems from all five albums.

No matter which path you take, you’ll find what many already know: Cyril is a distinctive vocalist, a talented songwriter, and can conjure the essence of New Orleans at will. He can shift effortlessly between funk, soul, R&B, Caribbean, brass and hip-hop, experimenting with each style and always infusing the music with his unique touch.

—Stacey Leigh Bridewell www.OFFBEAT.com

REVIEWS

Brother Dege Farmer’s Almanac (Psyouthern Records) Farmer’s Almanac, the latest release from Brother Dege, is appropriately titled. This is music that feels of the earth... this is working man’s music. Not a nine to five working man, but an up and out before the sun rises working man. Dege Legg is certainly not afraid to tackle the darker sides of humanity both lyrically and in the music crafted as part of his unique blend of roots music that he dubs “psyouthern.” As one might expect, Brother Dege delivers another emotionally powerful and charged recording that is filled with Legg’s beautiful and impassioned guitar playing.

Things get started with “Partial To The Bitters,” an instrumental passage that sets the tone for Farmer’s Almanac. It’s expansive and earthy yet mournful and introspective. Rising from the ashes is “Country Come to Town” with its driving beat and fine picking from Dege Legg. “The Early Morn” continues mining the lyrical theme developed on “Country Come to Town.” Both songs perfectly complement the instrumentation developed in “Partial to the Bitters” and Josh Leblanc adds some nice texture on flugelhorn as “The Early Morn” comes to an end.

In many respects, the centerpiece of this recording is “The Moon & the Scarecrow.”

Clocking in at nearly eight minutes, it gives Dege plenty of time to deliver an epic tale that sonically would fit nicely on Led Zeppelin III.

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“Laredo” paints a picture of a lone wanderer riding off into the sunset, unsure of what lies ahead.

Legg sings, “The hippies chase the morning. They like to dream.

But I can’t take no sides, because the evil talks to bad men just like the saints.” As with the rest of Farmer’s Almanac, you feel that he is singing from experience, not dreamed up abstractions. There is a real struggle in the protagonists of these songs.

“Partial To The Bitters, Pt. II” closes out the procession. This is the lone cowboy riding back into town weary and beaten down, just in time to get up and do it again. It’s ashes to ashes and dust to dust, from the Earth we come and to the Earth we return. What we do in the middle is contained in the Farmer’s Almanac.

—Christopher Weddle

Greg Ruby & the Rhythm Runners Syncopated Classic (Independent) Who was Frank D. Waldron?

Lost to time, he was a Seattle jazz saxophonist, trumpet player, teacher and composer who played with Jelly Roll Morton and taught a young Quincy Jones. Guitarist Greg Ruby and jazz historian Paul de Barros stumbled upon his works and have endeavored to bring Waldron’s oeuvre back to the world. They published the biographical booklet, Seattle’s Syncopated Classic, and an accompanying album, Syncopated Classic. Greg recorded the album with his band, the Rhythm Runners, which features the cream of the crop from the New York, www.OFFBEAT.com

REVIEWS New Orleans and Seattle trad scenes. The ensemble is air-tight and they play these prohibitionera tunes with delightful gusto.

“It’s Easy,” “With Pep,” and “That’s It” are particularly jaunty.

“Climb Them Walls” is sultry and naughty with plenty of growling and moaning solos. “Valse Hawthorne” and “Valse Queen Ann” feature exquisite mandolin playing from Mike Marshall and

Dennis Lichtman. Listen in for our hometown fellas Charlie Halloran and Cassidy Holden on trombone and bass, respectively.

The effort and meticulousness they put into curating not only the album and its liner notes, the book and included sheet music will not be lost on jazz fans. It’s a thrill to rediscover music with such vitality.

—Stacey Leigh Bridewell

A Fiercely Talented Improviser Helen Gillet Helkiase (Independent) After receiving her master’s degree in music at Loyola University in 2004, Belgian-born cellist, singer, composer, and improviser Helen Gillet has continued to flourish in New Orleans.

Since the onset, Gillet has created a DIY pathway as an independent musical artist who has collaborated with locals such as James Singleton, Jonathan Freilich, Tim Green, Doug Garrison, Aurora Nealand and Leyla McCalla, as well as leading Wazozo and Tephra Sound. A fiercely talented improviser, Gillet utilizes a compelling array of loops and gadgets to create layers of sound on the spot combining her skills into a cohesive and compelling musical narrative. Her current effort Helkiase is her latest in a series of house concert captures. Helkiase is an intimate solo performance that to these ears at least represents Helen Gillet at the peak of her powers in their distilled essence.

The opening selection, “Quande Je Marche” by French singer Camille, has long been one of Gillet’s showstoppers. Initially, Gillet used her incredibly dynamic vocal range to achieve the maximum impact of the powerful, wonderful lyrics. Here, it begins with a stunning Indian raga introduction inspired by her Wisconsin instructor Nancy Lesh Kulkarni (who inspired Gillet to further explore the art of the improvisers). The trance-like opening gradually morphs and unfolds into a more nuanced interpretation that has a decidedly more meditative, contemplative tone.

A highlight, “Slow Drag Pavageau” was inspired by a makeshift bass exhibited in the New Orleans Jazz Museum by traditional jazz bassist Alcide “Slow Drag” Pavageau. One of Gillet’s most beautiful and deeply moving ballads, it tells the story of the struggle of the musician’s life.

Another cover of note is PJ Harvey’s confessional portrait “Angeline,” rendered by Gillet with utmost dignity and grace.

As the back cover alludes to, Helkiase was a Belgian medicine made with mercuric chloride that was effectively used to treat both the skin and ulcers, but banned before WWII due to the serious side effects of mercury poisoning. The title track includes snippets of General De Gaulle in a peculiar time-warped experimental episode.

Helkiase is a strong effort that coincides with a great step forward in her career, for Helen Gillet has now reached a point where she no longer has to deal with musical side-hustles and is completely committed to her art.

This has allowed her to tour the country and the world, and to engage in ambitious collaborations that are certain to bear fruit in the near future.

—Michael Dominici www.OFFBEAT.com

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REVIEWS

Chubby Carrier & the Bayou Swamp Band Black Pot (Swampadelic Records) Despite its perplexing black skillet cover, Black Pot is Chubby Carrier’s most unusual and selfless release of his extensive discography. Admittedly, he didn’t have enough material to head back into the studio, but Bayou Swamp Band drummer Jayme Romain did, hence an album of all Romain originals. As a result, most of this is radically different from anything Carrier has ever waxed but better positions him in the contemporary zydeco market.

The first two tracks, the infectiously festive “Blackpot”

and the slaying funky grooves of “No Time,” are absolutely killer.

Romain handles the lion’s share of vocals with Carrier singing on only four tracks. Romain often exudes charisma with his originals touching various shades of modern zydeco, like the R&B-tinged “The Reason Why” with its R&B background

A Home Run Sean Ardoin Kreole Rock and Soul (Louisiana Red Hot Records) As Sean Ardoin points out, zydeco has evolved so much that it’s sometimes challenging to recognize it in its myriad forms.

So, to distinguish his new breed of music from the Creole/zydeco genre his family has helped establish for generations, Ardoin unveils his high-octane genre Kreole Rock and Soul, a rootsy sound that embraces contemporary pop, soul and classic rock.

Whether the broader-based kreole rock and soul is really a new genre or a self-defining artistic style, the ride, nonetheless, is a thrilling one.

Explosive blues rocker “Kick Rocks” ignites the proceedings where each track is vastly different than its predecessor. “Butterfly” juxtaposes Southern soul with a hard guitar edge; “What Do You Want to Do” is sunny, acoustic guitar–strummed love pop. The madcap “Keep on Moving” comes the closest to the spirit of vintage zydeco while Ardoin’s swirling “Overdosed” is probably his most compelling performance of the platter. Five covers ranging from classic rock to urban contemporary are melded seamlessly into the expansive format.

Whether you notice the accordion’s presence in these thick arrangements or not, Ardoin’s strong vocal presence is inescapable and the most immediate draw to the track at hand. Similarly impressive are the strength-in-numbers background vocals that were recorded in three-part harmonies three times each by Ardoin and son Sean David for a staggering total of 18 tracks.

After the bulk of this was finished, Ardoin enlisted multi-Grammy Award winning producer/songwriter Aaron Lindsey, who added keys, programming and a futuristic reggae vibe to the Cars’ “Just What I Needed.” Surprising, amazing and provocative—a risk-taking endeavor resulting in a home run.

—Dan Willging

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REVIEWS vocals and the Temptations-recalling “Nothing Like My Girl.” A few tunes are classic enough to fit Carrier like a glove.

Obviously, Carrier isn’t the uptight control freak. On the breezy, soulish “Who You,” bassman Randall Jackson plays the smaller, single-row squeezebox, as opposed to Carrier’s beefy triple-row variety, for a changeup in sound. “Dancing with a Feeling” is novel when you realize both Carrier’s triple and Jackson’s single-row accordions are on the same track, which is practically unheard of.

By the time “Offshore Shuffle” rolls around, it all makes sense. It’s a tribute to Carrier’s late father/ accordionist Roy who, for years, hosted Thursday night jams at his Offshore Lounge that helped many budding accordionists, like Beau Jocque, on their way. In a way, this is an extension of that.

—Dan Willging

Carmela Rappazzo Howlin’ at the Moon (Independent) Carmela Rappazzo sings a lot of blue notes. Her voice is not traditionally beautiful or “pretty.”

It captures you on a different level, disconcerting yet fascinating.

Rappazzo grew up in a large, Sicilian, musical family in New York and made a career for herself as an actress, first off-off-Broadway, then in Hollywood. While in L.A., she sang straightahead jazz in clubs and eventually made it to the studio, recording three albums of standards and one less traditional project including covers of Hirth Martinez, Donald Fagen and Mike Melvoin.

Rappazzo later moved to New Mexico and back to New York, where she put out her fifth full-length and first collection of original songs, Myths and Legends. She finally settled in New Orleans last year and recorded her most recent album, Howlin’ at the Moon, at the Ellis Marsalis Center For Music, releasing it in February.

Howlin’ at the Moon, also composed almost entirely of www.OFFBEAT.com

originals, is Rappazzo’s most ambitious project to date. This has a lot to do with the personnel she brings onboard, an ensemble of 12 of the city’s best musicians.

Leading the pack are pianist Oscar Rossignoli, who is credited with directing and arranging six of the project’s nine tracks, and bassist Jasen Weaver, who is credited with the remaining three. Rossignoli’s classical training creates rich harmonies and unexpected dissonances, while Weaver’s modern jazz mentality pushes his tracks toward sparser, sleeker ground. Both approaches work to great effect and the two young musicians play off each other, tastefully comping for Rappazzo and accenting the abilities of their featured soloists, including guitarist Pete Snell, lutarist Mahmoud Chouki, trumpeter Steve Lands and saxophonist Jeronne Amari Ansari.

Gerald T. Watkins’s drums, turned down to a whisper in the mix, keep pace throughout the album, providing an effortless swing that makes the whole machine run smoothly.

The songs themselves are short story-poems, telling tales of voyeurism (“Keyhole”), loss (“State of Grace”) and revenge (“Revenge”). Rappazzo showcases her talent for the written word with crystal-clear enunciation and no excessive flourishes. She sticks to the script lyrically but takes liberties with melody, singing around notes almost as often as she hits them.

This technique is not immediately pleasing to the ear, but it makes for moments of tension, surprise and rare beauty, the kind only a blue note can evoke.

—Rafael Helfand SEPTEMBER 2018

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Listings

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

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

MJ Jazz

Contemporary TJ Jazz Traditional JV Jazz Variety KR Karaoke KZ Klezmer LT Latin MG Mardi Gras

Indian ME Metal RB Modern R&B PO Pop PK Punk RE Reggae RC Rockabilly RK Rock RR Roots Rock SS Singer/

Songwriter SK Ska PI Solo Piano SO Soul SW Spoken Word SP Swamp Pop SI Swing VR Variety ZY Zydeco

SATURDAY SEPT 1

Buffa’s: Dapper Dandies (JV) 11a, James Martin Trio (JV) 6p, Keith Burnstein’s Songwriter Circle (VR) 9p d.b.a.: Pine Leaf Boys (KJ) 11p Fontaine Palace: Deca-Dance Party (VR) 7p Gasa Gasa: Parole Violation, Bob and the Thunder, Champagne Girl (RK) 10p Gattuso’s: Michael O’Hara, the Sheik (VR) 7p Howlin’ Wolf (the Den): Jenna Hunts (RK) 8p Jazz Playhouse: Chucky C and Clearly Blue (JV) 8p Kerry Irish Pub: Patrick Cooper (FO) 5p, Van Hudson (FO) 9p Little Gem Saloon: Cole Williams Quartet (RK) 7:30p Mahalia Jackson Theater: Africa Umoja (AF) 8p Morning Call City Park: Billy D. Chapman (JV) 10a New Orleans Creole Cookery: the Cookery 3 (JV) 6p One Eyed Jacks: Joe Fiore presents Furball (VR) 9p Preservation Hall: Preservation Brass with Mark Braud (TJ) 5p, Preservation All-Stars feat. Rickie Monie (TJ) 8p Rock ‘n’ Bowl: Aaron Foret (SP) 9:30p Starlight: Shawan Rice (SO) 7p, Goddess and Pablo Z present Epicsode (VR) 10p Three Keys (Ace Hotel): DJ Edgeslayer, House of Kenzo (VR) 9p Three Muses: Chris Christy (JV) 5p, Leo Forde (JV) 6p, Russell Welch (JV) 9p Time Out: Riverwalk Essence Dance Party (VR) 11a Tipitina’s: Habitat for Humanity Fundraiser feat.

John the Martyr, Big Easy Brawlers (VR) 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 SEPT 2

Buffa’s: Some Like It Hot (JV) 11a, Pfister Sisters (JV) 4p, Steve Pistorius Quartet (JV) 7p

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d.b.a.: Palmetto Bugs Stompers (SI) 6p, Dash Rip Rock (RK) 10p House of Blues: Anais St. John’s Donna Summer Tribute: Labor Day Rose Soiree (VR) 3p Howlin’ Wolf (the Den): Hot 8 Brass Band (BB) 10p Jazz Playhouse: Germaine Bazzle (JV) 8p Kermit’s Mother-in-Law Lounge: Kermit Ruffins and the BBQ Swingers (JV) 5:30p Kerry Irish Pub: Traditional Irish Session (FO) 5p, Beth Patterson (FO) 8p Little Tropical Isle: Styk (RK) 5p, Frank Fairbanks (VR) 9p Mahalia Jackson Theater: Africa Umoja (AF) 2 & 8p One Eyed Jacks: Decadent Ducks (VR) 11a, Queer as Fuck Dance Party (VR) 9p Preservation Hall: Preservation Legacy Band feat.

Gregg Stafford (TJ) 5p, Preservation All-Stars feat. Wendell Brunious (TJ) 8p Siberia: Monocle (ID) 9p Snug Harbor: Roderick Paulin Quartet (JV) 8 & 10p Southport Hall: September Mourning, Kaieido, Charcoal Tongue (VR) 7p Starlight: Dile Que NOLA (LT) 7p Three Keys (Ace Hotel): Nicole Lynn Foxx presents Moonshine Taste with Lucy Stoole and Ray Gunn (VR) 7p Three Muses: Raphael et Pascal (JV) 5p, the Clementines (JV) 8p Time Out: Riverwalk Essence Dance Party (VR) 11a Tropical Isle Original: the Hangovers (RK) 5:15p, Late As Usual (RK) 9:15p

MONDAY SEPT 3

Buffa’s: A2D2 with Arsene DeLay and Antoine Diel (VR) 6p Hi-Ho Lounge: Bluegrass Pickin’ Party feat. Victoria Coy, Matt Slusher and Mark Andrews (BU) 8p, Rock Bottom String Band (FO) 10p Jazz Playhouse: Gerald French and the Original Tuxedo Jazz Band (JV) 8p Kerry Irish Pub: Patrick Cooper (FO) 8p Maple Leaf: George Porter Jr. Trio feat. Mike Lemmler and Terrence Houston (FK) 10p Preservation Hall: Preservation Jazz Masters feat.

Leroy Jones (TJ) 5p, Preservation All-Stars with Charlie Gabriel (TJ) 8p SideBar NOLA: Instant Opus Series presents S & M Opus (VR) 9p Snug Harbor: Charmaine Neville Band (JV) 8 & 10p Starlight: Joshua Benitez and friends (RK) 8p Three Muses: Sam Cammarata (JV) 5p, Dan Cutler Duo (VR) 7p Tropical Isle Original: Graham Robinson Band (RK) 5:15p, Trop Rock Express (RK) 9:15p

TUESDAY SEPT 4

Buffa’s: You Got This Presents Taco Tuesdays (VR) 5p, Tacos, Tequila and Tiaras with Vanessa Carr (VR) 8p Gasa Gasa: ARIADNE, fri(G)id, Mouth, Hairface (EL) 9p House of Blues (the Parish): Liniker e os Caramelows (LT) 7p Howlin’ Wolf (the Den): Comedy Beast (CO) 8:30p Jazz Playhouse: James Rivers Movement (JV) 8p Kerry Irish Pub: Jason Bishop (FO) 8:30p Little Gem Saloon: NOLA Dukes (VR) 7p Little Tropical Isle: Mark Pentone (RK) 5p, Frank Fairbanks (RK) 9p Maison: Gregory Agid Quartet, Gene’s Music Machine (VR) 6:30p Maple Leaf: Rebirth Brass Band (BB) 10p Old U.S. Mint: Down on their Luck Orchestra (JV) 2p Preservation Hall: Preservation Legacy Band feat.

Wendell Brunious (TJ) 5p, Preservation All-Stars with Charlie Gabriel (TJ) 8p Siberia: Piano Night: Dr. Otis (PI) 9p SideBar NOLA: Scatterjazz Presents (VR) 9p Snug Harbor: Brian Quezergue Trio (JV) 8 & 10p

Starlight: Ryan Hanseler (PI) 7p, DJ Fayard (FK) 10p Tropical Isle Original: the Hangovers (RK) 5:15p, F.A.S.T. (RK) 9:15p

WEDNESDAY SEPT 5

Buffa’s: Open Mic Night with Nattie Sanchez (SS) 7p Carousel Bar (Hotel Monteleone): James Martin Band (JV) 8:30p Gasa Gasa: Zigtebra (ID) 9p Hi-Ho Lounge: Delta Revues (BL) 6p, Black Laurel, Steve Mignano (RK) 9p House of Blues (the Parish): Big Something (RK) 7p Jazz Playhouse: Michael Watson (JV) 8p Kerry Irish Pub: Tim Robertson (FO) 8:30p Little Gem Saloon: Anais St. John and guest (JV) 8p Little Tropical Isle: Mark Parsons (RK) 5p, Reed Lightfoot (RK) 9p Maple Leaf: In Business (FK) 10p Preservation Hall: Joe Lastie’s New Orleans Sound (TJ) 5p, Preservation All-Stars feat. Mark Braud (TJ) 8p Smoothie King Center: Paul Simon (SS) 8p Snug Harbor: Uptown Jazz Orchestra with Delfeayo Marsalis (JV) 8 & 10p Starlight: Gal Holiday and the Honky Tonk Revue (CW) 7p Three Keys (Ace Hotel): Helen Gillet with Gordon Grdina, Oud (MJ) 8:30p Three Muses: Leslie Martin (JV) 5p, Hot Club of New Orleans (JV) 7p Tropical Isle Bayou Club: the Troubadour (KJ) 7p

THURSDAY SEPT 6

Buffa’s: New Blue Devils with Gordon Towell and Larry Scala (JV) 5p, Tom McDermott and Aurora Nealand (JV) 8p Bullet’s: Kermit Ruffins and the BBQ Swingers (JV) 7p Cafe Istanbul: Hedwig and The Angry Inch feat.

Michael Cerveris (VR) 8:30p d.b.a.: Alexis and the Samurai (ID) 7p, MainLine (BB) 10p Funky Pirate: Mark and the Pentones (BL) 4p, Blues Masters (BL) 8:30p Hi-Ho Lounge: Big Chief Bo Dollis and the Wild Magnolias (MG) 9p Howlin’ Wolf (the Den): Comedy Gumbeaux (CO) 8:30p Howlin’ Wolf: Tacos and Art (VR) 7p Jazz Playhouse: Brass-A-Holics (BB) 8:30p Kerry Irish Pub: Patrick Cooper (FO) 8:30p Le Bon Temps Roule: Soul Rebels (BB) 11p Le Petite Theatre du Vieux Carre: WWOZ Groove Gala feat. Irma Thomas, Dr. Michael White, Amanda Shaw, Treme Brass Band (VR) 6:30p Maison: Good For Nothin’ Band, Sweet Substitute, Dysfunktional Bone (VR) 4p Maple Leaf: Eric Benny Bloom Band (JV) 10p Ogden Museum of Southern Art: Johnny Sketch and the Dirty Notes (FK) 6p Preservation Hall: Preservation Legacy Band feat.

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

Lucien Barbarin (TJ) 8p Siberia: Eastern Bloc Party: Klezervation Hall (KZ) 9p Snug Harbor: David Torkanowsky and the Bop Fusion Quartet (JV) 8 & 10p Starlight: Oscar Rossignoli presents the music of Thelonious Monk (PI) 5p, Shindig hosted by Amanda Walker and Lynn Drury (FO) 8p Three Keys (Ace Hotel): Roland Guerin Band (JV) 6p Three Muses: Tom McDermott (JV) 5p, Mia Borders (JV) 8p Tipitina’s: Funk on da Table feat. KenKen, June Yamagaishi, John “Papa” Gros and Nikki Glaspie (FK) 9p Tropical Isle Bayou Club: Cajun Drifters (KJ) 5p, Faubourg Ramblers (KJ) 9p

FRIDAY SEPT 7

Buffa’s: Susanne Ortner and Nahum Zdybel (JV) 6p, Jenna Guidry and the Levee (VR) 9p

Cafe Istanbul: Hedwig and The Angry Inch feat.

Michael Cerveris (VR) 8:30p Circle Bar: Natalie Mae (CW) 7p, Bush Hog Bob, One Man Band (RK) 9:30p d.b.a.: Swinging Gypsies (JV) 6p, New Orleans Swamp Donkeys (FK) 10p Dos Jefes: Panorama Jazz Band (JV) 10p Funky Pirate: Mark and the Pentones (BL) 2p, Blues Masters (BL) 8:30p Gasa Gasa: Fayroy, Wonder Kid, Pucusana (ID) 10p Hi-Ho Lounge: the River Dragon (RK) 6p Howlin’ Wolf (the Den): the Noise Complaints, Baby Boy Bartels and the Boys, Hydra Plane (RK) 10p Jazz National Historical Park: Johnette Downing (SS) 11a Jazz Playhouse: Shannon Powell (JV) 7:30p, Trixie Minx’s Burlesque Ballroom feat. Romy Kaye (BQ) 11p Joy Theater: Chris Robinson Brotherhood (VR) 9p Kerry Irish Pub: Chip Wilson (FO) 5p, Franky and Johnny (FO) 9p Le Bon Temps Roule: Jeff “Snake” Greenberg (PI) 7p Little Gem Saloon: John Mooney and Marc Stone (BL) 7:30p Mahalia Jackson Theater: Africa Umoja (AF) 8p Maple Leaf: Honey Island Swamp Band (RR) 10p New Orleans Creole Cookery: the Cookery 3 (JV) 6p Old Point Bar: Rick Trolsen (PI) 5p, Marshland (RK) 9:30p One Eyed Jacks: Eric Lindell Record-release party, Sam Ravenna (BL) 9p Preservation Hall: Preservation Legacy Band feat.

Wendell Brunious (TJ) 5p, Preservation All-Stars feat. Will Smith (TJ) 8p RF’s: James Martin Band (JV) 7p Saenger Theatre: Star Wars: A New Hope in Concert feat. the LPO (VR) 2 & 8p SideBar NOLA: Gordon Grdina, Doug Belote and Byron Asher (VR) 9p Snug Harbor: Ellis Marsalis Trio with Christien Bold (JV) 8 & 10p Starlight: Michael Watson and the Alchemy (JV) 8:30p, Lost Then Found presents Our House (EL) 11:59p Three Muses: Royal Roses (JV) 5:30p, Gal Holiday and the Honky Tonk Revue (CW) 9p Tipitina’s: Zapp, DJ Soul Sister (FK) 10p Tropical Isle Bourbon: Wild Card (RK) 5p, Debi and the Deacons (RK) 9p

SATURDAY SEPT 8

Bacchanal: the Tangiers Combo (JV) 12p, Red Organ Trio (JV) 4p, Jasen Weaver Band (JV) 7:30p Bombay Club: Leroy Jones (JV) 8:30p Buffa’s: Ukulele School of New Orleans (VR) 4p, Freddie Blue and the Friendship Circle (VR) 6p, Davis Rogan (VR) 9p Cafe Istanbul: Hedwig and The Angry Inch feat.

Michael Cerveris (VR) 8:30p d.b.a.: Little Freddie King (BL) 11p Dos Jefes: Sunpie and the Louisiana Sunspots (ZY) 10p Funky Pirate: Mark and the Pentones (BL) 2p, Blues Masters (BL) 8:30p Gattuso’s: Austin Sicard and the Medics (VR) 7p Hi-Ho Lounge: Pink Room Project (VR) 11p House of Blues (the Parish): LouMuzik Live (HH) 9p House of Blues: Saved by the ’90s (VR) 8p Jazz Playhouse: Nayo Jones Experience (JV) 8p Kerry Irish Pub: Vali Talbot (FO) 5p, Beth Patterson (FO) 9p Little Tropical Isle: Reed Lightfoot (RK) 5p, Styk (RK) 9p Loyola University (Nunemaker Hall): Metropolitan Opera Stars in Concert feat. Greer Grimsley, Luretta Bybee, Clifton Forbis, Peter Volpe, Amy Johnson, Joseph Evans, Tyler Smith and Carol Rausch (CL) 7:30p Mahalia Jackson Theater: Africa Umoja (AF) 2 & 8p Maple Leaf: Lost Bayou Ramblers (KJ) 10p Saenger Theatre: Star Wars: A New Hope in Concert feat. the LPO (VR) 8p

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LIVE LOCAL MUSIC SideBar NOLA: Gordon Grdina, Simon Lott and Cyrus Nabipoor (VR) 9p Snug Harbor: Herlin Riley Quartet (JV) 8 & 10p Starlight: Shawan Rice with Amanda Walker and friends (VR) 8p Three Keys (Ace Hotel): NOJO 7 (JV) 9p Three Muses: Chris Christy (JV) 5p, Linnzi Zaorski (JV) 6p, Shotgun Jazz Band (JV) 9p Time Out: Andre Bouvier and the Royal Bohemians (VR) 11a Tipitina’s: Black and Gold Kickoff feat. Flow Tribe, Miss Mojo (VR) 10p Tropical Isle Bayou Club: the Troubadour (KJ) 1p, Faubourg Ramblers (KJ) 5p, T’Canaille (KJ) 9p

SUNDAY SEPT 9

Bacchanal: the Tangiers Combo (JV) 12p, the Tradstars (JV) 4p, Roamin’ Jasmine (JV) 7:30p Bombay Club: Tim Laughlin Trio (JV) 8p Buffa’s: Some Like It Hot (JV) 11a, Jeremy Joyce (SS) 4p, Steve Pistorius Quartet (JV) 7p Cafe Istanbul: Hedwig and The Angry Inch feat.

Michael Cerveris (VR) 8:30p d.b.a.: Palmetto Bugs Stompers (SI) 6p Fontaine Palace: Saints Game All-Day Tailgate Party feat. the Great Glaspy (VR) 9a Funky Pirate: Mark and the Pentones (BL) 4p, Willie Lockett Band (BL) 8p Howlin’ Wolf (the Den): Hot 8 Brass Band (BB) 10p Jazz Playhouse: Germaine Bazzle (JV) 8p Kermit’s Mother-in-Law Lounge: Kermit Ruffins and the BBQ Swingers (JV) 5:30p Kerry Irish Pub: Patrick Cooper (FO) 8p Mahalia Jackson Theater: Africa Umoja (AF) 2 & 8p Rock ‘n’ Bowl: Fais Do Do with Bruce Daigrepont (KJ) 5p Siberia: Brother Nutria (RK) 9p Snug Harbor: Derek Douget Quintet (JV) 8 & 10p Starlight: Dile Que NOLA (LT) 7p, Gabrielle Cavassa and friends (JV) 10p Three Keys (Ace Hotel): Sierra Green and the Soul Machine (BL) 9p Three Muses: Raphael et Pascal (JV) 5p, the Clementines (JV) 8p

MONDAY SEPT 10

Buffa’s: A2D2 with Arsene DeLay and Antoine Diel (VR) 6p d.b.a.: John Boutte (JV) 7p, Soul Brass Band (BB) 10p Gasa Gasa: Ratboys, Treadles, Matt Surfin’ (ID) 9p Hi-Ho Lounge: Bluegrass Pickin’ Party feat. Victoria Coy, Matt Slusher and Mark Andrews (BU) 8p, Bogue Chitto (FO) 10p Jazz Playhouse: Gerald French and the Original Tuxedo Jazz Band (JV) 8p Kerry Irish Pub: 2 Sheets to the Wind (FO) 8:30p Lafitte’s Blacksmith Shop: Lucky Lee (SS) 9p Little Tropical Isle: Mark Parsons (RK) 5p, Reed Lightfoot (RK) 9p Maple Leaf: George Porter Jr. Trio feat. Mike Lemmler and Terrence Houston (FK) 10p Preservation Hall: Preservation Jazz Masters feat.

Leroy Jones (TJ) 5p, Preservation All-Stars with Charlie Gabriel (TJ) 8p SideBar NOLA: Instant Opus feat. Terry Scott, Androux Yanovski, Geovane Santos and Miles Hancock (VR) 9p Snug Harbor: Charmaine Neville Band (JV) 8 & 10p Starlight: Joshua Benitez and friends (RK) 8p Three Muses: Bart Ramsey (JV) 5p, Washboard Rodeo (JV) 7p

TUESDAY SEPT 11

Buffa’s: You Got This Presents Taco Tuesdays (VR) 5p, Josh Paxton (VR) 7p d.b.a.: Dinosaurchestra (JV) 7p, Treme Brass Band (BB) 10p Hi-Ho Lounge: Drumtronica Party with Kirk Duplantis, Roger Powell and Shawn Myers (MJ) 9:30p Howlin’ Wolf (the Den): Comedy Beast (CO) 8:30p Jazz Playhouse: James Rivers Movement (JV) 8p Kerry Irish Pub: Jason Bishop (FO) 8:30p Little Tropical Isle: Mark Pentone (RK) 5p, Frank Fairbanks (RK) 9p Maple Leaf: Rebirth Brass Band (BB) 10p Old U.S. Mint: Down on their Luck Orchestra (JV) 2p Preservation Hall: Preservation Legacy Band feat.

Wendell Brunious (TJ) 5p, Preservation All-Stars with Charlie Gabriel (TJ) 8p Siberia: Piano Night: Andre Bohren (PI) 9p

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SideBar NOLA: Chicago New-Organ feat. Steve Marquette, Paul Thibodeaux and Andrew McGowan (VR) 9p Snug Harbor: Scott Joplin Tribute with Tom McDermott (JV) 8 & 10p Starlight: Ryan Hanseler (PI) 7p, DJ Fayard (FK) 10p

WEDNESDAY SEPT 12

Buffa’s: Open Mic Night with Nattie Sanchez (SS) 7p Carousel Bar (Hotel Monteleone): James Martin Band (JV) 8:30p d.b.a.: Tin Men (RK) 7p, the Roadmasters (BL) 10p Funky Pirate: Blues Masters (BL) 8:30p Hi-Ho Lounge: Delta Revues (BL) 6p, Hallelujah Hat Rack Dead Tribute (RK) 9p Kerry Irish Pub: Chip Wilson (FO) 8:30p Little Gem Saloon: Anais St. John and guest (JV) 7:30p; Ramp Room: South Rampart Swing Night (SI) 8p Maison: Jazmarae Beebe, Jazz Vipers, B Miller Zone (VR) 4p Maple Leaf: Ivan Neville, Nikki Glaspie and friends (FK) 10p Preservation Hall: Joe Lastie’s New Orleans Sound (TJ) 5p, Preservation All-Stars feat. Mark Braud (TJ) 8p SideBar NOLA: Nick Benoit, Tristan Gianola and Roger Powell (VR) 9p Snug Harbor: Uptown Jazz Orchestra with Delfeayo Marsalis (JV) 8 & 10p Starlight: Gal Holiday and the Honky Tonk Revue (CW) 7p Three Keys (Ace Hotel): Selwyn Birchwood (JV) 9p Three Muses: Leslie Martin (JV) 5p, Hot Club of New Orleans (JV) 7p

THURSDAY SEPT 13

Buffa’s: Gumbo Cabaret (JV) 5p, Tom McDermott and Darcy Malone (JV) 8p d.b.a.: Alexis and the Samurai (ID) 7p, Alex McMurray Band (RR) 10p Funky Pirate: Mark and the Pentones (BL) 4p, Blues Masters (BL) 8:30p Gasa Gasa: Ryley Walker (SS) 10p Hi-Ho Lounge: Papa Mali (RK) 9p Howlin’ Wolf (the Den): Comedy Gumbeaux (CO) 8:30p Howlin’ Wolf (the Porch): Coast to Coast Live Interactive Showcase (HH) 10p Kerry Irish Pub: Beth Patterson (FO) 8:30p Little Gem Saloon: Orleans Records Vinyl-release party (BL) 7:30p Little Tropical Isle: Allen Hebert (RK) 5p, Jezebels Chill’n (RK) 9p Maison: Good For Nothin’ Band, Michael Watson and the Alchemy, Dysfunktional Bone (VR) 4p Maple Leaf: Johnny Vidacovich, June Yamagishi and Max Moran (JV) 10p Preservation Hall: Preservation Legacy Band feat.

Gregg Stafford (TJ) 5p, Preservation All-Stars feat. Lucien Barbarin (TJ) 8p Snug Harbor: Ashland Parker Quartet (BL) 8 & 10p Starlight: Shea Pierre performs the music of James Booker (PI) 5p, Shindig hosted by Amanda Walker and Lynn Drury (FO) 8p Superdome: Jay-Z and Beyonce (HH) 7p Three Muses: Tom McDermott (JV) 5p, St. Louis Slim (JV) 8p Tipitina’s: Robert Earl Keen (SS) 9p

FRIDAY SEPT 14

Buffa’s: Al Farrell (VR) 6p, Jamie Bernstein and friends (VR) 9p d.b.a.: Hot Club of New Orleans (JV) 6p, TBC Brass Band (BB) 10p Dew Drop Social and Benevolent Hall: Bayou Maharajah film screening (VR) 7p Dos Jefes: Tom Fitzpatrick and Turning Point (JV) 10p Funky Pirate: Mark and the Pentones (BL) 2p, Blues Masters (BL) 8:30p Gasa Gasa: Honyock, Julie Odell, the Night Janitor (ID) 9p Gattuso’s: MJ and the Redeemers (VR) 7p Hi-Ho Lounge: the River Dragon (RK) 6p, Cole Williams and Trapper Keeper (RB) 11:30p Howlin’ Wolf (the Den): Goblin Marquette (ID) 10p Jazz Playhouse: Michael Watson (JV) 7:30p, Trixie Minx’s Burlesque Ballroom feat. Romy Kaye (BQ) 11p Joy Theater: Descendents, A Wilhelm Scream, Pears (VR) 8p Kerry Irish Pub: Hugh Morrison (FO) 5p, Stephen’s Green feat. Andy O’Driscoll and Martin Doyle (FO) 9p Little Tropical Isle: Reed Lightfoot (RK) 5p, Styk (RK) 9p Maple Leaf: Corey Henry and the Treme Funktet (FK) 10p

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LIVE LOCAL MUSIC New Orleans Jazz Museum (Old U.S. Mint): FOC Concert Series presents Lost Bayou Ramblers (KJ) 7p Old Point Bar: Rick Trolsen (PI) 5p, Cardboard Cowboys (CW) 9:30p One Eyed Jacks: Mulebone Reunion Show (BQ) 9p Preservation Hall: Preservation Legacy Band feat.

Wendell Brunious (TJ) 5p, Preservation All-Stars feat. Will Smith (TJ) 8p Snug Harbor: Ellis Marsalis Trio with Christien Bold (JV) 8 & 10p Spotted Cat: Washboard Chaz Blues Trio (BL) 6:30p Starlight: DJ Derrick Smoker presents “Grrove City” (FK) 5p, Kennedy Kuntz and Vincent Marini (RK) 8p, Lost Then Found presents Our House (EL) 11:59p Sugar Mill: Portugal the Man, Chicano Batman (VR) 8p Three Muses: Matt Johnson (JV) 5:30p, Doro Wat Jazz Band (JV) 9p Tipitina’s: BeauSoleil avec Michael Doucet (KJ) 9p

SATURDAY SEPT 15

Abita Springs Town Hall: Abita Springs Opry feat.

Steve Anderson Group, Big Daddy O, Rayo Brothers, Albanie Faletta and her New Orleans Jazz Band (VR) 7p Bacchanal: the Tangiers Combo (JV) 12p, Red Organ Trio (JV) 4p, Jasen Weaver Band (JV) 7:30p Buffa’s: Ukulele School of New Orleans (VR) 4p, Royal Rounders (VR) 6p, Asylum Chorus (VR) 9p Cafe Istanbul: Hedwig and The Angry Inch feat.

Michael Cerveris (VR) 8:30p d.b.a.: Tuba Skinny (JV) 7p, Johnny Sketch and the Dirty Notes (FK) 11p Funky Pirate: Mark and the Pentones (BL) 2p, Blues Masters (BL) 8:30p Gasa Gasa: Saintseneca, Dos Santos, Los PoBoyCitos (RK) 9p Gattuso’s: Andy Hymel and the All-Stars (VR) 2p, Randy Jackson of Zebra (VR) 7p House of Blues: Bustout Burlesque (BQ) 7:30p Howlin’ Wolf: Pancake and Booze Art Show (VR) 8p Kerry Irish Pub: Speed the Mule (FO) 5p, Roux the Day (FO) 9p Little Gem Saloon: Cole Williams Quartet (RK) 7:30p Morning Call City Park: Billy D. Chapman (JV) 10a New Orleans Creole Cookery: the Cookery 3 (JV) 6p Preservation Hall: Preservation Brass with Mark Braud (TJ) 5p, Preservation All-Stars feat. Rickie Monie (TJ) 8p RF’s: James Martin Band (JV) 7p Snug Harbor: Quiana Lynell (JV) 8 & 10p Starlight: Shawan Rice (SO) 7p, Glen David Andrews (FK) 10:30p Three Muses: Chris Christy (JV) 5p, Shotgun Jazz Band (JV) 9p Time Out: Andre Bouvier and the Royal Bohemians (VR) 11a

SUNDAY SEPT 16

Buffa’s: Some Like It Hot (TJ) 11a, Nahum Zdybel Blue 3 (JV) 4p, Steve Pistorius Quartet (JV) 7p Cafe Istanbul: Hedwig and The Angry Inch feat.

Michael Cerveris (VR) 8:30p d.b.a.: Palmetto Bugs Stompers (SI) 6p Fontaine Palace: Saints Game All-Day Tailgate Party with special guest (VR) 9a Gasa Gasa: And Then Came Humans, Beetle, Elephant’s Gerald (RK) 9p Howlin’ Wolf (the Den): Hot 8 Brass Band (BB) 10p Jazz Playhouse: Germaine Bazzle (JV) 8p Kermit’s Mother-in-Law Lounge: Kermit Ruffins and the BBQ Swingers (JV) 5:30p Kerry Irish Pub: the Poor Clares (FO) 7:30p Little Tropical Isle: Styk (RK) 5p, Frank Fairbanks (VR) 9p Maple Leaf: Watson vs. Marshall (FK) 10p Morning Call City Park: Billy D. Chapman (JV) 10a Preservation Hall: Preservation Legacy Band feat.

Gregg Stafford (TJ) 5p, Preservation All-Stars feat. Wendell Brunious (TJ) 8p Siberia: Helen Gillet (MJ) 9p Snug Harbor: Roderick Harper Quartet (JV) 8 & 10p Starlight: Dile Que NOLA (LT) 7p, Gabrielle Cavassa and friends (JV) 10p Three Keys (Ace Hotel): Sierra Green and the Soul Machine (BL) 9p Three Muses: Raphael et Pascal (JV) 5p, the Clementines (JV) 8p

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Tipitina’s: Michot’s Melody Makers, the Rayo Brothers (FO) 7p

MONDAY SEPT 17

Buffa’s: A2D2 with Arsene DeLay and Antoine Diel (VR) 6p d.b.a.: John Boutte (JV) 7p, Soul Brass Band (BB) 10p Funky Pirate: Willie Lockett Band (BL) 8p Hi-Ho Lounge: Bluegrass Pickin’ Party feat. Victoria Coy, Matt Slusher and Mark Andrews (BU) 8p, Mayeux and Broussard (FO) 10p House of Blues (the Parish): Eleanor Friedberger (ID) 7p Jazz Playhouse: Gerald French and the Original Tuxedo Jazz Band (JV) 8p Kerry Irish Pub: Patrick Cooper (FO) 8:30p Maple Leaf: George Porter Jr. Trio feat. Mike Lemmler and Terrence Houston (FK) 10p SideBar NOLA: Instant Opus Series (VR) 9p Snug Harbor: Charmaine Neville Band (JV) 8 & 10p Starlight: Joshua Benitez and friends (RK) 8p Three Muses: Sam Cammarata (JV) 5p, Dave Bandrowski and Sara Petite (JV) 7p

TUESDAY SEPT 18

Buffa’s: You Got This Presents Taco Tuesdays (VR) 5p, Tacos, Tequila and Tiaras with Vanessa Carr (VR) 8p d.b.a.: Dinosaurchestra (JV) 7p, Treme Brass Band (BB) 10p Gasa Gasa: the Denial Party feat. Colorblock, Goblin Marquette, the Canarys (ID) 9p Hi-Ho Lounge: Geovane Santos and Martin Moretto (LT) 9:30p House of Blues: Social Distortion (PK) 7p Howlin’ Wolf (the Den): Comedy Beast (CO) 8:30p Jazz Playhouse: James Rivers Movement (JV) 8p Kerry Irish Pub: Will Dickerson (FO) 8:30p Little Tropical Isle: Mark Pentone (RK) 5p, Frank Fairbanks (RK) 9p Maison: McKenna Alicia, Gregory Agid, Gene’s Music Machine (VR) 4p Maple Leaf: Rebirth Brass Band (BB) 10p Old U.S. Mint: Down on their Luck Orchestra (JV) 2p Siberia: Piano Night: Tom McDermott (PI) 9p SideBar NOLA: Justin Peake’s Polyphasic feat. Matt Booth, Gary Washington, Chris Alford and Craig Flory (VR) 9p Snug Harbor: Titanic Trio: Torkanowsky, Vidacovich and Pellera (JV) 8 & 10p Starlight: Ryan Hanseler (PI) 7p, DJ Fayard (FK) 10p

WEDNESDAY SEPT 19

Buffa’s: Open Mic Night with Nattie Sanchez (SS) 7p Carousel Bar (Hotel Monteleone): James Martin Band (JV) 8:30p d.b.a.: Tin Men (RK) 7p, Walter “Wolfman” Washington and the Roadmasters (BL) 10p Kerry Irish Pub: Patrick Cooper (FO) 8:30p Little Gem Saloon: Anais St. John and guest (JV) 7:30p; Ramp Room: Love Letters (VR) 7:30p Little Tropical Isle: Mark Parsons (RK) 5p, Reed Lightfoot (RK) 9p Palm Court Jazz Cafe: Lars Edegran and Topsy Chapman with Palm Court Jazz Band (TJ) 7p Preservation Hall: Joe Lastie’s New Orleans Sound (TJ) 5p, Preservation All-Stars feat. Mark Braud (TJ) 8p SideBar NOLA: Marc Stone, Lilli Lewis and Daniel Lelchuck (VR) 9p Snug Harbor: Uptown Jazz Orchestra with Delfeayo Marsalis (JV) 8 & 10p Starlight: Gal Holiday and the Honky Tonk Revue (CW) 7p Three Muses: Leslie Martin (JV) 5p, Schatzy (JV) 7p

THURSDAY SEPT 20

Buffa’s: Greg Schatz (VR) 6p, Tom McDermott and Darcy Malone (JV) 9p Cafe Istanbul: Hedwig and The Angry Inch feat.

Michael Cerveris (VR) 8:30p d.b.a.: Little Freddie King (BL) 11p Howlin’ Wolf (the Den): Comedy Gumbeaux (CO) 8:30p Jazz Playhouse: Brass-A-Holics (BB) 8:30p Joy Theater: $uicideboy$: I Want to Die in New Orleans (VR) 8:30p Kerry Irish Pub: Chip Wilson (FO) 8:30p Little Tropical Isle: Allen Hebert (RK) 5p, Jezebels Chill’n (RK) 9p

Maple Leaf: DVS feat. Mike Dillon, Johnny Vidacovich and James Singleton (JV) 10p Palm Court Jazz Cafe: Leroy Jones and Katja Toivola with Crescent City Joymakers (TJ) 7p Rock ‘n’ Bowl: Chubby Carrier (ZY) 8:30p Saturn Bar: Alex McMurray and his Band (RK) 8p Siberia: Eastern Bloc Party: Blato Zato (GY) 9p SideBar NOLA: Joey van Leeuwen, Jesse Morrow and Alexander Geddes (VR) 9p Snug Harbor: Shannon Powell Trio (JV) 8 & 10p Starlight: Shea Pierre performs the music of James Booker (PI) 5p, Shindig hosted by Amanda Walker and Lynn Drury (FO) 8p Three Muses: Tom McDermott (JV) 5p, Arsene DeLay (JV) 8p Tipitina’s: Roadside Glorious Album-release show, Sam Price and the True Believers, Marc Stone (VR) 9p

FRIDAY SEPT 21

Buffa’s: Father Ron and friends (VR) 5p, Dayna Kurtz and Robert Mache (VR) 9p Cafe Istanbul: Hedwig and The Angry Inch feat.

Michael Cerveris (VR) 8:30p d.b.a.: Jane Harvey Brown’s Trad-Stars feat.

Lawrence Cotton (JV) 6p, Honey Island Swamp Band (RR) 10p Dew Drop Social and Benevolent Hall: Larry Garner (BL) 6:30p Fontaine Palace: Jamie Lynn Vessels Band (RK) 8p Gasa Gasa: Music for Mental Health feat. LeBaron Ahmon, Arsene DeLa, Mike Doussan, Mykia Jovan, Julie Odell, Kathryn Rose Wood (SS) 7:30p Gattuso’s: Danny Alexander Blues Band (VR) 7p Joy Theater: Chromeo, Steven A. Clark (VR) 9p Kerry Irish Pub: Will Dickerson (FO) 5p, Paintbox with Dave James and Tim Robertson (FO) 9p Maison: Swinging Gypsies, Shotgun Jazz Band, Big Easy Brawlers, Buena Vista Social Latin Night (VR) 4p One Eyed Jacks: DJ Soul Sister presents Soulful Takeover (FK) 10p Palm Court Jazz Cafe: Kevin Louis and Lucien Barbarin with Palm Court Jazz Band (TJ) 7p Siberia: MACCNO fundraiser (VR) 10p Smoothie King Center: Nick Cannon presents Wild ‘N Out (VR) 8p Snug Harbor: Ellis Marsalis Trio with Christien Bold (JV) 8 & 10p Starlight: Epic Proportions (FK) 8:30p, Lost Then Found presents Our House (EL) 11:59p Three Muses: Royal Roses (JV) 5:30p, Doro Wat Jazz Band (JV) 9p Tipitina’s: Brass-a-Holics (BB) 10p

SATURDAY SEPT 22

Bombay Club: Riverside Jazz Collective (JV) 8:30p Buffa’s: Ukulele School of New Orleans (VR) 4p, Chicken and Waffles (VR) 6p, Tom Worrell, Reggie Scanlon and Lionel Batiste Jr. (VR) 9p Cafe Istanbul: Hedwig and The Angry Inch feat.

Michael Cerveris (VR) 8:30p d.b.a.: Tuba Skinny (JV) 7p, Hot 8 Brass Band (BB) 10p Fontaine Palace: Mofongo Latin Band (LT) 8p Funky Pirate: Mark and the Pentones (BL) 2p, Blues Masters (BL) 8:30p Gasa Gasa: Where Y’acht (RK) 10p House of Blues (the Parish): Shamarr Allen, Big Freedia (HH) 8p Howlin’ Wolf (the Den): DJ Dizzi, B47ANCE, Kiddontsleep (HH) 10p Kerry Irish Pub: Mike Kerwin and Geoff Coats (FO) 5p, Hurricane Refugees (FO) 9p Mahalia Jackson Theater: New Orleans Ballet Association presents Diavolo: Architecture in Motion (DN) 8p Maple Leaf: Cha Wa with guests (MG) 10p Morning Call City Park: Billy D. Chapman (JV) 10a Palm Court Jazz Cafe: Will Smith and Palm Court Jazz Band (TJ) 7p SideBar NOLA: Jimmy Robinson, Lily Kiara and Michael Skinkus (VR) 9p Snug Harbor: John Coltrane Tribute with Donald Harrison Jr. (MJ) 8 & 10p Starlight: Shawan Rice (SO) 7p, Lulu and the Broadsides feat. Dayna Kurtz and James Singleton (JV) 10:30p Superdome: Taylor Swift, Camila Cabello, Charli XCX (PO) 7p

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

SUNDAY SEPT 23

Buffa’s: Some Like It Hot (TJ) 11a, Tim Paco with Ukulele School of New Orleans Showcase (VR) 4p, Steve Pistorius Quartet (JV) 7p Cafe Istanbul: Hedwig and The Angry Inch feat.

Michael Cerveris (VR) 8:30p d.b.a.: Palmetto Bug Stompers (JV) 6p, Carlo Ditta Quartet (JV) 10p Howlin’ Wolf (the Den): Hot 8 Brass Band (BB) 10p Jazz Playhouse: Germaine Bazzle (JV) 8p Joy Theater: Future Islands, Ed Schrader’s Music Beat (VR) 8p Kermit’s Mother-in-Law Lounge: Kermit Ruffins and the BBQ Swingers (JV) 5:30p Kerry Irish Pub: Will Dickerson (FO) 8p Maple Leaf: Joe Krown, Jason Ricci and Doug Belote (JV) 10p Palm Court Jazz Cafe: Mark Braud and Sunday Night Swingsters (TJ) 7p SideBar NOLA: Mike Dillon, James Singleton and John Coltrane’s Birthday (VR) 9p Snug Harbor: John Coltrane Birthday Tribute with Clarence Johnson III (JV) 8 & 10p Starlight: Dile Que NOLA (LT) 7p, Gabrielle Cavassa and friends (JV) 10p Three Keys (Ace Hotel): Sierra Green and the Soul Machine (BL) 9p Three Muses: Raphael et Pascal (JV) 5p, the Clementines (JV) 8p Tipitina’s: Fidlar, Dilly Dally, Nobro (VR) 8p

MONDAY SEPT 24

Buffa’s: A2D2 with Arsene DeLay and Antoine Diel (VR) 6p d.b.a.: John Boutte (JV) 7p, Soul Brass Band (BB) 10p Kerry Irish Pub: Beth Patterson (FO) 8:30p Little Tropical Isle: Mark Parsons (RK) 5p, Reed Lightfoot (RK) 9p Maison: Chicken and Waffles, Aurora Nealand and the Royal Roses, Sierra Green and the Soul Machine (JV) 4p Maple Leaf: George Porter Jr. Trio feat. Mike Lemmler and Terrence Houston (FK) 10p Preservation Hall: Preservation Jazz Masters feat.

Leroy Jones (TJ) 5p, Preservation All-Stars with Charlie Gabriel (TJ) 8p SideBar NOLA: Instant Opus Series feat. Mike Dillon (VR) 9p Smoothie King Center: Aubrey and the Three Migos feat. Drake, Migos (HH) 7p Snug Harbor: Charmaine Neville Band (JV) 8 & 10p Starlight: Joshua Benitez and friends (RK) 8p Three Muses: Bart Ramsey (JV) 5p, Joe Cabral (VR) 7p

TUESDAY SEPT 25

Buffa’s: You Got This Presents Taco Tuesdays (VR) 5p, Joe Krown (VR) 8p d.b.a.: Dinosaurchestra (JV) 7p, Treme Brass Band (BB) 10p Howlin’ Wolf (the Den): Comedy Beast (CO) 8:30p Kerry Irish Pub: Jason Bishop (FO) 8:30p Little Tropical Isle: Mark Pentone (RK) 5p, Frank Fairbanks (RK) 9p Maison: Cyrus Nabpioor Quartet, Gregory Agid Quartet, the Key Sound (VR) 4p Maple Leaf: Rebirth Brass Band (BB) 10p Old U.S. Mint: Down on their Luck Orchestra (JV) 2p Preservation Hall: Preservation Legacy Band feat.

Wendell Brunious (TJ) 5p, Preservation All-Stars with Charlie Gabriel (TJ) 8p Siberia: Piano Night: Alex Pianovich (PI) 9p SideBar NOLA: Zach Rhea, Byron Asher and Dakota Pique (VR) 9p Snug Harbor: Dwight Fitch Trio (JV) 8 & 10p Starlight: Ryan Hanseler (PI) 7p, DJ Fayard (FK) 10p

WEDNESDAY SEPT 26

Buffa’s: Open Mic Night with Nattie Sanchez (SS) 7p Carousel Bar (Hotel Monteleone): James Martin Band (JV) 8:30p d.b.a.: Tin Men (RK) 7p, Walter “Wolfman” Washington and the Roadmasters (BL) 10p Funky Pirate: Blues Masters (BL) 8:30p Gasa Gasa: Future Generations, Zuli (RK) 9p

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LIVE LOCAL MUSIC Jazz Playhouse: John “Papa” Gros (FK) 8p Kerry Irish Pub: Tim Robertson (FO) 8:30p Little Gem Saloon: Anais St. John and guest (JV) 7:30p Palm Court Jazz Cafe: Lars Edegran and Topsy Chapman with Palm Court Jazz Band (TJ) 7p SideBar NOLA: James Singleton Rough Babies (VR) 10p Snug Harbor: Uptown Jazz Orchestra with Delfeayo Marsalis (JV) 8 & 10p Starlight: Gal Holiday and the Honky Tonk Revue (CW) 7p Three Muses: Keith Burnstein (SS) 5p Tropical Isle Bayou Club: the Troubadour (KJ) 7p

THURSDAY SEPT 27

Bombay Club: Kris Tokarski with Ben Polcer (JV) 8p Buffa’s: Gumbo Cabaret (VR) 5p, Tom McDermott and Chloe Feoranzo (JV) 8p d.b.a.: Erica Falls (FK) 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: Kevin Specht and Tom Marron (FO) 8:30p Maple Leaf: Johnny Vidacovich, David Torkanowski and Eric Benny Bloom (JV) 10p Ogden Museum of Southern Art: 30X90 New Orleans Blueswomen with special guest Al “Carnival Time” Johnson (CL) 6p Palm Court Jazz Cafe: Duke Heitger and Tim Laughlin with Crescent City Joymakers (TJ) 7p Saturn Bar: Alex McMurray and his Band (RK) 8p Siberia: Eastern Bloc Party: Debauche Trio (GY) 9p SideBar NOLA: Derrick Freeman and friends (VR) 9p Snug Harbor: Betty Shirley and the Will Thompson Trio (JV) 8 & 10p Starlight: Oscar Rossignoli presents the music of Thelonious Monk (PI) 5p, Shindig hosted by Amanda Walker and Lynn Drury (FO) 8p Three Muses: Tom McDermott (JV) 5p, Mia Borders (JV) 8p

FRIDAY SEPT 28

Buffa’s: Carmela Rappazzo (VR) 5p, St. Roch Syncopators (VR) 9p Carver Theater: Burger Fest feat. Norman Brown, Stephanie Jordan (VR) 7p d.b.a.: Smoking Time Jazz Club (JV) 6p, Corey Henry and the Treme Funktet (FK) 10p Funky Pirate: Mark and the Pentones (BL) 4p, Blues Masters (BL) 8:30p Howlin’ Wolf (the Den): Assata Renay (RB) 10p Howlin’ Wolf: Rebirth Brass Band (BB) 10p Jazz Playhouse: Mario Abney (JV) 7p, Trixie Minx’s Burlesque Ballroom feat. Romy Kaye (BQ) 11p Joy Theater: the Soul Rebels, GZA, Curren$y, Big Freedia, Dee-1 (VR) 10p Mahalia Jackson Theater: New Orleans Opera Association presents Puccini’s Turandot (CL) 7p Palm Court Jazz Cafe: Kevin Louis and Lucien Barbarin with Palm Court Jazz Band (TJ) 7p Preservation Hall: Preservation Legacy Band feat.

Wendell Brunious (TJ) 5p, Preservation All-Stars feat. Will Smith (TJ) 8p SideBar NOLA: Martin Krusche and Dan Caro (VR) 9p Snug Harbor: Ellis Marsalis Trio with Christien Bold (JV) 8 & 10p Starlight: DJ Derrick Smoker presents “Grrove City” (FK) 5p, Troubadour Matt Campbell (CW) 8p, Lost Then Found presents Our House (EL) 11:59p Three Muses: Matt Johnson (JV) 5:30p, Doro Wat Jazz Band (JV) 9p Tipitina’s: Cedric Burnside Project (BL) 10p

SATURDAY SEPT 29

Bombay Club: Banu Gibson (JV) 8:30p Buffa’s: Ukulele School of New Orleans (VR) 4p, Marla Dixon and the Memorial Blues Project (VR) 6p, Marina Orchestra (VR) 9p d.b.a.: Tuba Skinny (JV) 7p, Happy Talk Band (RK) 11p Funky Pirate: Mark and the Pentones (BL) 2p, Blues Masters (BL) 8:30p Gasa Gasa: Mrs. Magician, the Unnaturals, Metronome the City (VR) 10p House of Blues (the Parish): Gabriel GarzonMontano (VR) 8p House of Blues: the Growlers (ID) 8p

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Kerry Irish Pub: Patrick Cooper (FO) 5p, Beth Patterson (FO) 9p Little Gem Saloon: Kermit Ruffins and the BBQ Swingers (JV) 7 & 9p Maple Leaf: Erica Falls (JV) 10p Morning Call City Park: Billy D. Chapman (JV) 10a New Orleans Creole Cookery: the Cookery 3 (JV) 6p One Eyed Jacks: Sexual Thunder, DJ Rusty Lazer (VR) 9p Palm Court Jazz Cafe: Will Smith and Palm Court Jazz Band (TJ) 7p Siberia: Rubber Maids, Egg Yolk Jubilee, the Stacks (ID) 8p, Neon’s Jock Strap Lube Wrestling (BQ) 11:59p Snug Harbor: Moutin Factory Quintet (JV) 8 & 10p Starlight: Shawan Rice (SO) 7p, Glen David Andrews (FK) 10:30p Three Muses: Chris Christy (JV) 5p, Debbie Davis (JV) 6p, Shotgun Jazz Band (JV) 9p

SUNDAY SEPT 30

Buffa’s: Some Like It Hot (TJ) 11a, Debbie Davis and Josh Paxton (JV) 4p, Steve Pistorius Quartet (JV) 7p d.b.a.: Palmetto Bug Stompers (SI) 7p, Percy J (VR) 10p Funky Pirate: Mark and the Pentones (BL) 4p, Willie Lockett Band (BL) 8p Howlin’ Wolf (the Den): Hot 8 Brass Band (BB) 10p Jazz Playhouse: Germaine Bazzle (JV) 8p Joy Theater: Mat Kearny, Atlas Genius (VR) 7:30p Kermit’s Mother-in-Law Lounge: Kermit Ruffins and the BBQ Swingers (JV) 5:30p Kerry Irish Pub: Chip Wilson (FO) 8p Mahalia Jackson Theater: New Orleans Opera Association presents Puccini’s Turandot (CL) 2:30p Maple Leaf: Joe Krown Trio feat. Walter “Wolfman” Washington and Wayne Maureau (VR) 10p One Eyed Jacks: Summer Serenade Series with McKenna Alicia, Shawan Rice, Kathryn Rose Wood (SS) 9p Palm Court Jazz Cafe: Mark Braud and Sunday Night Swingsters (TJ) 7p Snug Harbor: Joe Krown (JV) 8 & 10p Starlight: Tango hosted by Valerie Hart (LT) 7p, Gabrielle Cavassa and friends (JV) 10p Three Keys (Ace Hotel): Sierra Green and the Soul Machine (BL) 9p Three Muses: Raphael et Pascal (JV) 5p, the Clementines (JV) 8p

FESTIVALS Aug. 30-Sept. 3 The Louisiana Shrimp and Petroleum Festival features live music, food vendors and carnival rides. ShrimpAndPetroleum.org Sept. 15 Irish Fest New Orleans takes place at Kingsley House and celebrates Irish music, food and culture. IrishFestNewOrleans.org Sept. 22-23 The National Fried Chicken Festival at Woldenberg Park includes food and drink vendors, live music and cooking demos. FriedChickenFestival.com Sept. 28-29 Bogalusa Blues and Heritage Festival live music, a kids’ zone, food and drink vendors, and arts and crafts.

Sept. 28-30 Gretna Heritage Festival features live music, carnival rides, arts and crafts, and food and drink vendors. GretnaFest.com

SPECIAL EVENTS Sept. 4-14 & Sept. 21 OffBeat’s Sixth Annual Martini Week. Try New Orleans-themed martinis made with Monkey 47 gin from participating venues at various locations, then vote for your favorite. The winning bar will serve their martini at the Martini Madness event

by Friends of City Park on Sept. 21 from 7-11p.

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BACKTALK

Robert Earl Keen

talks back

PHOTO: nick doll

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obert Earl Keen’s never had a hit—at least not in the traditional charttopper sense. And he didn’t wear a hat for every album cover, show and publicity shot. He tried but failed to make it in Nashville.

None of that matters. Keen’s songs about the good times and the hard times, and his sardonic wit, amiable stage presence and devotion to the road earned him loyal fans from coast to coast.

Keen’s peers, many of whom are great songwriters themselves, paid him the supreme compliment by performing his songs. Those folks include George Strait, Lyle Lovett, Joe Ely, Nanci Griffith, the Dixie Chicks, Montgomery Gentry, the Highwaymen (a.k.a. Willie Nelson, Johnny Cash, Kris Kristofferson and Waylon Jennings), Shawn Colvin and Gillian Welch.

Keen’s best-known songs include “The Road Goes on Forever,” “Gringo Honeymoon,” “Corpus Christi Bay” and his

cheeky holiday tune about drinking, smoking and last-minute shopping, “Merry Christmas from the Family.”

Growing up in Houston, Keen discovered his flair for poetry. He picked up a guitar during his senior year of high school. Mixing words with the chords came easily to him.

Later at Texas A&M University, English major Keen befriended Lyle Lovett, a journalism major already quite advanced in the songwriting arts.

In 1980, Keen graduated from college and moved to Austin. He pretty much made a living there playing music. But in 1985, at the recommendation of fellow singer-songwriter Steve Earle, Keen made an ill-fated move to Nashville. Music City didn’t agree with him. After 22 frustrating months, he fled back to Texas.

19 albums and a million miles later, Keen plays up to 140 concerts a year. In February, he joined star attraction George Strait and

www.OFFBEAT.com

By John Wirt

Lyle Lovett for concerts in Las Vegas. They’ll do it again in December. This year also saw Keen on the road with one of his early inspirations, Willie Nelson.

Keen also participates with other songwriters and recording artists in the Record Academy’s annual Grammys on the Hill Awards and Advocacy Day in Washington, D.C. In April, they promoted the Music Modernization Act. The bill’s provisions include a guarantee that music streaming services pay songwriters and artists for music recorded before 1972. The proposed law also provides for a statutory right to recognition for adjunct creators, including producers, sound engineers and mixers.

This fall, Texas A&M University will honor Keen with its Distinguished Alumni Award.

And perhaps the ultimate sign of troubadour success: Robert Earl Keen beer has been available since 2014.

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“I believe people ought to be able to make a living in music.

It’s easy for me to get on board for that.”

In advance of his September 13 show at Tipitina’s, a New Orleans venue he’s played approximately 20 times through the decades, the distinguished A&M U alumnus spoke to OffBeat.

You’ve performed often at Tipitina’s.

Do you have any particular memories of those shows?

I never think the show’s ever gonna start until it starts. Even now, when I know what we’re getting into, it’s like, ‘Wow, this is place is funky.’ At about 9:30, I’m thinking, ‘Where are all the people?’ And then, all of a sudden, boom, they all show up. It’s like a magic trick.

You’ve toured extensively for more than 30 years. How much traveling do you do nowadays?

I’m always chasing my tail. The past two years I did more road work than I could have ever imagined. When you do what I do, you grow up in this business saying, ‘Yes, yes. I’ll take it.’ I trained myself to say yes to everything. But then I reached a point where I don’t have to always say yes—but I still do.

In addition to your success as a performer, so many artists have recorded your songs.

Yeah, that’s the best thing. I get a huge kick out of that. It justifies me sitting down and strumming a guitar and thrashing out a song. I have heard some pretty weak versions of my songs, but I go back to that thing of songwriting being one of the oldest forms of communication. It’s exciting to create something that other people will pass along.

Not just because I’m somebody important. I’m sure a few people record my songs because they think I’m something, but I always think it’s because the song has merit. That’s the only reason I’d ever do somebody else’s song.

On another important note, in April you and other songwriters and recordings artists participated in the Recording Academy’s Grammys on the Hill Awards and Advocacy Day. Why did you become an advocate for musicians’ rights?

People started asking me if I would speak about what I believe. I believe people ought to be able to make a living in music. It’s easy for me to get on board for that.

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I’ve been able to hold onto my career for the past 30 years. A lot of that is because I do read contracts. I do argue with record companies. I do try to figure out how to at least be fair in paying people and do the right thing. But as far as I know, in the independent world, I’m pretty rare in knowing these things.

A lot of this was in the hands of managers, booking agents and record companies. But since the whole music world turned upside down with the advent of full-blown streaming and music on the Internet, it’s kind of become every man for himself.

On April 25, the U.S. House of Representatives passed the Music Modernization Act. The Senate hasn’t voted on the bill yet, but the house voted unanimously for it. You and your fellow musicians actually found bipartisan support for a bill in Congress?

When the Internet started dictating the way music is bought, sold and given away in this country, somehow, somewhere, somebody passed a law that said songs written before 1972 weren’t due any compensation.

That includes so much of our American soundtrack. These people aren’t getting paid.

That struck a chord with everybody.

You moved to Nashville in 1985. How did that go?

It didn’t. Of course, I didn’t research anything about Nashville, because I never research anything. I really grew up in the music business in Austin. I graduated from A&M, moved to Austin, got a regular job and played and played and played. There were tons of places to play in Austin. I even got where I didn’t have to work that much on my regular jobs. I made a living just playing every other night.

And then I moved to Nashville. Everything in Nashville is about showcasing your talent or playing benefits for people who have problems. Basically, there’s no money in performing. My gigs just dried up.

And I love playing. I mean, the things that I deal with in music are writing songs and playing. In Nashville, I was writing, but I could never get to feel how the songs work [in front of audiences] I wasn’t getting enough stage time. At the same time that I was failing in Nashville, people of my generation were

blowing up. But I was still thinking, ‘Well, somebody’s going to hear me sometime.

Something’s going to work.’ It didn’t. I lost a lot of ground because I couldn’t find my spot up there in Nashville. I finally moved back to Texas.

But your Texas music peer, Steve Earle, recommended your move to Nashville?

Of all people to take advice from, right? Steve told me I should suffer for my art. Oh, yeah, I did suffer. But it was like the whole Joseph Campbell thing about going off into the forest and finding yourself and coming back and being a different person. Just like people go into the military service, or anything else they do when they’re young. You really have to break all ties and find how you work on your own, without anything but your wits and your own ability to make something happen.

How did things go once to you got back to Texas?

I was pretty devastated for a few months. Like, ‘What am I gonna do now?’ I was sort of grieving.

But then one day I just woke up. I said, ‘I know I can do this.’ And things ticked up considerably for me. All of a sudden people were calling me. After two years of nobody calling, that was a welcome surprise. I hit the ground running.

At the same time, I started working on why Nashville didn’t work for me. Within that same year, 1987, I talked to some of my friends at BMI in Nashville. We agreed that my approach had been all wrong. Because I had been telling people I was the next big hit songwriter, instead of saying I was a solid songwriter and I had my own thing going. And I talked to some cool people in Nashville, got a songwriting deal and went back on the road. Things picked up. I made another record and kept moving.

You turned 62 this year. Do you think you’ll work as hard and long as, for instance, Willie Nelson? He’s 85, so you’ve got 23 years to catch up with him.

I might try to take it a little easier than Willie.

That’s a lot of work. But, you know, I skipped my senior prom to go see a Willie Nelson show.

And now, at his age, when you see him, the first couple of songs he seems like he’s struggling a little bit. But by the time he gets to song three or four, he’s just fully powered by passion.

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