OffBeat Magazine May 2019

Bayou Boogaloo Stage Schedules Page 22

You won’t get her out of your head

HyperPhlyy Erica Falls Angelo Moore Tribal Gold NEW ORLEANS MUSIC, FOOD, CULTURE—MAY 2019

Free In Metro New Orleans US $6.99 CAN $7.99 £UK 4.50

CONTENTS TA B L E

p. 24

p. 20

p. 30

20 Wow, That’s New Orleans!

6 Letters 8 Mojo Mouth

A message from the publisher.

10 Fresh

Five Questions with Polo Silk and Sweet Tweets.

12 14 15 16

O F

Obituaries

Maggie Warwick Wesley Schmidt Cecil George Palmer Paul Marx

18 Roots Plus

HyperPhlyy mixes country and soul.

Paul McCartney’s return to the Crescent City after five years.

22 Bayou Boogaloo - Stage Schedules 24 Homegrown

Erica Falls spreads her wings.

26 One, Two, Three, Hit It!

Angelo Moore and the Brand New Step hit it.

28 Round Up Dem Suspects

The New Orleans Suspects with the Golden Comanche are Tribal Gold.

BLAST FROM THE PAST Little Freddie King: A King’s Life

By Michael Hurtt June 2008

30 Girls Night Out

Valerie Sassyfras has nothing to lose.

36 OffBeat Eats 37 Restaurant Review

Michael Dominici reviews Zasu.

38 Reviews

Davell Crawford, Josh Hyde, Calvin Lavergne, Harrison Fontenot, D.O.N. and Jimmie Vaughan.

41 Listings 45 Backtalk with Lynyrd Skynyrd

“I call Freddie’s music trance blues… (To read more this issue can be purchased at http://www.offbeat.com/articles/little-freddieYou can sit down with him for king-a-kings-life/) a couple of hours and he’ll play rhythms and sounds that you’ve never heard before. It’s just hypnotic.”

Little Freddie King takes the stage at Bayou Boogaloo on Saturday, May 18 at 7:15 p.m.

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5

letters “New Orleans plays the music that resonates with my soul, and I would come back to it in a heart/drum beat.”

—Tennille Aron, Johannesburg, South Africa Rolling Stones gather no moss Tradition and loyalty be damned, Jazz Fest tried to sell its fan-base down the river for an ill-conceived celebration. Alas, it didn’t work out. With genuine hope for Mick’s recovery, here is the quintessential lesson: Rolling Stones gather no moss.

—Gordon and Barbara Hodas, Philadelphia, Pennsylvania

was kind of a bucket-list item. I didn’t realize how much I would fall in love with your city just from one trip. There is just something magical about The Big Easy. From its amazing people to its beautiful music. The city just invites you in and you never want to leave.

New Orleans plays the music that resonates with my soul, and I would come back to it in a heart/drum beat.

—Tennille Aron, Johannesburg, South Africa

Stepping Up? The following letter is in response to the feature “The Dignity of His Sound: talking with Wynton Marsalis about the upcoming film on Buddy Bolden.” (Jazz Fest Bible 2019)—Ed While it can be argued that Joe Oliver was aware of and most likely heard Bolden, there is no mention of that in the historical record as there is for Kid Ory, Jelly Roll, Mutt Carey and many others. Louis Armstrong’s Perdido Street home at Franklin Street, where he lived from about 1905-1911, was indeed next to Funky Butt Hall. However Bolden was sent away before the boy was six. In an interview, Armstrong admitted he had no memory of Bolden, only the comments he heard from others. It’s a pity Mr. Marsalis’ appreciation of nuance and subtlety in music and its value in that idiom does not extend to other disciplines. Also, your turn of phrase that PJ Morton “stepped up” to save the Bolden house is an odd choice of words. He “stepped up” at a blight hearing where the church’s despicable stewardship of the Bolden house resulted in $2,000 in fines and the initiation of a process which could lead to the city seizing the property if Morton does not indeed “step up.”

—John McCusker, New Orleans, Louisiana

Corrections As a result of an editing error John Swenson’s article “Sympathy for the Jazz Fest” (Jazz Fest Bible 2019), indicates that “Jumping Jack Flash” appeared on the Rolling Stones album Their Satanic Majesties Request.

Of course it did not; the sentence should have read as follows: The Rolling Stones have been a lightning rod for controversy throughout their career.

During the 1960s the group’s management cultivated a dark image, the bad boy antithesis of the Beatles. Devil iconography appeared on the cover of the single release of “Jumping Jack Flash,” the title of the album Their Satanic Majesty’s Request and the theme of “Sympathy for the Devil.”

Magical Big Easy I recently came to visit New Orleans. It

Our calculations were way off in Geraldine Wyckoff ’s article “The Dignity of His Sound: talking to Wynton Marsalis about Buddy Bolden.” (Jazz Fest Bible 2019). Bolden was born in 1877 and died in 1931 which would make him 54 years of age, not 32 as indicated.

We also regret the spelling errors found in our Jazz Fest Cubes. For your amusement (but not ours) they are Trumpet Maphia and The Dobbie Brothers but are correct in our A to Z. —Ed.

Louisiana Music, Food & Culture

MAY 2019 Volume 32, Number 6 Publisher and Editor-in-Chief

Jan V. Ramsey, janramsey@offbeat.com Managing Editor

Joseph L. Irrera, josephirrera@offbeat.com Consulting Editor

John Swenson Layout and design

Eric Gernhauser Listings Editor

Katie Walenter, listings@offbeat.com Contributors

Michael Dominici, Bill Forman, Herman Fuselier, Jeff Hannusch, Amanda Mester, Michael Patrick Welch, Dan Willging, John Wirt, Geraldine Wyckoff Cover

Noé Cugny Web Editor

Amanda Mester, amanda@offbeat.com Videographer/Web Specialist

Noé Cugny, noecugny@offbeat.com Copy Editor

Michael Patrick Welch, michael@offbeat.com Advertising Sales/ Promotion and Event coordinator

Camille A. Ramsey, camille@offbeat.com Advertising Design

PressWorks, 504-944-4300 Interns

Mia Fenice, Lucy Foreman, Catie Sanders Distribution

Patti Carrigan, Doug Jackson

OffBeat (ISSN# 1090-0810) is published monthly in New Orleans by OffBeat, Inc., 421 Frenchmen St., Suite 200, New Orleans, LA 70116 (504) 944-4300 • fax (504) 944-4306 e-mail: offbeat@offbeat.com, web site: www.offbeat.com

/offbeatmagazine Copyright © 2019, OffBeat, Inc. No part of this publication may be reproduced without the consent of the publisher. OffBeat is a registered trademark of OffBeat, Inc. First class subscriptions to OffBeat in the U.S. are available for $65 per year ($70 Canada, $140 foreign airmail). Back issues are available for $10, except for the Jazz Fest Bible for $15 (for foreign delivery add $5) Submission of photos and articles on Louisiana artists are welcomed, but unfortunately material cannot be returned.

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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mojomouth

A Note From Publisher J an Ramsey

O

Nothing Stays The Same

ne of my all-time favorite songs is “Everything Must modate the music venues who support OffBeat by advertising.

Change,” written by the late vocalist Benard Ighner, Because the media landscape is changing drastically—and that’s been covered so beautifully by singers like Davell swiftly—OffBeat is reassessing its print edition, and we expect you Crawford, George Benson, Nina Simone, Carmen McRae, and will see more changes to our product over the next year. hundreds of others. It’s just a timeless profound song whose The lyrics of “Everything Must Change” say: “Everything must lyrics I’ve always abided by. change, Nothing stays the same, Everyone must change, Nothing stays So you may notice that this issue of OffBeat looks a bit different. the same. / “The young become the old, Mysteries do unfold, ‘Cause Well, that’s some change for you. Our annual Jazz Fest Bible was that’s the way of time, Nothing and no one goes unchanged….There also different this year: redesigned, smaller and are not many things In life you can be sure of… / more compact to carry around and use. We Everything must change…” took a chance that our readers would like it, and There are more changes in store for New the response we received to the new size was Orleans music as time goes by: it’s becoming so overwhelmingly positive. A sigh of relief on a risk evident that the old guard in music is passing on. we took. Thank you!

This issue includes a record four obituaries of As you can see with this issue, our monthly local music and culture bearers: Wesley Schmidt OffBeat also has a new look and has been (Snug Harbor owner and Storyville Stomper You won’t get her out of your head redesigned. Over the years, the look of the Grand Marshal), Cecil Palmer (restaurateur), magazine hasn’t changed too much. We’ve kept Paul Marx (radio KBON founder and owner), HYPERPHLYY the same design as the one we did when OffBeat and Margaret “Maggie” Warwick (songwriter, ERICA FALLS ANGELO MOORE converted from a newsprint edition to all-glossy, musicians and driving force in north Louisiana’s TRIBAL GOLD post-Katrina. When the hurricane blew our music scene) all passed away recently. staff to the four winds, and almost destroyed It’s hard for anyone to witness friends’ and OffBeat, we decided to keep the magazine colleagues’ passing, but it’s the way life is. One free, but converted it to an all-glossy format to worries how the legacies of these unique make it look classier, and also to give our advertisers/supporters individuals will be continued and improved upon, but we have the benefits of seeing their promotions in a much more appealing enough faith in local musicians and younger audiences to keep the format. Since December 2005, when we changed from a newsprint/ music alive and to honor the traditions on which our uniqueness as offset cover magazine to an all-glossy format, we’ve made very a music city has been founded. few changes to the way the magazine looked, although former art On the other hand, this issue also contains a story on HyperPhlyy, director Elsa Hahne tweaked the 2005 design over the years. a unique combination of soul and country, created by two young A few months ago, we engaged a new designer, Eric Gernhauser, self-designated “country girls” who have created something new to possibly redesign OffBeat. The Jazz Fest Bible was the first step, and entertaining from two rather disparate forms of musical genres and this issue brings the re-design to completion. We hope you like (check them out on YouTube to see what I mean). We also visit it and welcome your input and feedback. with “Princess of Soul” Erica Falls (she was on OffBeat’s cover in For many years, OffBeat’s print listings were de rigueur in our June 2014) as she leaves her steady gig as vocalist with Galactic to monthly offering. Now with digital media so prevalent, we’ve fly on her own; and introduce you to the indefatigable and inimireduced our print listings to account for the reality of reduced table Valerie Sassyfras… plus much more. revenues, with the complete listings published online on OffBeat.

In the coming year, we’ll be making more changes to OffBeat, com. It turns out that our subscribers tend to want the full listings in OffBeat.com, Weekly Beat and our social media channels (@ print, as many of them use the listings when they plan visits to New offbeatmagazine), and we welcome your suggestions and input for Orleans, but we’ve done surveys and polls that tell us that many all. We’ll still continue our special Jazz Fest Bible, coverage of fairs people use online information, which tends to be more accurate and festivals in New Orleans and beyond, more emphasis on the (music clubs are notorious for changing listings at the last minute business of music and music education and its impact on the city. when bands cancel or to move gigs around). Thus, we’ve continued Just like New Orleans music, we are continuing to change and to enhance the online listings and reduce the print listings to accom- grow, as everything, even OffBeat, must change. O BAYOU BOOGALOO STAGE SCHEDULES PAGE 22

NEW ORLEANS MUSIC, FOOD, CULTURE—MAY 2019

Free In Metro New Orleans US $6.99 CAN $7.99 £UK 4.50

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fresh

NEW & NOTEWORTHY

Soundcheck

Polo Silk is a venerated photographer whose work has been invaluable in capturing moments in New Orleans hip-hop, club, street, and second line cultures.

Soon, he’ll launch a merchandise line called Bac In Da Game (B.I.G.). It will feature shirts at first, showcasing some of Polo’s most memorable Polaroids from bygone eras of the city. There will eventually be notebooks and other items. After decades of taking photographs of both the anonymous and the well-known, Polo has become the subject of attention himself. These days, you might see people approaching him to take a picture. He’s incessantly humble, but obviously prides himself on the years of work he’s put in. Today, he keeps the hundreds of Polaroids he’s taken in shoeboxes, but he’s got his sights set on museums.

How did you get started

taking pictures?

I started on Easter 1987 at one of the first teen clubs in New Orleans. I was taking pictures of people at the club and rappers like Bust Down and Gregory D. I was taking pictures of rappers who eventually became famous like Magnolia Shorty, Soulja Slim, Cheeky Blakk, UNLV, Mystikal, Fiend.

You’ve become notorious for documenting second lines. What are some of your favorite memories of your early days doing that?

I love the culture. It’s just fun.

B.G. got a line in one of his songs, “Second line Sunday is a day about stuntin.’ ” Everybody comes dressed to kill, they got their whips shined up. Before Instagram got started, you could come out there with your CDs and stuff and promote yourself. Your fans get to see you there.

Photo by NOé CUGNY

Five Questions with Polo Silk

Was it important for you to document that culture specifically?

Yeah. I had just been doing club stuff, nightclubs. Eventually, people I knew became part of Social Aid and Pleasure Clubs, and they knew of my work and wanted me to shoot them at second lines.

You recently made history with a Reebok shoe deal, designing your own sneaker.

Did that come out of the blue, or was it something you worked for?

The Reebok thing happened because retro is in style now.

Soulja Slim, Juvenile, B.G. and all

them would talk about Reeboks in New Orleans. Chase N. Cashe told the people at Reebok about my work documenting throwback culture and so they contacted me. It was kind of strange, because people call me a legend and stuff like that. I just enjoy doing what I’m doing.

Why is what you’re doing important?

Giving somebody a picture and seeing a smile on their face. It might be a loved one that passed, and they don’t have an image of them. Just giving them that is amazing.

—Amanda Mester

SWEET TWEETS Chickie Wah Wah @ChickieWahWah You never know who’s gonna stop by Chickie. THE Tom Jones sitting in w @jonclearymusic 5.1.19!!

Michael Tisserand @m_tisserand I want us to stay friends so please do not remind me I missed Tom Jones sitting in with @jonclearymusic at @ChickieWahWah last night.

Keith Spera @KeithSpera Big crowd for the O’Jays, backed up all the way into the ‘Ancestors’ area @jazzfest The Pizza Nola Gastronomic Universe @ PizzaNola Wow, @OffBeatMagazine is stepping it up this year. #JazzFestTorah David Simon @AoDespair Fuck this grandiose New Yawk shit already. I’m late for NOLA. #KermitAllAboard #MotherInLawLounge

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Chris Granger @ chris_granger Smile! Tomorrow starts round 2 of Jazz Fest!

Walter Carter, founder of the Lower 9th Ward Steppers. Photo

by Chris Granger #smile #suit #jazzfest #neworleans #portrait @jazzfest John Papa Gros @ JohnPapaGros Luckily I get to play with so many close, great friends. Each new band that I play with seems like it’s more like a get-together family reunion kind of thing.

O F F B E AT. C O M

inmemoriam Margaret Lewis Warwick Margaret Warwick, an acclaimed Shreveport Louisiana singer, songwriter, producer, publisher, and trail blazing music executive, died March 29, after a brief illness. She was 79. Lewis was a former chairperson of the Louisiana Music Commission, and a recipient of the 2009 OffBeat’s Best of the Beat Lifetime Achievement award for music business. New Orleans’s Johnny Adams once cited Lewis as his favorite songwriter.

Born in West Texas as Margaret Lewis, she developed an early interest in country, rock ’n’ roll and especially R&B.“I had my own band in high school called Margaret Lewis and the Thunderbolts,” recalls Lewis. “I sang the songs of the great R&B artists, such as LaVern Baker and Ruth Brown.”

Lewis also fell under the spell of a young Elvis Presley, who she saw perform at the Louisiana Hayride (“the cradle for the stars”). “He left me stunned and mesmerized by his singing and those movements,” Warwick said of The King.

After placing second in a Lubbock talent show in April 1957, Lewis earned a guest appearance on the Louisiana Hayride at Shreveport, with Johnny Horton. Broadcast over 50,000 watt radio station KWEM, Lewis became a regular on the Hayride until 1960. Via the Hayride, Lewis was introduced to Mira Smith who owed a studio and a small local label called Ram Records. Smith was a guitarist and songwriter who took Lewis under her wing. Between 1959 and 1961, Smith produced a clutch of Lewis’ singles on Ram

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that did well in the Arkansas/ Louisiana/Texas triangle.

In 1964, Lewis signed with Hollywood’s Capitol label, releasing a handful country singles. Lewis hit the purple match when she and Smith moved to Nashville and started

our own “Tan Canary,” Johnny Adams (Lewis’ demo of this song will quickly reduce the listener to a puddle of tears), and the funky “Soul Shake,” by Peggy Scott and Jo Jo Benson.

After penning more than 100 songs recorded by the likes of

a songwriting partnership.

Their early successes included Margaret Whiting’s “I Almost Called Your Name,” followed by David Houston’s “Mountain of Love.”

By the end of the decade, the duo signed a deal with Shelby Singleton’s SSS Corporation to ply their trade. They immediately hit pay dirt, supplying an absolute masterpiece of country soul with “Reconsider Me,” recorded by

Jeanie C. Riley, Dolly Parton, Narvel Felts, Conway Twitty, Connie Francis, and Loretta Lynn, in 1981 Lewis moved back to her adopted hometown of Shreveport, and married Alton Warwick. Upon returning to North Louisiana, Lewis found the local music community distressed, and the historic home of the Hayride (Municipal Auditorium) in danger of a date with the wrecking ball. She and

her husband decided to make the Louisiana Hayride central to their efforts to stimulate economic development in the Shreveport/ Bossier City area, particularly for the music industry.

“People always said Shreveport could have been another Nashville,” says Lewis.

“They always talked about how impressive the city’s music history is, but they never did anything about it. It was the Grand Ole Opry that attracted the music industry, but there was a time when the Hayride was just as important. I was in Nashville when they founded the Country Music Foundation (C.M.F.), and learned a lot from them. They realized early that you need an organization to attract the business community.

That’s why I helped form F.A.M.E., (Foundation for Arts, Music and Entertainment for Shreveport/Bossier City) because we needed a core group to attract the Shreveport area’s business community.”

Thanks to Lewis and F.A.M.E., the Hayride’s building was saved, and funds were raised to eventually renovate it. Early in the millennium, Lewis was named

by Governor Kathleen Blanco as Chairperson of the Louisiana Music Commission, also serving under the later governor. In 2004, she had two songs included on the compilation Night Train To Nashville, which was awarded a Grammy. In addition to touring Europe, Lewis appeared in New Orleans at the Ponderosa Stomp to an enthusiastic audience. Lewis also earned seven prestigious BMI awards for her songwriting.

—Jeff Hannusch

O F F B E AT. C O M

Photo by AMANDA GRESHAM

(1940-2019)

inmemoriam Wesley Schmidt (1951 – 2019)

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a flair for dressing, was very dapper and a good dancer,” says Woody Penouilh, the Stompers’ tuba man and leader. “He was always dressed to the nines and would have a brand new suit every year for Jazz Fest—decorations, shirts and shoes. He took that and the tradition seriously.”

Many locals could spot the personable, umbrella-waving Schmidt at the front of the brass band annually at the St. Anne, Halloween, and St. Patrick’s Day parades. He also traveled with the Stompers, making trips to Washington D.C.’s Mardi Gras celebration since its inception in 1981, and even performing in Japan.

Penouilh, a longtime friend of Schmidt’s, was also with him in the early years of the MOMs Ball, and says he believes that he enjoyed the party simply for the opportunity to get together and have fun with his friends. “I took him to MOMs this year, so he got to say goodbye to a lot of people.”

Schmidt’s involvement with music preceded his three decades at Snug Harbor. In the 1970s he managed Luigi’s, an Italian restaurant near UNO where he booked the Rhapsodizers, a precursor to the Radiators. Later, he became the manager of the Dream Palace that is now the Blue Nile.

“Everybody really liked Wesley,” Patterson offers. “I’d say he was an official character of New Orleans.

He’d like that.”

—Geraldine Wyckoff

O F F B E AT. C O M

Photo by Jeffrey Dupuis

Wesley Schmidt played many diverse roles in his hometown of New Orleans. As the owner of the Frenchmen Street jazz mecca Snug Harbor, he worked quietly during the day in his upstairs office. In contrast, Schmidt strutted proudly as a grand marshal for the Pair-A-Dice Tumblers, a krewe/band that in 1981 became the renowned Storyville Stompers Brass Band. His public persona also included being a founder of the MOMs Ball, a semiprivate, notoriously wild Mardi Gras costume party.

Wesley Schmidt died on Friday, April 12, at the age of 68.

“Wesley was kind of a paradox,” Jason Patterson, the talent buyer for Snug Harbor, agrees.

“He kept to himself, or else he’d be way up front partying like there’s no tomorrow at MOMs, or when being a grand marshal.”

Whatever the case, Schmidt took his positions seriously. He rose from assistant manager to manager and finally to owner of Snug Harbor, upon the death of George Brumat in 2007.

“I feel like he carried the gauntlet of George’s legacy at Snug Harbor,” Patterson offers.

“Wesley felt a real obligation to keep it going as George would have wanted it to be. He kept the policies that George formed in place, and he did a good job.”

Schmidt brought that same sense of responsibility when he took to the streets or paraded at events as the grand marshal with the Storyville Stompers. “He had

inmemoriam Cecil George Palmer

Photo by CHERYL GERBER

(1945 – 2019) Cecil Palmer was more than a fine chef; he was embraced as a much-loved member of New Orleans’s music and festival community.

Born in Race Course, Jamaica, he brought the flavors and warm attitude of the island nation to his adopted hometown. Cecil Palmer, who immigrated to the United States in 1973, died on Friday, April 5, 2019, at the age of 74.

Palmer, as he was always simply known, was most recognized for his years manning food booths at the New Orleans Jazz & Heritage Festival and French Quarter Festival, as well as at other, usually musical events like those held at Audubon Zoo. After a long night and perhaps a few too many drinks, it was often advised to make one’s first Jazz Fest stop at Palmer’s Jamaican Cuisine in the Fair Ground’s Congo Square area.

Palmer’s healthy plates of chicken or fish with rice and steamed vegetables could provide the cure. Last year, he celebrated 36 years at the Fest, where he and his wife of 39 years, Betty, served up smiles along with their food.

For 20 years, they did likewise at the French Quarter Fest, and were onboard at the first Essence Festival in 1995.

New Orleans’s bountiful mix of food and music suited Palmer.

He loved reggae music and often took to Tipitina’s dancefloor back in the 1980s. He and Betty were also big fans of zydeco music, especially as played by accordionist and vocalist Clifton Chenier and His Red Hot Louisiana Band.

Their loyalties remained when Clifton’s son, accordionist and vocalist C.J. Chenier, took over OF F B E AT.C OM

the group.

Palmer began his career in culinary arts by attending a cooking school and working in restaurants in Jamaica. When he arrived in New Orleans, he used his skills at several restaurants including the Royal Sonesta, Willy Cohn’s Chalet, and Café Negril before, in 1988, he opened his own Palmer’s Cuisine in Mid-City.

For 12 years, it was the spot to go for a taste of Jamaica, and Palmer’s hospitality, humor and lilting patois (sometimes referred to as patwa or patwah).

Not many people knew Palmer’s first name, Cecil, though he was widely known throughout the city. Palmer was the hardworking man standing over a stove who would take a pause to say hello to his many friends, some of whom only got to see him at festival time. He loved Bob Marley, the big keyboard accordion style of the Cheniers, stepping to some reggae music, and seeing people enjoy his food and music.

Cecil Palmer was simply a good guy—irie, mon—and a wonderful addition to the New Orleans community. He will be sorely missed by his family, friends, and all those lucky folks who ever made his acquaintance.

—Geraldine Wyckoff

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inmemoriam Paul Marx In 2005, a new band called Travis Matte and the Zydeco Kingpins was having to turn down gigs. The band’s mix of zydeco, rock and pop on suggestive hip shakers, like the songs “Vibrator” and “Booty Call,” were drawing fans by the thousands in the bayou country of southwest Louisiana.

Matte credits the Kingpins’ quick rise to stardom to KBON 101.1 FM, a Eunice, Louisiana radio station that lived by its slogan, “Louisiana Proud.”

“I don’t know if we would have been a band without KBON,” says Matte. “They were playing our album 24/7. People had never heard our style of music in the Cajun, zydeco, and swamp pop genres. But KBON was behind it. They were behind everybody.You had to have a bad album for KBON not to play it.”

Matte is among the mourners remembering KBON founder and owner Paul Marx, who died March 24 following complications after heart surgery. After an all-night wake on March 30 at Vincent Funeral Home in Kaplan, Marx, a 71-year-old Vietnam War veteran, was honored with a military salute. There was no funeral, as Marx chose to be cremated.

A longtime DJ and nightclub owner, Marx achieved his dream of creating a variety music station that emphasized Louisiana artists.

Before KBON, few radio stations in the Lafayette, Louisiana market, the cradle of Cajun music, zydeco and swamp pop, played local musicians.

The handful that did, pushed the local music to early morning or weekend slots.

But KBON went on the air May 29, 1997, with a 24/7 format that put Cajun legend Belton Richard and zydeco icon Keith Frank right next to Garth Brooks, Loretta Lynn, James Brown, and Bobby “Blue” Bland. The

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25,000-watt station quickly became a ratings leader in the Lafayette market.

KBON was a huge, financial gamble. At the age of 50, Marx and his then-45 year-old wife, Rose, sold all their possessions to start the station.

According to his book, Variety with a Louisiana Flavor, Marx paid $40,000 for an FCC permit to build a station in the Mamou, Louisiana area. But Marx still needed a studio, equipment, and a tower.

“We sold everything we had— our house, business, property, everything—to go into a business I really didn’t know anything about,” Marx wrote. “I felt I knew music, but I didn’t know anything about running a radio station.

“At the time, I owned a night club, and there was a rumor going around, ‘He owns a bar. What does he know about a radio station?’

They don’t know how right they were. But I was determined to learn.”

Marx’s family ate bologna sandwiches while he worked 20-hour days and often slept on a cot at the station. But fast forward to 2017, and KBON celebrated its

Paul Marx with Michael Doucet

20th anniversary, playing the same variety format that had found a worldwide audience.

The station’s eclectic lineup includes the “Swamp n Roll Show,” a live, Thursday night broadcast with KBON sales rep Todd Ortego as host. Between songs that stretch from Cajun two-steps, to Otis Redding, to Johnny Cash, Ortego ad-libs commercials for crawfish restaurants, a slaughterhouse, and other mom-and-pop shops.

Each week, a mechanic/accordionist nicknamed “The Human Jack,” comes in to play “The Turner Breakdown,” a spot for a local gas station.

Marx said this offbeat mix made KBON successful.

“The experts said there was no way it would work,” Marx told the Daily Advertiser newspaper in a story on KBON’s 20 years. “They said, ‘You can’t mix genres of music.’ I found that odd because, for years, I was DJing in clubs and at dozens of weddings and anniversary parties.

Every DJ that was working was mixing it up. They played everything and went from Conway Twitty to Percy Sledge. It worked fine.

“My thought was, if it was

working at the clubs and all these private parties, why wouldn’t it work on radio? There has to be a first time for everything. I’m going to give it a shot.”

Through the years, hundreds of fans have attended the annual KBON Cruise that showcases Louisiana musicians. The station hosts a listener appreciation party, with a three-day music festival in Rayne. All proceeds go to non-profit organizations, such as the Down Syndrome Association of Acadiana.

Dozens of signatures and photos line the walls at KBON, a testament to the station’s open-door policy with Louisiana musicians.

KBON put Marx in the Louisiana Hall of Fame, with a slew of honors that also included a Lifetime Achievement Awards from Governor Mike Foster, and the Golden Mike Award from the Louisiana Association of Broadcasters.

Marx, who was also a Cajun French songwriter, composed “Take Care of My Kids,” and “Every Day is Mother’s Day.” Both were recorded

by Grammy winner, Wayne Toups.

Marx required all KBON air personalities to sign off with the slogan, “Let us, before we die, gather up our heritage, and offer it to our children.” Matte said Marx lived up to that message.

“He had a passion for what he did,” attests Matte. “Who else is willing to sell their house, sell everything, uproot his family, to start a radio station?

“If you said something about KBON, even wore another radio station’s T-shirt, it offended him. He took it very personal.

“He was behind all the musicians.

That passion is what made him successful with that radio station.”

—Herman Fuselier

O F F B E AT. C O M

Photo by David Simpson

(1947-2019)

Hy

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Phly

y

Roots Plus hen Danica Hart and Trea Swindle, two self- by Bill Forman Trea, who back then didn’t consider herself one of the described “country girls from Mississippi,” “singers” in the family. “I was building cars and fixing began performing as HyperPhlyy, they could scarcely have computers, because everybody else knew how to sing.” imagined that, five years later, they’d be called up to the main stage by But in a town of 2,900 people, career opportunities were less than New Orleans legend Irma Thomas at this year’s French Quarter Festival. plentiful and, for musicians, all but nonexistent. “In Poplarville, if you can Standing beside their younger cousin Devynn Hart, who joined the get a job at the hospital, then you’re doing big things, you know what group a year ago, they beamed from ear to ear as Thomas—or Miss I mean?” says Danica, who was happy to land a job in its outpatient Irma, as Danica refers to her—introduced the trio to her legion of fans. program, helping elderly people deal with depression and anxiety issues.

The three singers, said Thomas, had come to see if there was anything Trea, meanwhile, was the first to move an hour south to New Orleans, she could teach them. But since they play country music, she added a decision she made during a much-needed vacation. “It was crazy, with a laugh, there wasn’t. because I moved down Afterward, Irma walked here on an absolute back to center stage, smiling whim,” she recalls. “I was broadly as she told the actually a prison guard at crowd, “I used to look like the time, and I called the that!” captain and said, ‘I’m not Two weeks after the going back to the jail.’ ” French Quarter Festival, Eventually, she on Easter Sunday, Hyperconvinced Danica to do Phlyy are back playing their the same. The two cousins biweekly gig at DMac’s, made a list of ten songs, an off-the-beaten-path got a battery-powered PA, New Orleans bar and grill and were soon drawing where Walter “Wolfman” large crowds while Washington also regularly busking on Royal Street. plays. Outdoors on the “In my mind,” says Devynn Hart, Trea Swindle and Danica patio, a crawfish boil is in Danica, “I couldn’t fathom Hart of HyperPhlyy full effect. Inside, fans bring the idea that people shots of Maker’s Mark were really enjoying what and Fireball whiskey up to the stage, as the full seven-piece band and its we were doing. And shortly after that, we got invited to play a little club fans celebrate Devynn’s one-year anniversary with the group, the trio’s on Chartres Street called the Mahogany Jazz Hall, and then it was like a onstage moment with Irma, and the increasing likelihood that three black snowball effect. We’ve just been growing and growing and growing.” women from Mississippi could win national acclaim by playing country That their cousin Devynn would ultimately complete the trio was, in music.

Danica’s view, preordained. “We were born that way,” she says. “it just Most of the tracks on HyperPhlyy’s forthcoming debut album Out The took a while for it to come to fruition.”

Mud do indeed fall within the parameters of contemporary country—the Back onstage at D-Mac’s, the band plays the first of two sets that double-entendres in “Let’s Truck” alone are the stuff of Nashville music combine original material with an eclectic range of covers. They do a publishers’ dreams—but their music also contains undeniable elements of heart-stopping version of Sam Cooke’s “Change Is Gonna Come,” as well classic R&B and gospel. as a barn-stomping rendition of Gretchen Wilson’s “Redneck Woman.”

“If we had to be put in a box, we would definitely describe ourselves “I used to think that, in order to be a redneck, you had to be a certain as country-soul,” says Danica. “We don’t ever really leave out that soul color,” says Danica as she introduces the latter. part.”

While it’s easy to imagine HyperPhlyy’s beautifully crafted, radio-ready HyperPhlyy’s roots are in Poplarville, the small Mississippi town that’s tracks commanding the country music airwaves, it’s also hard to forget featured in the endearing video for the group’s joyfully upbeat autobiohow rare it is for black artists to find acceptance, let alone success, in a graphical single “Made for Me.” Harmony-rich songs like the haunting a genre that has been overwhelmingly white. But that may be changing. cappella “Shots Fired,” meanwhile, offer further proof that all three are Last year, Jimmie Allen’s single “Best Shot” made him the first black artist exceptionally gifted singers, something they didn’t necessarily realize to debut at number one on Billboard’s Country Airplay chart. Given growing up. their talent and tenacity, the upstart country girls from Mississippi may “We’re three of 108 grandkids, and the entire family sings,” explains well be next. O

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HyperPhlyy mixes country and soul.

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Wow, That’s New Orleans! fan of New Orleans and its music, Paul McCartney

by John Wirt Mardi Gras revelry on St. Charles Avenue and Canal Street. has visited and performed in the city numerous “It was just great to visit the city and be part of that times. On May 23 at the sold-out Smoothie King Center, the solo Louisiana culture,” McCartney recently told his official website. “Because star and former Beatle will play his fifth New Orleans concert. It’s the first when we were making the album, we stayed there for quite a while. It stop on the United States leg of McCartney’s Freshen Up world tour. He was over a month, so we really got into it. During that time, it was also previously appeared at Smoothie King Center in 2014 and 2002, and at the Mardi Gras and we got immersed in the local culture. New Orleans Superdome in 1993. music, Creole music is very unique. It’s a unique style we’d hear at clubs On September 16, 1964, during Beatlemaand things. And that’s where I heard Professor nia’s high tide in America, McCartney made Longhair.” his New Orleans debut with the Beatles in Longhair was one of the local acts City Park Stadium. About fifteen minutes into McCartney and his crew saw perform during the half-hour show, a tidal wave of hundreds the Venus and Mars sessions. McCartney of girls spilled from the stadium stands onto also invited Longhair to Sea-Saint. In a 1979 interview, Longhair recalled, “Somebody the field. Florence Hughes, an LSU journalism student freelancing for The State-Times, steered him up to wherever we were working, reported that “the girls broke into hysterics and he came and listened and he enjoyed it. when Ringo began singing ‘Boys,’ and the So, he said, ‘Now that I’ve come listen to you, football field was swarming with fans.” why don’t you come listen to me?’ And I said, ‘Well, where are you?’ And he was making a New Orleans singer Clarence “Frogman” Henry, one of the Beatles’ opening acts, recording down by Sea-Saint.” recalled seeing policemen tackling girls as Some local musicians, including Toussaint, participated in the Sea-Saint sessions. But they dashed across the field. Before the Beatles’ final song, Little Richard’s “Long Tall McCartney wanted to use local flavors Sally,” McCartney announced, “I want to thank sparingly. “Mainly we’re coming here to make everybody for coming, including the football our own album,” he said at the time. “I don’t players.” like to come to a place and use too much of the local talent, because you get people saying, Earlier that day, Hughes had covered the Beatles’ chaotic press conference at ‘Oh, they’re taking our style.’ … So, generally February 1975: Benny Spellman, Linda McCartney, Paul The Congress Inn motel on Chef Menteur we keep pretty much to ourselves—unless McCartney, Wings guitarist Jimmy McCulloch and Earl King there’s another special thing we’d like, and we’d Highway. “You can’t realize how they are pose for a classic picture at New Orleans’ Sea-Saint Studios pushed about, mobbed and questioned,” she ask someone to help us on.” during a break in recording Wings’ Venus and Mars. wrote. “They have no lives to call their own.

McCartney’s apprehension about … By 11:30 the Beatles had left New Orleans, and all they had seen were a committing cultural appropriation, however, stopped with “My Carnival,” motel room and City Park Stadium.” his homage to Professor Longhair. Wings recorded the song at Sea-Saint The highlight of McCartney’s 1964 visit to New Orleans likely was Fats the day after Mardi Gras with Meters bassist George Porter Jr. adding Domino’s backstage visit with the Beatles. They serenaded Domino, one of percussion and Benny Spellman (“Fortune Teller”) singing backup. “I their American R&B inspirations, with his 1956 hit, “I’m in Love Again.” just loved the style so much that I composed something called ‘My Carnival,’ ” McCartney said recently. “It’s got the same riff, basically, that The day after the Beatles’ City Park concert was scheduled to be a day off in New Orleans. They wanted to visit the local music clubs. But a he [Longhair] plays.” $150,000 guarantee to play in Kansas City, Missouri, lured them away a McCartney subsequently hired Longhair and the Meters to perform day early. at the Venus and Mars wrap party on the Queen Mary in Long Beach In January and February 1975, McCartney finally realized his wish to Harbor. His production company recorded the performance, released in 1978 as Live on the Queen Mary. Linda McCartney shot a striking portrait experience New Orleans.

With his wife, Linda, their children, and members of McCartney’s postof Longhair for the album, which was re-released in April.

Beatles band, Wings, McCartney decamped to the city to record the Venus An avid Longhair fan, McCartney especially loves the rippling and Mars album. Sessions took place at Allen Toussaint’s and Marshall arpeggios the pianist played with his left hand. “And in his right hand is Sehorn’s Sea-Saint Recording Studio in Gentilly. During an extended stay rolling blues stuff,” McCartney said. “You hear it, and its like, ‘Wow, that’s in New Orleans, Paul and Linda McCartney dressed as clowns and joined New Orleans!’” O

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Paul McCartney’s return to the Crescent City after five years.

11:00 AM 11:15 AM 11:30 AM 11:45 AM 12:00 PM 12:15 PM 12:30 PM 12:45 PM 1 PM 1:15 PM 1:30 PM 1:45 PM 2 PM 2:15 PM 2:30 PM 2:45 PM 3 PM 3:15 PM 3:30 PM 3:45 PM 4 PM 4:15 PM 4:30 PM 4:45 PM 5 PM 5:15 PM 5:30 PM 5:45 PM 6 PM 6:15 PM 6:30 PM 6:45 PM 7 PM 7:15 PM 7:30 PM 7:45 PM 8 PM 8:15 PM 8:30 PM 8:45 PM 9 PM 9:15 PM 9:30 PM

Anders Osborne Presented by Positive Vibrations Foundation 8:00 PM - 9:30 PM

The Suffers Presented by Mid City Pizza 6:15 PM - 7:30 PM

The Fuzz (A Tribute to The Police ft. Tab Benoit) 4:30 PM - 5:45 PM

Friends of Bayou St. John Orleans Stage

Debauche Presented by OffBeat Magazine 6:45 PM - 8:15 PM

Cole Williams Band presented by WWOZ 5:00 PM - 6:15 PM

Port Orleans Dumaine Stage

FRIDAY, MAY 17th

Valerie Sassyfras 6:30 PM - 7:00 PM

Appletini Review 5:45 PM - 6:15 PM

Cowboy Mouth Presented by Mid-City Yacht Club 8:00 PM - 9:30 PM

Erica Falls presented by Keesler Federal Credit Union 5:15 PM - 6:45 PM

Shinyribs presented

by Edwards Communities 2:45 PM - 4:00 PM

Jamaican Me Breakfast Club presented by Sharper Shots Production 12:15 PM - 1:30 PM

Friends of Bayou St. John Orleans Stage

Little Freddie King Presented by Port Orleans Brewing Co. 7:15 PM - 8:30 PM

Roadside Glorious Presented by The Drifter Hotel 5:35 PM - 6:45 PM

Joe Lastie’s New Orleans Sound presented by National Endowment for the Arts 3:55 PM - 5:05 PM

RAM from Haiti with Special Guests 2:15 PM - 3:25 PM

The Tumbling Wheels Presented by WWNO 12:35 PM - 1:45 PM

New Orleans Swamp Donkeys Presented by Louisiana Lottery 11:00 AM - 12:05 PM

Port Orleans Dumaine Stage

Urban South Lafitte Stage

Morning 40 Federation Presented by Urban South Brewery 6:45 PM - 8:00 PM

Angelo Moore & Brand New Step Presented by Jose Cuervo 4:00 PM - 5:15 PM

Soul Brass Band Presented by Buffa’s Lounge 1:30 PM - 2:45 PM

South Jones Presented by Pearl Wine Co. 11:00 AM - 12:15 PM

SATURDAY, MAY 18th

Tab Benoit Presented by National Endowment for the Arts 7:00 PM - 8:30 PM

Suspects Tribal Gold Presented by Hancock Whitney Bank 4:40 PM - 5:50 PM

Raw Oyster Cult 2:20 PM - 3:30 PM

Steve Riley and Mamou Playboys Presented by Entergy 12:00 PM - 1:10 PM

Friends of Bayou St. John Orleans Stage

Amanda Shaw Presented by New Orleans Jazz and Heritage Foundation 6:00 PM - 7:30 PM

J & The Causeways Presented by Pal’s Lounge 4:15 PM - 5:30 PM

Miss Mojo Presented by Where Y’at 2:30 PM - 3:45 PM

St. Lorelei Presented by P&N 12:45 PM - 2:00 PM

Port Orleans Dumaine Stage

SUNDAY, MAY 19th

Omari Neville & Fuel presented by New Orleans Magazine 5:50 PM - 7:00 PM

Sabotage (A tribute to the Beastie Boys) Presented by Cumulus Media 3:30 PM - 4:40 PM

Patrick Sweany 1:10 PM - 2:20 PM

Bahkti Caravan with Michelle Baker presented by Swan River Yoga 11:00 AM - 12:00 PM

Urban South Lafitte Stage

It’s Bayou Boogaloo Time.The event is free and open to the public. Besides the great music, the festival offers the best in Louisiana cuisines and local artisans. Make your way down to Mid-City, eat your fill from local restaurants, buy some beautiful New Orleans artwork, and dance your ass off along the shores of Bayou St. John.

Urban South Lafitte Stage

BAYOU BOOGALOO SCHEDULE

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Bay o u B o o g a lo o Saturday, May 18 Friends of Bayou St. John Orleans Stage, 5:15 p.m.

Homegrown F

or nearly five years, Erica Falls has been principal

by John Wirt soul-jazz numbers that meld classic soul with contemporary R&B—plus classy reinventions of Fleetwood Mac’s “Dreams,” guest vocalist with Galactic, traveling with the New and Irma Thomas’ Allen Toussaint-composed “Old Records.” The latter Orleans funk-rock-jazz band for its one-hundred tour dates per year. She also appears on the band’s albums, including this year’s Already two songs initially served as a launching point for the entire HomeGrown Ready Already. “Oh, I love those guys,” Falls says of Galactic. “They’re like project.

“From there, I became more comfortable writing and recording,” Falls my brothers.”

As for her solo career, Falls describes herself as a “vintage soul” singer. says. “I don’t want to say it was a rough journey, but it was an evolving journey. Because I was on the road with Galactic, I recorded in the And when she performs with Galactic, she sings the songs special guest stars recorded for the band’s various albums her way. Galactic’s in-studio pockets when we were home.” But taking her time for the album, she guests have included Macy Gray and Mavis Staples, both featured on adds, “allowed me to really learn to be vulnerable and express myself as 2015’s Into the Deep, and David Shaw of the Revivalists, the New an artist.”

Of course, there’s a massive difference between singing backup for an Orleans jam-rock band that rose to national prominence in recent years. artist and being the artist. “When you’re hired for sessions, time is money,” “Erica can even sing David’s parts,” Galactic’s Ben Ellman says. “And she Falls says. “So, you want to be professional and precise, do your job. It’s makes them her own. We’re just lucky to be in her world.”

As fun and good as her years with Galactic have been, Falls informed different when you’re telling your own story.”

Falls credits her manager, Leslie Blackshear Smith, audio engineer David the band in March that she’ll be leaving the group in September. “It was Farrell, bassist Donald Ramsey and drummer Bobby Economou for their really hard,” she says of the decision. “They really are like brothers to invaluable guidance during the HomeGrown sessions. “They were like, me. They accepted me into the fold. We spent four years traveling the country, riding in a house with wheels. We put on pajamas and ate snacks ‘Naw, you’ve got more to say. Try it again,’ ” she recalls. “They really helped after shows. It’s cool to be in that environment with such great musicians me to learn how to be vulnerable in the studio. I’m really proud of the record because it allowed me to find myself as an artist.” and people.”

“Erica has made huge strides,” Smith says. “She’s gone from making But now, Falls explains, “It’s time for me to spread my wings and let the everybody else sound good, to being the front woman. She’s stepping world know more about Erica Falls, and what she has to say musically.” into her power.”

In 2017, Falls released her second solo album, HomeGrown. Five Falls tells her story in the autobiographical song “Destiny,” and on the years in the making, the album features songs she composed—grooving

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Erica Falls spreads her wings.

album’s title track, “Homegrown.” “‘Destiny’ is a peak into my upbringing and the decisions I made as a I got older,” she says. “‘Homegrown’ comes from questions that I’m always asked.

‘Who are you? Where do you come from?’ I’m from right here in New Orleans. I’m homegrown.”

Falls’ journey began in the Ninth Ward. The youngest of eight children, she grew up in a musical household with a father who loved jazz, and a mother who sang beautifully and played piano and organ. Early in Falls’ life, she found her mother’s formidable talent intimidating. “Oh, yeah,” she recalls.

“Even when my mother practiced in the house, she sang with so much conviction. I said, ‘Okay, I’ll play instruments instead.’ ” Falls’ musical training and ensemble singing proved helpful later, when she sang in the vocal groups ELS and Nu Beginnings.

Those groups led to backup vocal gigs with Dr. John, Sting, No Doubt, Joe Sample, Martina McBride, John Fogerty, Jennifer Hudson, Davell Crawford and, for the last six years his life, New Orleans’ brilliant producer, songwriter and pianist Allen Toussaint.

“It was such a great learning experience to see how Allen operated, how he conducted his rehearsals,” she says. “He was so skilled and such a gentleman in the way he coaxed what he wanted out of you. I witnessed the genius up close. I was his student. He gave me a lot of tools and gems to work with.”

In addition to her upcoming focus on a solo career, Falls has launched HEN.E Sweets, a business that sells cupcake-sized bread pudding treats. Based on her grandmother’s recipe, HEN.E Sweets is available at Vino Volo, the wine bar at Louis Armstrong International Airport, Concourse C. “Cooking is another passion of mine,” she says. “And it’s like making music. You start with the basics, add seasonings and different layers, until it’s great.” O OF F B E AT.C OM

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Bay o u B o o g a lo o Saturday, May 18 Urban South Lafitte Stage, 4 p.m.

One, Two, Three, Hit It! ngelo Moore, the exuberant provides all the vocal harmonies.

by Geraldine Wyckoff saxophonist, vocalist, and original “It’s definitely dance music for sure,” Moore member of the alternative ska, agrees. “I always say it’s got a disco ball hanging reggae and punk band Fishbone, moves in over it. I get to do my interpretation of only a slightly more modern direction on disco—it’s funky and it’s soulful.” his newest project, the Brand New Step.

Moore and company also offer a reggae As heard on the group’s latest release, beat on the album’s title cut, along with a Centuries of Heat, Moore hasn’t drifted too socially conscious message in its lyrics, “Take far from his style fronting Fishbone or, for a little step to the East for freedom and that matter, from the music he listened to peace…” in his youth.

“Ska and reggae have always been the right kind of platforms to put controversial lyrics “A lot of soul and a lot of jazz was over—politically, socially aware,” Moore says. goin’ on when I was growing up,” says “Especially ska, you can get a little more angry the 53-year-old Los Angeles resident, with ska.” who namedrops artists like James Brown, As he has demonstrated for decades with Funkadelic, the Ohio Players, and Louis Fishbone, Moore has what it takes to be a Jordan. “When the ’80s came around, I great frontman—musicianship, a sense of style, started listening to a lot of ska, punk rock, and sharp showmanship. and reggae.”

“Oh yeah, people need entertainment to Moore, whose father played sax with free their minds from the bondage that society Count Basie, met guitarist Kris Jensen during puts on us,” Moore says. “You need to be out a question and answer segment following of your mind a little bit sometimes, because a screening of the documentary, Everyday creativity comes from being free-minded and Sunshine: The Story of Fishbone. “He said, ‘Hey, Angelo Moore free-spirited. People can express themselves you want to play some music together?’” vicariously through you as an entertainer.” says Moore, who later traveled to San Moore looks the part too, his often eye-catching attire boasting his Francisco to hook up with Jensen and keyboardist Jim Greer, who were to become the core members of the Brand New Step. “Yeah, I’ll try anything own, individual flair. “I’ve always liked eclectic fashion,” says Moore, who once.” says Moore, an adventurous soul who has also recorded his poetry laughingly adds that, as a youth he didn’t need a Ken doll; he dressed under the moniker of Dr. Madd Vibe. “I’m always looking for a brand new himself up. “I put plaid with polka dots, and when people call that ‘too busy,’ I say ‘It matches because it’s busy.’ ” step.”

Moore acknowledges that he, Dr. Madd Vibe, Jensen (the “mellow, Since 2014, the BNS has recorded two albums, released several videos, stony” guitarist), and Greer who supplies keyboards, beats and samples, went on tour, and even made a stop in New Orleans last year.

“The only thing I wasn’t warmed up to was the use of tracks while the have what he considers vastly different approaches. “I like genre mixing, band was playing,” Moore confesses. “That was a new verse for me. To me and Dr. Madd Vibe makes it a little more dangerous. That’s what doctors do, they go in there and Frankenstein some shit together.” that was a no-no. I’m the guy in the back of the room where, if a band is The saxophonist and vocalist is no stranger to New Orleans or its using tracks, I’m the first one to [figuratively] throw a can at the deejay’s musicians. He performed with Fishbone at the 2008 Voodoo Fest, and head and say, ‘Come on, you don’t need some damn tracks, you have a previously with the group at Jazz Fest in 2005. A band noted for its band playing your shit.’ ” In a quest to expand his horizons, the audacious collaborations, the Brand New Step called on Galactic’s drummer Stanton Moore decided he’d just have to figure out a way to use the tracks in a way that would sound good, and that wouldn’t compromise his integrity.” Moore to play on Centuries of Heat, and all of the members of Galactic plus Preservation Hall’s saxophonist Clint Maedgen have been invited Brand New Step definitely accomplishes the goal of having the band to BNS’s Bayou Boogaloo “party” on Saturday, May 18. Later that night as the main foundation on Centuries of Heat, making this album a ton Moore, Jensen and Greer, and the band’s regular bassist Ashish “Hash” of musical fun. On original material written by Jensen and Greer with Vyas, plus drummer Hassan Hurd, will be joined by Morning 40 Federalyrics penned by Moore, the sounds and grooves feel informed by the tion’s guitarist Bailey Smith. likes of P-Funk (“Decompression”) and James Brown (“Booty Bang”).

“I’m Angelo Moore and this is the Brand New Step. One, two The record even opens with a clearly old-school number, “Gratitude,” on which Moore blows some expressive sax, offers his stunning falsetto, and three, hit it!” O

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Angelo Moore and the Brand New Step hit it.

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Bay o u B o o g a lo o Sunday, May 19 Friends of Bayou St. John Orleans Stage, 4:40 p.m.

Round Up Dem Suspects hen these tribes meet, turn up the heat. Big Watkins, too. “We just got invited to the table,” Watkins said,

by John Wirt Chief Juan Pardo and the Golden Comanche as he sat with Pardo and Eckert in the Rhythm Shack. bring Mardi Gras Indian rhythm, chant, and splendor to the Pardo credits the Suspects with seeing beyond his Indian suit. “Because party. The New Orleans Suspects supply groove-heavy music inspired by there are stigmas that follow the Indians,” Pardo said. “Whereas some New Orleans’s classic funk and rhythm and blues. United in music and people only know, ‘Yeah, he’s an Indian,’ Jake, Jeff and the whole Suspects culture, the combined entities become Tribal Gold. crew, they hang with Big Chief, but they also know Juan.”

Pardo and the Suspects see Tribal Gold as a new expression of classic Tribal Gold made its debut at this year’s MOMs (Mystic Krewe of 1970s albums featuring Bo Dollis and the Wild Magnolias (with Willie Tee, Orphans and Misfits) Mardi Gras Ball. The group will perform again May 19 at Bayou Boogaloo. Tribal Gold festival appearances are also scheduled Snooks Eaglin, Earl Turbinton Jr., and Alfred “Uganda” Roberts) and The Wild throughout the country this spring. Recordings are in the works, too, with Tchoupitoulas (with The Meters and the future Neville Brothers band).

“Everybody remembers a vinyl 45 rpm single slated when they first heard to be the new group’s debut Tribal Gold They Call Us Wild and release.

The Wild Tchoupitoulas The union of the Suspects albums,” Eckert said. “The and the Golden Comanche has Wild Tchoupitoulas was like been in the works for a decade. nothing I’d heard before.

Pardo first joined the Suspects Those albums have such on the road and later in the strong writing and arranging studio. He co-wrote “Round and performing. They are Up Dem Suspects,” a track staples. But now it’s time to on the Suspects’ 2016 album, create something new.”

Kaleidoscoped. The song merges “This is the right situation,” Pardo’s lyrics and singing with Pardo said, “to explore what the band’s contemporary take we’ve been talking about on old-school funk. over the past ten years. And “Juan and the band wrote what makes this unique is that, although it’s complicated to take on the that song together,” Suspects guitarist Jake Eckert said one recent tribe, in every possible occasion the Tribal Gold project features almost afternoon at the Rhythm Shack studio in Uptown. “It worked great. Fastthe whole Golden Comanche tribe on stage.” forward a few years, we’re writing music together again in the same way.

“It’s not just Juan,” Eckert added. “It’s the whole gang.”

The blocks just fit together.”

In 2017, during a performance of “Round Up Dem Suspects,” Pardo The New Orleans Suspects began in 2009 as The Unusual Suspects. experienced a magical moment at the New Orleans Jazz and Heritage The band soon expanded from its club of origin, the Maple Leaf Bar, to Festival with the Suspects and Golden Comanche spy boy Isaac Kinchen. nationwide touring. Its current membership is Eckert (The Dirty Dozen “When it got to certain parts of the lyrics, I stopped, just to let the crowd Brass Band), “Mean” Willie Green (The Neville Brothers, Grateful Dead, take it,” Pardo recalled. “I watched people sing the lyrics back to me, as far Bob Dylan, Paul Simon), saxophonist Jeff Watkins (James Brown, Joss Stone) and keyboardist CR Gruver (Outformation, Angie Aparo). Newest out there in the back as I can see.”

“It wasn’t contrived,” Eckert said. “That was when we first knew this member Eric Vogel (Victor Wooten, North Mississippi Allstars) replaced really works well together.” former bassist, Reggie Scanlan of Radiators fame, in the Suspects’ lineup.

If Tribal Gold’s March appearance at Tampa’s Gasparilla Music Festival Pardo contributes Mardi Gras Indian authenticity and a wealth of was a sign of things to come, audiences throughout the country are musical experience; from 1996 through 2005, he worked in the hot ready for the Suspects’ and Golden Comanches’ new fusion of music and Atlanta hip-hop scene as a producer and beat maker. Since his return Indians. “People weren’t sure quite what to expect,” Eckert said of the to New Orleans in 2006, he’s recorded with Galactic, Bo Dollis, 101 Tampa show. “Some people have heard of the New Orleans Suspects, but Runners, and performed with Dr. John, Monk Boudreaux, Trombone not many had seen Mardi Gras Indians. That’s one thing to remember— Shorty, Patti LaBelle, Cyril Neville, and Anders Osborne. when you leave New Orleans, there’s not much knowledge of the Indians’ “As culturally powerful as Juan is in the Mardi Gras Indian tradition,” culture out there. Many people have never actually seen it in action. But in Eckert said, “he’s also a great singer who understands the language of Tampa, a few thousand people were in awe.” music.”

“It’s time for a resurgence,” Watkins said. O Pardo’s musical and production knowledge impressed Suspects member

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The New Orleans Suspects with the Golden Comanche are Tribal Gold.

Bay o u B o o g a lo o Friday, May 17, 6:30 p.m.

Urban South Lafitte Stage

G i r ls NI G H T OUT F Valerie Sassyfras has nothing to lose.

For three consecutive days in April 2018,

Ellen DeGeneres—the internationally famous TV talkshow host from Metairie—broadcast a video clip of New Orleans musician, Valerie Sassyfras.

“So, there’s this video I saw last week,” the bemused DeGeneres told her millions of viewers.

“And I cannot get this out of my head. It’s a lady performing a song called ‘Girls Night Out.’ Let’s all enjoy it.”

Three months before the Sassyfras video’s debut on The Ellen Show, former Times-Picayune features

writer David Lee Simmons filmed the clip and posted it on Instagram. It captures Sassyfras, a New Orleans singer, songwriter and keyboard player, performing at a children’s Mardi Gras event in Algiers Point.

Wearing two shades of aquamarine, she’s singing, dancing and giving it her all on a tiny stage in Confetti Park. The kids in the park are too busy preparing for their parade to notice.

The video opens with Sassyfras singing her synth-pop song’s instantly unforgettable chorus— “Girls night out. I’m gonna go crazy. Girls night out.

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I’m horny and I’m lazy”—Simmons’ video pans to the kids in the park before returning to Sassyfras as she’s twisting with hands on her hips and her backside to the camera.

“I’d love to know where that is,” the contextless DeGeneres said after she showed the clip. “I want to know more about her. I can’t stop thinking about it.”

Sassyfras didn’t see herself on The Ellen Show until the third and final day it aired. “I still didn’t know if Ellen knew I’m from New Orleans,” Sass said when OffBeat managed to catch up with her at a Carrollton Avenue coffeeshop. “I’m sitting in my living room, raising my hand, saying, ‘Ellen, I’m right here! You can ask me anything.’ ” Producers of The Ellen Show contacted her, Sassyfras said, “and talked to me as if there was a possibility I could be on the show, but it didn’t happen.” Although an in-studio appearance on The Ellen Show never materialized, the singer believes the exposure the video received brought her to the attention of America’s Got Talent. In March, Sassyfras auditioned for the TV talent show, which begins its new season May 28.

Even though Sassyfras doesn’t subscribe to a traditional religion, she believes her appearance last year on The Ellen Show happened through divine intervention. “When people tell me, ‘I’m going to send a video to Ellen,’ I’m saying to myself, ‘Good luck.’ You can’t just send a video to Ellen. A million people probably hit her up every day. It just has to happen.”

It was fateful too, that Simmons happened to be in Confetti Park in January 2018. He often posts video he shoots at local events on Instagram. “I love taking my son to parades and festivals,” Simmons said of being in Confetti Park. “I filmed the scan of the crowd, just by habit, and then, as I landed back on Valerie, she was sort of undulating. I was taken aback, like, ‘Wow.’ Just when you think you’ve seen everything in New Orleans, you come upon an artist like her.”

Sassyfras’ now famous playground performance was nothing excep-

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tional for her, she said. “People ask me, ‘Do you always put out on every gig?’ Yes.Because you never know who’s going to show up.”

Now 65, Sassyfras appears at festivals, clubs, concerts, and parties.

Singing with pre-recorded tracks, she works solo and with the Sasshay Dancers, Rishona Hines and Kendra Jarrell. Her props include feathers and whips. “People love whips,” she said.

Following her third French Quarter Festival booking in April, Sassyfras’ upcoming gigs include May 17 at Bayou Boogaloo; May 18 at Blue Moon Saloon in Lafayette; May 24 at the Howlin’ Wolf Den; and May 30 at the Old Point Bar in Algiers Point. On May 4, she joined a huge bill at the Sugar Mill featuring St. Paul and the Broken Bones, Tank and the Bangas, and Sweet Crude.

Sassyfras’ just-released new album, Crazy Train, encapsulates her variety-show versatility and songwriting chops. The tracks include “The Big Easy,” a swaggering homage to her hometown; the zydeco-powered, self-referencing “The Sass;” a lush remake of Frank Sinatra’s “My Way;” a new recording of “Girls Night Out;” and two songs inspired by the family drama and estrangement she experience in recent years, “Writin’s on the Wall” and “Evil.”

More gigs and better gigs happened after The Ellen Show. “My social media blew up,” Sassyfras said. “My phone blew up. People who wouldn’t respond to me before started answering my emails.” Sassyfras’ post-Ellen Show coups include opening for Portugal. The Man at the Sugar Mill, acquiring manager Adam Shipley, and being cast in the starring role for New Orleans indie-pop band Royal Teeth’s made-inNashville music video for “Never Gonna Quit.”

A New Orleans native who grew up in the Ninth Ward and Uptown, Sassyfras has been a music pro for more than 30 years. Her credits include the klezmer band Klezmania, the 1980s and ’90s Cajun and zydeco group Sassyfras, and a three-and-a-half-year residency at the former Piccadilly cafeteria location on Jefferson Highway.

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In 1988, Sassyfras formed Sassyfras, the band, with her late husband, Johnny Donald. They met five years before at the Bass shoe store in the Riverwalk Marketplace, when he was store manager and she was assistant manager.

“I gave Johnny a hard time,” Sassyfras said with a laugh. “I made him do all the work. He gave me all these assignments and I didn’t do any of them. I knew that he liked me and I took advantage of that. I was cruel to him. Those first years, I would go out with other men and throw them in his face. Why did I do that? I grew up in a household where there was no love. My mother and father hated each other. All they did was fight and yell at each other. So, I didn’t know what love was all about.”

Donald loved Sassyfras from the moment they met, she said. It took some time, but Donald’s devotion eventually won Sassyfras over. “I was like, ‘Well, Val, this guy is there for you no matter what you do to him.

He keeps coming back. Maybe you should open yourself up little bit.

Maybe this is a real thing.’ After I realized that, everything got better.

But sometimes it got so intense that I would ask myself, ‘How can I

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even handle this?’ At the same time, it was so great. We had music in common but, looking back on it, I think when a man is really devoted to a woman, that’s the way it has to be. It can’t be the other way around. If a man is devoted to a woman, and she decides to give into that, there’s nothing better. If it’s the other way around, and the man is not devoted, it probably won’t last.”

Donald persuaded Sassyfras to leave the klezmer band she’d formed with her sister and brother-in-law. “Johnny said, ‘Val, you’re wasting your time with them. If you want to do music, let’s do it together.’ ” The couple’s band, Sassyfras, performed locally and nationally. The group also recorded a vinyl single, “Sassy Cajun Queen” / “Charlene,” and a cassette release recorded at Studio in the Country in Bogalusa, Somethin’s Brewing.

“Back in the ’80s, Cajun and zydeco music was the hottest thing going,” Sassyfras remembered. “Paul Prudhomme was traveling the country, appearing on The Today Show. He went all over promoting Cajun cooking and that made Cajun music really popular. And me and Johnny both have French heritage. So, we stuck with that and traveled all over playing.”

During their years together in the band, Donald encouraged Sassyfras to write songs. Today, she said, every song she writes is, in one way or another, about him. “I never thought of music as a career before Johnny. I never had the confidence to get up in front of people and perform. But he gave me that confidence. And I guess writing songs came naturally, because you get tired of doing other people’s songs.

You want to have your own thing going.”

Despite her early lack of selfassurance, Sassyfras already had much musical experience. She’d studied classical piano, tap dancing, and ballet from childhood through high school.

Donald’s experience included a college band that specialized in Elvis Presley songs. “Johnny said they probably could have gone far, but the kids in the band didn’t want to travel or go beyond their little town, Meridian, Mississippi, so it fizzled.”

Between 1986 and 2011, Sassyfras and Donald lived in New Orleans, Nashville, Clinton, Arkansas, Hattiesburg, and on a boat in Bay St. Louis, Mississippi. After Hurricane Katrina’s tidal waves swamped their boat and flood water filled their apartment in New Orleans, they lived in St. Augustine, Florida. Along the way, they operated Johnny’s Serious Burgers in Metairie, the Bayou Jubilee restaurant in Nashville, and various music stores.

In St. Augustine in January 2006, less than six months after Hurricane Katrina, Sassyfras and Donald were riding together on their four-wheel O F F B E AT. C O M

“When I first went to Piccadilly, I was just sitting down playing,” she recalled. “I’d come home and say, ‘Johnny, I’m not hardly making any tips.’ He said, ‘Start moving around.’ I started working out choreography for each song. Never done that in my life. So, when I see young people do it, I’m impressed because it took me a long time to figure it out. Now I choreograph every song, whether it’s just me, or me and the dancers.”

bicycle when an 18-wheeler turned and jackknifed in their path. Donald pushed Sassyfras off the bike, seconds before the rear of 18-wheeler rolled over his legs. “Johnny was never the same after that, but he still had a lot of strength,” she said. “After that, we actually renovated another business location in St. Augustine and set up a guitar shop. Johnny always pushed, pushed, pushed. We got the store open, had a recording studio, and we both gave lessons and played around town. That’s what we always liked to do. We were part of the community.”

Sassyfras believes her husband would have been happy to stay in St. Augustine, but she wanted to come home to New Orleans. “I knew he had limited time, and I didn’t want to be in Florida by myself,” she said. “I didn’t feel like it was home.”

The couple returned to New Orleans in 2011, the year Sassyfras began her solo residency at Piccadilly on Jefferson Avenue. Not allowed to sing in the cafeteria-style restaurant, she played instrumental renditions of songs by Whitney Houston, Stevie Wonder, the Dixie Cups, Linda Ronstadt, Arlo and Woody Guthrie, Willie Nelson, The Band, Hank Williams, The Jackson 5, The Temptations, Elvis Presley and, returning to her roots, Rockin’ Sidney’s international zydeco hit, “My Toot Toot.”

Donald’s continuing guidance included song suggestions for her Piccadilly sets, and recommending she dance for the cafeteria crowd. “When I first went to Piccadilly, I was just sitting down playing,” she recalled. “I’d come home and say, ‘Johnny, I’m not hardly making any tips.’ He said, ‘Start moving around.’ I started working out choreography for each song. Never done that in my life.

So, when I see young people do it, I’m impressed because it took me a long time to figure it out. Now I choreograph every song, whether it’s just me, or me and the dancers.”

After she introduced choreography to Piccadilly, the tips did indeed pick up. “And then the waitresses were pissed off at me because they thought I had my hand in their pockets,” she said. “Which I didn’t. I just made them work harder for their job.”

Sassyfras also found an ally in Piccadilly general manager, Butch Collins. “They told him to fire me after the first year,” she said. “He kept me for three-and-a-half years. That’s unusual for somebody in the corporate world, to keep you when they’ve been told to get rid of you.

Piccadilly wasn’t paying me, it was just tips, but the general manager knew my value there. And he never told me what to do or play, just not to play too loud. He was the greatest boss I ever had.”

Donald, Sassyfras’ true love and music mentor, died in June 2013.

“We were together from the beginning, but we didn’t get married for a long time,” Sassyfras said. “I’d been married before, but Johnny showed me the way on everything. And our relationship was equal, which I didn’t have in my first marriage. When a relationship is equal and there are no secrets, that’s powerful. You have each other’s back, always.

Johnny was my partner. He devoted himself to me for 30 years. Thank God for Johnny. I wouldn’t be doing any of this without him.”

After Donald’s death, there was never any doubt about Sassyfras continuing to make music. “I don’t have any other skills,” she said with a laugh. “This is my thing. There is nothing else.”

Sassyfras’ albums include 2014’s Girls Night Out, 2016’s Sassquake!, 2017’s Blastoff! A Cosmic Cabaret, and this year’s Crazy Train. New Orleans drummer Scott Sibley produced the latest three projects.

Sassyfras calls him the “Sass Whisperer.” Sibley met her at Piccadilly in 2011. “At the time, I was going through a tough time with my music career,” he said. “And then I saw this older lady just giving it one-hundred-and-ten percent, even though she wasn’t getting much OF F B E AT.C OM

reaction. I appreciated that.” Beyond her commitment to give audiences everything she’s got, Sibley said, Sassyfras constantly strives to improve.

“She’s always looking for something to make it a better show and her songwriting gets better from record to record,” he said.

Los Angeles filmmaker Stiven Luka noticed Sassyfras’ talent and drive, too. In late 2016, Luka, then living in New Orleans, caught her set during a multi-act show at Siberia. She threw herself into the club performance as if she were playing the Superdome, he recalled.

“Instantly, I had this feeling that I wanted to document her,” he said. In December, Luka and co-producer and co-director, Ella Hatamian, began production on a feature-length documentary about Sassyfras. They’ve shot footage in New Orleans and Los Angeles.

“Valerie is so diligent and disciplined,” Hatamian said. “For me, the essence of this is getting down to the bottom of who she is as an entertainer and what keeps her motivated. She is an amazing character, but more importantly she’s a really talented musician. When you think of someone who’s wild and kooky, you don’t necessarily realize how much depth they have, but Valerie has performed songs for Stiven and I that had us in tears.”

Like Hatamian, Luka, and Sibley, Adam Shipley--Sassyfras’ manager since September--found himself hooked by her songs and impressed by her work ethic. “The tenacity she has is the most I’ve seen in the majority of artists I’ve ever worked with,” he said. Her authenticity impressed Shipley, too. “If this was L.A. or New York, it would be someone creating this character,” he said. “But this is her. And she’s serious as a heart attack about her career and her songs and choreography.”

The in-progress Sassyfras documentary, Luka added, “is not a story of success or failure. It’s a portrait of someone doing what they do.”

In her song, “Crazy Train,” her new album’s heartfelt and country-ish title song, open-book Sassyfras tells everyone where she’s coming from: “I’ve really got nothing to lose. Got schemes and dreams I’m working on. Living on a real short fuse,” she sings. “When I stand in that neon light, gonna put it all out for you tonight, till my fingers bleed and my heart is full.” O M AY 2 0 1 9

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

MUSIC ON THE MENU Banks Street Bar & Grill: 4401 Banks St., 486-0258 Buffa’s: 1001 Esplanade Ave., 949-0038 Chickie Wah Wah: 2828 Canal St., 304-4714 BARBECUE Gattuso’s: 435 Huey P Long Ave., Gretna, The Joint: 701 Mazant St., 949-3232 368-1114 House of Blues: 225 Decatur St., 412-8068 COFFEE HOUSE Café du Monde: 800 Decatur St., 525-4544 Howlin’ Wolf’s Wolf Den: 907 S. Peters St., 529-5844 Morning Call Coffee Stand: 56 Dreyfous Le Bon Temps Roule: 4801 Magazine St., Dr., (504) 300-1157 895-8117 CREOLE/CAJUN Little Gem Saloon: 445 S. Rampart St., Cochon: 930 Tchoupitoulas St., 588-2123 267-4863 Cornet: 700 Bourbon St., 523-1485 Maison: 508 Frenchmen St., 289-5648 Galatoire’s: 209 Bourbon St., 525-2021 Mid City Lanes Rock ‘N’ Bowl: 4133 S. Gumbo Shop: 630 St. Peter St., 525-1486 Carrollton Ave., 482-3133 New Orleans Creole Cookery: 508 NOLA Cantina: 437 Esplanade Ave Toulouse St., 524-9632 Palm Court: 1204 Decatur St., 525-0200 Rivershack Tavern: 3449 River Rd., 834-4938 FINE DINING Siberia Lounge: 2227 St. Claude Ave., Commander’s Palace: 1403 Washington 265-8865 Ave., 899-8221 Southport Hall: 200 Monticello Ave., Josephine Estelle: Ace Hotel, 600 835-2903 Carondelet St., 930-3070 Snug Harbor: 626 Frenchmen St., 949-0696 Mr. B’s Bistro: 201 Royal St. 523-2078 Three Muses: 536 Frenchmen St., 298-8746 FRENCH Café Degas: 3127 Esplanade Ave., 945-5635 NEIGHBORHOOD JOINTS Cake Café: 2440 Chartres St., 943-0010 La Crepe Nanou: 1410 Robert St., 899Dat Dog: 601 Frenchmen St., 309-3362; 2670 5030 Freret St., 899-6883; 3336 GERMAN Magazine St., 324-2226 Bratz Y’all: 617-B Piety St., 301-3222 Lucy’s Retired Surfers Bar & Restaurant: 701 Tchoupitoulas St., 523-8995 GROCERY STORES Breaux Mart: 3233 Magazine St., 262-6017; Parkway Bakery and Tavern: 538 Hagan Ave., 482-3047 2904 Severn Ave. Metarie, 885-5565; Sammy’s Food Services: 3000 Elysian Fields 9647 Jefferson Hwy. River Ridge, 737Ave., 948-7361 8146; 315 E Judge Perez, Chalmette, Tracey’s: 2604 Magazine St., 897-5413 262-0750; 605 Lapalco Blvd., Gretna, Ye Olde College Inn: 3000 S. Carrollton 433-0333 Ave., 866-3683 Mardi Gras Zone: 2706 Royal St., 947-8787 PIZZA INDIAN Midway Pizza: 4725 Freret St., 322-2815 Nirvana: 4308 Magazine St., 894-9797 Pizza Delicious: 617 Piety St., 676-8482 JAPANESE/KOREAN/SUSHI/ Slice Pizzeria: 1513 St. Charles Ave., 525THAI 7437 Sukho Thai: 4519 Magazine St., 373-6471; Theo’s Pizza: 4218 Magazine St., 894-8554; 2200 Royal St., 948-9309 4024 Canal St., 302-1133; 1212 S Wasabi: 900 Frenchmen St., 943-9433 Clearview, 733-3803 LOUISIANA / SOUTHERN Mondo: 900 Harrison Ave., 224-2633 Praline Connection: 542 Frenchmen St., 943-3934 MEDITERRANEAN Mona’s Café: 504 Frenchmen St., 949-4115 MEXICAN/CARIBBEAN/ SPANISH Barú Bistro & Tapas: 3700 Magazine St., 895-2225 El Gato Negro: 81 French Market Place, 525-9846; 300 Harrison Ave., 488-0107; 800 S Peters St., 309-8804 Juan’s Flying Burrito: 2018 Magazine St., 569-0000

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SEAFOOD Crazy Lobster Bar & Grill: 1 Poydras St. 569-3380 Deanie’s Seafood: 841 Iberville St., 5811316; 1713 Lake Ave. Metairie, 834-1225 SOUL Praline Connection: 542 Frenchmen St., 943-3934 VIETNAMESE Namese: 4077 Tulane Ave., 483-8899 WEE HOURS Buffa’s Restaurant & Lounge: 1001 Esplanade Ave., 949-0038

O F F B E AT. C O M

diningout a dining room flanked by rows of booths on either side, and a row of tables down the center of the room.

The stage was set when the knowledgeable and affable servers recited the daily offerings and offered suggestions. Moments later, the show began! Citrus poached Gulf shrimp with hearts of palm, paper thin slices of radish, grapefruit, and brown butter vinaigrette, was perfection on a plate; as was the grilled baby octopus with olives, vibrant sugar snap peas, roasted peppers, and almond slivers, with aioli. Other appetizers included a dazzling beef carpaccio garnished with pickled celery and blue cheese.

The homemade agnolotti stuffed with goat cheese, artichokes, and served with crispy sunchokes and a zesty lemon was sublime. Fried veal short ribs basted in Korean chili glaze set on top of Review by Michael Dominici scallion fried rice, besides being delicious, also demonstrated Chef Zemanick’s elegant restraint. We worked with Chef Matthias Wolf. n the past two years, also swooned over a special offering After Wolf returned to the west in spite of the sense of of chilled poached lobster served coast, Zemanick was named chef excitement and energy the with spring vegetables in a light in 2006 and remained until 2016.

New Orleans restaurant scene There, she perfected her technique vinaigrette that contrasted nicely has been enjoying, something’s with the delicately fried goat cheese been missing—namely, chef Sue and created a beautiful cuisine that stuffed zucchini, one of the many Zemanick’s extraordinary cuisine. highlighted fresh, bright flavors that complimented her slowly-developed, highlights of our meal. Another Thankfully, that all changed with savory cooking. The small restaurant special offering was freshly shucked the opening of Zasu, a name Murder Point oysters served with a setting allowed Zemanick to focus, derived from both her name tangy mignonette. Salad selections fine tune, and perfect every plate. and her Slovak heritage—Zasa included Asian pear, fried celeriac, Likewise, in her recently opened meaning “once again.” Chef Zemanick made her mark at the and similarly sized Zasu, Zemanick’s and toasted hazelnuts, all garnished with shaved Parmesan, basil and attention to detail is revealed in a beloved Gautreau’s, where she lemon vinaigrette. A Romaine salad was recognized by Food & Wine beautiful array of dishes.

Located at the former site of Rue featured grilled radicchio, tomato Magazine as a rising star chef in confit, dehydrated olives, served 2008, then in 2013 received the 127, Zasu has transformed a loud, with a miso gremolata. The soup of James Beard Award as Best Chef: gaudy space into a dining room the day was a rich lobster bisque South (in a tie with Ryan Prewitt bathed in green, with a decidedly garnished with croutons and herbminimalist vibe. A prized outdoor of Péche). The Pennsylvania infused oil. table awaited we lucky diners on a native launched her career in The entree courses were a gorgeous day on Carrolton Avenue.

New Orleans at Commander’s procession of show-stoppers: A Just behind the front door, a wellPalace in 2002, before moving stocked but modest bar gave way to pristine portion of sautéed halibut on to Gautreau’s, where she

Zasu

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sat atop a mélange of English peas, haricot vert, spring onions, and spinach, anointed with a deeply flavorful and fragrant ginger-mushroom broth that announced the arrival of Spring.

Perfectly cooked sautéed red snapper paired with Indonesian eggplant curry, carrots, and pickled pineapple provided a harmonious and wonderfully balanced combination of flavors.

Chef Zemanick’s homage to her Slovak heritagewas on full display with a richly satisfying serving of pierogis stuffed with wild mushrooms and potatoes, garnished with caramelized Vidalia onions, asparagus, and crème fraiche and chive oil. The saltine crusted grouper with savory braised greens, sautéed Louisiana crawfish tails, bacon, and spicy butter sauce was one of the best dishes I’ve ever had--truly a classic!

Desserts at Zasu included the fabulous chocolate cake with port-fig ice cream draped in caramel sauce, as well as a pistachio pavlova smothered in macerated strawberries, and citrus curd served with vanilla cream. The coffee semifreddo, rich inflavor, light in texture, got sprinkled with coffee cake crumbles and a mound of toasted pecans. The table favorite however, was passion fruit crème brulee flecked with Thai basil and candied ginger, served with coconut shortbread emblematic of Zemanick’s deft approach, flirting with exotic flavors and melding them into a beautifully delicious array of truly memorable dishes. We all left with one burning question, when are we going back to Zasu? O Zasu, 127 N. Carrollton Ave., New Orleans, LA 70119. (504) 267-3233. Open Monday through Saturday 5:30 p.m. until 10 p.m.

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

Messing Around with Fats recognizable first notes of “Ain’t That a Shame,” with Crawford’s strong left hand supplying the essential rhythm. When the pianist does elaborate, he does so from the heart of the New Orleans piano style that he and Fats shared.

It takes several bars into “I’m Walking’” to identify Domino’s and Bartholomew’s masterpiece. Crawford performs it at a dreamy pace, almost more like a Davell Crawford Charles Brown love song than the Dear Fats, I Love You rollicking original. It’s followed by (Basin Street Records) a fast and incredibly fun boogiewoogie go at Domino’s “I’m Davell Crawford allows his piano to sing the lyrics of the late, Ready.”

Crawford rocks “I’m in Love legendary Fats Domino’s greatest Again,” goes to town on “I’m hits on Dear Fats, I Love You. He’s Gonna Be a Wheel Someday,” alone at the wonderfully rich sounding Steinway performing 15 sways on “I Want to Walk You Home,” becomes sophisticated on classic numbers primarily written “When My Dreamboat Comes

by Domino himself or in collaboHome,” and continually throws ration with his longtime music partner, the incredible trumpeter/ in those trills and triplets that producer Dave Bartholomew. This shout Fats Domino and the New Orleans piano rhythm and blues pure setting allows the alwaystradition. creative Crawford to interpret, Davell Crawford can musically reinvent, and embellish songs that “mess around” with that legacy, he and generations of listeners that sound, and Domino’s songs, know so well, with his own as he is a vital part and extension masterful and loving touch. His renditions of the tunes, minus any of them all. Dear Fats, I Love You is for those who feel the same vocals, also shine a light on the composers’ brilliant insight into the adoration of Antoine “Fats” Domino, as the genius of Davell beauty of simplicity.

The album begins with the very Crawford expresses on this

developing vocalists.

A version of the bolting title track (the only song here sung in English) remains the album’s centerpiece, where Lavergne proudly extols the virtues of his culture. The other nine Frenchsung tunes follow related themes of dancing, fishing, raising hell and love from various perspectives.

The arrangements aren’t necessarily predicated on the proverbial accordion-fiddle tandem, though the fiery two-stepper, “Un Cajun S’amuse,” is propelled by both.

Calvin Lavergne Instead, Lagneaux crafted brilliant Cajunman arrangements that vary between (Independent) fiddle-driven Cajun Country (“Elle Though Cajunman marks Calvin Et Moi”), tumbling zydecajun (“Un Homme Chanceux”) and even Lavergne’s full-length debut, it’s dreamy swamp pop (“S’il Vous really Cajunman 2.0. A five-song Plait”). Indeed the arrangements EP consisting of three swamp are impressive and a few are poppers and two Cajun French enhanced by the pro-sounding originals was briefly released background vocals. in 2017, before producer/ “Un Coeur Cassé” is pianist Rick Lagneaux pulled it undoubtedly the most emotional from the market to re-position Lavergne into the regional French track, one that’s sentimentally reminiscent of Eddy Arnold’s demographic. Smart move, since blockbuster “Make the World the septuagenarian Lavergne Go Away.” But instead of the is among the last of the native grandiose performance, Lavergne French speakers and writes projects soft sorrow as if he were material that other Cajuns can relate to and find humorous, such crawling out from the carnage as “Boire La Biѐre.” He annunciates of an amorous catastrophe. In extremely well and some people, Lavergne’s case, authenticity rules over robust pipes. like fellow musician Fred Charlie, —Dan Willging have cited him as an example to historic album.

—Geraldine Wyckoff

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

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O F F B E AT. C O M

fact, plenty of that style of playing is also heard here on “No One To Talk To (But the Blues).” Slightly short on playing time, this album will nonetheless be tracking in my Volvo pdq.

Definitely worth a listen.

—Jeff Hannusch

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anything Fontenot couldn’t play on his loud little box.

While much of this collection focuses on Fontenot’s novelty side, he also has a poignant side, as evidenced by “Lonesome Soldier Waltz.” He cut his own version, “Une Histoire Triste,” of the Cajun weeper “J’ai Passé Devant Ta Porte” by adding a recitation of

All You Need is Soul

Jimmie Vaughn Baby, Baby Please Come Home (The Last Records) The gangster of the blues guitar, and one-time original member of the Fabulous Thunderbirds, Texan Jimmie Vaughn is back with his latest outing, and if you’re a blues fan, you should check this disc out.

This time around, JLV touches a lot bases. He’s not much of an originator, but his choice of influences is eclectic and impeccable. Case in point is the title track, “Baby, Please Come Home,” a super New Orleans shuffle originally done

by Lloyd Price. Despite JLV being a guitar virtuoso, this song (like many tracks here) is dominated by a big fat horn section, and anchored by a dominant baritone.

In fact, the baritone takes several booming solos throughout, including “Be My Lovey Dovey,” an obscure early Etta James jewel.

Speaking of Jack & Jill, there’s a really dead-on version of the dynamic duos “No One To Talk To (But the Blues).” Other artists that get a tip of JLV’s hat are Bill Doggett, Earl Gaines, Jimmy Reed (of course Reed’s simple playing was the corner stone of JLV’s early guitar style) and fellow guitar gangsta’, Johnny “Guitar” Watson. JLV’s take on Watson’s haunting “Midnight Hour” faithfully duplicates Watson’s strained, slashing guitar breaks and fill ins. In

Cajunized as “Clotilla.” He even modifies “Wabash Cannon Ball” to include locales like Basile (much to the delight of his listeners) and makes his accordion honk like a train whistle towards the end.

Also featured in this collection is Fontenot’s first hit “Cajun Twist,” a version of Chubby Checkers’ “The Twist.” It seems there wasn’t

Josh Hyde Into the Soul (Independent)

Harrison Fontenot The Harrison Fontenot Cajun Collection (Swallow Records) The name Harrison Fontenot may not be a regular topic of conversation among Cajun music fans beyond Acadiana, but nonetheless this 26-track posthumous collection will likely bring more notoriety to one of the genre’s colorful and regionally beloved figures. By all accounts, Fontenot (1934-2011) was an incredibly interesting individual, a crop duster, a talented accordionist/vocalist, and accordion builder (Imperial). He fronted various bands and recorded several 45s between 1961 and 1983, all of which make their fulllength debut here.

Many of these selections will make you laugh when you recognize the melody. “Beverly Hillbillies” is recast as “Mamou Hillbillies,” Tex Williams’ “Smoke!

Smoke! Smoke! (That Cigarette)” becomes “Fume, fume, fume” and The Oak Ridge Boys’ “Elvira” is

After releasing his critically acclaimed Call of the Night effort in 2017, Alexandria guitarist-songwriter Josh Hyde knew it would be only a matter time before he worked with Nashville producer and Shreveport native Joe V. McMahan again. But when McMahan acquired a 24-track analogue machine, Hyde couldn’t get to the Music City fast enough to record these eleven originals. Sonically speaking, you couldn’t ask for a cleaner, live-sounding recording, devoid of any Pro Tools gimmickry.

You also couldn’t ask for a better way to kick off the proceedings than with the piano funky “Rocking Chair,” an incredibly infectious track that’s its own uptown ruler. Hyde’s Louisiana identity is felt elsewhere, such as on the tender “Down on Bourbon Street,” and “All You Need is Soul,” where the message imparted is that music is everywhere.

Yet, it’s more a blend of Americana with blues roots than anything else. Regardless of the targeted demographic, Hyde’s impassioned vocals are what’s really on tap here, drawing you into whatever emotion’s at hand. While most of this is moderately up-tempo, laments “For You I Ache” and “Reasons Why” find Hyde withering away at his lowest low, rife with despair and heartache.

McMahan complements those emotions well with cleverly crafted, dense arrangements where parts quickly float in and out of consciousness. The artist and the producer also form a considerable force on electric and slide guitars, slinging and jamming away for a cool contrast of tones and textures, such as on “Call My Name.” When Hyde says “into the soul,” you can bet there’s nothing superficial about it.

—Dan Willging M AY 2 0 1 9

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drums are usually either extra big and reverbed out, or else extra tiny and intimate. Many of Out the Loop Too’s minor key tracks are based off samples of piano and horn solos (“Ochea,” “Eggshells,” “Pigpen”), giving this album a down-tempo jazz feel, complimented by fat electro basslines. “Ouchea” subverts the triggerman beat and Ricky B’s iconic xylophone riff, creating a bent bounce song with ten times the usual number of words.

“Nadine,” produced by Prospek, and “Saturday” by Antwon Kilz, are slightly cheerier, but still lilting. Regardless, D.O.N.’s verbal acrobatics always set fire to what might otherwise be gloomy tracks.

Throughout the record, D.O.N.’s lyrics come so fast, that you’ll D.O.N. probably react one of two ways: Out the Loop Too his perpetual motion flow could (Independent) be too much for your brain to keep up with, or else D.O.N.’s Rapper D.O.N., a.k.a. Don the Worker, is low-key, and resides on complexity could compel you to listen to Out the Loop Too over and the West Bank. He has a family and goes to church. So maybe you over and over in an attempt to untangle and decipher his words— haven’t seen him on local stages, words that morph from quick in rooms full of blunt smoke. bits of storytelling, into painterly Recently, he’s averaged about an descriptions of his feelings, into album a year, which he promotes silly but still amazing verbal juggling mostly to his lucky friends. In for juggling’s sake. D.O.N. keeps a terms of New Orleans rappers, similarly complex flow throughout, he’s more 3D Na’Tee than C breaking it up with moments Murder. Meaning, for fans of hip-hop music that includes actual like “No Feelins (Pesos),” which rapping, D.O.N.’s records are gems. repeats a money mantra with a warped vocal effect, or “Fight for His latest home studio project, Us,” featuring a hook by D.O.N’s Out the Loop Too, is a triumph young son Donovan. of artistic, sample-based tracks, Out the Loop Too is an impressive decorated with the densest, most linguistics lesson, over strikingly thoughtful rhymes to ever come expressive tracks made for music out of Gretna. fans who don’t care for trends.

D.O.N. produces most of Actually, D.O.N. just made it all for his own tracks, which are himself. We’re lucky though, to get grainy, psychedelic, and wildly to listen in. original, but never go full Yeezus —Michael Patrick Welch and give you a headache. The the maudlin story line for an even greater punch to the heart. No doubt Fontenot was cut from a different cloth than his contemporaries. It’s one that still wears well today for connoisseurs of the unvarnished, rough-and-tumble Cajun sound.

—Dan Willging

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M AY 2 0 1 9

O F F B E AT. C O M

express 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-newlistings or send an email to listings@offbeat.com.

AF African AM Americana BL Blues BU Bluegrass BO Bounce BB Brass Band BQ Burlesque KJ Cajun CL Classical CR Classic Rock CO Comedy CW Country CB Cover Band DN Dance DX Dixieland DB Dubstep EL Electro FO Folk

FK Funk GS Gospel GY Gypsy HH Hip-Hop HS House IN Indian Classical ID Indie Rock IL Industrial IR Irish JB Jam Band MJ Jazz Contemporary TJ Jazz Traditional JV Jazz Variety KR Karaoke KZ Klezmer LT Latin MG Mardi Gras Indian ME Metal

RB Modern R&B PO Pop PK Punk RE Reggae RC Rockabilly RK Rock RR Roots Rock SS Singer/Songwriter SK Ska PI Solo Piano SO Soul SW Spoken Word SP Swamp Pop SI Swing VR Variety ZY Zydeco

WEDNESDAY MAY 15

THURSDAY MAY 16

Café Beignet (Musical Legends Park): Steamboat Willie Jazz Band (TJ) 10a

Buffa’s: Rebecca Leigh, Harry Mayronne and Chris Wecklein (VR) 5p, Tom McDermott and Aurora Nealand (JV) 8p, Debbie Davis and Josh Paxton (VR) 11p

d.b.a.: Walter “Wolfman” Washington and the Roadmasters (BL) 10p Fillmore: the Foo Fighters, Trombone Shorty and Orleans Avenue (RK) 7p House of Blues (Foundation Room): Michael Liuzza (BL) 6p Howlin’ Wolf (the Den): Assata Renay (RB) 9p Jazz Playhouse: Big Sam’s Crescent City Connection (JV) 8:30p Lafayette Square: Wednesday at the Square feat. Kristin Diable and the City, the Quickening (VR) 5p Palm Court Jazz Café: Lars Edegran and Palm Court Jazz Band (JV) 8p Rock ‘n’ Bowl: Big Sandy and his FlyRite Boys (VR) 8p Royal Frenchmen Hotel: Amanda Walker (PI) 8p Snug Harbor: Uptown Jazz Orchestra with Terrance Taplin (JV) 8 & 10p Spotted Cat: Chris Christy (JV) 2p, Shotgun Jazz Band (JV) 6p, Antoine Diel and the New Orleans Power Misfits (JV) 10p Three Muses: Leslie Martin (JV) 5p, Schatzy (JV) 8p

d.b.a.: Alexis and the Samurai (ID) 7p, Soul Brass Band (BB) 10p Fillmore: the Foo Fighters, Preservation Hall Jazz Band (RK) 7p House of Blues (Foundation Room): Bayou Bullets (FO) 7p Howlin’ Wolf (the Den): Comedy Gumbeaux (CO) 8:30p Howlin’ Wolf (the Porch): Birds in a Row, Listener, Quentin Sauve, Redemption Family (VR) 8p Kermit’s Mother-in-Law Lounge: Kermit Ruffins and the BBQ Swingers (JV) 7p Kerry Irish Pub:Vincent Marini (FO) 8:30p Mahalia Jackson Theater: India.Arie (RB) 8p Palm Court Jazz Café: Tim Laughlin and David Jellami with Crescent City Joymakers (JV) 8p Royal Frenchmen Hotel: Jamie Lynn Vessels (RK) 8p Snug Harbor: Jason Marsalis and BGQ Exploration (JV) 8 & 10p Spotted Cat: Salvatore Geloso Trio

OF F B E AT.C OM

Find complete listings at offbeat.com—when you’re out, use offbeat.com/mobile for full listings on any cell phone.

(JV) 2p, Miss Sophie Lee (JV) 6p, Jumbo Shrimp (JV) 10p

Hounds (VR) 11p

Three Keys (Ace Hotel): Mykia Jovan (RB) 8:30p

House of Blues (Foundation Room): Cricket (FO) 7p

Three Muses: Tom McDermott (VR) 5p, Aunt Vicky (VR) 8p Tipitina’s: Hash Cabbage Vinyl-release show feat. P.Y.M.P. (VR) 9p FRIDAY MAY 17 Buffa’s: Calvin Johnson and Native Son (JV) 6p, Susanne Ortner (JV) 9p d.b.a.: Hot Club of New Orleans (JV) 6p, Soul Rebels (BB) 10p Gattuso’s: Clean Sweep with Danny Herbert and Tracey Ann (VR) 7p House of Blues (Foundation Room): Jake Landry and the Right Lane Bandits (BL) 7p House of Blues: Bustout Burlesque (BQ) 7:30 & 10p Kerry Irish Pub: Tim Robertson (FO) 5p, Lynn Drury (FO) 9p One Eyed Jacks: Mad Dogs and Englishmen: New Orleans Tribute to Joe Cocker and Leon Russell (VR) 9p Palm Court Jazz Café: Kevin Louis and Palm Court Jazz Band (JV) 8p Royal Frenchmen Hotel: Monty Banks (JV) 6p Smoothie King Center: Lynyrd Skynyrd, Hank Williams Jr. (CR) 6p Snug Harbor: Ellis Marsalis Quintet (JV) 8 & 10p Spotted Cat: Andy Forest Treeaux (JV) 2p, New Orleans Cottonmouth Kings (JV) 6p, Shake ‘Em Up Jazz Band (JV) 10p Three Muses: Royal Roses (JV) 5:30p, Doro Wat Jazz Band (JV) 9p

Gattuso’s: Limited Edition (VR) 7p

House of Blues (the Parish): Jermaine “Funnymaine” Johnson (CO) 7p House of Blues: ZMR Music Awards Concert feat. Joseph Akins, Hans Christian (VR) 6:30p Howlin’ Wolf (the Den): Ambush Reggae Band (RE) 10p Howlin’ Wolf: Get Yer Ya Ya’s Out! Rolling Stones Tribute (CR) 8p Kermit’s Mother-in-Law Lounge: Neshia Ruffins (RB) 9p Kerry Irish Pub: Mike Kerwin and Geoff Coates (FO) 5p, Annual Bob Dylan Tribute with Foot and Friends (FO) 9p Palm Court Jazz Café: Will Smith and Palm Court Jazz Band (JV) 8p Pontchartrain Vineyards: Jazz’n the Vines feat. Michot’s Melody Makers (KJ) 6:30p Republic: Sumthin Sumthin (EL) 10p Royal Frenchmen Hotel: Monty Banks (JV) 6p, Hyperphlyy (VR) 9p Snug Harbor: Michael Wolff Trio (JV) 8 & 10p Spotted Cat: Russell Welch’s Band (JV) 2p, Panorama Jazz Band (JV) 6p, James Martin (JV) 10p Three Keys (Ace Hotel): NOJO 7 (JV) 9:30p Three Muses: Chris Christy (JV) 5p, Shotgun Jazz Band (JV) 9p Tipitina’s: Graduation Throw-Down feat. Sexual Thunder, Miss Mojo, Jank Setup (VR) 10p

Tipitina’s: Cyril Neville, Kermit Ruffins and the BBQ Swingers, Omari Neville and the Fuel (FK) 10p

SUNDAY MAY 19

SATURDAY MAY 18

Buffa’s: Some Like It Hot! (TJ) 11a, Molly Reeves and Nahum Zdybel (JV) 4p, Steve Pistorius Jazz Quartet (JV) 7p

Buffa’s: Coney Island Pete and Old Gold (JV) 11a, the Royal Rounders (VR) 6p, Marina Orchestra (VR) 9p d.b.a.: Frog and Henry (JV) 4:30p, Tuba Skinny (JV) 7p, Angelo Moore and the Brand New Step, New Orleans Hell

A Studio in the Woods: Bottomland Jubilee feat. Sunpie and the Louisiana Sunspots, Dr. Michael White (VR) 4p

d.b.a.: Palmetto Bugs Stompers (SI) 6p, John Paul Keith (VR) 10p Dixon Hall (Tulane University): New Orleans Ballet Association’s Spring M AY 2 0 1 9

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express Dance Concert (DN) 7p

Fillmore: George Benson (JV) 7p

Kermit’s Mother-in-Law Lounge: TBC Brass Band (BB) 6p

Howlin’ Wolf (the Den): Comedy Beast (CO) 8:30p

Kerry Irish Pub: Irish Session (IF) 5p, Beth Patterson (FO) 8p

Jazz Playhouse: James Rivers Movement (JV) 8p

Palm Court Jazz Café: Mark Braud and Sunday Night Swingsters (JV) 8p

Kermit’s Mother-in-Law Lounge: Cyril Neville Jam Session (JV) 7p

Royal Frenchmen Hotel: Jamie Lynn Vessels (RK) 8p

Kerry Irish Pub: Jason Bishop (FO) 8:30p

Snug Harbor: Marcello Benetti and Trapper Keaper CD-release show with Tim Berne and Aurora Nealand (JV) 8 & 10p

Royal Frenchmen Hotel: Lynn Drury (SS) 8p

Spotted Cat: Giselle Anguizola and the New Orleans Swinging Gypsies (JV) 2p, Robin Barnes and the FiyaBirds (JV) 7p, Pat Casey and the New Sound (JV) 10p

Spotted Cat: Andy J. Forest Band (JV) 2p, the Little Big Horns (JV) 6p, Smoking Time Jazz Club (JV) 10p

Three Muses: Raphael et Pascale (JV) 5p, the Clementines (JV) 8p MONDAY MAY 20 Buffa’s: Arsene DeLay and Charlie Wooton (VR) 5p, Antoine Diel (VR) 8p Chickie Wah Wah: Justin Molaison (SS) 6p, Paul Sanchez (RR) 8p d.b.a.: John Boutte (JV) 7p Kermit’s Mother-in-Law Lounge: Kermit Ruffins and the BBQ Swingers (JV) 7p Kerry Irish Pub: Patrick Cooper (FO) 8:30p Little Tropical Isle: Mark Parsons (RK) 5p, Reed Lightfoot (RK) 9p One Eyed Jacks: Blind Texas Marlin (VR) 10p Royal Frenchmen Hotel: Jamey St. Pierre (SS) 8p Snug Harbor: Charmaine Neville Band (JV) 8 & 10p Spotted Cat: Royal Street Winding Boys (JV) 2p, Dominick Grillo and the Frenchmen St. All-Stars (JV) 6p, Hot Club of New Orleans (JV) 10p Three Muses: Monty Banks (JV) 5p, Julie Williams (VR) 8p TUESDAY MAY 21 Buffa’s: Charlie Wooton (VR) 7p Café Beignet (Musical Legends Park): Steamboat Willie Jazz Band (TJ) 10a Carousel Bar (Hotel Monteleone): Robin Barnes Jazz Quartet (JV) 8:30p d.b.a.: Dinosaurchestra (JV) 7p, Treme Brass Band (BB) 10p

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M AY 2 0 1 9

Snug Harbor: Stanton Moore Trio (JV) 8 & 10p

Three Muses: Keith Burnstein (SS) 5p, Salvatore Geloso (JV) 8p

d.b.a.: Gal Holiday and the Honky Tonk Revue (CW) 7p, Little Freddie King (BL) 10p

Palm Court Jazz Band (JV) 8p

House of Blues (Foundation Room): Samantha Pearl (SS) 7p

Snug Harbor: Phillip Manuel Quintet (JV) 8 & 10p

Howlin’ Wolf (the Den): Comedy Gumbeaux (CO) 8:30p Kermit’s Mother-in-Law Lounge: Kermit Ruffins and the BBQ Swingers (JV) 7p Kerry Irish Pub: Beth Patterson and Patrick O’Flaherty (FO) 8:30p Ogden Museum of Southern Art: Anthea-Jewels Sidiropoulos (ID) 6p Palm Court Jazz Café: Leroy Jones and Katja Toivola with Crescent City Joymakers (JV) 8p Royal Frenchmen Hotel: Jamie Lynn Vessels (RK) 8p

WEDNESDAY MAY 22

Smoothie King Center: Paul McCartney (SS) 8p

Buffa’s: Open Mic Night with Nattie Sanchez (SS) 7p

Snug Harbor: NOCCA Jazz Ensemble (JV) 8 & 10p

d.b.a.: Tin Men (RK) 7p, Walter “Wolfman” Washington and the Roadmasters (BL) 10p

Spotted Cat: Salvatore Geloso Trio (JV) 2p, Miss Sophie Lee (JV) 6p, Jumbo Shrimp (JV) 10p

House of Blues (Foundation Room): Michael Liuzza (BL) 6p

Three Muses: Tom McDermott (JV) 5p, St. Louis Slim (JV) 8p

House of Blues (the Parish): Sacred Reich (ME) 7p

Vaughan’s Lounge: Corey Henry and the Treme Funktet (FK) 10:30p

Howlin’ Wolf (the Den): the Brothers Brothers (FO) 9p Jazz Playhouse: Big Sam’s Crescent City Connection (JV) 8:30p Kerry Irish Pub: Chip Wilson (FO) 8:30p Lafayette Square: Wednesday at the Square feat. Mia Borders and Billy Iuso (VR) 5p Palm Court Jazz Café: Lars Edegran and Topsy Chapman with Palm Court Jazz Band (JV) 8p Royal Frenchmen Hotel: Amanda Walker (PI) 8p Snug Harbor: John Mahoney’s Big Band (JV) 8 & 10p Spotted Cat: Chris Christy (JV) 2p, Shotgun Jazz Band (JV) 6p, Antoine Diel and the New Orleans Power Misfits (JV) 10p Three Muses: Leslie Martin (JV) 5p, Joy Patterson and Matt Bell (JV) 8p THURSDAY MAY 23 Buffa’s: Darcy Malone and Amasa Miller (VR) 5p, Tom McDermott and Aurora Nealand (JV) 8p

FRIDAY MAY 24 Buffa’s: Lilli Lewis (VR) 6p, Marc Stone (BL) 9p d.b.a.: Smoking Time Jazz Club (JV) 6p, Dave Jordan and the NIA, Revival (RR) 10p Gattuso’s: the Strays (VR) 7p House of Blues (Foundation Room): Shan Kenner (VR) 5:30p, Otto Orellana (LT) 10p House of Blues: Country Throwdown (CW) 7:30p Howlin’ Wolf (the Den):Valerie Sassyfras (ID) 9p Howlin’ Wolf: Goatwhore, 4Mag Nitrous, Severed Mass, Sounding (ME) 8p Kerry Irish Pub: Hugh Morrison (FO) 5p,Van Hudson and Will Dickerson (FO) 9p Maison: Rhythm Stompers, Swinging Gypsies, Shotgun Jazz Band, Gene’s Music Machine, Buena Vista Social Latin Night (VR) 1p Palm Court Jazz Café: Kevin Louis and

Royal Frenchmen Hotel: Monty Banks (JV) 6p

Spotted Cat: Andy Forest Treeaux (JV) 2p, Washboard Chaz Blues Trio (JV) 6p, Soul Brass Band (JV) 10p Three Muses: Matt Johnson (JV) 5:30p, Doro Wat Jazz Band (JV) 9p Tipitina’s: Free Friday Series feat. BrassA-Holics, Erica Falls (VR) 10p SATURDAY MAY 25 Buffa’s: St. Roch Syncopators (JV) 11a, Doyle Cooper And Josh Starkman (JV) 6p, Keith Burnstein (SS) 9p d.b.a.: Bon Bon Vivant, Kettle Black (VR) 10p Dew Drop Social and Benevolent Hall: Mandeville Middle-School Super String (JV) 6p, New Orleans String Kings (JV) 6:30p Gattuso’s: Glory Rhodes (VR) 7p House of Blues (Foundation Room): Jake Landry and the Right Lane Bandits (BL) 7p House of Blues (the Parish): Loumuzik Live (RK) 9p House of Blues: Strangelove: the Depeche Mode Experience (RK) 8p Kerry Irish Pub: Dave Hickey (FO) 5p, Hurricane Refugees (FO) 9p One Eyed Jacks: Darcy Malone’s Birthday Bash feat. Darcy Malone and the Tangle (VR) 10p Palm Court Jazz Café: Will Smith and Palm Court Jazz Band (JV) 8p Royal Frenchmen Hotel: Monty Banks (JV) 6p, Hyperphlyy (VR) 9p Smoothie King Center: Ariana Grande, Normani, Social House (PO) 7:30p Snug Harbor: Herlin Riley Quartet (JV) 8 & 10p Spotted Cat: Shotgun Jazz Band (JV) 2p, the Catahoulas (JV) 6p, James Martin (JV) 10p Three Muses: Chris Christy (JV) 5p, Debbie Davis (JV) 6p, Shotgun Jazz Band (JV) 9p Tipitina’s: Lagniappe with DJ RQ Away (HH) 11p SUNDAY MAY 26 Buffa’s: Some Like It Hot! (TJ) 11a, Nattie Sanchez Songwriter’s Circle O F F B E AT. C O M

(SS) 4p, Steve Pistorius Jazz Quartet (JV) 7p

TUESDAY MAY 28

d.b.a.: Palmetto Bugs Stompers (SI) 6p Fillmore: Blackbear (RB) 7p

Café Beignet (Musical Legends Park): Steamboat Willie Jazz Band (TJ) 10a

House of Blues: Ari Lennox (RB) 7p

Civic Theatre: Joe Jackson (SS) 8p

Howlin’ Wolf (the Den): Hot 8 Brass Band (BB) 10p

d.b.a.: Dinosaurchestra (JV) 7p, Treme Brass Band (BB) 10p

Kermit’s Mother-in-Law Lounge: TBC Brass Band (BB) 6p

Howlin’ Wolf (the Den): Comedy Beast (CO) 8:30p

Kerry Irish Pub: Patrick Cooper (FO) 8p

Howlin’ Wolf (the Porch): Danny Worsnop,Young Natives, Pros and Cons, MHME, Hollow City (RK) 6:30p

Palm Court Jazz Café: Mark Braud and Sunday Night Swingsters (JV) 8p Royal Frenchmen Hotel: Jamie Lynn Vessels (RK) 8p Snug Harbor: Donna’s Revisited with Leroy Jones and Craig Klein (JV) 8 & 10p Spotted Cat: John Lisi and Delta Funk (JV) 2p, Robin Barnes and the FiyaBirds (JV) 7p, Pat Casey and the New Sound (JV) 10p Three Muses: Raphael et Pascale (JV) 5p, the Clementines (JV) 8p Tipitina’s: Smilin’ Myron Reunion: In Memory of Tim Guarisco (VR) 9p MONDAY MAY 27

Buffa’s: Loose Cattle (VR) 7p

Jazz Playhouse: James Rivers Movement (JV) 8p Kermit’s Mother-in-Law Lounge: Cyril Neville Jam Session (JV) 7p Kerry Irish Pub: Jason Bishop (FO) 8:30p Royal Frenchmen Hotel: Lynn Drury (SS) 8p SideBar NOLA: Kyle Poehling, Will Feinberg and Quinn Sternberg (VR) 9p Snug Harbor: Stanton Moore Trio (JV) 8 & 10p Spotted Cat: Andy J. Forest Band (JV) 2p, the Little Big Horns (JV) 6p, Smoking Time Jazz Club (JV) 10p

Buffa’s: Dirty Rain Revelers (VR) 5p, Antoine Diel (VR) 8p

Three Muses: Sam Cammarata (JV) 5p, Joshua Gouzy (JV) 8p

Café Beignet (Musical Legends Park): Steamboat Willie Jazz Band (TJ) 10a

WEDNESDAY MAY 29

Chickie Wah Wah: Justin Molaison (SS) 6p, Paul Sanchez (RR) 8p

Buffa’s: Open Mic Night with Nattie Sanchez (SS) 7p

d.b.a.: John Boutte (JV) 7p

d.b.a.: Tin Men (RK) 7p, Walter “Wolfman” Washington and the Roadmasters (BL) 10p

Jazz Playhouse: Gerald French and the Original Tuxedo Jazz Band (JV) 8p Kermit’s Mother-in-Law Lounge: Kermit Ruffins and the BBQ Swingers (JV) 7p Kerry Irish Pub: Beth Patterson (FO) 8:30p Rock ‘n’ Bowl: NOLA Swing Dance Connection (SI) 7p SideBar NOLA: Judge Dali (VR) 7p, Instant Opus 3.0 with Ben Stonaker, Ethan May and Luke Palmer (VR) 9p Snug Harbor: Charmaine Neville Band (JV) 8 & 10p Spotted Cat: Royal Street Winding Boys (JV) 2p, Dominick Grillo and the Frenchmen St. All-Stars (JV) 6p, New Orleans Swinging Consensus (JV) 10p Three Muses: Bart Ramsey (JV) 5p

OF F B E AT.C OM

House of Blues (Foundation Room): Rich Collins (SS) 6p House of Blues: Buckcherry, Joyous Wolf (RK) 7p Kerry Irish Pub: Will Dickerson (FO) 8:30p Palm Court Jazz Café: Lars Edegran and Topsy Chapman with Palm Court Jazz Band (JV) 8p Rock ‘n’ Bowl: G and the New Orleans Swinging Gypsies (SI) 8p Royal Frenchmen Hotel: Amanda Walker (PI) 8p Snug Harbor: Uptown Jazz Orchestra with Delfeayo Marsalis (JV) 8 & 10p Spotted Cat: Chris Christy (JV) 2p, Shotgun Jazz Band (JV) 6p, Antoine Diel and the New Orleans Power M AY 2 0 1 9

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express Misfits (JV) 10p

and Crescent City Joymakers (JV) 8p

Three Muses: Leslie Martin (JV) 5p, Joshua Gouzy (JV) 8p

Rock ‘n’ Bowl: Wayne Singleton and Same Ol’2 Step (ZY) 8p

THURSDAY MAY 30 Buffa’s: Doyle Cooper (JV) 5p, Fr. Ron and Friends (VR) 8p Café Beignet (Musical Legends Park): Steamboat Willie Jazz Band (TJ) 10a d.b.a.: Hash Cabbage (VR) 10p House of Blues (Foundation Room): Shawan Rice (SO) 7p Howlin’ Wolf (the Den): Comedy Gumbeaux (CO) 8:30p Kermit’s Mother-in-Law Lounge: Kermit Ruffins and the BBQ Swingers (JV) 7p Kerry Irish Pub: Patrick Cooper (FO) 8:30p Ogden Museum of Southern Art: Water Seed (FK) 6p Old Point Bar:Valerie Sassyfras (VR) 8p Palm Court Jazz Café: Duke Heitger

Royal Frenchmen Hotel: Jamie Lynn Vessels (RK) 8p Snug Harbor: Jason Marsalis Ensemble (JV) 8 & 10p Spotted Cat: Salvatore Geloso Trio (JV) 2p, Miss Sophie Lee (JV) 6p, Jumbo Shrimp (JV) 10p

House of Blues (Foundation Room): Jake Landry and the Right Lane Bandits (BL) 7p Howlin’ Wolf (the Den): Stone Mecca, Quarx (RK) 10p Jazz Playhouse: Nayo Jones Experience (JV) 7:30p, Trixie Minx’s Burlesque Ballroom feat. Romy Kaye and the Mercy Buckets (BQ) 11p Kerry Irish Pub: Tim Robertson (FO) 5p, Beth Patterson (FO) 9p

Three Muses: Tom McDermott (JV) 5p, Palm Court Jazz Café: Kevin Louis and Arsene DeLay (VR) 8p Palm Court Jazz Band (JV) 8p Tipitina’s: Marty Gras Concert to Rock ‘n’ Bowl: Hyperphlyy (VR) 9:30p Benefit Marty Hurley Endowment at Royal Frenchmen Hotel: Monty Banks Brother Martin High School (VR) 6p (JV) 6p FRIDAY MAY 31 Buffa’s: Dr. Sick (VR) 6p, Greg Schatz Trio (VR) 9p Café Beignet (Musical Legends Park): Steamboat Willie Jazz Band (TJ) 10a d.b.a.: Aurora Nealand and the Royal Roses (JV) 6p, Deltaphonic (FK) 10p Gattuso’s: Soul Express (VR) 7p

Spotted Cat: Andy Forest Treeaux (JV) 2p, New Orleans Cottonmouth Kings (JV) 6p, the Rhythm Stompers (JV) 10p Three Muses: Gal Holiday and the Honky Tonk Revue (CW) 5p, Doro Wat Jazz Band (JV) 9p Tipitina’s: Free Friday Series feat.

Billy Iuso and Restless Natives, the Quickening (VR) 10p

FESTIVALS May 17-18

The Bayou Boogaloo features live music, an arts market, food and drink vendors and kids’ activities.

TheBayouBoogaloo.com May 31-June 1 The Cathead Jam music festival takes place in Jackson, Mississippi at the Cathead Distillery with live music and food and drink vendors.

CatheadJam.com June 8-9 The French Market’s Creole Tomato Festival features live music, food and drink vendors honoring the tomato, cooking demonstrations and more.

FrenchMarket.org SPECIAL EVENTS May 31-June 2

The annual Symphony Book Fair at the UNO Lakefront Arena includes all genres of books, artwork, CDs, DVDs and sheet music for sale.

LPOVolunteers.org/Book-Fair

Lynyrd Skynyrd and Hank Williams Jr. Friday, May 17 Smoothie King Center

backtalk

Rickey Medlocke of Lynyrd Skynyrd talks back

Photo BY Doltyn Snedden COURTESY OF THE ARTIST

C

lassic Southern-rock band Lynyrd Skynyrd is

by John Wirt carried on for the past 32 years.

In advance of Lynyrd Skynyrd’s May 17 concert at the in the second year of The Last of the Street Smoothie King Center featuring opening act Hank Williams Jr., Rickey Survivors Farewell Tour. In its first year, the farewell trek Medlocke spoke to OffBeat from his Mississippi lake cottage near sold out ninety percent of its shows. The 2018 dates included a Memphis. guest-filled marathon concert attended by 57,000 fans in the band’s What sort of reception are you getting during the Last of hometown, Jacksonville, Florida. the Street Survivors Farewell Tour?

Fifty-five years into Lynyrd Skynyrd’s history, guitarist Gary People are pretty shook up that we’re looking at calling it a day.

Rossington is the lone surviving original member. Johnny Van Zant— But we’re not dissolving as a band. When we say “farewell tour,” it younger brother of the late Ronnie Van Zant—has been the band’s comes down to us just calling it a day as far as heavy touring. lead singer since it reformed in 1987. Guitarist Rickey Medlocke— Is the band doing meet-and-greets on the tour? an early member of the group who left in 1972 to lead his own Oh, yeah. It’s nice to meet the people who come to see us. We Southern-rock outfit, Blackfoot—returned in 1996. love that stuff. The way I look at it, this has been and continues to Shortly after Medlocke’s departure, Lynyrd Skynyrd released its be an incredible journey. And it’s all about the music that Ronnie Van album debut, Pronounced Leh-Nerd Skin-Nerd. The album launched Zant and Garry Rossington and Allen Collins and the guys created a hot streak of Skynyrd music, including five studio albums released back in the day. The fans keep coming out because they love the from 1973 through 1977, featuring the future classics “Free Bird,” music, and the songs are timeless.

“Gimme Three Steps,” “Simple Man,” “Tuesday’s Gone,” “Call Me the What led to the decision to stop touring?

Breeze,” “Saturday Night Special,” and “Sweet Home Alabama.”

Gary Rossington had some heart issues. Eighty, ninety shows a year Tragically, on October 20, 1977, during a flight from Greenville, is a lot of stress and wear and tear South Carolina, to a concert date in Baton Rouge, Lynyrd Skynyrd’s plane crashed in some woods near Gillsburg, Mississippi. The calamity on him. We thought it was a good Standing L to R: Keith Christopher (bass guitar), Carol Chase idea to pull back on touring. Now killed Ronnie Van Zant, guitarist Steve Gaines and his sister, backup that’s not to say we won’t do some (background vocals), Michael vocalist Cassie Gaines, plus road manager Dean Kilpatrick and the Cartellone (drums), Johnny special events, or maybe even plane’s two pilots. Twenty other members of the entourage were Van Zant (lead vocals), Rickey residencies out in Vegas. injured.

Medlocke (guitar), Dale Krantz How is Gary feeling now?

Following a decade-long, post-crash hiatus, Skynyrd survivors Rossington (background vocals), Gary’s doing really good. This Rossington, Leon Wilkeson, Billy Powell, and Artimus Pyle joined Mark ‘Sparky’ Martejka (guitar) and Peter Keys (keyboard) Seated: tour happens every weekend. We Johnny Van Zant for an intended temporary reunion. Despite fly in, we do a Friday and Saturday Gary Rossington (guitar) changing lineups and the passing of more members, the band has

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backtalk show, we fly out. We’re home by Sunday. Gary is really good with that.

And there are plans for a new Skynyrd album?

We’re getting ready to go in the studio and produce a song or two, maybe a whole album.

Do the band members have projects beyond Lynyrd Skynyrd?

Everybody has side projects. I’ve already started talking about doing other dates, shows, maybe with Blackfoot. And I’m into producing and writing still. I’ve got my own studio down in Florida. I’ll always be in entertainment. I love to play music, entertain people, and be on the road. I’m not pulling back. I’m going to keep going forward, but also be there for Lynyrd Skynyrd when Lynyrd Skynyrd needs me.

You and your wife, Stacy Michelle, also do music together?

Stacy sings with Kid Rock. She toured with Joe Walsh. She’s worked with Keith Richards and Ron Wood and Willie Nelson. We’ve been talking for years about writing and recording together and maybe doing a series of dates together.

Although you were a member of Lynyrd Skynyrd in the early 1970s—and have been a member again since 1996—you weren’t inducted into the Rock and Roll Hall of Fame with other members of the band in 2006.

How do you feel about that?

I consider myself a member of the band in the formative years. I wrote songs with the guys and sang songs in the studio with them. But the Rock and Roll Hall of Fame didn’t induct me with Lynyrd Skynyrd. I don’t lose any sleep over that.

When I get on stage with the band and play for the fans, the fans are the Rock and Roll Hall of Fame. And it took Lynyrd Skynyrd being nominated seven times to get in that thing. I think that, finally, the outcry from of the fans just got to be too much, so they put them in.

Why did you leave Lynyrd Skynyrd in 1972 to do Blackfoot?

I wanted a career playing guitar and singing and writing songs. At the time, they already had two great guitar players, but little did I know that they would get Ed King later. I’ve always wondered what it would have been like to have been that third guitar player. Allen Collins’ style and my style are very similar, but when they got Ed King, even though all three styles were very different, they meshed together great.

Do you believe things happen when they’re supposed to happen?

Gary Rossington told me, right after I got with the band again, he said, “It was meant for you to be here now, not back then.” That’s true.

I’m thankful I’m here today.

You’ve told reporters through the years that Ronnie Van Zant invited you to travel with the band shortly before the plane crash in 1977.

Ronnie asked me to go with them for a week and maybe get up on stage and jam. I saw Ronnie before they left for that tour. But at the last minute, I got booked for a couple of weeks with Blackfoot. I couldn’t go. So, it was meant for me to be here now.

Were you and Ronnie close?

We were good friends. My granddaddy, Shorty Medlocke, inspired Ronnie to write “The Ballad of Curtis Loew.” My grandparents raised me, and Ronnie, Gary, and Allen used to come over to our house and sit on the porch while my granddaddy played the blues for them.

Ronnie wrote a song called “Made in the Shade” that’s on the Nuthin’ Fancy record. He dedicated the song and the whole album to my granddaddy.

What made Ronnie such a great songwriter?

The way he wrote songs that related to people on the street. He was a genius at that. He created songs in his head and never even wrote them down.

How did you react when Gary Rossington reached out to you about the possibility of you rejoining Lynyrd Skynyrd?

Ronnie’s widow, Judy, invited me to the premiere of Free Bird: The Movie. There was an all-star jam session there at the Fox Theatre [in Atlanta] the night before with anybody and everybody. I played “Highway Song,” the Blackfoot hit, solo acoustic. The band’s manager and my manager were standing in the audience together. My manager found out that Gary had been thinking about me being back in the band for years.

But it took a while for that to happen?

January and February rolled by. I was thinking, ‘Maybe they decided not to go forward with it.’

But then Gary left a message on my answering machine. “Hey, Rickey. It’s Gary Rossington. I want you to learn Allen’s parts for ‘I Ain’t the One,’ ‘That Smell,’ and ‘Free Bird.’ I’m going to audition you. If you pass the audition, I’m going to give you a dollar-fifty and a Snickers bar to join the band.” Gary came down and we sat in my dining room, where I had my old Firebird guitar and a CD player and my little amp set up. After I got through the lead on “I Ain’t the One,” Gary reached over and turned the CD player off. He said, “That was fantastic, brother. You want to be back in the band?” I said, “Yeah, I want to do this.” And Gary then got Johnny on the phone. Johnny said, “Are you going to be happy just being a guitar player?” I said, “My granddaddy always told me, ‘You’ll never get to be the driver of a Cadillac unless you ride in the backseat first.’ ” I told Johnny, “I’m in the backseat. Let’s go.”

You made a commitment to Gary and Johnny?

Once I’m in something, my loyalty lies there. And I take loyalty to heart, because I know what it’s like when people are disloyal. I promised Gary, right when I got in the band, “I’ll be here till the last note in ‘Free Bird’ is struck.”

Lynyrd Skynyrd has experienced so many losses through the decades. Do you, Gary, Johnny, and the rest of guys still feel like a family?

It’s a band family. When we lose somebody, we hurt. When somebody in the band is having problems, whether it be personal or health, we feel for them. And I stand up there with Gary and Johnny every night. We’ve been together an awful long time. So, it’s like three amigos standing there. It’s a special, heartfelt thing. O

Ronnie asked me to go with them for a week and maybe get up on stage and jam.

I saw Ronnie before they left for that tour.

But at the last minute, I got booked for a couple of weeks with Blackfoot. I couldn’t go.

So, it was meant for me to be here now.

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