Category Archives: TVD New Orleans

Debut release from
Max Moran & Neospectric in stores, Maple Leaf Bar release show tonight, 10/12

Bassist Max Moran has always been one of the brightest lights in the new generation of jazz players now coming into their own in New Orleans. A member of the award-winning Bridge Trio since his high school years, he’s also an in-demand sideman across the city and the country. The eponymous debut album from his band Neospectric, is in stores today and the group will celebrated the release with an early performance tonight at the Maple Leaf Bar. Showtime is 8 PM.

For jazz lovers expecting more of the straight ahead post-bop Moran is known for with the Bridge Trio and some of his work as a sideman, you will be in for an unexpected, but delightful surprise with this album. It’s a homage of sorts to the legendary funk and R&B sounds of the 1970s; think bands like Earth, Wind and Fire, the Meters, and the work of George Clinton filtered through the perspective of the 29-year old musician. Some of the songs even hint at the fusion music of that era.

The combination makes for compelling listening. As another generation of jazz artists begin exploring music outside that genre, they bring a collection of experiences and musical influences unavailable to musicians who grew up in the 1980s and ’90s and looked back fondly on the seminal music of the 1970s. These players are part of a continuum of discovery that helps invigorate every generation of inquisitive players across the length and breadth of modern music.

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Jazz pianist Christian Sands’ Facing Dragons
in stores today, 9/21

PHOTO: ANNA WEBBER | Just thirty years old, critically acclaimed jazz pianist/composer Christian Sands represents a new generation of musicians schooled, like many of his contemporaries in other genres, on a wide range of musical styles. He brings all of his influences to bear on Facing Dragons, his current effort for Mack Avenue Records. It’s out today.

“Sangueo Soul,” a track that was pre-released back in early August, sets the stage for what’s to come on the full album. Sands had this to say about the song, “(It’s) an infectious groove influenced by the rhythms of the Caribbean and South America…I grew up in the gospel church but also around many other styles of music, so they all inspire me in similar ways.”

Though much of the album was recorded using his touring trio of Yasushi Nakamura on bass and Jerome Jennings on drums, some of the most fascinating tracks feature two percussionists—Cristian Rivera and Roberto Quintero on Venezuelan indigenous percussion (cumaco, clarin, laures, maracas). The first three of those instruments may be unfamiliar to most listeners but they help create a mighty force, especially in conjunction with Sands’ very percussive piano technique.

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Hep Cat brings Portugal. The Man and Chicano Batman to the Sugar Mill tonight, 7/14

Hep Cat Entertainment, one of New Orleans’ most innovative independent promoters, is bringing one of the most exciting tours of the season to New Orleans. Eclectic rockers Portugal. The Man are riding high after their Grammy win last year and Chicano Batman is gaining more and more followers and attention for their unique mix of genres that could only have been birthed by four Latinos out of Los Angeles. They play at the Sugar Mill tonight.

I first saw Portugal. The Man on one of the small stages at the Voodoo Fest long before the festival moved to City’s Park’s new festival grounds and began focusing more on EDM, mainstream rock, and hip hop acts. I first saw Chicano Batman on the tiny stage at Euclid Records.

Portugal. The Man has been on Atlantic Records since 2010 and have been growing in popularity with each album. Their Grammy win came in the category of “Best Pop Duo/Group Performance” for the song “Feel It Still.” Their latest album, Woodstock, is another musical coup featuring lead singer John Gourley’s easy rapport and vocal synergy with his partner and background singer Zoe Manville.

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MuleBone reunites to celebrate the re-release of two classic albums at One-Eyed Jacks, 9/14

In the 1990s, long before the trombone-driven rock of Bonerama became part of the evolving fabric of modern music in New Orleans, Mark Mullins, one of that band’s founders, and keyboardist and vocalist John Gros, formed MuleBone. Gros would go on to form Papa Grows Funk and also take his place in the New Orleans musical pantheon. MuleBone, recorded two well-received albums and slowly faded as the musicians’ other projects came to dominate their careers.

Mullins and Gros, along with guitarist Jimmy Robinson and drummer Mike Barras, mainstays of the group’s short but acclaimed tenure, will reunite for one night only at One-Eyed Jacks to celebrate the re-release of MuleBone’s two albums. (The publicity photo below was taken during the recording of their debut in 1998.) Like many bands that begin and develop in New Orleans, numerous musicians rolled through the ranks. Dave Pomerleau of Johnny Sketch and the Dirty Notes will play bass on Friday night.

2018 marks the 20th anniversary of MuleBone’s award-winning debut album 5 Shakes, 7 Spirits. A year later, the band swept the ceremonies of the city’s two music-awarding publications winning “Best Rock Band” at Gambit’s Big Easy Awards and OffBeat magazine’s Best of the Beat. OffBeat readers also honored the group for “Best Rock Album.” In 2001, MuleBone released their follow-up album, Only in New Orleans. By that point Gros had amicably left the group to focus on Papa Grows Funk.

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The Chris Robinson Brotherhood returns
to the Joy Theater tonight, 9/7

PHOTO: JON CORNICK | It’s been just about a year since the former Black Crowes singer brought his latest ensemble to New Orleans. The Chris Robinson Brotherhood is embarking on another phase of their seemingly endless tour. This segment began last night in Pensacola and after tonight’s show at the Joy Theater, the band will criss cross the south before heading to points east and midwest before the tour concludes in mid November.

The group is ostensibly touring in support of their latest, critically acclaimed studio album, Barefoot in the Head. But this is a band that continually records and releases concert recordings.

Earlier this year, The CRB released Raven’s Reels, Vol. 1, an exclusive limited edition, 6-LP box set, for Record Store Day. It features a complete concert recording from their September 24, 2017 show at the Bijou Theatre in Knoxville, TN. That show was just over a week after their last performance in New Orleans.

Besides their extensive touring schedule, the band has already commenced work on their next studio album at Brotherhood Arts Laboratory in Unicorn, CA. “Venus In Chrome” and “The Chauffeur’s Daughter”—recent staples of CRB live sets—are among songs expected to be featured on the collection. A release date for the album has yet to be determined.

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Silver & Stone from singer Mike Farris in stores tomorrow, 9/7

At the end of a week when music lovers celebrated the life of Aretha Franklin, the greatest gospel singer-turned-soul-legend in history, another gospel singer tries his hand at soul and R&B. Mike Farris won the 2015 “roots gospel” Grammy award for Shine For All the People. His new album, Sliver & Stone, is in stores today on Compass Records.

Though the instrumentation, complete with pulsing organ and backing vocalists that recall the Memphis heyday of Stax Records, may seem to be a departure, Farris’s music is rooted in the gospel tradition of celebrating and getting through life’s hardships.

The album is also a return of sorts to secular music. Farris first rose to the attention of the music world with his 1990s band, the Screamin’ Cheetah Wheelies. Though that band trafficked in southern rock rather than gospel or soul, Farris’s voice was its defining feature and earned them a major label deal on Atlantic Records after emerging on the bar scene in Nashville.

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The Optimist, solo LP from Vulfpeck guitarist Cory Wong, arrives in stores today, 8/17

When Vulfpeck played at Tipitina’s this past spring, they sold out two nights in a row. Numerous friends went both nights. I had never even heard of the band, so when the sophomore solo effort from the band’s guitarist Cory Wong popped onto my radar I immediately popped it in. Though I listened to a pre-release download, the album will be released on vinyl today.

Wong surrounds himself with great musicians on The Optimist. The opening song, “Jax,” features members of Prince’s horn section. It is funky in a way that the Purple One would certainly have enjoyed.

“The Hornheads are best known as Prince’s horn section,” explains Wong, “and their leader, Michael Nelson, did most of the horn arrangements for Prince. The guys are all 20-30 years older than us, but we fit right in as friends because they love seeing young musicians with such passion.”

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Debut from Noisewater in stores today, Tipitina’s release party Saturday night, 8/11

They play instrumental music that is all over the map genre-wise, but one thing you can certainly be sure of with Noisewater—they rock out live. The band’s eponymous debut album arrives today on Louisiana Red Hot Records. They celebrate the release with a show tomorrow night at Tipitina’s.

Since writers always want to pigeonhole bands into a specific genre, Noisewater has opted to call their music funk rock. But to my ears, both on the album and in the live setting, the band inspires comparisons to Galactic for three reasons. They have a distinctly jazzy approach to their sound with a saxophonist, Ole Anders Oddlokkken, out front on many of the tunes.

The second reason is their instrumental sound. Though it’s true they have elements of other genres including metal, reggae, and prog rock, they come across as jazzy funk to the casual listener. Thirdly, this band flat-out jams.

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Satchmo Summerfest Weekend Picks, 8/4–8/5

Saturday morning Satchmo Summerfest kicks off the same way as it did on Friday with a performance on the neutral ground. This time it’s the Edna Karr Marching Cougars and the Satchmo Sound Off. Here are our thoughts for Saturday and Sunday. The full schedule is here.

Trumpeter Doyle Cooper makes his Satchmo Summerfest debut at 12:15 PM. Known in some circles as Trumpet Red, I have been listening to him play since he was a pre-teen. He’s now a leader with a crack band. Check out the future of New Orleans jazz.

When I first saw Japanese trumpeter Yoshio Toyama back in the early days of the Satchmo Summerfest, I thought his act was a bit of a novelty predicated on his ability to imitate the vocals stylings of Armstrong. But then I found out all the good work he’s done on behalf of the music students of New Orleans and I realized his homage was genuine. Now getting up in years, this could be his last year back in the city. Check him out while you can and see how far the influence of Armstrong has traveled.

Dr. Brice Miller, now an important member of Mayor Cantrell’s administration in charge of the cultural economy, has led the Mahogany Brass Band for years. They will definitely put on a spirited set.

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Satchmo Summerfest Picks for Friday, 8/3

This year the Satchmo Summerfest kicks off with a treat for marching band lovers and New Orleanians invested in our city’s musical future. The youths of the nationally acclaimed Roots of Music program will set up on the neutral ground of Esplanade Ave. and deliver a rousing introduction at 11:15 AM on Friday. TVD is proud to be a media sponsor of the fest for the seventh year in a row. Here are our picks for the opening day. The full schedule is here.

With two music stages operating on a slightly staggered schedule around the grounds of the old U.S. Mint, it’s easy to catch bits of each of the acts or hang out for a full set. In the first time slot, the Preservation Hall Brass group brings a super-tight second line band set-up to the stage. Around the other side of the building, get a taste of some great traditional jazz with Clive Wilson’s Satchmo Serenaders.

The fact that Aurora Nealand (pictured at top) and her Royal Roses are making their Summerfest debut took me by surprise. Then I realized the multi-instrumentalist and vocalist is usually out of town during the summer pursuing one her many musical interests. Here Nealand and her ace band bring a thoroughly modern approach to trad.

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Professor Longhair exhibit at the New Orleans Jazz Museum debuts tomorrow, 8/2

“Me Got Fiyo: The Professor Longhair Centennial,” a new exhibit celebrating the life and legacy of piano player extraordinaire Professor Longhair opens on Thursday just in time for visitors to Satchmo Summerfest at the U.S. Mint. This exhibit showcases the life of Henry Roeland Byrd, aka “Fess,” starting with his roots and development to his early hits such as “Tipitina,” “Mardi Gras In New Orleans,” and “Big Chief.”

“We are excited to create this exhibit celebrating Professor Longhair and his contributions to the great musical and cultural legacy of New Orleans,” said Greg Lambousy, Director of the New Orleans Jazz Museum. “We are particularly thrilled to see one special artifact—the electric piano first used by Fess and then by another great New Orleans pianist, Eddie Bo.”

Henry Roeland Byrd was born on December 19, 1918 in Bogalusa, Louisiana, about seventy miles north of New Orleans. Professor Longhair’s influence on New Orleans music is incalculable. His music defines an era in New Orleans music and has influenced virtually every piano player who has ever heard his unique amalgamation of blues, R&B, and Caribbean rhythms.  His unconventional lyrics portray unique characters and situations that seem to happen only in New Orleans.

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The Iceman Special celebrate debut album at the Maple Leaf Bar, 7/21

They burst on the scene seemingly out of nowhere, blowing away audiences with their powerful mix of rock ‘n’ roll influences, intense stage presentation, and compelling original songs. The Iceman Special will celebrate the release of their first recording on Saturday night at the Maple Leaf Bar along with their own Carnival organization, the Krewe de Void.

I have seen the band a few times and can attest to the fact that this group has the goods. They are an intergenerational outfit featuring two brothers, Will and Charlie Murry on guitar and bass respectively and Hunter Romero on drums. The ringer in the group is 60-something year-old lead guitarist Steve Staples.

Together the band creates a sound they describe as swamp funk. While I won’t argue with the idea of promoting a band based out of south Louisiana and New Orleans using those genre markers, but to my ears these guys play straight up funky rock ‘n’ roll.

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TVD Video Premiere: Future Cowboys, “Choose”

Jamie Bernstein wears many hats in the world of the arts. He is a singer-songwriter, an actor, and a record producer in New Orleans best known as an Americana artist who has recorded as J. the Savage and under his own name. With his new project, Future Cowboys, he veers off his well-trodden path. TVD is proud to present the world premiere of “Choose,” the first single from their debut record.

The track is a collaboration between Bernstein’s well-honed songwriting skills and the production work of Eren Cannata, an Emmy award-winning producer from Los Angeles. Miguel Oliveira, the owner of the production company Pantherburn Studios, is the mastermind behind the partnership between Bernstein and Cannata. They have created a fresh sound by adding modern production techniques to what is essentially singer-songwriter music.

The video was shot in the Maple Leaf Bar in New Orleans and in Metairie, Louisiana on June 18th, 2018. Bernstein enlisted local actor, director, and producer Armando Leduc to bring the song to life. Leduc recruited cameraman and lighting specialist Nick Pino and cast local burlesque dancer and actress Cherry Bombshell to play the female lead. Kyler Poche plays the male lead.

The full Future Cowboys’ recording will be released in October on vinyl, which is being pressed at the Crescent City’s new production facility, the New Orleans Record Press. The rest of the music can be previewed here.

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Theryl “Houseman” DeClouet, 1951–2018

Theryl “Houseman” DeClouet, the soulful New Orleans singer and occasional actor who was best known for his role as featured vocalist in the early days of the funk band Galactic, passed away on Sunday, July 15 at 66. He had been ill for some time and was in hospice care.

DeClouet was a singer with an emotion-laden, wide-ranging voice that could swoop to the heights like his mentor Johnny Adams, but was often likely to dig to the depths bringing out the socially conscious pathos in his original songs like “Ain’t No Yachts in the Ghetto” and “Pocket Change,” and covers like Marvin Gaye’s “What’s Goin’ On” or Edwin Starr’s soul classic “War (What is it Good For?).”

In the 1980s he was a perennial performer at the New Orleans Jazz and Heritage Festival and appeared around town with bands like the Lyrics, the a capella band Hollygrove, and his R&B outfit, Theryl and Reel Life. By the early 1990s, he was also gigging with the percussionist Mike Ward and his band, Reward.

His association with Galactic began when the band was in its infancy and had yet to solidify into its longtime lineup of bassist Robert Mercurio, guitarist Jeff Raines, drummer Stanton Moore, keyboardist Rich Vogel, and saxophonist Ben Ellman. Members of the band have issued statements via Facebook attesting to DeClouet’s critical role as mentor and early vocalist for the group.

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Henry Butler,
An Appreciation

The first time I ever saw a performance by Henry Butler, the virtuoso New Orleans pianist and vocalist who passed away July 2 at 69, was shortly after he returned to his hometown of New Orleans after living in Los Angeles where he recorded two critically acclaimed modern jazz albums. Since that solo set on the quad at Tulane University in the late 1980s, I heard him play nearly 100 times as a headliner or as a special guest of a huge variety of musicians.

I didn’t know a thing about him early on, but it was clear from that first afternoon that New Orleans music lovers were dealing with not just a new face in town, but a new phase of a piano paradigm that extended back through James Booker and Professor Longhair all the way to Jelly Roll Morton and Louis Moreau Gottschalk.

His prowess on the keys was akin to that of Snooks Eaglin on the guitar and caused a similar reaction from the crowd. Whether he was playing the blues, R&B, funk, or rock ‘n’ roll, his playing was simply awe-inspiring and confounding. Other musicians got up close to try to discern exactly how he was creating the storm of music emanating from his chosen instrument. The rest of us danced with our mouths hanging open. And when Butler opened his mouth to sing, the reaction was similar. He had a special voice and was able to sound like a blues shouter, an opera singer, or the bass vocalist in a gospel choir.

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