Most people I know who left are happy. The flooding of our city made life crystal clear to me. New Orleans has some of the most progressive advocacy groups for musicians in the world, and that was a result of Hurricane Katrina.

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Those were the things I wanted to see preserved and protected. From the moment I stepped back into the city, I felt like I was on borrowed time. It was refreshing, almost like being reborn. It was complete confidence. I needed to get as much as I could out of the city because there was no guarantee. People seem more cynical now. Now people have a little fear in them. I now balance my love of New Orleans with a cynicism about what might happen in the future.

We want to keep doing this to the extent that we can afford to do it. A lot of the funding has dried up, the national support. The Recovery School District just went through a series of major cuts. I get my pick of all these wonderful dancers for an entirely free show! Orleans, and my attitude since the flood. My values quickly changed after Katrina; I have a different lifestyle now. I left a comfortable lifestyle in pursuit of a more artistically rewarding one.

About , we started working with this band, the Peekers, from Shreveport. Since we already had a national following, we thought we could operate our label from anywhere. By December , we were back down in New Orleans operating out of an apartment in Lakeview. It is really what I work on night and day. We had patients before the flood and now we have 2, We are going to have to ration care and cut hours. There are more mental health beds in Orleans Parish prison than anywhere else in the city. We can often no longer provide the premium care we would like.

We do, however, still have pots of money that only go toward gigs, so we are not taking away from health care to pay for the gigs. There are still thousands of abandoned houses, so many uninhabitable places. They had all these visions of grandeur that are still unfulfilled—the sports complex the mayor promised us. Plus that ugly head of corruption, our politicians going to jail. We have new leadership in City Hall with tremendous budget problems left over from the last administration, but I think the city is behind the new mayor, who I think we can trust, and who won with unified support from people of all races.

I feel we are on the right road now for a speedier recovery, but now new problems have occurred with the oil spill to add to everything else. The seafood and tourism industries are being negatively impacted. This will all trickle down to musicians.

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Luckily, my thing is sort of recessionproof. Up until a couple months ago, it felt great being here, being part of a city that has a world championship football team, so many great musical organizations. All the people who came back to rebuild our city and their lives brick by brick, such a testament. I really felt like a city that could overcome Katrina could overcome anything.

The main thing to me is the huge visual arts centers in our town now, all the new galleries, Prospect 1, new clubs to play in, the TV show, three different booking entities that are presenting the weird kind of music that I like to listen to. The French Market and the Jazz Institute at the University of New Orleans are working together to keep our youth interested in traditional jazz music.

During the French Quarter Festival, the first tier of contestants vied for a Senior Ambassador award. Dugas has been playing the trumpet since he was John Michael Bradford, grand prize winner at the 6th-8th grade level and 7th grade student at the Haynes Academy for Advanced Students, was very excited about winning a competition that is inspired by Louis Armstrong. Bradford starting playing the trumpet.

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Herman had much to say about Louis Armstrong, who. John Michael Bradford influenced him to start playing the trumpet. I feel that our contribution is to keep that going. Originally developed as a festival to boost tourism during the August slump,. Despite the heat, locals and visitors flock to the Old U. Mint and the French Market for performances of trad jazz, contemporary jazz, and brass band music. Satchmo SummerFest is more than just music, though.

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Each year, it includes seminars and talks with those who knew or have studied Armstrong, his music, his persona and his influence. There will be film studies, a talk about Treme and more.

Mint, August , Thursday, August 5 p. Project Archivist Ricky Riccardi provide a sneak preview of p. Armstrong songs Collection, a compilation of performed by Wendell photographs, letters, films, Brunious. Satchmo Club Studies, as he discusses what Strut: Marsalis, Donald Harrison, Jr.

Saturday August 7 Author and archivist Ricky Riccardi will be at the piano playing tunes associated with Armstrong, in a manner Louis himself might have suggested: Michael Gourrier leads Dr. Connie Atkinson, Michael Cogswell, Dan Morgenstern and others in a conversation on the birth of the Satchmo SummerFest, the seminars, and its highlights. On July 6 last. Ruffins and journalist Larry Blumenfeld recall the experience.

Armstrong historian, and author of the forthcoming What a Wonderful World: Sunday, August 8 10 a. Jazz Mass at St. The Treme Brass Band and the St. Start the day with a duet performance by trumpeter Clive Wilson and pianist Butch Thompson as they explore tunes Armstrong played in s. Producer and annotator Dr.

Cataliotti will discuss the new Smithsonian Folkways collection, Classic Sounds of New Orleans, which focuses on the relationship between the Folkways record label and New Orleans jazz, blues, and other roots expressions, particularly the work of Frederic Ramsey, Sam Charters and David Wyckoff and Alden Ashforth. Join us as we discuss the important. Instead of lecturing on an aspect of his relationship with Armstrong, the man who also produced Miles Davis, Sonny Rollins, Errol Garner and Paul Desmond will open the floor to questions. But she grew up and left music alone.

My dad would always pick the both of us up in the morning and bring us to school, and he and ma would pick the both of us up in the evening and bring us home. We always were together. We played music together for our whole lives. Everybody thought we were brothers and we let them think that, you know. Another Rebirth member, trumpeter Kermit Ruffins, took Allen under his wing and would often show up on Jourdan Avenue to teach the kids about the jazz tradition they were a part of.

Allen would later play with Rebirth himself, but not before he learned his craft on the streets of the French Quarter alongside Trombone Shorty and Glen David Andrews. At the show he called a whole bunch of songs that I knew. Quincy Jones is sitting one row behind us, Slash is sitting one row in front of us, Alice Cooper is sitting at the end of the row and Busta Rhymes is sitting right next to us.

He credits that experience as the basis of his sound. When you think about all the people that have that talent to their playing around here, they all played in brass bands. Shamarr Allen recalls growing up there, practicing his trumpet at home with encouragement from his father and Kermit Ruffins. Playing with his childhood friend Dinerral Shavers, buddies so close people thought they were brothers. Allen lives in the Upper Ninth Ward these days.

His father lives on the West Bank. Shavers was shot and killed in It was more like a family neighborhood. It was just like one big family. I played around on the saxophone, but I never took it seriously. I just fiddled around with it because my dad played it and every little kid wants to be like his dad. It was so much fun that it made you want to have fun, too. It also left him a little frustrated. Taking a cue from his own history, Allen decided to show the kids film of Armstrong. We are the next thing from New Orleans. I was still with the Mouth and he was still with Rebirth.

Then we spread the parts out in a wide pan and they popped out of the speakers like popcorn and it lit him up. He gave it to me as an assignment—it was to be my first original hip-hop verse. I wrote a verse, but it was pop song length, four lines and out. He explained that hip-hop verses were four times as long and made me go back and listen to Kanye again. Playing on the street is the way I got my sound, so if you take that out of the equation where else is there for the kids to learn?

I can trust him in my house. He even wrote a verse for his. I should have wrote that song. When Benson gave Allen his card, things got real. After cutting it the next day with Dee-1, he got the run-around at the Saints office and decided to release it on his own. By the time the season started rolling, we had so many hits that the iTunes account was just crazy. He was a star. He was like a real, national pop star. Louis Armstrong created a certain style of music and he took it all around the world. He was pop music. In the Kitchen with David e had a disagreement.

I have no idea how you make that. And in Lafayette, there was this [cookbook] that came out, called Talk About Good. One of the crawfish recipes we cooked came from that. My recipe is a combination of three or four different things, which kind of makes it my own. I make my roux fast. My mother used to be a two-beer rouxer. That takes too long; about 30 minutes.

Fast is the way to go—Prudhomme. But you have to be careful. I wanted to have her pots because I wanted to cook! This is a three-pot dish. This is not what you do in Cajun land. This is all Prudhomme and Frank [Brigtsen]. We use stock; Cajuns use water. How many times do you think he cooked that stuff in order to write it like that?

Pineapple in the gumbo—that was Atlanta, Georgia. They just keep adding shit. Occasionally you run into someone who can actually do it. There was one guy in Maine, and a couple in Tennessee. We know every ethnic restaurant in America. We eat Mexican food, Lebanese food, Thai food.

It was almost hand-made, and I love potatoes. That was a very good thing. With Cajun gumbo, you boil everything in one pot. With Paul Prudhomme, you use lots of pots. This is where it gets gross, where you get your flavor. Crab and butter go great together. You could put another stick of butter in here, you could.

Seafood stock makes 4 cups: In a cast iron dutch oven, heat oil to nearly smoking, then whisk in flour. Stir constantly until roux is dark red-brown. Remove from heat and stir in chopped vegetables and 1 tablespoon seasoning mix. In a 2-quart saucepan, bring 2 cups stock to a boil. Gradually add roux mixture until dissolved. Reduce heat and cook for 2 or 3 minutes, until the flour taste is gone, stirring constantly.

In a 4-quart saucepan, melt butter. Stir in crabmeat and green onion. Add roux mixture, remaining stock, crab bodies and remaining seasoning mix. Simmer for 10 minutes. Serve over hot rice, accompanied by French bread and beer. French Market Flea Market, Parkway Bakery and Tavern: Ye Olde College Inn: Hilton Hotel , ; N. Johnaye Kendrick hits the Why Il Posto? And I wake up really late so this is a good way to get my day going; a big plate of vegetables.

What do you normally order here? I like the caprese salad. I love cheese a lot; love fresh mozzarella. Le Bon Temps Roule: How often do you come here? Maybe a few times a month: Is this close to a home cooked meal for you? Yeah, it really is. Eating a meal is a chore unto itself, and a steaming bowl of gumbo or a plate of red beans is far down on the list of cravings. So why not forego lunch or dinner, and head straight for dessert at Meltdown Popsicles? Owner Michelle Weaver established this small French Quarter storefront located on Dumaine just off Decatur in late after two years of selling her gourmet popsicles around town from a retrofitted Good Humor ice cream truck.

The freezer-on-wheels has since been replaced by a sliding door chest, but the local cult following remains unchanged. Weaver organically sources as many of her ingredients as possible. Fruits are purchased from local farmers markets, and she even grows many of her own herbs, including the lemon verbena which is paired with seasonal blueberries. Such a combination of sweet fruit with tart, herbaceous and spicy flavors is accomplished with great dexterity, as is also evident in flavors such as strawberry lime and mango chili.

Or try the more savory sweet flavors like salty caramel or chocolate strewn with tiny chunks of sea salt. The latter is a textbook example of why salty and sweet is the yin and yang of snacking, while the former is an ice cold taste of a circus treat. The flavors are constantly evolving to reflect not only the seasons but also to incorporate local flavors. Witness the Vietnamese iced coffee and its bracing caffeine-tinted edge softened by a jolt of sweetened condensed milk. So the next time you find yourself in the Quarter, hot, and begging for relief, go back to childhood, and grab a Meltdown Popsicle.

And like an action-packed mega-hit movie, the album is heavy on big explosions and light on substance. The explosions come in the form of trunk-rattling bass and highpowered synths. Yes, Juvie is still a beast, but he may want to find some more substance to sink his teeth into next time. The ideas they trade showcase the ease with which. At times, it takes on the flavor of a backporch jam, rather than a studio record. Projects like Bridging the Gap often risk sacrificing musical and conceptual coherence to their eclectic ambitions: The performances here sidestep that problem with a clear vision and purpose.

Bridging the Gap finds an easy New Orleans groove, lays back in it expertly and effortlessly, and invites the listener along. All 10 tracks burn and burn, all of them original songs designed to knock over a dancehall. Muscular, rhythm and blues-styled lyrics balanced with expert musicians swinging hard—this is Saturdaynight zydeco at its best.

While this is basically a blues album, the arrangements are quite inventive. Check this one out. Smooth jazz fusion albums such as Reflections tend to bury the bass line in favor of harmonic exploration on the high end, but Quezergue eschews that approach. His more rhythmic approach to the material should win over fans of more straight-ahead jazz. Drummer Julian Garcia, who anchors the rhythm section along with Quezergue on all but the last track, locks in to keep the ensemble in all its permutations moving forward.

The rhythmic strength of Reflections effectively balances its theoretical concern with harmony and texture with its musical sense of time or performance. A few personnel changes provide a renewed sense of vigor, and newest member Seth Guidry leads a relentless attack with a monster bass groove. Vocally, the Ossun Playboys are stronger than ever with four alternating singers. Additionally, the song selection is smart, including overlooked selections by Don Rich and Roddie Romero.

Even now, analyzed and televised like never before, we take for granted and homogenize a sound that remains as mysterious as it did 50 years ago. Again, a priceless demonstration, Beyond the sonic revelations, these particularly for virgin ears. We live in a watershed period sounds. The rest of the world should know that! Hunters and Third Ward Terrors Other stunners: Not a funk fusion, but audio two tracks reminding us how lucky we were to coexist with Snooks Eaglin.

This latest message from the vault is clear: The album is designed to take us on a journey through the material. The group plays a mellow brand of banjo-based parlor jazz, and tends toward the sultry love -song end of the traditional repertoire. There are certainly some strong instrumental showings here as the record features quite a few Frenchmen regulars. This is quite a statement to make on a funk record.

He takes firm control of the expedition, featuring his own work over an impressive range. With one musician playing so many of the instruments, though, the performances tend away from the organic feeling of a funk band and towards the more polished studio sound of hip-hop records. This is not the only red flag on the Washington, D. The tuba intones the melody once against a polite, military-chorale style accompaniment.

Then the oom-pah bassline comes in, the trumpet picks up the tune in a higher register, and the other horns play a neat and tidy syncopated accompaniment. The problem is that the complexity of New Orleans jazz is not found on the printed page. Most of his recordings over a three-decade career have been tributes to such influences as Louis Jordan and Cab Calloway, but his affinities go beyond swing and jump blues. The record was an important document of a dying institution, inspiring Woods to make a follow up New Orleans tribute record, Gumbo Blues.

This time, Woods pays tribute to Smiley Lewis, a great choice because the Lewis catalog is a treasure trove of timeless material. But these are not just Smiley Lewis covers. Woods brings his personality to the material, playing some of the best articulated piano rolls and trills of his career and delivering what is hands down his best vocal performance. Not a note is wasted on the sprightly set, which dispatches a dozen chestnuts in under 33 minutes, the perfect pace for this material.

The work of the late great Willie Mitchell on his last production job makes this more essential listening. Mitchell stirs the spices of his artfully selected house band kudos to Steve Potts, who makes everyone wait for him on the 2 almost as. The first song Mitchell showed to Burke? Mitchell knew this was secretly a soul song, and Burke testifies the lyric, deceptively gently, then more deceptively gently. Is it still possible to hope?

In its entirety, An End to Oblivion takes the form of an overture, a series of suites with discernable movements and themes that are drawn together by an extra-musical. Practically and spiritually, he belongs to the planet, and measuring the full extent of his influence, a well-nigh impossible task in itself, proves easier than measuring the extent of his value. These two new books, both short, shy wisely from the big picture and genuflect generously to previous Satchmo scholars. Scaling a formidable task into a finite number of moves and movies, Nollen produces the definitive work on that subject, and not incidentally tells the postfame story of its subject along the way.

Bing Crosby adored him, Dorothy Dandridge cooed over him, Billie Holiday cooed along with him in an otherwiseregrettable picture actually called New Orleans. Actually, many pictures were equally unfortunate, to be kind. Pops blew himself clear of it all. Plenty of Pops-watchers scolded his singing, too. That horn could kill a man. What makes this album jazz is that within these themes Gregory allows his musicians, through their interactions, to explore and give shape to the overarching movement. His strength is in melody and countermelody and the layering of the two, so that as one motif establishes itself, another mirrors it and almost seamlessly, in a subtle transition, supplants it.

But his presence as a soloist is felt most on the colorful post-bop flourishes. Despite a late entry into the field of entertainment, she was deemed the Entertainer of the Year by the Blues Foundation. Even the songs written 30 to 50 years ago have up-to-date arrangements and barely resemble the originals. The title track is a clever warning about the perils of love. Amidst a mosaic of atypical time signatures, angular melodies, and menacing atmospherics, each track evolves, ascribing to an underlying structure—assembling and disassembling motifs—and develops past the point murky experimentation.

While the meddlesome grind and. Tin Pan Alley is comfortable in the Delta, which dreams of Paris. If anything, we might fault Savoy and company for sticking too closely Metronome the City to the script, a sound too unified, Object to be Destroyed lacking adventure. Yet, the choice of Independent songs is not a scattershot collection of favorites or surface idolatry, On Object to be Destroyed, certainly not a case of playing it safe.

She recreates Django Reinhardt, Blue Lu Barker and Johnny Mercer with musicians who conjure up clouds and past lovers, a sensitive stroll through the canon, willing to smell the flowers. As an album, Object to be Destroyed materializes much like an avant-garde art project.

Complex and challenging, the album proves that MtC are capable of evoking a vast range of emotions from their dissonant salvoes. Still, a few too many disjunctive transitions stifle it from luring the listener into a higher state of consciousness. Also known as KAMMs TheACE, this recent college grad proves an apt pupil, sharp enough to call a spade a spade and stylish enough to stand out amongst the crowd. She takes a look into herself, takes down haters and speaks on the current state of hip-hop. As powerful and proficient as these www. She may have a little left to learn, but the hip-hop underground should take note.

Unless you factor in Ryan Brunet, that is. Through constant practicing and listening to Nathan Abshire recordings around the clock as an adolescent, Brunet learned his accordion well. Most selections are traditional. Unlike many modern Cajun dancehall recordings, there are no drums. Wonderful stuff, worth checking out. For complete listings, go to www. Listings are compiled based on information provided by clubs, bands and promoters up to our deadlines. Unfortunately, some information was not available at press time and listings are subject to change.

Special events, concerts, festivals and theater listings follow the daily listings. For more details on a show, call the club directly.


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To include your date or event, please email information to our listings editor, Craig Guillot at craigguillot offbeat. Guillot can also provide listing deadlines for upcoming issues. Joe Krown Trio feat. Sunday Night Swingsters feat. David Doucet JV 8p d. Preservation Hall Jazz Band feat. John Mooney BL 8p d. Honky Tonk Open Mic feat. Jason Bishop CW 9p Maison: Chip Wilson BL 9p Maison: Influencia de Jazz JV 6: Palm Court Jazz Band feat. Jerry Embree SI 8: Jeremy Davenport JV 5: Speed the Mule feat. Paul Tobin BL 9p Maison: Ogden After Hours feat.

Brass Band Thursday feat. Chris Ardoin ZY 8: New Artist Feature night feat. DJ Red VR 10p. Pfister Sisters VF 5: Professor Piano Series feat. Preservation Hall Jazz Masters feat. Tips Foundation Free Friday feat. A Benefit for the Fuller Center feat. Sexy Salsa Sunday 7p d.

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Chip Wilson BL 8p Maison: Cajun Fais Do Do feat. Bruce Daigrepont KJ 5: Jeff Albert New Quintet 10p d. Lynn Drury BL 9p Maison: John Mooney BL 8p. Aaron Fletcher JV 8p Maison: Wednesdays at the Point feat. Blues Frenzy BL 6: Geno Delafose ZY 8: Creole String Beans RB 8p d. Eric Lindell RR 9: Brother Dege OR 3p Maison: Dana Abbott BL 9: Sexy Salsa Sunday feat. Free Salsa Lessons 7p Columns: Brass Band Sunday feat. Victor Atkins JV 7p. Westbank Mike Show BL 7: John JV 6p Apple Barrel: Chip Wilson BL 9p.

Joe Krown SI 8: Cloud Sharp Nine JV 9p d. Brian Jack ZY 8: Kelcy Mae Band KR 8p d. Damien Louviere BL 5p Maison: Gravy FK 10p Margaritaville: Smiley with a Knife CDrelease party feat. Sol Fiya FK 11p Maison: Congo Mambo RB 9: Aurora Nealand 10p Chickie Wah Wah: Then at the age of 14, I started writing stories and learning the notes to the songs.

I have had a book of poems published and I have signed with a few companies, in the entertainment business. I have artists under my music publishing company. My goals is to find a major book publishing company for my stories and a major record label to take me on as an independent agent and a songwriter. I am looking for a major film company to take on my screen plays. I want to be a role model for young men in this world. I want to teach young men, that their dreams can come true. This is the life story of Jeremiah, and what he went through in his own life; from a baby; when he was born; until he became a child, and then a teenager; who became a little confuse; until he started to dream of stories, and then later on the outer body experience had happen; until then he became a man, and is ready to make his mark on this Earth; as a great man.

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