New Orleans jazz trumpet icon Kermit Ruffins on barbecuing
Where did the name “Barbecue Swingers” come from?
Kermit Ruffins: From tailgating. I started tailgating at Vaughn’s during break-time so the guys could have something to eat. So one morning I woke up and said “Kermit Ruffins and the Barbecue Kings,” but by the middle of the evening I had changed it to “Kermit Ruffins and the Barbecue Swingers.” I was having so much fun barbecuing during the show that it just hit me: “Barbecue Swingers”.
Huge second-line honors King of Pop Michael Jackson| VIDEO: Huge second-line honors Pop King Michael Jackson |
'Preserving' and promoting our treasured musicians
Even on a sultry, drizzling June night in New Orleans, Preservation Hall packs them in. Fortunately, the tourists who come searching for the traditional jazz that was born in this city are served up the real music that locals might take for granted. What makes it different from some tourist destinations is that the history of jazz lives within its chipped cement walls as well as in the musicians that play within its environs. Those of us who live in New Orleans know these guys such as bassist Walter Payton, who taught many a youngster who attended McDonogh 15 in the Quarter and have gone on to enjoy professional careers themselves. Musicians who have jazz running through their veins-like trumpeter Mark Braud of the legendary Brunious family and Joe Lastie whose Ninth Ward clan helped to create and carry on New Orleans music-remain regulars here.
Concert Review: Allen Toussaint at Metrotech Park, Brooklyn NY 6/11/09Right off the bat, his chops were in full force. Toussaint isn’t flashy, never was – like many songwriters from his genre and his era, he doesn’t waste notes getting to the point, with a warmly chordal, staccato, even percussive attack. Nor is he a flashy singer, which was especially noticeable as the sound engineer fiddled with his vocals in the mix, but did a capable job nonetheless. He played the old stuff first: There’s a Party Going On, Here Comes the Girl and a long, tasty, fluidly soulful version of the minor-key We Got Love, which he wrote for Dorsey well over forty years ago. Then he did a medley including A Certain Girl, Mother-in-Law, Fortune Teller and Working in a Coal Mine. The Pointer Sisters’ hit Yes We Can Can was reinvented and vastly improved as yet another soul/funk number, as was another unfamiliar tune (at least to anyone who knows nothing about lite FM) apparently made famous by Bonnie Raitt.
There's no such thing as "too much" of New Orleans music and its musicians
Terrance Simien embraces and reveals the cultural connections throughout the African diaspora in his Zydeco music and his educational performances/CD, Creole for Kidz and the History of Zydeco. While traveling around the world, the Grammy-winning accordionist and vocalist, who closes the French Market Stage at the New Orleans Vieux To Do on Sunday, June 14, continues to discover the aspects that tie his Creole heritage to people in faraway lands. In the Seychelles - islands off the coast of Africa in the Indian Ocean - he was surprised by the many things he shared with the residents.
Joe Krown Q&A PodcastJoe Krown is a New Orleans-based keyboard, piano, and organ master.
Russell Batiste Jr. Q&A PodcastRussell Batiste Jr. is the drummer for the Funky Meters, PBS, the Joe Krown Trio Russell Batiste and Friends, and Orkestra from da Hood.
Andre Bohren Q&A PodcastAndre Bohren is the drummer for rock group Johnny Sketch and the Dirty Notes.
Christian Scott riding superlative horn waveLike a lot of creative types, trumpeter Christian Scott is hard to stuff into a genre box. First, there's the clear sound of his horn, the one with the oddly angled bell. It's unmistakably part of a grand New Orleans tradition that reaches back to Louis Armstrong: a lone, expressive voice that projects its own personality as much as it does virtuosity. He could easily be playing gigs in the style of traditional New Orleans music or in the post- bop style practiced by another Crescent City hero, Wynton Marsalis.
Quick bits of Louisiana Gospel So I've been sorta hinting at how I want to break into Gospel a bit. I haven't really ever considered myself Christian except by birth as it clashed with my preteen love of dinosaurs, but I find it hard to take issue with the passionate hollerin' that comes out of (black) gospel music.
So for a class I decided to a do a presentation on it for my final project. I'm not exactly an expert now, but I found some pretty stomp-worthy stuff. And I'm about to give you a real quick tour. Most of this stuff is actually pretty basic and blogged about in plenty of places, but I'm willing to guess that a lot of y'all are just as dumb as I was about this stuff. I'm not attempting a full-on history lesson here, just sharing some stuff that y'all might like.
Booker records = hot: It was mostly a one-man operation, started out as rhythm and blues but went gospel after just a few. I've got a pretty good 45 of normal semi-musical sermoning off there but the real hot thing is Rev. Charlie Jackson. Think male Sister Rosetta Tharpe. I know, that's no more appealing than female SRT, but more Tharpe in any form is welcome in my book.
Five Questions with Shamarr Allen 
3. You have hinted that you are have considered moving out of town- how seriously have you thought about it?
I’ve been doing a lot of research on true New Orleanians, that are very successful. I’m not talking big fish in little pond success. Everyone that was ever super successful eventually had to leave. Louis Armstrong, Wynton Marsalis, Sidney Bechet, Branford Marsalis, Terrence Blanchard, and plenty more. I can’t find any that actually lived here and were as successful as anyone of these guys. There’s a long list of them too. They’re just not coming to mind right off hand. So yes its a serious thought and I love this place I just don’t think it loves me back sometimes.
Antoinette K-Doe's daughter and friend officially reopen the Mother-In-Law Lounge with a really big show
On Feb. 28, Antoinette K-Doe presided over her last party at the Mother-In-Law Lounge, lying in state next to the stage. As patrons paid their last respects to Ernie K-Doe's colorful widow, who had served as den mother to an eclectic community of musicians and fans for nearly two decades, many couldn't help but wonder if this would be their last drink at the legendary Treme night spot.
Five Questions with Billy Iuso 
4. Why did you decide to record your live album at the Sandpiper- a club that doesn’t usually feature live music?
Several reasons, I live in the neighborhood, the neon sign alone is great, and so much of New Orleans music was born in the 12th Ward including clubs such the Nitecap and the Dew Drop Inn. I am trying to bring it back.
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