Wednesday, August 26, 2009

NPR Q&A: Listen to Elvis Costello interview Allen Toussaint




While host Marian McPartland is out, singer-songwriter Elvis Costello sits down with music legend Allen Toussaint in this installment of Piano Jazz. Like Toussaint, Costello has crossed many genres in his career, working with the likes of producer/composer Nick Lowe, trumpet great Chet Baker, legendary songwriter Burt Bacharach and his own wife, jazz pianist and singer Diana Krall.


Allen Toussaint and Elvis Costello Douglas Mason/Getty Images Entertainment

Allen Toussaint (left) and Elvis Costello.


Toussaint is one of New Orleans' most revered musicians, working since the late 1950s as an arranger-producer while writing songs like "Working in a Coal Mine," "Southern Nights" and "Ride Your Pony." These days, he performs his music around the world, and even joined Costello to record the 2006 album The River in Reverse. In this session, Costello introduces Toussaint as "a living embodiment of the rich musical heritage of the Crescent City."



Here, Toussaint performs "Mother-in-Law," "Fortune Teller" and a very personal version of "Southern Nights," a hit single for country/pop great Glen Campbell. Toussaint takes the song back to its roots, recalling the nights when his father took him to the country to visit "the old Creole people." Then he brings his New Orleans-born rhythmic and harmonic sensibilities to the standards "Singin' the Blues," a song closely associated with Marian McPartland and her late husband, cornetist Jimmy McPartland.



The lively conversation covers early influences on Toussaint's music: jazz, blues, boogie-woogie, church music and "hillbilly music." Talk changes to the great storm Toussaint calls "the booking agent Katrina." It actually helped him move into a rewarding new phase in his career.



In the final selection, the duo plays a medley of piano legend Professor Longhair's "Tipitina" and the Toussaint-Costello song "Ascension Day." Over Toussaint's rolling, bluesy piano, Costello's lyrics paint an anguished picture of the empty streets they found shortly after Katrina, when they came to New Orleans to finish The River in Reverse. There is hope in the song's ending, though: "But I know they will return / Like they've never gone away / Come Ascension Day."

Originally recorded April 17, 2009. Originally aired Aug. 26, 2009.




Tuesday, August 25, 2009

In Pictures (& Words): Dumpstaphunk | 08.15 | San Francisco

c/o Jambase

Words by: Justin Gillett | Images by: Pat Parra

Dumpstaphunk :: 08.15.09 :: The Fillmore :: San Francisco, CA

Dumpstaphunk :: 08.15 :: The Fillmore
Times seem to be extremely tight for ardent funk fans. Apart from the occasional throwback act or cover band, the genre seems to have slipped into disarray. Yes, there's mainstays like Galactic and Karl Denson, but there seems to be a serious lack of no nonsense funk in the modern music community. It might be that young musicians are scared to devote themselves to a style of music that isn't "indi-something" or "alt-that" (not a lot of hot "indi-funk" or "alt-funk" bands running around). Possibly, it's that bands are not willing to toss themselves wholeheartedly to a genre that seems slightly bygone. Regardless of the factors, there's clearly a lack of new bands willing to charge full force towards exploring the awesome powers of funk. Where do serious funk fans turn to in such difficult times? The answer is clear: Ivan Neville's Dumpstaphunk.

Ever since keyboardist extraordinaire Ivan Neville formed the band in 2003, the group has been making believers out of funk naysayers across the country. With an all star cast of New Orleans musicians to round the band out, including the dual bass talents of Tony Hall (Trey Anastasio, Dave Matthews & Friends) and Nick Daniels (Neville Brothers), drummer Raymond Weber (Trey Anastasio, Joe Sample) and guitarist Ian Neville (Funky Meters, Neville Brothers), Dumpstaphunk is clearly capable of serving up some dirty, crunchy funk jams. The group's recent performance at San Francisco's Fillmore was evidence that funk is not dead. It's still alive and kicking, in a select group of musicians.

Nick Daniels - Dumpstaphunk :: 08.15 :: The Fillmore
Opening D-Phunk's San Francisco show was Eric Krasno & Chapter 2, a tight-knit four-piece that didn't disappoint fans who showed up early. Axe man Krasno, of Soulive fame, has managed to amass an impressive group of musicians with Chapter 2. The band is rooted in funk grooves yet is still open to experiment with modern influences to add relevance to their sound. Bassist Louis Cato was a spectacle behind his instrument as his fingers flickered over his five-string. Cato's mastery on the bass made it hard to imagine the talented multi-instrumentalist playing drums with other acts like Major Dilla Salute and Tony Williams. Cato and Kraz earned the attention they received but all four guys in Chapter 2 more than pull their weight. The band's adherence to technical instrumental exchanges makes them sound like some prog-funk hybrid - a style of music that hopefully garners more attention as the years progress.

The funky war birds that comprise Ivan Neville's Dumpstaphunk began their set with a thick jam. If you haven't experienced it in the flesh, it's hard to imagine a band with two bass players, but the low-end teamwork of Hall and Daniels really works and adds layers of originality to D-Phunk's sound. While Hall crafted the backbone of the opening number deep on his instrument, Daniels was able to compliment the groove by playing high notes with skill and nuance. The group's bottom-end sound was surprisingly not overpowering. Ivan Neville's keys were pronounced in the musical mix as was Ian Neville's subtle guitar playing. While a horn section often accompanies the band on record, the absence of live brass did not deter the band from achieving the needed fluctuations in tempo and texture. The lack of horns actually seemed to make the musicians onstage play their instruments harder and concentrate on the intricate song arrangements more.

Ivan Neville - Dumpstaphunk :: 08.15 :: The Fillmore
As the set progressed, it was clear that Dumpstaphunk was adamant about packing The Fillmore with as much dirty, messy, sweaty funk as possible. Weber was in command behind his drum kit and really let his cymbals ring - especially the bell on his ride cymbal, which he banged unrelentingly. To say Weber is a big guy would be an understatement. The overall grandiosity of his physical stature makes him the perfect size to sit behind a drum kit. Weber was visually happy with the band's sound as was Hall, evidenced by the huge grin on his face. Having played with Dave Matthews and Trey Anastasio's solo bands, Hall has done his fair share of catering his talent to musicians. With Dumpstaphunk, though, Hall really seems to open up and experiment. At The Fillmore, he handled lead vocals occasionally and played a Fender six-string, which he was able to shred quite well.

Since the formation of the band seven years ago, Ivan Neville has really grown into a bandleader. While he often shared lead vocals with Hall, it was Neville who had the crowd eating out of the palm of his hand. During the D-Phunk staple "Put It In The Dumpsta," Neville led concertgoers in a righteous call-and-answer battle. Asking, "What we gonna do?," and hearing back, "Put it in the dumpsta!" from the thunderous crowd.

At age 50, Ivan Neville is by no means a rookie. He's been around the music world for years. Son of Aaron Neville, one of the founding members of the quintessential '70s New Orleans soul band The Neville Brothers, Ivan has based his life around his craft. He's backed several big time stars (Keith Richards, Bonnie Raitt, John Mayer) over his storied career, and now has his own band to play the style of music that he feels most at home with. If young musicians are afraid to touch funk, thank god there's older guys like Ivan Neville to keep the funk fire alive.

For the last song of the evening Dumpstaphunk invited Krasno, Cato and keyboardist/vocalist Nigel Hall of Chapter 2, to the stage, as well as Sly and the Family Stone drummer Greg Errico for a rousing rendition of the Family's "Thank You (Falettinme Be Mice Elf Agin)." The all-out funk assault that ensued was truly something to behold. The insane jam, that seemed to last 15 minutes, was a proper way to cap the evening's festivities and proved that Dumpsta truly is one of, if not the, flag bearer of their musical genre.

Dumpstaphunk tour dates available here.

Continue reading for a few more pics of Dumpstaphunk in San Francisco...















Monday, August 24, 2009

In Pictures: Jonathan Batiste Band @ Highline Ballroom

By Dino Perrucci Photography


Jon Batiste & McCoy Tyner - Highline Ballroom, NYC 8/23/09

More from last night:



Jon Batiste Band - Highline Ballroom, NYC 8/23/09


Jon Batiste Band - Highline Ballroom, NYC 8/23/09


Jon Batiste Band - Highline Ballroom, NYC 8/23/09

Sunday, August 23, 2009

NolaFunk Lagniappe

In Pursuit of Bo-Consciousness, Part 4: MOVING ON AFTER RIC & RON

The Last At Last


Part 3 ended more or less with Eddie Bo leaving the Ric and Ron labels behind in 1962, due to dissatisfaction with his compensation and owner Joe Ruffino's reluctance to seek national distribution for the labels' product. Of course, Ruffino's subsequent death closed the business and underscored the wisdom of Eddie's decision. Soon thereafter, Bo cut a couple of records for At Last, a recently started subsidiary of A.F.O. (All For One) Records, headed by Harold Battiste, who co-owned the labels with a group of like-minded African-American session musicians seeking more creative control and financial rewards from the music business (an eternal quest). Battiste had done some arranging and producing for Ric and Ron, and the other owners had played on many of the sessions.



A Family Affair



A “new” New Orleans is a reality we all confront and construct for ourselves. Nova Nola, founded by Astral Project’s Steve Masakowski, is one attempt to address New Orleans’ evolving musical landscape. “With Nova Nola, I really wanted to feature ‘new’ New Orleans and I wanted to feature what’s fresh about the New Orleans music scene and have a chance to play with talented, up and coming musicians.” These musicians include his children, 22-year-old vocalist Sasha and 19-year-old bassist Martin, who, along with veteran drummer Ricky Sebastian and vibraphonist James Westfall, comprise New Orleans’ preeminent Brazilian jazz quintet.



Get a Room




The swagger in Jeremy Davenport’s step is a little more exaggerated these days. He’s riding high on the success of his residence at the Ritz-Carlton on Canal Street, a new album— We’ll Dance ’Til Dawn —and the prospect of establishing a foothold in the New York City club scene at the Huckleberry Bar in Williamsburg.

Davenport, a 39-year-old trumpeter and vocalist, is different from most successful New Orleans musicians in that his musical talent is not his most immediately obvious attribute. He is contemporary American star material, good looking even at a casual glance. His visual magnetism makes him telegenic, leading tabloids to link him to the MTV generation and jazz critics to compare him to Chet Baker. Cosmopolitan dubbed him “easy on the eyes,” a quote his publicists use high in the bio.


Yeah, You Right: George Porter, Jr.
photo of George Porter, Jr. on stage

We know plenty about the great musical artists of New Orleans through their music, but there's a lot more to them than that.

During Jazz Fest, we sat down with bassist extraordinaire George Porter, Jr. (The Meters, The Trio, and Runnin' Pardners) and tossed 20 rapid-fire questions at him in a new interview series we call "Yeah, You Right."

Q: Crystal or Louisiana Hot Sauce?
A: Crystal.

Q: Zapp’s or Tater Tots?
A: Zapp's.



Sister Gertrude Morgan


Found something out I didn't know today. Got an email from a gallery in Philadelphia, said they had a client that brought in a Sister Gertrude Morgan painting along with a vinyl copy of her album "Let's Make A Record". The client also said they bought it from Larry Borenstein(proprietor of Associated Artists Gallery which eventually became Preservation Hall). Vinyl? Didn't know it had been released on vinyl. After a few inquiries, I found out there were originally 500 copies released in the 70s, each HAND PAINTED by Sister Gertrude Herself. Wouldn't mind getting my hands on one of those. Very cool.









Henry Butler: Live Last Night

henry butler

Live Last Night

There were times during Henry Butler's performance at Blues Alley on Thursday night when the New Orleans pianist displayed such a punishing attack that he could have been charged with assault and battery on a Steinway. Thundering block chords and hammered pedal tones, resounding vamps and striding parade rhythms, clustered harmonies and resonating syncopations - Butler found countless ways to propel and animate a series of solo performances.




Irvin Mayfield revives the music of Los Hombres Calientes for a good cause

"Although I've done a lot, it is the thing I am most known for," Mayfield said. "Around the world, wherever I am, people love that band."

The Afro-Caribbean jazz ensemble has not performed in four years. Since Hurricane Katrina, Mayfield has directed his considerable energies elsewhere.

But starting Tuesday, he'll preside over "The Love Sessions: Six Nights of Music, Six Nights of Giving" at his club in the Royal Sonesta Hotel, Irvin Mayfield's Jazz Playhouse. Technically, the shows are not a Los Hombres Calientes reunion; renowned percussionist Bill Summers, Mayfield's partner in the project, was unavailable.

But they'll feature the music of Los Hombres Calientes. Many musicians who played on Los Hombres Calientes albums and tours -- bassist David Pulphus, pianist Victor Atkins, trumpeter Leon Brown, even drummer Jason Marsalis, a co-founder who left after the second album -- are expected to participate.


see also: Irvin Mayfield's "Love Sessions" share the wealth with local non-profits




Luther Kent & Trick Bag - Live 1996

By KingCake

Luther Kent and Charlie Brent formed Trick Bag (named for the Earl King tune) in 1978; they had a concept and they have stuck with it ever since while a large number of terrific musicians have spent time in the band, left, come back, left again - most of Astral Project has been in this band at some time. Charlie Brent had spent 13 years with Wayne Cochrane and the CC Riders as guitar player, arranger and more. He has worked with Elvis, Billy Eckstein, Chuck Berry and Dr John just for starters. Luther cut his first record as Duke Royal at 13, had a later incarnation as Cold Grits and the Black Eyed Peas, spent 2 years as the front man - lead singer for Blood, Sweat and Tears before coming home to New Orleans. As this band grew in success and began to generate some cash, Luther just kept hiring more horn players. It takes a big voiced, confident singer to front six horns and big Luther fits the bill. The man's a born singer. Charlie is responsible for these sharp, tight arrangements, he is a multi-instrumentalist, writer and arranger who has forged the sound of this band. There are a lot of bands out there built on a similar concept, BS&T and Sons of Champlin were older versions but they didn't have the blues and jazz drenched New Orleans gumbo and this pool of musicians at their disposal. The actual front cover and some more info is in the package but I couldn't resist the line of horns.


Trombone Shorty | 08.07.09 | Denver
Trombone Shorty by Josh Miller

The band kicked things off with an Eastern beat, and Dan Oestreicher (baritone sax) and Clarence "Trixzey" Slaughter (tenor sax) quickly locked into place. Drummer Joey Peebles hastened the pace and anticipation built as Andrews took the stage. He seamlessly entered the fold, adding just a few notes before turning guitarist Pete Murano loose for a frenzied solo. Andrews held back before finally finding the right spot to hoist up the trombone and take control. The audience was primed for action by the time he let loose, belting out thoughtful flutters with a sense of urgency.

The roar of the crowd was still healthy as the band slid into The Guess Who's "American Woman." Andrews has quite a bit of experience with the tune, having been a featured player in the horn section for Lenny Kravitz. This time, Slaughter stepped up as Andrews egged him on from close range, knees half-bent and head bobbing.

Thursday, August 20, 2009

In Pictures: Dumpstaphunk @ Prospect Park Bandshell

photos by Dino Perrucci & Allison Murphy

Mountainside Mardi Gras | 08.08 | Red Rocks

Words by: Joanna Asher | Images by: Zach Mahone

Mountainside Mardi Gras Music Festival :: 08.08.09 :: Red Rocks Amphitheatre :: Morrison, CO

New Era Brass Band leading the Second-Line Parade
Mountainside Mardi Gras Music Festival :: Red Rocks
When you think 'Mardi Gras,' what comes to mind? Thousands of colorful beads, boas, and face paint? Second-line parades, non-stop brass band and funk music? Perhaps a group of incredibly enthusiastic partygoers ready to dance, drink and be festive? Well, that is exactly what the Mountainside Mardi Gras Music Festival at Red Rocks Amphitheatre was all about. All the music, bead-tossing, booty-shaking madness of Mardi Gras made its way into Morrison, Colorado when eight of New Orleans' most talented bands came up from the Big Easy to the Rocky Mountains. The event was a first for newly established For/Sure Productions, started by 23-year-old Trevor Jones, who was the youngest person ever to put on a show at Red Rocks. The result was a one-day festival created to pay homage to the musical Mecca that is New Orleans and to introduce Colorado to the remarkable talent of that city's performing musicians.

The thousand or so fans may not have filled the amphitheatre, but the energy they emitted was immeasurable. Equally as enthusiastic were the musicians, many having been away from their home city and fellow performers for several weeks. Artists were greeted by swarms of hugs, handshakes and friendly recognition as they reunited with each other. The positive vibes of the morning continued through headliner Dr. John's last note of "Save Our Wetlands," which closed the festival at midnight.

Mountainside Mardi Gras
The concert began just after 1:00 p.m. when New Orleans rockers Johnny Sketch and the Dirty Notes were the first to take the Red Rocks stage, ready to kick off the inevitable funk fest. From the moment they began, JSDN's enthusiasm spread to the already-eager crowd, instantly elevating the energy level inside the amphitheatre. The set started out with a strong drum and bass line, Johnny Sketch's quick, hard-hitting guitar riffs, staccato horn accents and screaming command to the audience to "Dance!" didn't go unnoticed. There wasn't one person left sitting by the time Sketch and his boys headed into their catchy, horn-heavy rock tune "Hey Little Mama." Sketch's powerful, rocker voice perfectly complimented both the band's quick ska/rock tunes as well as the smoother, sultry ones that were accompanied by Sketch's electric cello. Their variety and high energy started the day off on a very high note.

To ensure that the upbeat vibes from the first set stayed intact throughout the day, New Era Brass Band was on-call to parade through (and with) the crowd in between every set on stage. Despite the high altitude and steep incline of Red Rocks, New Era successfully led audience members through several foot-stomping, bead-slinging, sing-along parades that were pleasantly reminiscent of the quirky Crescent City.

Big Sam's Funky Nation :: Mountainside Mardi Gras
When Big Sam's Funky Nation took the stage, they flawlessly picked up where Johnny Sketch and the Dirty Notes left off with some bass-heavy funk/rock to introduce Big Sam Williams as he danced his way to center stage. The band members took turns showing off their musical talents as the set started, each demonstrating his individual style be it heavy rock guitar, jazzy trumpet or smooth, funky keys. The perfect combination of these elements created an ideal backdrop for Big Sam's call-and-response exchanges, effortlessly powerful trombone playing and all star dance moves. Quickly realizing that it is impossible not to dance during a Big Sam's Funky Nation concert, audience members scoffed at the heat and the venue became home to a sun-soaked, euphoric, musically rich dance party. By the final song of the set the audience had moved their bodies "to the left" and "to the right," they "got low" and "a little bit louder now," and were fervently awaiting more music.

Never ones to disappoint a music-hungry audience, Papa Grows Funk quickly set up the stage for their first-ever gig at historical Red Rocks. In fact, Saturday marked the first time most of the bands on the bill graced the Red Rocks stage and, if Colorado is lucky, it won't be the last. The set started off with June Yamagishi's incomparable guitar riffs, Jason Mingledorff's exceptional saxophone grooves and John "Papa" Gros' raspy, New Orleans drawl singing over his equally funky keyboard riffs. Marc Pero and Jellybean Alexander held down the rhythms on bass and drums, respectively, providing a solid base for the funked up guitar, sax and keyboard solos. The rock feel that carried over from Johnny Sketch and the Dirty Notes to Big Sam's Funky Nation led way to the pure and solid "stanky" funk of Papa Grows Funk's set. Pero's chest-pounding bass vibrated through the crowd, pulsing heavy rhythms through our bodies and propelling the dance party. PGF managed to infuse their style into a blues ballad, a soulful gospel number and all of their traditionally funky songs like "Stanky" and "Pass It."

George Porter Jr. :: Mountainside Mardi Gras
After another New Era second-line parade George Porter Jr. and the Runnin' Pardners were ready to continue the good times with some classic New Orleans music. Included in the Runnin' Pardners are drummer Russell Batiste and Papa Grows Funk members John Gros on keys and Jason Mingledorff on sax. The eight-piece band proceeded to play the classiest funk of the day and Porter expertly demonstrated the way a true funk bass should sound - smooth, soulful and very loud. The set included upbeat numbers that featured the three-piece horn section as well as more soulful, sexier numbers perfectly suited for Porter's relaxed yet passionate style of playing, like his unforgettable rendition of "Sneakin' Sally." At the end of their set, George and the Runnin' Pardners joined hands for a group bow in front of a jumping, screaming, necklace-launching audience that was not quite ready to part ways with the artists. Luckily, we didn't have to wait long for the next round of incomparably talented musicians to amaze us.

Ivan Neville's Dumpstaphunk is an all star band made up of some of the most well-known, talented musicians in New Orleans. Their set started off with some notably funky bass lines that could only exist through the combination of Tony Hall and Nick Daniels, two of the most badass bass players to come out of the Big Easy. The set was speckled with solos from each of the musicians during which they established themselves as individual forces to be reckoned with. As a collective group, Dumpstaphunk's vocal and instrumental harmonies blend perfectly. Included in their set were crowd favorites "Put it in the Dumpsta" and "Meanwhile." The laid-back yet celebratory New Orleans feel of the festival continued throughout the set as I began to notice several of the other musicians dotted amongst audience members to watch their fellow artists. Big Sam came into the stands to further show off his agile dance moves, and Jellybean Alexander kept a close watch on Raymond Weber's drumming abilities. It was clear the amiable comfort of the New Orleans music scene had successfully transplanted itself into Colorado.

Big Sam with DDBB :: Mountainside Mardi Gras
Soon, the sun began to set and the incredibly beautiful Red Rocks cliffs were illuminated from all angles, creating an awesome backdrop for the final two sets of the day. Dirty Dozen Brass Band was up next, starting off with a funk-fueled jam featuring guitarist Jake Eckert, drummer Terence Higgins and baritone sax player Roger Lewis. As the trio played on, horns gradually trickled in to shift the original funk vibe towards a more brassy, big band resonance. Dirty Dozen Brass Band emits a sound that has a very crisp, swingy, concert hall feel as opposed to the generally more rugged, dirty funk sound of most other New Orleans brass bands. Their set was classy and sophisticated with just enough roughness around the edges to appease the crowd's thirst for brass band music. As if the eight-piece band wasn't enough, DDBB brought up countless guests to sit in, including former member Big Sam, DJ Logic, keyboardist CR Gruver, trombonist Derrick Johnson (Yo Mama's Big Fat Booty Band) and For/Sure Productions president/guitarist Trevor Jones (Frogs Gone Fishin). DDBB played some traditional tunes like "Unclean Waters" and "Fire on the Bayou" as well as several covers played with a Dirty Dozen twist such as Little Feat's "Spanish Moon" and James Brown's "Super Bad." By the time they were finished, stars were shining brightly against the pitch black sky, the backstage area was a full-fledged New Orleans family reunion, and people out front were ready for the headlining act of the day, legendary pianist-guitarist-songwriter-producer Dr. John.

Dr. John :: Mountainside Mardi Gras
When the 68-year-old New Orleans funk superstar was announced, he graced the stage in an old school red pinstriped suit, black suspenders, a top hat complete with feathers and a pair of large, round-eyed sunglasses. Waltzing onto stage with a swagger appropriate for the King of New Orleans, Dr. John (known as 'Mac' to most of his fellow artists) was greeted by a standing, screaming ovation as he took a seat in between the organ and piano that were positioned on stage. Once his fingers hit the keys, Mac played with an ease that displayed his decades of musical experience. The set included funky blues/rag tracks such as "Right Place, Wrong Time" and "Let the Good Times Roll," as well as some more strictly blues numbers like "How Come My Dog Don't Bark (When You Come Around,)" which was played as a memorial for a woman who "dug this song." Although he complained of the high altitude, saying, "I'm a sea level boy all the way," it did not prevent him from exercising his dancing feet and his guitar playing abilities. After ten hours of Mardi Gras revelry, the crowd's energy continued to mount while the Doctor played on.

As a slight rain began to sprinkle over the amphitheatre, I couldn't help but smile at the surrounding atmosphere. Behind me, renowned New Orleans artist Frenchy and two other extraordinary painters stood around easels filled with their colorful interpretations of the music. Behind the stage, dozens of musicians from earlier in the day mingled and bonded over Dr. John's exquisite playing. As I glanced at the small, wide-eyed, slightly damp audience, the appreciative smiles on their faces let me know that I wasn't the only one who was awed. It became clear that this festival was about more than just first-year ticket sales. In bringing these musicians to the famous Red Rocks Amphitheatre, For/Sure Productions successfully implanted the incredible flavor and feel of the New Orleans music scene into a place hundreds of miles away both geographically and culturally. Given time to grow as an annual event, Mountainside Mardi Gras has the potential to create a passionate bond between the swamps of New Orleans and the mountains of Colorado. In the words of Dr. John, it truly was "Such a Night".

Continue reading for more pics of Mountainside Mardi Gras 2009...

Johnny Sketch and the Dirty Notes
Big Sam's Funky Nation
Big Sam's Funky Nation
Big Sam's Funky Nation
Big Sam's Funky Nation
George Porter, Jr. & Runnin' Pardners
George Porter, Jr. & Runnin' Pardners
George Porter, Jr. & Runnin' Pardners
DJ Logic
Dumpstaphunk
Dumpstaphunk
Dumpstaphunk
Dumpstaphunk
Dumpstaphunk
Dirty Dozen Brass Band
Dirty Dozen Brass Band & Guests
Dirty Dozen Brass Band & Guests
Dr. John
Dr. John
Dr. John
Dr. John