Backbeat Foundation presents Export Nola: The full multi-venue lineup

Upcoming: Christian Scott @ Blue Note

In Pictures: Big Sam's Funky Nation @ le poisson rouge

photos by Dino Perrucci

Christian Scott & Eric Krasno - Le Poisson Rogue, NYC 2/5/11



Big Sam's Funky Nation - Le Poisson Rogue, NYC 2/5/11


Big Sam's Funky Nation w/Christian Scott - Le Poisson Rogue, NYC 2/5/11


Big Sam's Funky Nation w/Maurice Brown - Le Poisson Rogue, NYC 2/5/11

A year in review: Great 2010 [New Orleans] CDs

By: Geraldine Wyckoff

New Orleans musical family dynasties put out and made out in the CD department in 2010. Most of the top albums this year, all of which make for excellent gift-giving opportunities, were released by members of the (in alphabetical order) Andrews, Harrison, Neville and Marsalis families. Other contenders for this year best releases come from the likes of Dr. John and Kermit Ruffins, who one could argue, are dynasties unto themselves. This makes a strong statement about the longevity and continuance that is at the heart of the New Orleans music tradition. While new styles might dominate or often come and go in other locales, in this city they are more apt to be absorbed and become a new aspect of the heritage. For example, many local hip-hop artists do embrace some of the rhythms and nuances of the music that surrounded them in their childhoods. And, of course, brass bands in particular turn to rap for a modern sound as do funksters and even jazz artists. That brings us to Troy “Trombone Shorty” Andrews. The trombonist/trumpeter-/vocalist, who is related to a long line of musicians including his brother, trumpeter James Andrews, grandfather, vocalist Jessie Hill (of “Ooh Poo Pah Doo” fame) and a myriad of cousins, boasts a Grammy nomination for his excellent album, Backatown (Verve), in the Best Contemporary Jazz Album category. It also stands at the number 10 position on Billboard magazine’s Jazz Chart. While some may question whether the music on the disc represents modern jazz – the material mainly digs into funk, R&B and rock realms – his improvisation and technical abilities speak of his jazz background. “It’s in me and I think it’s all over the album,” Andrews explained in an interview earlier this year. “On most of my solos you can hear my jazz training. I just took a different approach.” The blending of styles, musicianship and some killer tunes such as Allen Toussaint’s “On Your Way Down” and the unique “Something Beautiful” make Backatown a CD for all ages. Trombone Shorty and his kicking band Orleans Avenue perform at the House of Blues on Christmas night. Mac Rebennack, aka Dr. John, also had a great year. The pianist and vocalist will be inducted into the Rock and Roll Hall of Fame at a ceremony to be held on March 14, 2011 at New York’s Waldorf Astoria. He is, remarkably, only the third New Orleans musician to be inducted into the institution in the “performer” category with Fats Domino and Lloyd Price making the grade in previous years. Dr. John is also nominated for a Grammy for his 2010 album Tribal, a disc that encompasses the pianist and vocalists many sides. It's at once retro, in that it musically reflects back to his classic album Gris-Gris, voices his take on social issues, holds a certain spirituality – “The tribal plan is for every man” – then gets funky and hits on some old-school New Orleans R&B. Tribal, which was recorded with Rebennack’s working group, the New Orleans-heavy Lower 911, stands as another release that can be enjoyed by, as the “The Christmas Song” says, “kids from one to 92.” Kermit Ruffins’ album, Happy Talk, hit Billboard’s Jazz Chart immediately upon its release in late October 2010. The disc, for which the trumpeter and vocalist assembled an ace band including drummer Herlin Riley and guests such as clarinetist Michael White, finds Ruffins backed and swinging with a big band on six cuts. The album lives up to its name though one might wish for another go-round of the again timely “A Saints Christmas” – “All I want for Christmas is the Saints in the Super Bowl...” – from last year’s release, Have a Crazy Cool Christmas. It’s interesting to consider when or if a father and son have each released an outstanding album in the same year – or, perhaps, even in the same era – as have Aaron and Ivan Neville. Aaron’s CD, I Know I’ve Been Changed, which reached number 18 on Billboard's Gospel Chart and is climbing, finds the heavenly vocalist backed minimally by a tasty combo that includes pianist Allen Toussaint. Meanwhile, his son, organist/vocalist Ivan, also surrounded himself with great, simpatico musicians – including his cousin, guitarist Ian Neville (Art Neville’s son), bassists/vocalists Tony Hall and Nick Daniels and drummer Raymond Weber. With Ivan at the helm, they are Dumpstaphunk and the album is Everybody Want Sum, which, as reviewed, “funks from top to bottom.” Since the mid-1980s, it's been rare that the Marsalis name hasn’t appeared on a year-end, “best of” list. For only the second time, all of the musicians in the family – patriarch/pianist Ellis, saxophonist Branford, trumpeter Wynton, trombonist Delfeayo and drummer/vibraphonist Jason played together for a performance that was captured live. The event took place at Washington D.C.’s Kennedy Center and resulted in the fine album Music Redeems. Logically, it was released on Branford’s label, Marsalis Music. Its strength stems from outstanding musicians playing solid material and performed with a mutual admiration for each other and jazz music. Also, in 2010, and for the first time in the 29-year history of the National Endowment for the Arts, the prestigious institution named not an individual artist but all four of the musical Marsalises as its Jazz Masters. Saxophonist Donald Harrison Jr., the son of Big Chief Donald Harrison Sr. of the Guardians of the Flame Mardi Gras Indian gang, grew up with the sound of tambourines ringing. His father was also an avid and knowledgeable jazz fan. On the saxophonist’s 2010 release, Quantum Time, Harrison, who mentored his now highly acclaimed younger cousin, trumpeter Christian Scott, embraces his musical experience and the music’s past, present and future. As is realized on these albums, New Orleans musical families remain at the core of this city’s spirited sound. Then again, it isn’t absolutely necessary to have music in one’s bloodlines, just having it in your soul works too.

Video Archive: Big Sam's Funky Nation @ Sullivan Hall

Thom Yorke On Trumpet: Christian Scott And 'The Eraser'

by Patrick Jarenwattananon

Christian Scott, in the inner sanctum of Rudy Van Gelder. (Kiel Scott)

Here's some new music by trumpeter Christian Scott. It's the single from his forthcoming album Yesterday You Said Tomorrow, and it's called "The Eraser":

"The Eraser," from Christian Scott, Yesterday You Said Tomorrow (Concord Jazz). Christian Scott, trumpet; Matthew Stevens, guitar; Milton Fletcher, piano; Kris Funn, bass; Jamire Williams, drums. Englewood Cliffs, N.J.: recorded April 22-25, 2009.

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You'll notice that "The Eraser" is a cover of Thom Yorke's song, heard on the Radiohead frontman's solo album of the same name. That makes it something of an outlier for Yesterday: it's the only song that isn't an original composition by Scott or one of his bandmates, it doesn't have Matt Stevens ripping post-Rosenwinkel madness on guitar and it's almost the only track that doesn't simultaneously express a political statement. If you like this, or are perhaps a bit baffled but want to like it, or dislike it intensely, or have any sort of reaction that inspires you toward further curiosity, you may want to investigate more of Yesterday when it comes out in two weeks. (You don't have to wait until tomorrow: you can pre-order via the links above.)

If you keep tabs on the jazz world of today, you'll know that Christian Scott has been acquiring buzz in the run-up to the North American release of his record. He's on the cover of the new DownBeat magazine, for one; his fans have been salivating over the forthcoming release of Yesterday, for another. (He's also a candid interview subject -- that's for another post, though.)

Our current NPR Music interns do not keep close tabs on the jazz of today. They are, however, twenty-somethings and fans of Thom Yorke, whether with or without Radiohead. They're also smart people and good listeners -- it's why we hired them, after all. So I asked them to listen to this song on CD. Here are their comments:

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Will Butler, our current All Songs Considered intern, says that Scott and the band got something right.

The music of the Radiohead/Yorke camp definitely lends itself to cross-genre interpretations, such as Brad Mehldau's "Paranoid Android" cover, or Christopher O'Reilly's more classically-oriented piano arrangements; so somehow Christian Scott's cover didn't surprise me. At the same time, I think they've definitely captured the Yorke-ish essence of the song, between a spot-on rhythm section and a muted trumpet that actually does quite well in mimicking the timbre of Yorke's voice.


One thing that bothered me slightly about the cover: on [the original], there is a high-frequency hiss that quietly accompanies the piano sample, almost like a buzzing snare drum -- on Scott's cover, the drummer imitates this sound, but with a loud, rattling cymbal or some similar effect. The point is that on the original song, I'd always thought of that sound as sort of incidental, like this cool epiphenomenon that was not the most important part. Though it obviously came to define the song in a big way, I couldn't agree fully with the way this cover recreated it, bringing it so blatantly to the forefront.

But Eamonn Featherston, a general purpose NPR Music intern, had a different reaction:

Eh, I've got mixed feelings about it. The drums are good, and add just enough variation while referencing the shuffling programming from the original. The crackling sound that's synched up with the piano chords is a nice touch as well. I really think the horn arrangement falls flat though --- bit of a problem for a trumpet player. The vocal part in the original rests on Yorke's weird inflections and pacing, and the particular ways he cuts certain syllables short. There's also that yearning quality to his voice that comes through really well when he goes for the higher notes, and in the backing falsetto vocals on the chorus --- those backing vocals in particular add a haunting element that's completely absent here. Without all of Yorke's idiosyncratic delivery, the melody really falls flat --- it just sounds boring and repetitive, and definitely doesn't hold up in this context.

Sarah Scanlon, who is our classical music specialist, also commented on the crackly percussion:

My first thought, being the analytical person I am, is, "cool, what are they doing to make that crackling, transparent sound?" After haphazardly convincing myself it must have something to do with wax paper and bb pellets, I could finally get down to listening for real. It was pleasant enough to listen to, though it sounded like it was edging towards smooth jazz, which isn't usually something I listen to unless I'm on hold with Verizon. Thom Yorke's melancholy sound has a place in my life on overcast, rainy days, but for the most part, I prefer my music to be a little more passionate and a little less withdrawn.

Sami Yenigun, our other general purpose NPR Music intern, had another point of reference:

"The Eraser" has already been reworked, successfully, as a hip-hop song, with an inspired verse from Lupe Fiasco of the Child Rebel Soldier supergroup. On Christian Scott's cover of the song, the rubbery bass kicks and electronic drum kits have been swapped out in favor of a more organic sounding drum kit, while a somewhat placid trumpet carries what would be Yorke's vocals. It makes for an interesting listen once or twice through, though if it were up to me, I'd take Lupe, Kanye, and Pharrell's take on it anyday.

Additionally, Mike Katzif, who occasionally posts here too (and was also, like fellow poster Lars Gotrich, a former All Songs Considered intern) had this to say:

Considering a majority of Thom Yorke's The Eraser was constructed from snippets of samples and cut up beats, this cover from Christian Scott does an admirable job of capturing that glitchy, odd-metered feel, especially in the piano and drums. That said, there isn't as much exploration or improvisation as I would have hoped from a song with such a beautifully open-ended modal chord progression. It's a solid, moody framework, but leaves a little to be desired to make it a truly successful jazz reworking.

In Pictures: Export NoLa @ Sullivan Hall

Dino Perrucci Photography


Christian Scott & Big Sam Williams - Sullivan Hall, NYC 1/8/10






Jon Batiste - Sullivan Hall, NYC 1/8/10




Matt Perrine - Sullivan Hall, NYC 1/8/10

Upcoming: Export NOLA "Experience New Orleans Music!" @ Sullivan Hall & Bitter End - This Friday

This Friday! January 8th Export NOLA: Experience New Orleans Music! 2 Venues 1 Ticket! $20adv - $25dos At The Bitter End & Sullivan Hall Funky Butt Revisited featuring Big Sam Williams, Christian Scott, Jon Batiste, Will Bernard, Doug Wimbish, & more Jason Marsalis' Vibes Quartet/ John Ellis & Double-Wide/ Christian Scott/ The John Batiste Band/ Paul Sanchez Duo feat. Matt Perine The Bitter End Lineup: The Iguanas/ Rosie Ledet & The Zydeco / Playboys/ Paul Sanchez/ Jamie McLean Band/ Mia Borders

NolaFunk Lagniappe

Buckwheat Zydeco: America's Party Band

Zydeco legend and pianist Stanley "Buckwheat" Dural Jr. and his group Buckwheat Zydeco represent one of the few zydeco bands to cross over into the world of mainstream music.

Dural played piano as a child, and was heavily influenced by the R&B that was popular in his youth. He frequently sneaked out at night to play shows in his native Louisiana. His father was an accordion player who performed zydeco, a genre blending Afro-Caribbean music with blues, rock and country. At his father's request, Dural went to a performance by the zydeco master Clifton Chenier, and was amazed by the sound Chenier created with an accordion. Inspired, Dural joined Chenier on tour and learned to play the accordion himself.

Q&A with Ron "Ronnie Numbers" Rona

The artisitc director of The Bingo! Parlour tent at Voodoo Fest discusses the growth and success of his venture.

Cyril Neville On Mountain Stage

The youngest of New Orleans' first family of funk, Neville spent many years performing with his brothers before collaborating with a variety of popular artists. He recently released Brand New Blues, his fourth solo album.

Christian Scott: Live Last Night

Christian Scott, the young but seasoned New Orleans trumpeter who performed at the Kennedy Center's KC Jazz Club on Saturday night, invites comparisons with Miles Davis, especially when playing a muted horn in a minor blues or modal setting. But no one ever accused Davis of being a chatterbox onstage. During his quintet's opening set, Scott quizzed the audience on the Constitution, recalled why he left Prince's employment -- too much posturing, it seems -- and told several amusing anecdotes about his bandmates only to dismiss some later as untrue.

Live review: Jazz at Lincoln Center Orchestra with Wynton Marsalis

If mainstream jazz has what could be considered an ambassador in 2009, it's Wynton Marsalis.

A member of jazz royalty practically from the moment he could hold a horn, Marsalis rolled into the sprawling Thousand Oaks Civic Arts Plaza on Saturday night with his Jazz at Lincoln Center Orchestra, a taut, 15-piece group he's directed since its inception in 1988. While this conjures images of the trumpeter leading from a conductor's podium, Marsalis instead led his charges through brightly swinging arrangements while seated among the orchestra. Positioned in the back near versatile drummer Ali Jackson, the trumpeter was an authoritative but democratic figure as his group flowed through tradition-rich jazz numbers like a wave.

Marcia Ball On Mountain Stage

A specialist in the jump blues, boogie-woogie and swamp funk of her native gulf region, the Louisiana-raised Marcia Ball makes her eighth visit to the program. She performs songs from her 2008 album, Peace, Love & BBQ.

Simply The Best: 50 Years of Irma Thomas

Last night, several thousand of Miss Irma Thomas's most devoted fans gathered in Lafayette Square for the second of 7 Thursday night concerts in September and October. The occasion is part of the on-going celebration this year of Irma's (unbelievable) 50 years as a professional singer. Despite the sultry heat and oppressive humidity and the threat of rain (when, oh when, will the weather break?? when will it be fall??), folks were glad to come out and show Irma some love.

John Boutte Appears on New Disc- Slide To Freedom II

The album Slide to Freedom II is being hailed as eclectic mix of blues, Indian music with a touch of bluesgrass. The two principal players are Doug Cox. He is a Canadian steeped in the various blues styles of the American South. He is deeply into playing the bottleneck blues on the Dobro. Salil Bhatt is from India and his family tree includes his father, Grammy Award Winner Vishwa Mohan Bhatt, who studied under the great Ravi Shankar

John Boutte adds his soulful voice to several of the songs. Of course, he needs know introduction here.

A Fall filled of festivals

“It had the feel of a family reunion,” Maria Mercedes enthusiastically says of last year's debut of the Gentilly Festival. The one-day event was founded to raise funds for and show appreciation to the local police and fire departments. “We had three generations of families out there,” continues Mercedes, who acts as the event's chairperson.

The fledgling festival boasted an impressive attendance of 8,000 people and both the public and the vendors urged the presenters to expand the neighborhood celebration from one to two days. The free 2009 edition will be held at Pontchartrain Park (corner of Press and Prentiss Drives) on Saturday, October 10 and Sunday, October 11 complete with two new venues, a Gospel Tent and a Kid's Stage along with the Main Stage.

Longtime music teacher, artist and trumpet player Clyde Kerr Jr. puts his life onto his first original CD

Earlier this year, at 66, Clyde Kerr Jr. released his first CD of original compositions.

"The opportunity was there, because the Jazz Foundation of America was helping New Orleans musicians after the storm, " he says.

"I'd tell my students, 'What's done is done. What will come will come. This is now, ' " he says. "That's really what my concept of jazz is."

His students are a who's who of New Orleans musicians: the Marsalis brothers, Nicholas Payton, Troy "Trombone" Shorty, Christian Scott.

Young Men Olympian 125th Anniversary Second Line Parade






Wandering tribes of New Orleans work to save Musicians' Clinic

As far New Orleans houses go, the façade of Dan “Noomoon” Sheridan’s is rather plain. His home, a red brick shotgun, is in the Marigny. His dogs play as Sheridan, 41, stands tall in the gated front yard, a stoic Mid-westerner in the Big Easy. You would never know it at first glance but Sheridan leads one of the most eclectic tribes in America: the Land of Nod Experiment.

Inside his home Sheridan explains that he is a musician, performer, event promoter and producer. Presently he is promoting Saturday's Land of Nod Experiment, from noon to 9 p.m. in the French Market’s Dutch Alley.

Upcoming: Soulive feat. John Scofield & Christian Scott, Ivan Neville & Dumpstaphunk @ Prospect Park tonight

Celebrate Brooklyn! Presents The Royal Family: Soulive’s 10th Anniversary Celebration
with Special Guests John Scofield and Christian Scott / Ivan Neville & Dumpstaphunk

Don't miss the ultimate outdoor summer NYC jam.

Friday, July 31, 7 p.m.

The exceptional jazz-funk trio Soulive celebrates ten years of “simmering instrumental funk” (Entertainment Weekly) by bringing out The Royal Family, a conglomeration of various side projects and special guests that will come together for the ultimate outdoor summer NYC jam.

The proceedings will begin with a performance by Ivan Neville’s Dumpstaphunk, which Offbeat describes as “musically hard-nosed and rooted in 1970s inner city funk.”

$3 suggested donation. At the Bandshell.

NolaFunk Lagniappe

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 6/11/09

Right 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 Podcast
Joe Krown is a New Orleans-based keyboard, piano, and organ master.

Russell Batiste Jr. Q&A Podcast

Russell 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 Podcast
Andre Bohren is the drummer for rock group Johnny Sketch and the Dirty Notes.



Christian Scott riding superlative horn wave

Like 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.

God's Got It
Wrapped Up And Tangled Up In Jesus

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.