Tomorrow: Ivan Neville's Dumpstaphunk @ Madison Square Park (FREE)

MAD. SQ. MUSIC: IVAN NEVILLE'S DUMPSTAPHUNK Our last Mad. Sq. Music: Oval Lawn Series show of the summer features Ivan Neville’sDumpstaphunk! This monster of a New Orleans funk band has Ivan Neville on vocals, B3 and Clav, Tony Hall and Nick Daniels III both bringing the bass attack, Ian Neville on guitar, and Nikki Glaspie on drums. This group’s blend of bass-heavy classic funk, R&B, gospel, and rock carry on the tradition of American funk, and will have Madison Square Park jumping. Their summer 2013 release, Dirty Word, stays true to vintage funk roots, but brings them into 2013. They are as hard-hitting as ever so don’t miss our final performance of the summer season! The concert kicks off tomorrow,Wednesday, August 7 at 7pm, so hope to see you all there!

Upcoming: Ivan Neville's Dumpstaphunk @ Brooklyn Bowl

Dumpstaphunk

The London Souls

Sat, March 23, 2013

 Brooklyn Bowl

 

Nearly a decade evolved from their debut at 2003's New Orleans Jazz & Heritage Festival, Dumpstaphunk offers fans an unforgettable live experience steeped in the "Big Easy" tradition of a good time. The all-star collective features Ivan Neville on keys, the unique double-bass attack of veterans Tony Hall and Nick Daniels, Ian Neville on guitar, and the monster addition of Nikki Glaspie on drums.

From annual performances at New Orleans' Jazz Fest -- "The colossal low end and filthy grooves they threw down from the Gentilly Stage must have set a Jazz Fest record for the baddest bass jams ever." (Bass Player, 2012) -- to an aggressive touring schedule with noteworthy appearances at Bonnaroo, Wakarusa, Hangout, All Good, High Sierra, VoodooExperience, Bear Creek, Gathering of the Vibes, Wanee and Jam Cruise to name a few, Dumpstaphunk continue to redefine their genre with a signature groove that dares listeners not to move.

New music from Dumpstaphunk's forthcoming studio album Dirty Word (due May 2013) reflects the opinionated, vintage funk of their forefathers in The Meters, Sly & the Family Stone and Parliament/Funkadelic, with a modern edge, coupled with additional forays into New Orleans traditional, gospel, blues, and straight-up Rock n’ Roll! Dirty Word also boasts multiple guest appearances by Dumpsta's friends and family including Troy "Trombone Shorty" Andrews, The Rebirth Brass Band, Art Neville, Ani Di Franco, Skerik, and Flea of the Red Hot Chili Peppers.

Ivan reflects, “We always keep the spontaneity going, that’s something I love about this band. We can funk it out with the best of them, but we also like to showcase how all sorts of music can come together and push the boundaries of what funk music is.”

“We just hope to spread the good word through funk," said drummer Glaspie. "If we can create an escape, give people a reason to get down and forget their problems, then we're doing what we set out to."

For tour dates and an exclusive first listen of Dirty Word, visit www.dumpstaphunk.com.


“I have a new favorite New Orleans funk band: Ivan Neville’s Dumpstaphunk." -- New York Times

"One of the hippest funk bands in the land.” -- Guitar Player
"Dumpstaphunk remains synonymous with New Orleans and anyone from NOLA would be proud to call this their official band.” -- JamBase

"Ivan's so good, I play with him." -- Keith Richards, The Rolling Stones

The London Souls

Praised by former Idolator editor-in-chief Maura Johnston as “amazingly tight… swampy rock music that should make any lazy rock radio programmer rethink the word ‘grunge’” and credited as “an absolute must-see” by The Tripwire, The London Souls’ unique reinterpretation of classic hard-hitting rock and roll formulae recalls elements of the past with an ever-present boundless energy, fit to cement their place in the future.

Tash and Chris have been nothing short of a best-kept-secret among New York City concertgoers since the band’s formation in 2008, building a fervent and dynamic fan base leveraged by their ever-substantiated reputation for consistently well-rehearsed and impassioned, explosive live performances. The band’s celebrated sound and spirit draws significant influence from the driving force of British rock pioneers Cream and Led Zeppelin, to billowing and bouncing funk and soul, to the layered harmonies and memorable hooks of The Beatles and The Hollies, to the contemporary psychedelia of My Morning Jacket among many more.

In Pictures: funky Meters & Dumpstaphunk NYE @ Capitol Theatre

New Year’s Eve with The funky Meters and Dumpstaphunk

The funky Meters and Dumpstaphunk joined forces on New Year’s Eve, bringing their signature New Orleans sounds to the Capitol Theatre in Port Chester. Here are photos from the night, courtesy of Marc Millman. 

Tonight: Ivan Neville's Dumpstaphunk @ Sullivan Hall

Mardi Gras | 2.12-2.16 | New Orleans

c/o Jambase

By: B. Getz

Mardi Gras :: 02.12-02.16 | :: New Orleans, LA

Trombone Shorty :: Mardi Gras By Dino Perrucci

Descending on New Orleans five days after the Saints' enormous Super Bowl victory, we encountered a city boiling with elation. Despite the frigid temperatures, this city was as hot as ever, with deafening chants of "Who Dat?" reverberating night and day, bouncing off walls of venues, up and down parade routes, at dinner tables and tailgates. I have literally never seen a city so jacked up, and it was as infectious as 'twas intoxicating.

By day we walked various parade routes, first the Krewe of Morpheus and Krewe of Muses, enjoying the Cameltoe Steppers and Miss Karina's Bearded Oysters, amongst others. For most parades we rolled uptown to watch on St. Charles and Napoleon Streets, though Saturday we started in Lakeview, rolling with Krewe of Endymion and feting Saints owner/Grand Marshall Tom Benson and Head Coach Sean Payton like Crescent monarchs, with Trombone Shorty the Grand Marshall's personal guest.

Carnival is truly a cultural and family event. Generations of kin and friends of all races come together and celebrate in magnificent unity; the likes of which I have never seen before. The only moment I ever feared for my own safety was during the Krewe of Bacchus' parade when Drew Brees, Saints quarterback, Super Bowl MVP, and 2010's King Bacchus, turned the corner of St. Charles on a parade float. It was as if Touchdown Jesus had arrived, setting off complete pandemonium.

"WHO DAT! New Orleans is rolling! The City is alive!" cried Brandon Tarricone of Brotherhood of Groove.

As we thawed from the Morpheus/Muses parades Friday night, we strolled to Tipitina's Uptown for the first of four visits to the hallowed room. Thriving in this celebratory atmosphere, George Porter Jr., Leo Nocentelli, Ivan Neville and Raymond Weber (Dumpstaphunk) took the stage to cheers. Henry Butler was then led stage right to a thunderous ovation as the band took their spots, with Butler seated at a keyboard facing Ivan, who was buried beneath an array of keys. They immediately congratulated the Super Bowl Champions to more screaming decibels. Ivan and Leo repeated the salutations throughout the show, a harbinger of "Who Dats?" to come.

Henry Butler :: Mardi Gras/Tip's By Dino Perrucci

Weber and Porter's instant lockstep unveiled opener "Everything is Everything," a crawfish jamboree of distinct NOLA styles, their collaborative spirit evidenced immediately. "Everything" had everything, passing around the jam, with driving Weber funk and George laying down his patented, joyful, nasty bass runs. This song encapsulated their entire performance - equal parts jubilant NOLA sing-along and vicious, loose, powerful funk - serving songs that resonated with joy, pain and the road to redemption. "Cabbage Alley" was a joyful romp through the Professor Longhair classic, with Fess grinning "Hey Now Baby" from the top of the house he built.

Henry Butler asked if he could take us to church, and that he did, with glorious bright piano and charming verve. Butler was distinguished royalty, and that's amongst Porter, Leo, and Ivan, all stalwarts in their own right. The blind man stoked several raging Nocentelli screaming solos drenched in tubed-out distortion and Gibsonics. Porter and Weber responded with tight riddims and big wrap around fills swollen with laughter.

Ivan Neville's charged "Fortunate Son" oozed Bayou and sparked some fantastic interplay between Ivan and Porter, plus more ragin' Leo licks. This exhilaration was a theme for two full sets of huge smiles, jams and Crescent City spirit. "Talkin' 'Bout New Orleans" was just that - the pulse of a city ablaze. It's Carnival Time!

For three consecutive nights we stumbled out of Tip's and made our way down to the Blue Nile for the Backbeat Foundation's 4th Annual Mardi Gras Funkstravaganza, a series of Royal Family hosted hoedowns lasting well into the wee hours, in true Quarter style. New York and NOLA are sister cities, and the likes of Adam Deitch, Eric Krasno and Nigel Hall would make their presence known at this Lombardi Gras, and of course, be joined by their NOLA forefathers all weekend long.

Khris Royal, Kraz, Deitch, Hall :: Royal Family By Amanda Barry

Friday late night, Dr. Claw featured a malevolent conglomerate of Deitch, Kraz, Nigel, and locals Ian Neville on guitar and the inimitable Nick Daniels on bass and vocals. "God Made Me Funky" was an aggressive jolt of stutter-step bounce and friendly one-upmanship. A reading of R&B staple "Leave Me Alone" displayed soothing vocals from Hall and Daniels, while Kraz wailed away on a gold guitar emblazoned with the Saints' fleur de lis. A Daniels propelled cover of Stevie Wonder's "Higher Ground" was a bludgeoning stomp of lead-bass, wailing Kraz, and sordid drumming; this colossal rendition most displayed the group's shared kinetic energy. Ivan Neville hustled down from Tip's to join the aural fracas, with Raymond Weber and Papa Mali checking it out from the crowd.

On Saturday, the Nigel Hall Band (featuring George Porter Jr.) was geared to a more R&B feel. Krasno played bass before George's arrival as Hall crooned with joie de vivre. A deep Rhodes take on James Taylor's "You've Got a Friend" punctuated the early part of the set until Deitch commandeered the ship, directing Porter into murderous funk grooves. This was "Meters take Manhattan" on some crunk shit. Sheer delight shone on the faces of the elder statesman and boy wonder, as they played puppet-master to one another's nastiness amidst carnival sights and sounds.

Porter & Krasno by Dino Perrucci

In true "only in New Orleans" fashion, long after the band had left the stage there were still 25 or so fans hanging around the Nile. As Jill Scott's "Is it the Way" pumped through the PA, one by one the musicians returned to the stage, first Hall on bass with Krasno soon taking it from him. Hall shifted to keys as Deitch got behind the kit, and they moved from playing along to the record to some live improv. An elongated vamp morphed to a full-band version of Herbie Hancock's "Watermelon Man," a boundless crunk-a-thon with seven different musicians rotating around the stage, including sax and keys maven Khris Royal, guitarist Andrew Block and local sax man Clarence "Trixzey" Slaughter. The half-hour workout was NOLA indulgence, almost a private show for the Royal Family Frenchman Street faithful.

Sunday evening at the Nile was billed as Eric Krasno & Chapter 2, the Soulive guitarist's red-hot side project; which this time featured Porter in the mix. Several cuts from Kraz's forthcoming solo album - "76," "Be Alright" and "Too Sweet" - joined stormy covers including a rare-groove styled rendition of The Beatles' "Get Back" and an aggressive take on Jimi's "Manic Depression."

Kermit Ruffins & the Barbecue Swingers may have opened the 4th Annual Bacchus Blowout, but this was no warm-up act. Fellow Treme second-line prodigal son Ruffins absolutely owned this packed-to-the-gills room from jump. "How 'bout them New Or-lee-anz Saints!!" he greeted the roaring post-parade massive and led everyone into a jubilant "All Mardi Gras Day." The audience upped the ante, as the obligatory "Saints Come Marching In" gave way to a bedlam-inducing take on the omnipresent Saints anthem by local rapper K. Gates, "Black N Gold New Orleans," which was the theme song to the entire city - you couldn't go three blocks without hearing a brass band, car stereo or house party system blaring it. When Kermit and Co. dropped it, the frontman's lazy, gruff Treme drawl steeped in bliss, Tip's fucking exploded.

Kermit Ruffins :: Bacchus Blowout By Dino Perrucci

Ever the showman, after a few healthy pulls from a Bud Light and some humorous banter, Ruffins quickly reminded us that it was Valentine's Day as he delivered maybe The evening's finest performance, a surreal take on the Isley Brothers' "Between the Sheets." The swanky love-fest gave way to an appearance by Corey "Boe Money" Henry, a run through The Roots' "U Got Me," Frankie Beverly and MAZE's "Joy and Pain" and more NOLA-fried second-line flavor.

After a lengthy changeover, the legendary Rebirth Brass Band delivered an enjoyable set of Crescent City ecstasy; cramped audience skanking and brass n' drums thumping along. "Boe Money," Derek Shezbie (trumpet) and Vincent Broussard (sax) led the troupe through an hour of bulbous brass anthems.

However, when headliner Trombone Shorty & Orleans Avenue took the stage just after 1 a.m., the energy levels in the room rose to even more raucous levels. Troy Andrews' meteoric rise from child trombone prodigy and member of Rebirth to feted second-liner and member of Lenny Kravitz's touring band to leading his own band is a true American dream. Hailing from the Treme, he has a long awaited album dropping soon and a reputation for superior showmanship. Leading a crack-band of childhood friends, including "Freaky" Pete Murano on guitar and Joey "In and Out" Peebles on drums, Shorty displayed a pomp 'n' verve that kept the room at full attention.

Andrews gave Kravitz a "le bon temps" lesson in crunkadelic rock with his reworking of The Guess Who's "American Woman," a pulsating banger with crunchy guitars and clobbering funk percussion. "Get Down" and "Orleans & Claiborne" were enigmatic doses of ridiculous second-line melodies and festive beats. "St. James Orleans Avenue" really took it to the Treme, and the new vibes took the crowd to "Backatown." He led the boys through a medley that mixed hometown rapper Mystikal, the Black Eyed Peas, Sly Stone and the Violent Femmes. Crooning for the ladies, Shorty channeled Al Green and Marvin Gaye, and blew surreal trumpet runs between patented trombone romps that mesmerized the cuties.

Robert Mercurio - Galactic Lundi Gras at Tip's by Bob Compton/CapturedLight.com

Galactic hosted two shows at Tipitina's Uptown, the first on Saturday and then Monday night's traditional Lundi Gras sunrise throw-down, each with Karl Denson's Tiny Universe supporting.

The first show saw a short set of primarily new material from KDTU, highlighted by an incredible collaboration ("Baker's Dozen") between Denson, KDTU guitarist (and birthday boy) Brian Jordan and Galactic. The headliners threw down a show heavy on material from their newest record, Ya-Ka-May (JamBase review).

The annual Lundi Gras show was one to remember. Beginning with a fierce 90-minute set of firing KDTU, Diesel & Co. delivered the seminal "Ruff, Tuff and Tumble" and sultry "The Answer," then closed with an ethereal version of "S&G," a funk barnstormer that segued into evocative R&B. Galactic then hijacked their stage back and proceeded to uncork a colossal, three-set performance that went until 7 a.m. Culling from their now-vast catalogue of genre-bending compositions, the funk got deep and dark as the crowd bathed in their patented crunk gumbo, with "Boe Money" ably assisting throughout. Mixing in covers from Rakim to Zeppelin and featuring cameos from John Gros, Denson, Trixzey Slaughter, Cyril Neville and more, this was a gluttonously N'awlinz rager. Stanton Moore's punishing drums stoked the patented swamp-funk rumble, and bassist Robert Mercurio, guitarist Jeff Raines and sax/harp man Ben Ellman channeled the "Who dat?" mayhem into feverish pitches. Staggering out of Tip's alongside the band, crew, staff and revelers bound for the 8 a.m. Zulu parade was a surreal experience, even for the Crescent City.

Mardi Gras Indian Chiefs by Jessica Dore

The musical portion of the Mardi Gras program is often overlooked by outsiders who see Carnival as a season of consumer excess with heaps of plastic beads, rivers of "Big Ass Beers" and boobs running the sleazy course of Bourbon Street. Beyond the celestial floats, bejeweled krewe members and mansion-lined avenues, a simpler Carnival culture flourishes in New Orleans' neighborhoods. Seeking some truer roots and humbler hometown carnival essence, we looked for those marching betwixt the pricey floats and royalty costumes, i.e. the public school marching bands that rounded the corner of St. Charles and Josephine with the Zulu Parade on Tuesday morning. New Orleans' uniformed youths marched beautifully through the route and it was clear this is ground zero, the place where the seeds of Jazz Fest, Jam Cruise and summer festivals are sewn. This is the path that the likes of Big Sam, Trombone Shorty and all the Rebirth Brass Band took during their school years in this city.

The spirit of New Orleans' carnival music is caught not with a $30 ticket to Tip's or Howlin' Wolf, but for free out in front Handa Wanda's bar room at 2nd and Dryades Streets on Mardi Gras Day. Tucked within Central City, this is the Mardi Gras of legends like Professor Longhair, James Booker and the Nevilles.

Post-Zulu, around 1 p.m., we went to check and pay respect to the Mardi Gras Indian Chiefs, strutting in their suits to drum circle beats with family, friends and plates of barbeque. This year, as they do each year, the Indians donned the fruits of each year's labor: Hand sewn suits and headdresses, some weighing more than fifty pounds with feathers, fabrics and intricate beadwork illustrations. There, in a crowd of mostly city locals, we enjoyed the peak of the day - some no-frills booty shaking among neighborhood royalty.

Additional reporting by Jessica Dore

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...

In Pictures: Dumpstaphunk @ Prospect Park Bandshell

photos by Dino Perrucci & Allison Murphy

In Pictures: Dumpstaphunk @ Highline Ballroom

By Dino Perrucci Photography

Dumpstaphunk w/Warren Haynes - Highline Ballroom, NYC 3/20/09

Dumpstaphunk w/Warren Haynes - Highline Ballroom, NYC 3/20/09




Ivan Neville, Warren Haynes & Some Photographer - Highline Ballroom, NYC 3/20/09

Upcoming: Post Allmans: Ivan Neville's Dumpstaphunk & Guests @ Highline Ballroom

March 20,2009 Concert starts @ 12:00AM,Midnight Doors open @ 11:30 PM Tickets $15.00 in advance $17.00 day of show. Buy Tickets Online [more] Formed in 2003, Ivan Neville’s Dumpstaphunk was initially put together by keyboardist Ivan Neville on a whim in order to perform a solo gig at the New Orleans Jazz and Heritage Festival. Ivan called in cousin Ian Neville (guitar), the double-bass bottom of both Nick Daniels and Tony Hall, and drummer Raymond Webber to round out the show. Named after a song Ivan had recently written, Dumpstaphunk’s informal performance became that of immediate legend. The project has since grown from chance side-project into what is now widely considered to be New Orleans’ most popular musical export. The band was recently voted 2007’s “New Orleans Best Funk Band” by both Offbeat Magazine and Gambit Weekly, and performs at some of the nation’s largest music festivals such as Bonnaroo, Voodoo Fest, 10,000 Lakes, and High Sierra. Founders Ivan Neville and Ian Neville (sons of both Aaron Neville and Art Neville respectively), along with Nick Daniels, Tony Hall, and Raymond Webber, were brought up in an atmosphere of sounds that have arguably become the most defining in all of New Orleans music. But don’t let the pedigree of lineage from the Meters and Neville Brothers fool you either. Ivan Neville’s Dumpstaphunk now stands on its own as the legitimate torchbearer of all things funky both in New Orleans and beyond with the release of their debut EP, Listen Hear. Listen Hear provides at long-last the aural, syncopated nastiness listeners have been denied outside of a Dumpstaphunk live performance. Saxophonic magician, Skerik, also guests on the EP. Ivan Neville’s Dumpstaphunk is not re-writing the book so much as adding a much needed new testament. While fortunate enough to stand upon the shoulders of giants, make no mistake – Listen Hear is not an attempt at world music or feel-good vibrations, like that of some of their counterparts, but rather straight-ahead inner city funk for the masses. Tracks like “Living in a World Gone Mad” and “Turn This Thing Around” describe the troubling times we live in, while songs like “Meanwhile” and “Shake” suggest accepting such times in order to enjoy life. This release not only marks the band’s official musical debut, but also serves as a group’s formal transformation from popular side-project to full-time occupation. For some that might seem trivial but with Dumpstaphunk’s collective resume it speaks volumes. The members of Dumpstaphunk have recorded and performed with a veritable who’s-who of popular music over the years including the Rolling Stones, Dave Mathews, Bonnie Raitt, John Mayer, Trey Anastasio, Emmylou Harris and, yes, even the Neville Brothers. And while the members of Ivan Neville’s Dumpstaphunk will surely continue to get the calls to do such collaborations, it will become increasingly difficult to find the time as the band forges ahead creating a new identity and standard for New Orleans music. Dumpstaphunk homepage Dumpstaphunk myspace page Ivan Neville homepage