Thursday: Second Line for Uncle Lionel / Stooges Brass Band

Stooges Brass Band
(memorial second line for Uncle Lionel)

Parade sets start at 6:30 at Josie Roberston Plaza

NY AREA- THERE WILL BE A MEMORIAL PARADE/2ND LINE TO HONOR UNCLE LIONEL ON THURSDAY JULY 26TH AT 6:30- GATHER AT JOSIE ROBERTSON PLAZA AT LINCOLN CENTER. THE PARADE WILL BE LED BY THE RED BULL STREET KINGS OF NEW ORLEANS AKA THE STOOGES BRASS BAND. PLEASE COME OUT AND HONOR UNCLE, BRING WHITE HANDKERCHIEFS, 2ND LINE UMBRELLAS, LARGE PICTURES OF UNCLE IF YOU HAVE THEM, YOU ARE WELCOME TO ANY OF THE PICS ON MY PAGE- IF YOU KNEW UNCLE, I KNOW YOU WILL BE THERE, IF YOU DIDN'T, BUT WANT TO EXPERIENCE AN AUTHENTIC VERSION OF HOW NEW ORLEANS HONORS HER LOVED ONES, COME OUT. IF YOU HAVE VIDEO SKILLS, PLEASE HELP US DOCUMENT SO WE CAN SHOW THE FAMILY. PLEASE SHARE THIS WITH ALL YOUR FRIENDS AND LET'S SHOW UNCLE HOW MUCH WE LOVE HIM.  C'MON, ALL Y'ALL- BE IN DAT NUMBER- TO BE FOLLOWED BY A FREE SHOW ON THE PLAZA BY THE STOOGES.

Video: Second Line Finale

Brooklyn Bridge Second Line Parade brings 504 love to the Big Apple

Written by Greg Rhoades

Tomorrow, Saturday, April 3, director/photographer James Demaria brings a bit of New Orleans to New York City as he coordinates and films a non-permitted second line across the Brooklyn Bridge. To anyone’s knowledge, this has never been done.

DeMaria actually slightly fears imprisonment, confiding, “We’re doing this in true New Orleans fashion. No permits.”

Note, this isn’t DeMaria's first rodeo on the Brooklyn Bridge. You may remember that he photographed the wife of action star Vin Diesel, partially nude, draped across the walkway in several sensual poses. You may also recognize this New York City fashion photographer’s name, because he’s deeply involved in and very passionate about the New Orleans music scene, having resided in New Orleans prior to Hurricane Katrina.

DeMaria’s upcoming film "Treme Life," initially intended as a documentary following trumpeter Kermit Ruffins, further analyzes and exposes the unique cultural aspects of our city. Additionally, he was recently hired by Dr. John’s record label to document the recording of Mac’s latest album, and got some solid footage of the Night Tripper as Krewe du Vieux king.

Darryl Young, a/k/a DancingMan504, is his latest subject, and will be grand marshal of the NYC second line. Last month, Young spent time in Paris, France, with the Soul Rebels Brass Band, teaching teenagers the art of the second line and the history of our brass culture. If you’ve been to any frequency of live music in New Orleans, you know Young. Ever see the ridiculously muscular, shirtless, African-American guy just going absolutely insane towards the front of the stage? Sliding, buck jumping, stepping to the music, muscles flexing and sweat pouring, eyes closed as he truly becomes one with the performers. Yup, you know Darryl Young. He actually teaches dance locally, specializing in cultivating and propagating the art of the second line moves.

The Jambalaya Brass Band of NYC will provide the notes to spur Young’s steps. "They couldn't believe when I asked if they were down," said DeMaria. "I think they've been waiting their whole careers to see a second line in New York City."

DeMaria and Young have been networking through various forms of social media and the response has been overwhelming. Hundreds have responded to Saturday's event on Facebook alone to say they were coming. When asked about an announcement made over the air on WWOZ in New Orleans where people claimed to be flying up from the Big Easy to take part, DeMaria's only response was "Holy S**t! I love the OZ."

I’m advising all New Orleans ex-patriots, lovers of music, lovers of spontaneity, lovers of parades, to actually be a part of this exciting historical event. For those not familiar, the second line is a glorious “people parade” to be enjoyed by young and old alike, from all walks of life. It’s free, it’s fun, it’s carefree. Individuals become colorful attractions, supplementing spectacular floats with happy-go-lucky dancing.

Bring your canned beer, your parasol umbrella, your jazz cigarettes, and come ready to strut your way into Manhattan, New Orleans style.

The second line will start on the pedestrian walkway of the Brooklyn Bridge, on the Brooklyn side, on Saturday, April 3 at 10 a.m. sharp. There’s an after-party at Paddy Reilly’s (29th and 2nd) at noon, with an open jam and drink specials.

James Demaria’s work can be viewed at www.tremelife.com or www.jamesdemariaphotography.com.

NolaFunky Video Lagniappe

In Pictures: My Jazzfest 2009: Rebirth Brass Band & Revolution Social Aid & Pleasure Club on Royal Street

This kid is an AMAZING dancer...

NolaFunk Lagniappe

The first twenty years in retrospect

by Jay Mazza

Last year, the New Orleans Jazz and Heritage Festival presented by Shell generated an estimated $300 million in economic impact for the city of New Orleans and the surrounding metropolitan area. An estimated 400,000 people attended the event over seven days in 2009. It wasn't always so.

The festival did not even break even financially in the early days and anecdotal evidence suggests that there were more musicians than music lovers at the first event, held in Beauregard Square (now Congo Square), in 1970.

There were several aborted attempts to create a jazz festival in New Orleans in the late 1960s. The Newport Jazz Festival was the template, but there were also two other festivals of significance, one in Monterey, California in 1968 and the more famous event in Woodstock, New York in August of 1969, that helped define the concept of an outdoor music festival.

French Quarter Fest Recap: April 19, 2009

To finish the evening, I made my way back to the Louis-Louis pavilion to catch the full on brass fury of Bonerama. But to my surprise, Susan Cowsill had since enlisted the help of Bone’s Craig Klein and was busy throwing a party of her own. Before long Bonerama stepped to the sage, closing out FQF with a hard rocking, funky heavy set of balls out brass. Anchored by the trombone squalls of Mark Mullins, Craig Klein and Greg Hicks, the Bones have recently enlisted the services of organist Joe Ashlar to fill the void left in the wake of trombonist Steve Suter’s departure from the group. Though one trombone light, they still brought the heat, and with Ashlar’s churning keys stirring the mix, their jams flowed deep into the funky vortex as the sun set behind them. And that just about wraps it up for French Quarter Fest 2009 – Talkin’ bout New Orleans, ya head!

Scenes from the Ole & Nu Style Fellas Social & Pleasure Club Second Line Parade

A scientist friend of mine once told me about a study he came across on pedestrian power and who gives up the right of way on the sidewalk. He said in this study, no one moved out of the way of immigrants. Generally people moved over for little kids, black men, white men, disabled people. The one group EVERYBODY moved out of the way of...

Behrend rocks with the Hot 8

We started playing around the city like [marching bands]. We didn’t have cars. We weren’t big. After a while, some guys from another brass band and two of us got together and formed what became Hot 8.” The band remained relatively unknown until after the events following Hurricane Katrina.

The Gospel According to John Scofield

RR: There’s so many textures and colors on Piety Street: gospel, New Orleans jazz, blues, funk, sublayers of American jazz, classic rock ‘n’ roll, and I’d love to talk about the musicians that you gathered together for this project. There is strong chemistry with these collaborators starting right off with George Porter, Jr. on bass.

JS: Well, you know, when I decided to go to New Orleans, and wanted to record with New Orleans musicians, and have my music reflect the New Orleans tradition, he was the first person that I thought of for electric bass, for sure, because he’s made so many great records, been on the Meters side, and, also, all of the Allen Toussaint productions, and music that I was a fan of music coming out of that city. He’s legendary, and he sure does a great job. Man, he’s totally a great musician, covers his stuff, and brings his groove to it, and we just had a wonderful time playing together.

RR: Jon Cleary sure matches up quite well with your guitar playing.

JS: Oh, thanks. I’ve been a big fan of Cleary’s. I think I met him about 18 years ago. He blew me away then, and still does now. When I was thinking that we should do these gospel tunes, and really have vocals, I mean, I just love his vocal interpretations—the way he can phrase. He’s one of the great soul singers of our day, really. His piano playing is phenomenal. I knew he would be perfect for this. I was really lucky to get him. I feel like he’s the star of the album.

Isidore “Tuts” Washington

“Tuts” was another New Orleans Piano legend. Born January 24, 1907 in New Orleans he started to teach himself how to play piano at age 10 and then studied with New Orleans jazz pianist Joseph Louis “Red” Cayou. He played with many jazz and Dixieland groups through the 20s and 30s. Hos keyboard style blended elements of ragtime, jazz, blues and boogie-woogie.

After living and playing in Saint Louis for many years he returned to New Orleans and in his later years he became a staple at the lounge of the Pontchartrain Hotel on the corner of St. Charles and Jackson Avenues on the edge of the Garden District.

Glen David Andrews & Friends

Parking lot jam - Easter Sunday:

You walk around a corner and in a parking lot on a Sunday afternoon, you can stumble on more music than most cities produce in a year. Glen David Andrews hosts an open percussion jam session with friends.

NolaFunk Lagniappe

The Radiators - Recommendation of the month

A couple of weeks ago Dan Phillips recommended The Radiators to me. He runs the Home of the Groove blog, which is all about the New Orleans Groove. I had never heard of The Radiators, but I love New Orleans music like Dr. John and The Meters. So I was interested.

Then I got a message from Jay Rosenberg of Radz Records, who does publicity (among other things) for The Radiators, telling me I would probably like their latest release, "Wild & Free". Lucky me got sent a copy, and for sure: me like it lots!

Free Download to Honor Guitar Legend Snooks Eaglin: 1936-2009

"The first time I heard Snooks on record he astonished and thrilled me, and every time I saw him live I was moved and amazed by the depth and breadth of his taste, skill, and musical knowledge. He was called a "human jukebox," but he not only preserved a massive library of American music in his head and fingers, he transformed every note he touched. New Orleans and the world feel like a different place with him gone." - Elijah Wald, compiler/notes writer for New Orleans Street Singer

Singer and guitarist Snooks Eaglin passed away February 18th in New Orleans. His Smithsonian Folkways album New Orleans Street Singer was originally released in 1959 and reissued in 2005 with 7 previously unreleased tracks. Recorded by folklorist Harry Oster after he heard Eaglin performing in the French Quarter, New Orleans Street Singer was recently selected for the book 1,000 Recordings to Hear Before You Die.

Eaglin, also known as "the human jukebox" for his wide and varied repertoire including electric blues, rock, jazz, and country, lost his sight as a child before teaching himself to play guitar. He went on to play and record with many other New Orleans musicians, including Professor Longhair, the Wild Magnolias, and Alan Toussaint. In recent years he was a regular performer at the New Orleans Jazz & Heritage Festival.

VIP Ladies & Kids Social Aid and Pleasure Club Annual Second Line

"Everything's Out In The Open"
Sunday, March 1, 2009 12noon to 4pm

Alligator Prepares New Release From Eric Lindell

Alligator Records has set a March 24 street date for Gulf Coast Highway, the new CD from soul, rock and blues singer, songwriter and guitarist Eric Lindell. Only a few short years ago, Lindell was known only to a small but enthusiastic group of fans in his native Northern California and his adopted home town of New Orleans. Once he hit the national music scene with his 2006 Alligator Records debut Change in the Weather, critics and fans around the world celebrated the arrival of a roots rocker with dozens of unforgettable original songs. His combination of sweet, blue-eyed soul with groove-laden R&B, swamp pop, funk and blues won him critical and popular acclaim across the country.

Recorded at Balance Studio in Mandeville, Louisiana, Gulf Coast Highway features 12 original songs and three inspired covers. The CD finds Lindell reaching new performing and songwriting heights. His soul-drenched mix of roots-rock, sinewy blues, swampy R&B and a hint of honky-tonk soul permeates every song. With musical help from some of the Crescent City’s finest players, including the Galactic rhythm section of Robert Mercurio and Stanton Moore on some tracks, Lindell has created his most fully realized lyrical and musical statement yet.

Check out the brand new music video for the Rotary Downs song "Body of an Outlaw" from the album Chained the Chariot. Edited, written, and directed by Jonathan David Evans and starring Brooke Lamm as the Outlaw.

Rotary Downs tour dates available here.

Trombone Shorty documentary wins award

The Beverly Hills Shorts Fest has honored Eric Alan Donaldson and L. Lonnie Peralta with the award for Best Documentary for the film they co-directed, produced and edited, “Trombone Shorty.” A “Troy Andrews is blessed with the gift of musical ear play and performance,” says Donaldson, Troy Andrews says, “There’s only 5% of the world, or 10% at most of people that really get a chance to do what they really want to do, and I happen to be a part of that. That’s the ultimate blessing right there.”

NolaCast: Episode #1- New Orleans Hip Hop

This is the debut of NOLAcast. It’s more of a test than a full podcast but features a couple of great Hip Hop songs from New Orleans own Slang Angus and E.O.E. (aka Atman Roots).

Irma Thomas, "Simply Grand" (2008)

Irma Thomas, whose Louisiana legend of a voice has darkened into a more expressive place, is taking a similar career tack. The new "Simply Grand," in fact, finds Thomas moving deeper into the emotional underpinnings of her best work at a time when safer environs would probably be more profitable.

Irvin Mayfield's Jazz Playhouse to open in Royal Sonesta

Irvin Mayfield's Jazz Playhouse at the Royal Sonesta Hotel on Bourbon Street officially opens Saturday, March 21, with its namesake trumpeter leading an all-star band. The club, in the former home of the Mystick, will initially present entertainment Thursday through Saturday, with plans to expand to four and, eventually, seven nights.

Lil Wayne, Allen Toussaint & Dirty Dozen Brass Band to perform together @ Grammy Awards

(c/o Times Pic)

During this Sunday's Grammy telecast, Lil Wayne is slated to perform his Hurricane Katrina-themed "Tie My Hands" during a New Orleans segment also featuring Allen Toussaint and the Dirty Dozen Brass Band.

The seemingly incongruous mash-up of styles is the result of Grammy producer Ken Ehrlich's desire to keep New Orleans in a national spotlight. Since Hurricane Katrina, Ehrlich has built New Orleans moments into Grammy telecasts.

He often turns to his longtime buddy, New Orleans Jazz and Heritage Festival co-producer Quint Davis, to help put it together.

"Ken Ehrlich is one of the city's true friends," Davis said Thursday from Grammy rehearsals in Los Angeles. "This started where Ken called me and said, 'I have this idea to get Allen with Wayne, what do you think?' That started percolating, then we got the Dozen out here."

According to the script, Wayne will kick off the segment rapping "Tie My Hands," which includes such lyrics as, "My whole city under water, some people still floatin'/and they wonder why black people still voting."

He'll hand off to Toussaint, the Rock 'n Roll Hall of Fame producer, songwriter and pianist, who will play "Big Chief." The Dirty Dozen will join in and segue into "Feet Don't Fail Me Now" as they parade into the audience and Wayne raps about second-lines.

That the artist with the most Grammy nominations this year happened to be a New Orleans rapper likely made a Katrina segment all the more palatable. "And you've got to give Wayne credit," Davis said. "Wayne had to agree."