Lindsay Mendez
Reaching Out
Rabadash Records

Move over singing Disney diva teen queens and make room for native New Orleanian Lindsay Mendez, as this teen’s voice can run circles around lil’ Miss Hannah Montana. With rock, pop, and R & B influences, Mendez sings her heart out on her latest CD, Reaching Out, and dazzles from the first track “A Girl Can Get Hurt This Way,” a sweet tune about taking a chance on love. Lindsay Mendez’s Band, The Back Seat Drivers, brings some incredible key work, bass, drumming, and guitar skills to the table, with most members in their teens too. Mendez rocks it southern style on their first Rabadash recording, “Something Just Ain’t Right,” written by Annie Clements from Sugarland, who also lends her voice as background vocals. On “Reaching Out,” a very cheery pop inspired tune, Mendez shows off her clear vocal range by shining bright on every note, while she showcases her bluesy style and chops on “Blues Blvd.”  One of the tracks that immediately showcases Mendez’s vocal talents and her band is “It Hurt So Bad,” throwing it back to a 50s era. Mendez shows off a simple vocal ballad on “I Believe in You,” written by Rabadash Owner John Autin and Theresa Anderson. This powerful ballad is also featured in the upcoming new animated feature, The Majistical, soon to be released in theaters. Just as I chose Lindsay Mendez as a WYAT Ones To Watch this past spring, when I listen to her voice, I truly believe this teen has just started to show some of her many talents and will definitely be going big places in the future. Don’t be too surprised if the name Lindsay Mendez becomes a local household favorite.  I highly recommend catching this local gem in South Louisiana while you can and grabbing her fun rockin’ CD, Reaching Out. –Sheri McKee

Kermit Ruffins
Have A Crazy Cool Christmas
Basin Street Records

Kermit Ruffins dreams of “A Saints Christmas” and brings the holiday brass sounds in Treme to life on his latest Basin Street Records CD, Have A Crazy Cool Christmas. Ruffins incorporates his flavorful interpretations full of New Orleans brass into classics like “Silent Night,” “Santa Claus is Coming to Town,” “Silver Bells,” and even “O Christmas Tree.” Michaela Harrison sings a beautiful holiday duet with Ruffins on “Baby It’s Cold Outside,” while Ruffins’ version of “Let It Snow, Let It Snow, Let It Snow,” instantly pops visions of the French Quarter during last year’s surprise snow fall on December 11, 2008.  Ruffins’ band is full of holiday cheer with Neal Caine on the bass, Matt Lemmler on the piano, and Herlin Riley hitting the drums. He’s also in great company this holiday season with many local guests stopping by to perform on his CD including Troy “Trombone Shorty” Andrews, Irvin Mayfield, and members of the Rebirth Brass Band. Two original holiday tunes include a brassy title track of “Crazy Cool Christmas” and “What Will Santa Say When He Finds Everybody Swingin’,” a fun holiday party song. This album is a must for your holiday collection as Ruffins delivers a great performance throughout the entire collection of tracks. One thing missing, “Is Zat You Santa Claus,” which I would’ve loved to have heard with Ruffins’ signature vocals so similar to our beloved local, the late Louis Armstrong. Perhaps he’s saving that one for the holiday follow up album to come. –Kevin McKee
 
Various Artists
A Family Christmas
Putamayo World Music

The persistent quandary for those of us who consider ourselves holiday music enthusiasts: finding fresh, original takes on classic material, given the fact that the cavalcade of artists recording such material drastically outpaces the development of compelling original holiday tunes. With A Family Christmas, Putamayo World Music seems to have found a winning formula: simple instrumentation, a consistent tone of amusement, and distinctive vocalists (could you really call anything recorded by Leon Redbone generic?). With the exception of the Big Band tunes that appropriately call for large orchestration, these artists resist the temptation of overproduction, the downfall of so many collections of the holiday variety. The compilation pulls from the worlds of country, bluegrass, Celtic, and mainstream jazz/swing, prominently featuring a host of string instrument performances masterfully delivered. Sam Bush’s mandolin work in “Sleigh Ride” is as impressive as the instrument can sound, and Deana Carter keeps it in the family with father Fred Carter’s rousing guitar accompaniment. New Orleanian Debbie Davis takes the lead on the Hawaiian classic made famous by Bing Crosby and the Andrews Sisters, “Mele Kalikimaka,” while husband and master sousaphonist Matt Perrine holds rhythm and chimes in for a verse with the boys in the band. –Craig M. Cortello

Julia Lashae
Eadem Mutato Resurgo
Independent

First, an explanation on the rather arcane title which, loosely translated, means “Although changed, I shall arise the same.” According to the artist, “I thought it was symbolic of my life, the new sound on my CD, and the new life of the city.” On this, her second CD and first in about seven years, Lashae explores new heights in both selection of material and vocal range. In contrast to her first record, a compilation of standards from the Great American Songbook, this CD contains more recent material, fewer of the old standards and even an original composition (“Curly Brown Hair,” presumably a paean to main squeeze Rob Hebert). Songs of Joni Mitchell, Paul Simon, Tom Waits, and McCartney/Lennon nicely complement Irving Berlin’s “What’ll I Do” and Yip Harburg’s “Old Devil Moon” with a spritz of Kingston Trio (“Scotch and Soda”) blended into the mix. Plus two versions of Noel Gallagher’s “Wonderwall” (my vote is with the second, “funky mix” version). Lashae sports a jazzy vocal style reminiscent of Polish singer Basia; sweet and pretty, yet not syrupy. Although an alto, she effortlessly ventures into the mid-soprano range with a pleasing ornamental, coloratura lilt. When a challenge like “Both Sides Now” presents itself, Lashae does not back away from tackling those high notes and sustaining herself in the upper range for more than just a handful of bars. Backing her are a heavyweight cast of first-call musicians: Mike Esneault on keyboards, David Pulphus on bass, Troy Davis on drums, Rex Gregory on sax and flute, and Don Vappie and Jeff Ford on guitar on several tracks. A fine effort by a talented singer we’re pleased to welcome back from Austin.
–Dean M. Shapiro

Plunge
Dancing on Thin Ice
Immersion Records & Media

What do you get when you take three great and popular musicians and put them in a group together? The answer is simple; you get an unusual trio by the name of Plunge. Plunge consists of James Singleton on bass, Tim Green on saxophone, and Mark McGrain on trombone. Together they bring a musical blend of jazz mixed with a contemporary and euphoric sound. Beautifully put together, this group has released their second album, Dancing on Thin Ice, which comprises the three talents into one great unit. On the album you can find standout tracks like “Opium” and “Life of a Cipher,” but don’t limit yourself to those tracks alone; this entire album is good and fun to listen to. This cross-over jazz album is as pleasing to the ears as it is relaxing to the body. You will definitely be pleased when you pick up your copy of Dancing on Thin Ice. –Kimberly Tubré




Miss Sophie Lee
Tallulah Moon
Indie

This sultry vocalist has a sound that is as rich with culture as her fascinating family history. The Chicago native ventured to New Orleans in 2001 and discovered the famous Frenchmen Street, where she found a deeper love for good music. Tallulah Moon is not Miss Sophie Lee’s first album. In 2006, she released her self-titled album, collaborating with some of the city’s great musicians like The New Orleans Jazz Vipers and Bart Ramsey. Now in 2009, they have reunited to produce Tallulah Moon, an album for which the name says it all. This colorful album was named after Miss Lee’s mother and the Louisiana town in which her grandmother was raised. It features nine jazz standards and one original track, with all tracks stamped with Miss Sophie Lee’s unique voice and style. Tallulah Moon is a soothing album which has all of the classic elements of traditional jazz and blues mixed with a funky modern twist. Miss Sophie Lee is hosting two album release parties in November, one of which will be held at Louisiana Music factory on November 21. But if you can’t wait to hear her sultry relaxing jazz tunes, you can also purchase the CD at louisianamusicfactory.com.
–Kimberly Tubré

Chip Wilson
Constantinople
Independent

The music of luthier turned blues-guitarist Chip Wilson is appealing on many levels. First and foremost, there’s a sense that his understanding of the intricacies of the instrument allow Wilson to extract all of its exquisite aural beauty. Yet beyond the appreciaton of the clarity of his six-string, Constantinople showcases the singer-songwriter talents of the New Orleans music veteran. From the honest and pure “Down on Decatur,” to the Katrina-reflective “Half a Mile,” Wilson demonstrates the sensitivities of an artist steeped in and influenced by life and culture in New Orleans. The former tune also validates the ease with which Wilson crosses genres, with chord transitions more characteristic of the jazz artist. He borrows from tradition in three public domain tunes that display more of a roots music quality, including a stirring rendition of “Bully of the Town,” a Louisiana narrative set to steel string guitar. Chip Wilson once again demonstrates the complexity and reflection that fuel a level of versatility not often associated with solo performers. –Craig M. Cortello

Davy Mooney & John Pizzarelli
Last Train Home
Challenge Records

In 2005, New Orleanian and jazz guitarist Davy Mooney finished third in the prestigious Thelonious Monk International Jazz Guitar Competition. More importantly, the young prodigy’s talent caught the ear of one of the judges, veteran jazz guitarist and vocalist John Pizzarelli; so sufficiently dazzled that he offered to record an album of duets with Mooney. Last Train Home from Challenge Records is just that – exquisite, melodic content from two appreciators and practitioners of jazz guitar. Pizzarelli lending his considerable talent and reputation as a recording artist to this project certainly speaks volumes of Mooney’s level of accomplishment that surpasses his years. Perhaps more impressive is the seamless manner in which these players trade off “comping” rhythm and bass lines with their counterpart’s melodies and solos. The collection features 13 covers and two Mooney originals, “Angela’s Sad Song” and “Reckless Blues.” Mooney’s softly pleasing vocals are featured on the latter tune. A wonderfully varied assortment of songs stylistically speaking, showcasing jazz guitar stripped to its essence and blended by two exceptional masters of melody. –Craig M. Cortello

Flow Tribe
Sloppy Seconds EP
Independent

Local funk-reggae-rock quintet Flow Tribe invites listeners to put their good foot down on the dance floor, free their minds and enjoy sloppy seconds, thirds, fourths, etc., of the aptly titled follow-up to their debut album, Pregnant with a Baby Called Funk (2008). These guys are young, fresh talent with ears for genre transcendence and a great sense of humor – personalities which are strongly present in this record, from the silly Ital-glish breakdown in “Conquistadors” to the striking solos from impressive string and rhythm sections. Frontman K.C. O’Rorke wails on vocals and trumpet, and manages to convey the distinctive, constant high-energy he exudes in his live performances throughout the album as well. My favorite of the four tracks, “Free Yo Mind,” is a bouncy, optimistic anthem in the spirit of the city and features Clarence Slaughter on tenor sax, which makes for some great melodic lines tossed between the sax and trumpet throughout the tune. Bottom line: the album is great, but it just doesn’t quite compare to their explosive live shows. So if these fun, lively grooves tickle your eardrums, have your dance shoes ready and check them out at a venue near you. –Carolyn Heneghan

Various Artists
A Very Threadhead Christmas
Threadhead Records

Just in time for the holidays, Threadhead Records has released their first Christmas compilation, a 13-track album of locally flavored tunes in a variety of genres to spice up all of your holiday activities. In contrast to most other holiday albums out there, this record is more than just quality local artists covering the classics of Christmas yesteryear; rather, it is a set of new New Orleans seasonal classics, with the notable exception of Matt Perine’s minute-long all-brass interlude of “Carol of the Bells.” This album has it all, from classic roots-rock songs (Craig Klein’s “Christmas on My Mind”), to jazzy upbeat tunes (Shamarr Allen’s “Santa Passed My House Up” and Mary Lasseigne’s “All Jacked Up for the Holidays”), to soft, gentle ballads (John Boutte’s “Holding You This Christmas” and Susan Cowsill’s “The World at Christmastime”), to name a few. And only in New Orleans will you find Christmas carols detailing the antics of Santa getting into the spirit – and spirits – of the local holiday season, as in Glen David Andrew’s “Santa Got High For Christmas” and Alex McMurray’s “Santa, Let Me Call You a Cab.” This album is the perfect blend of two parts Christmas, three parts lagniappe, shake and serve for a very Threadhead Christmas for all.
–Carolyn Heneghan

MarchFourth Marching Band
Rise Up
Independent

MarchFourth (M4) Marching Band is not a typical marching band, a typical brass band, a typical big band, nor a typical funk/jazz fusion band, although it contains elements reminiscent of each. With a sound that is self-described as “mobile big band spectacular,” M4 uses more than a dozen brass instruments, another dozen or so percussionists, a smattering of vocalists, and a host of performers/dancers/stiltwalkers to create a dazzling performance of both sight and sound. The band was originally formed in 2003 when a handful of musicians and artists assembled for a Fat Tuesday Mardi Gras party in Portland, Oregon, performing cover tunes by several artists including the Rebirth Brass Band. A defining attribute that gives the band its atypical sound is the inclusion of electric bass with standard brass instruments; a quality that provides stylistic flexibility to dabble in and traverse all genres noted above. The collection leads with “Ninth Ward Calling,” an homage to the band’s New Orleans influence. A portion of the proceeds of the album will be donated to the non-profit Sweet Home New Orleans (SweetHomeNewOrleans.org). –Craig M. Cortello