Rebirth Brass Band
Rebirth of New Orleans
Basin Street Records
Rebirth Brass Band’s Rebirth of New Orleans is classic funk and captures the joie de vivre of the Maple Leaf music scene. The first track “Exactly Like You” starts slow, giving you enough time to get into a groove. A pleasant trombone and saxophone played atop an even more soothing tuba baseline appropriately compliement the lyrics “I hope and pray for someone exactly like you.”
Duality is evident throughout the album. This is mostly clearly seen in the competing tracks “Feeling Free” and “The Dilemma.” Devotees to the trumpet will love the brilliant playing on “The Dilemma.” The screaming trumpet harmonies and aggressive horn play exercised through the album the can give the electric guitar a run for its money. “Feeling Free” is a more subdued affair with a calming saxophone solo in protest of the aggressive trumpet fanfare of “The Dilemma.” The combination of hot-and-cold/sweet-and-sour radiating throughout the album make it clear-the Rebirth are masters of their domain. This is a triumphant album for a band that knows it has what it takes to bring it home.—Ron Harper
Truth Universal
The Resistance Vol. 2: Polygraph
Truth Universal Music
“I’m a vegetarian/but I’m about to go H.A.M. (‘hard as a motherfucker’ for those unfamiliar with the vernacular)” spits Truth Universal on the opening track to his latest EP, a sequel to last August’s mix tape, The Resistance. The verse is a perfect analogy for the composition of The Resistance Vol. 2: Polygraph—a set of smooth soul tracks pitted against an acerbic lyrical commentary attacking corporate and government corruption. In contradiction to the majority of commercial hip-hop, which unleashes seismic beats and mammoth production to deafen the tired theatre of thug posturing, superfluous purchases and exaggerated sexual conquests endlessly recounted in its rhymes, Truth’s chilled out backing melodies belie the prolific density of his poetic politicism; in fact, they effectively provide a pensive conductor for his verses, allowing listeners to slowly absorb his impact.
Target’s of his penetrating prose include BP (“Polygraph”), immigration reform (“Immigrant”), and the banking industry (“Paperchase”) among other villains spoiled by money and power. He eases up some on the album’s final track, “Exceptional,” expressing his feelings for a special woman.
Truth Universal varies his flow on each track, keeping things fresh and interesting, and locals will enjoy the New Orleans references. It’s sometimes hard to tell if Truth Universal is having fun (“the only time with me you’ll see bottles get popped/is when they’re filled with gas and got a rag at the top”). Chances are, with his molotov cocktail of compelling thoughts and take-no-prisoners delivery, his audience will have a blast. —Greg Roques
Poltern Kinder
Feral
Indie
Although the CD’s case claims “Poltern Kinder is and always will be a proud product of Louisiana,” Feral sounds more like the Los Angeles area rock. The opening song of the six-track album “10-4 and 32” sets the tone; rock guitars chugging through riffs, popping drums and crash beats, technical bass lines and clean vocals with just a few screamed notes for edginess. “Mother Virginia” has a great combination of heavy guitar and almost tribal-like drums. The vocalist Josh Atkinson flawlessly switches between soulful crooning and vicious growls before using a creepy vocals effect in the breakdown. “Brickface” is another exciting and dark song sure to capture your attention with a fast beat and hypnotic, shredding guitars. The album also has a few surprises like the 70’s funk breakdown in “Amoeba.” Feral is sure to be a hit with fans of pure modern rock with a lot of attitude.—Emily Hingle
Joe Krown, Russel Batiste Jr., & Walter “Wolfman” Washington
Triple Threat
Independent
The masters of R&B, Joe Krown, Russel Batiste Jr., and Walter “Wolfman” Washington up the ante with Triple Threat. The CD starts out with Washington singing it like only he can on “Only You,” and Krown plays it like he’s back in the church choir on “Down by the River” and “Ridin’ Thru the Mountains.” The soulful blues comes out on “Last Two Dollars,” a simple little ditty about gambling; and “For Your Love” turns out to be a captivating version of the Yardbirds original that will have you holding your sweetie in no time. The title track, “Triple Threat” is a smooth jam that will leave you wanting more. These guys definitely got their name right with their musical talent and superb arrangements—J.J.
Know One & DamNathan
Sound Track: The Ballad of Know One & DamNathan
Media Darling Records
Not many people are aware of the genre of progressive rap. Making their case for its recognition are local MC and producer duo Know One and DamNathan on their concept album of sorts, Sound Track: The Ballad of Know One and DamNathan. Know One brings fast raps and smooth vocals mingling deftly with DamNathan’s bag of genre-bending beats and tricks. “Home” is especially catchy. Atop a pop-like hook, Know One trades verses with Able Chris. The song has the groove of K.Gate’s “Black and Gold” with more name-dropping of New Orleans landmarks than a tourism brochure. Able Chris lends his talents again in “Suits and Ties” hijacking the track with fast rhymes and cleverly bashing the working world. Overall the album is a catchy yet complex advancement of the already quite diverse New Orleans rap scene.—April Siese
Crowbar
Sever the Wicked Hand
E1 Music
Crowbar’s album Sever the Wicked Hand is both classic sounding and very, very different than before. The sound is very heavy, slow, and painful. But there is also a tone of achievement. With frontman Kirk Windstein’s highly publicized new found sobriety, Crowbar’s new album is not just forlorn, it’s victorious. You can see that in songs like “Cleanse Me, Heal Me,” “A Farewell to Misery,” and “I Only Deal in Truth.” Kirk Windstein has done an amazing job playing the guitar, but his vocals really are superb. This line from “Isolation” chilled me to the bone and conjured up bad memories; “To trust in you was proof to me I was a fool.” Tommy Buckley’s punctuations have a bluesy timing, feeling around the music for a beat instead of strictly timing each shot like a metronome. It adds more soul to the music like in “Echo an Eternity.” Many of the songs just cut right through you to reveal your inner anguish.—Emily Hingle
Charlie Musselwhite
The Well
Alligator Records
Charlie Musselwhite‘s The Well marks his first recording in front of a full-band and shows the man is as much of leader as a soloist. Moreover, this album covers a shocking range of stylistic terrain. For instance, while the title track, a song about being inspired to rise above personal demons, is set to a rocking rhythm that would be perfectly at home in the jukejoints of Como, Mississippi, the second track, “Dig the Pain,” calls upon those Windy City jazz progressions and grounds them in the grit of the Mississippi dirt. Aside from Musselwhite, the perennial titan of the Telecaster, Dave Gonzales, demonstrates exactly why he’s been able to be around so long. First as frontman of the Paladins, then as a core member of the Hacienda Brothers and most recently with the Stone River Boys, Gonzales’ country-blues-rock licks flow seamlessly alongside Musselwhite’s harp to create textured soundscapes of love and pain. Gonzales’ incendiary riffs wash over the swinging instrumental, “Sonny Paine Special,” and the down-home “Clarksdale Getaway.” These tracks in particular show what this guitar-slinger is really made of. Additionally, Memphis-native Mavis Staples lends her golden vocal chords to “Sad and Beautiful World” to craft a song that captures the character of that city on the Mississippi. With The Well, Musselwhite shows that it is entirely possible to be both fresh and traditional and gives no sign that the road is slowing him down. If you missed the recent performance at the House of Blues in New Orleans with the Hot Tuna Blues Tour, be sure to catch him at Jazz Fest in May.—Garrett Pittman
101 Runners featuring Big Chief Monk Boudreaux
Mardi Gras Indian Funk!
Mardi Gras Records
This seven track CD recorded live at Tipitina’s, Superbowl Saturday, February 6, 2010, before the Saints received their first Lombardi trophy proves that the party wasn’t really in Miami, but here in N’Awlins. 101 Runners tears the house up with vocals any local will immediately recognize from Big Chief Monk Boudreaux. With tunes like “Injuns Here Dey Come” rocking into “Shotgun Joe” with electric guitars wailing rock infused riffs, the Runners bring the party. At times the music seems more rock than funk, but it’s infused with great grooves and rhythmic chants that will have you singing to the beat and slapping a tambourine. Mardi Gras Indian Funk really showcases the musical aspect evolving and branching off from the traditional Mardi Gras Indian chants. This music elevates the rooted tradition into another level bringing the festive soul to life saying “Let’s Go Get’Em.” If you’re a fan of the local Mardi Gras Indians admiring their beauty, skills, and history, then you’ll truly enjoy this album bringing those traditions into a new century of New Orleans history and preservation.
—Sheri Bleuler McKee
Treme Brass Band/Mardi Gras Indians
Treme Traditions
Mardi Gras Records
The New Orleans musical traditions come to life on Mardi Gras Records latest CD, Treme Traditions. From “The Treme Song” that will keep you buck jumping, to Mardi Gras favorites like “Second Line” and “Big Chief” the music the rhythm is pure New Orleans that livens the soul with heavy brass ornamentation. From the first notes of “When My Dreamboat Comes Home” you’ll feel transported back to the riverfront envisioning the Natchez docked waiting for passengers. The group also does an outstanding job on “Indian Red” and “Golden Crown,” making you feel like It’s Super Sunday all over again.
—Sheri Bleuler McKee
Ken Swartz and The Palace of Sin
When The Roots Hit The Fan
Indie
Ken Swartz and his band, The Palace of Sin, have put a collection of traditional blues songs together on their record When The Roots Hit The Fan. They cover such artists as Mississippi John Hurt, Sleepy John Estes, and even Bob Marley! My favorite track is the cover of the Van Morrison song “The Way Young Lovers Do”. On this one the band totally rocks the song out and Ken’s voice fits especially over the music, having a tinge of a young Morrison coming through the mic. Nervous Duane’s clarinet soloing on this song also works nicely. Upon first hearing the instrument I was ready to be displeased, but the lines sounded more like a sax solo and it ended up being a great layer of music for the song. The album is summed up with the one original track, “Goblin Gumbo.” All of the songs covered by the group are channeled into this song. The guitar lines have a great feel, bluesy riffs that cover a lot of the fret board in a cohesive and well-placed pattern. I definitely recommend this record to any fan of old time blues music.—Brian Serpas
Preservation Hall Jazz Band & Del McCoury Band
American Legacies
Preservation Hall Records
Preservation Hall Jazz Band and the Del McCoury Band have produced an instant classic with their collaborative effort American Legacies.
The bands paid attention to detail in the arrangement of their tracks. The first song, appropriately titled “The Band’s In Town,” is an upbeat introduction to the album, showcasing their individual instrumental talents as well as their strong, unique vocals.
As the album progresses the tracks vary in tempo, giving a healthy mix of fast-paced and smooth listening. Clarinet, banjo, violin and trumpet solos help every song flow.
Some songs to look out for are “A Good Gal [is hard to find],” “Banjo Frisco,” an instrumental track, “50/50 Chance,” and “The Sugar Blues.” At the risk of reaching, you’ll be upset when each song ends.
This band has successfully displayed knowledge and love for New Orleans jazz music while showcasing their one of a kind sound. Jazz lovers worldwide can appreciate the sounds of American Legacies.
—Carlyn Worthy
Various Artists
Jazz from the Lakefront: UNO Jazz Studies Program Student Sampler Volume II
Indie
Guitarist Steve Masakowski honed his craft and established his place in the New Orleans pantheon of music performing with a virtual “Who’s Who” of the jazz genre both internationally and locally. As a professor and Coca-Cola endowed chair in the University of New Orleans’ Jazz Studies Program, he can certainly beam with pride over the way this CD, which he executive produced, turned out. On this collection of 16 mostly original songs, largely composed by the student lead musicians themselves, nearly a full range of jazz sub-genres is covered: from the earliest traditional styles through the straight-ahead bebop era all the way to the present day.
These students obviously learned their respective crafts well, composing songs that can hold a candle to the best of them, in most cases. The musicians are far too many to name personally but certainly a few standouts deserve a shout-out, especially alto saxophonist Rex Gregory for his original opening track, “Natal Song,” bassists Tarik Hassan and Daniel Loomis for their original compositions “Ramallah – Movement III” and “Pisces” respectively, pianists Meghan Swartz and Austin Johnson for their originals “Let Go” and “Johnny Walker Blue,” and guitarist Cliff Hines for “Pastels.” Kudos also to the younger members of the Masakowski clan who perform with Dad on the track titled “Wetland,” daughter Sasha on vocals and son Martin on bass.
Sadly, however, the record that begins so well ends on a clunky note: an eight-minute free-form free-for-all titled “Jacksin” by keyboardist Will Thompson. Accompanied by such talents as Chris Alford on guitar, Tommy Sciple on bass and Simon Lott on drums, Thompson could have given himself and them something better than this.
Overall, a great effort for a great university-level jazz program.—Dean M. Shapiro
Coleman DeKay & Paul Sanchez
Nine Lives
Mystery Street Records
Paul Sanchez and Coleman DeKay have completed a new project that couldn’t be more exciting. Nine Lives is an adaptation of the New York Times best selling book by Author Dan Baum. The book is a story of New Orleans in the forty years between the two worst natural disasters our city has seen: Hurricane Betsy in 1965, and then Hurricane Katrina in 2005. DeKay and Sanchez have adapted the book into a musical story, having some of the best musicians our city has to help put it to song. You will here vocals from Irma Thomas, John Boutte, Luke Winslow King, and Shamarr Allen, among many others on the album. There are also spoken word segments from most of the musicians that perform, and you will even here the voice of New Orleans’ Mayor Mitch Landrieu. Bassist Matt Perrine did most of the arrangement for the record, and Sanchez himself over saw the project. For all of you reading out there, I shouldn’t have to come up with an emphatic ending to persuade you to purchase this record.—Brian Serpas
Mike Watt
Hyphenated Man
clenchedwrench
Taking a read through the track listing of Mike Watt’s fourth solo outing, Hyphenated Man, is a daunting task in and of itself. Thirty tracks, all falling in line with the same ‘hyphenated man’ theme of its title: “Belly-Stabbed-Man,” “Fryingpan-Man,” “Cherry-Head-Lover-Man,” and the ever-so-classy, “Man-Shitting-Man.” How nice. Turns out, though, that listening to all 30 tracks is just as daunting, and not nearly as entertaining. It should be noted that Hyphenated Man isn’t the two hour, double album epic as the sheer number of tracks would have you believe. Every song ranges between a minute/minute and a half—the album itself comes out to a tight 45 minutes. Listening to it still feels like an eternity though. The instrumentation falls very much in line with most all of the work Watt has done in the past, whether solo or with the legendary Minutemen: Watt on bass and vocals, plus guitar and drums, every tune sounding just like the one before. Even the structure of the album gets repetitive after about four songs: two or three quick blasts of fast, punky rhythms, followed by a slow, sparse, nearly spoken word track. And as for those lyrics? From “Baby-Cradling-Tree-Man:” ‘Leaves all gone peeled bark maybe just maybe tannis root?” Nearly indecipherable and completely impenetrable. There’s no denying Mike Watt’s influence on rock bass guitarists everywhere, but an album this insular and, well, boring, is one for the dedicated.
—Sean McNamara
