A cornucopia of New Orleans-style music
17th October 2011 · 0 Comments
By Geraldine Wyckoff
Contributing Writer
For a band full of hometown guys, the Dirty Dozen Brass Band plays in New Orleans less often than one might anticipate. The reason is simple. The Dozen, which headlines this Wednesday, October 19, at the Harvest the Music concert at Lafayette Square, remains on the road close to 200 days of the year. The innovative band, which was formed way back in 1977 and transformed the brass band scene with its amalgamation of funk and modern jazz, only gigs here maybe eight to 10 times a year.
Dirty Dozen Brass Band
Gregory takes to recollecting about the group’s early days and its six-year stand at the Glass House. The Dozen’s Monday night gig at the small, Uptown bar that started in 1979, remains as one of the most notorious weekly engagements in New Orleans history. It is right up there with James Booker playing the Maple Leaf, Johnny Adams at Dorothy’s Medallion and Kermit Ruffins at Vaughn’s. “The dancers were right in your face,” he happily proclaims. “We don’t get that nowhere else but New Orleans.”
The solid double bill on Wednesday evening boasts pianist Jon Cleary’s Philthy Phew, a band he describes as a “changeable feast” as it can include several different musicians. Cleary explains that he came up with the name for the group while touring with the Dozen. “It tickled me to see it on a poster,” he says laughing. Get it? Dirty Dozen, Philthy Phew.
As always, proceeds from the sales of food and beverages at the Harvest the Music show benefit the very worthy Second Harvest Food Bank. The concert is free and begins at 5 p.m.
C.J. Chenier
Can’t Sit Down
(World Village)
C.J. Chenier puts his musical talents way upfront on this album on which he naturally plays a ton of accordion plus piano, organ and even flute. (A reminder that C.J. began blowing saxophone with his father, the late, great accordionist Clifton Chenier.) He opens the disc with the title cut, a straight-up zydeco instrumental written by his father and returns to the source for a rendition of Clifton’s classic “Hot Tamale Baby.”
The CD’s liner notes explain that in an effort to recreate a live, club date ambiance, the album was recorded during a single studio session with no overdubs. It successfully accomplishes this aim in its sound as well as through its variety of material. It offers old-school styles from Chenier’s pen as heard on “Ridin’ with Uncle Cleveland,” a fun tribute to the late rubboard dynamo Cleveland Chenier, and Boozoo Chavis’ legendary hit “Paper In My Shoe.”
A ballad is a must at any dancehall and Chenier chooses one that suits zydeco and his voice well, “Trouble In Mind.” The mournful sound of his big, keyboard-style accordion sets the tone of the familiar blues. Guitarist Timothy Betts tastefully takes on the first solo and then it’s time for Chenier’s warm, yet intricate, accordion to step in.
Chenier adds several other original tunes including the driving instrumental, “Red Shack Zydeco” and “Zydeco Boogie,” both recorded here for the first time. They are made to order for hitting the dance floor.
The album ends, perhaps unusually, with “We Gotta Have Peace,” a song written by master composer Curtis Mayfield. Its message is one of joy, an element at the heartbeat of zydeco music.
Like the Dirty Dozen, C.J. Chenier doesn’t play New Orleans very often as he and his band are constantly on the road. Can’t Sit Down brings Chenier on home by way of his sheer musicality.
Khris Royal & Dark Matter
Khris Royal & Dark Matter
Hypersoul Records
Saxophonist Khris Royal took a familiar route on his musical journey. The New Orleans native attended McDonough 15, studied at the New Orleans Center for the Creative Arts (NOCCA) and then headed to Boston to attend the Berklee School of Music. After time spent on the east coast, Royal, 24, returned to his hometown to immerse himself in the variety of music scenes available here. In other words, he was playing it all.
Leading his own group, Dark Matter, Royal delves into the instrumental jam band world of full-on funk and rock while allowing his jazz roots to shine through his horn. It’s time to get one’s dance on from start to finish with this album that’s packed with Royal’s original material. When the music gets blasting like on the opener, “Whyuwanna,” there’s often a reprieve supplied by Royal’s sax or the guitar of Danny Able. The smooth jazz mood of “Big Booty Express,” with guest saxophonist Donald Harrison, demands line dancing.
A fav on this disc is the punching “Chicken Dance” that definitely benefits from its sense of humor. The introduction’s melody is sure to remind folks of the catchy theme song from Redd Foxx’s television show “Sanford & Son,” which is enough to put a smile on one’s face. With its “chicken pecking” rhythm and the touch of Eddie Harris’ type soul in Royal’s horn plus the strong trombone work of guest Big Sam Williams, this song gets down on many funky levels.
While Royal is all over the album as a saxophonist and composer as well as contributing on Ewi, keyboards, vocorder, bass, key bass and drum sequence, the endeavor finds further strength in the ensemble playing. Dark Matter with Able, drummer Terence Houston, keyboardist Kyle Roussel and bassist DJ Raymond create a simpatico base that allows Royal to soar. Hey, maybe it’s time to listen to “Chicken Dance” again.
This article was originally published in the October 17, 2011 print edition of The Louisiana Weekly newspaper
