With Mr. Okra’s death, an end of an era

In Uptown New Orleans where I grew up, the horse-drawn Roman Candy Wagon rolling by was a big occasion.  But that was 50 years ago and rolling street vendors, a long tradition in New Orleans, are pretty much gone.  Before reading the rest of this story, click the arrow below and get Louis Jordan and rest of my show going.

 

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Mr. Okra, aka Arthur J. Robinson, died this month.

My family used to frequent a vegetable vendor who would set up near McMann School at the corner of Claiborne and Nashville.  But apparently over the years, the tradition had died out until all that was left was Mr. Okra. And now he is gone.  Here’s an excerpt from an article by Ann Maloney for the New Orleans Times-Picayune:

Family, friends and customers filed through the Marigny Opera House on Ferdinand Street on Sunday (Feb. 25) afternoon to say good-bye to beloved street peddler Arthur J. “Mr. Okra” Robinson, who was laid out dressed just as they might remember him, with his suspenders and, in his hands, a straw hat topped with plastic fruit. His truck keys were looped around his little finger. . .

. . .Arthur Robinson was often called the last of the New Orleans Street vendors because he upheld a tradition of shouting out his wares with “I’ve got apples. I’ve got mangos…,” as he drove through the city streets. It was a tradition that was popular into the mid-1900s in New Orleans. By 2005, Robinson said of himself: “I’m about the only one that really goes around anymore. Most all the old peddlers are dead now, just about.”

It wasn’t just vegetables and fruit.  Louis Armstrong got his start as a musician working with an owner of junk wagon. At age 7, he would blow a tin horn to attract attention as the wagon rolled through the streets of New Orleans.

And apparently the Roman Candy Wagon is still operating (though these days most folks see it on display at the New Orleans Jazz Fest.)

In this week’s show, I include a short interview with Craig Klein, a founding member of Bonerama ,who co-wrote a song dedicated to Mr. Okra.  You’ll hear that song about 15 minutes into the show.  I also feature Louie Ludwig’s wonderful ode to fake news “Troll Factory.”  I have a set on drinking bourbon and whiskey and a Latin-inflected set featuring Los Hombres Calientes, the Iguanas and Los Po-Boy-Citos. And much more.

Thanks for listening.

New Orleans loaded with African-American musical history

Today’s show honors African-American History Month (February) with a musical tour through jazz, R&B, funk, Mardi Gras Indian, hip hop and bounce music from New Orleans.  Start the show by clicking the arrow below and then read the rest of my show notes.

New Orleans may have been founded by the French, rebuilt by the Spanish and bought by the U.S., but its the African ingredients that make the New Orleans cultural gumbo so rich.

King Oliver
King Oliver’s Creole Band, featuring a young Louis Armstrong.

The very short story is that the rhythms of Africa and the Caribbean blended with European instruments in New Orleans to create jazz.  But it was African-Americans, many who were descendants of slaves, who made the music happen.

 

The show’s first set features Sidney Bechet who came from a musical middle-class family that lived in the Marigny neighborhood. I follow him up with a quick race to contemporary times with Dr. Michael White and Doreen Ketchens.  It’s a strong set of clarinet solos.

The second set kicks off with Louis Armstrong and follows with two of his mentors King Oliver and Kid Ory.   Jelly Roll Morton, who started playing the New Orleans brothels at 14, starts off my last set of jazz. Morton is followed by Kid Thomas who was faithful to the New Orleans jazz tradition throughout his career that spanned from the 1920’s to 1970.  But 100+ year old Lionel Ferbos wins the longevity award and sings “Pretty Doll/Ugly Child.”

The show moves into R&B with a rollicking three-piano version of Boogie Woogie with Professor Longhair, Tuts Washington and Allen Toussaint. But its Deacon John’s “Jumpin’ in the Morning” that gets your ass shaking.   Somewhere in there, I talk about the Dew Drop Inn and include an excerpt from an interview of Kenneth Jackson about his grandpa, Frank Pania who started the Dew Drop Inn and was part of a civil action that ended arrests for racial mixing.

dew drop inn
The Dew Drop in during its heyday.

Which made that a good time to play Fats Domino, whose concerts were the site of at least four major riots. Some blame the music, some blame the alcohol but Rick Coleman who wrote a biography of Fats Domino contends that the riots were at least in part incited by racial mixing in a time period when much of our country recognized and practiced “apartheid.”

The show rolls on with only African-American musicians and vocalists, including a set of Black Creole music of South Louisiana, which is often called “Zydeco.”  And I closed the show with “Get Lucky” with bounce artist Big Freedia performing with the Soul Rebels.

I hope you enjoy the show and consider subscribing to keep getting my latest shows.

New Orleans music for Lent

With Mardi Gras over, we enter Lent and confront 40 days of reflection and deprivation. Don’t deprive yourself of the music, get my show started and then read on.

After the fun of the holidays and partying of carnival season, true believers in Lent settle down to a period designed to eliminate distraction and focus mind on prayer and connection.

lentWhile I’m not exactly a true believer, I am fascinated with the ability of religious practices to focus the mind on self-reflection.  So today’s show displays that theme through music.

Alex McMurray sets the tone with “The Day after Mardi Gras Day.”  I follow up with a rocking, bluesy set of reflection featuring Kevin Sekhani (“Wrong Direction”), Anders Osborne (“Echoes of My Sins”) and Honey Island Swamp Band (“No Easy Way”).

The ashes placed on the foreheads of Catholics speaks to our mortality. We are dust and to dust we shall return.  Leyla McCalla’s “Let It Fall” beautifully captures that feeling as does Howard Fishman’s gospel like “When I Die.”

Other traditional songs with new twists include Aurora Nealand’s “His Eye is On the Sparrow,”  Shotgun Jazz Band “Down by the Riverside,” and the Neville’s revision of a Steve Miller hit renamed “Fear, Hate, Envy, Jealousy.”

There’s lot more to explore in the show. Thanks for listening!

Beads, Love and the Real DJ Davis

This week’s show is the last one before the 2018 Mardi Gras Day and Valentine’s Day so I mix Mardi Gras party music with love songs in this podcast. Go ahead and get it started and then read about the Davis Rogan interview

This is my fifth show during the 2018 Mardi Gras season and I’ve started each one with a different version of  Professor Longhair’s Mardi Gras anthem – “Go to the Mardi Gras. ”  For this, the last show before Fat Tuesday, I play ‘Fess himself.  You have permission to whistle along.

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I reach back into the heyday of New Orleans R&B for the Hawkettes’ “Mardi Gras Mambo” and, as is the tradition, Al “Carnival Time” Johnson performs the song that gave him his middle name.  Cha Wa and The Wild Magnolias make appearances to represent Mardi Gras Indians, Louis Armstrong performs “Zulu King” and I play the rarely heard “King of the Mardi Gras” from the Nine Lives musical. The New Orleans Nightcrawlers, Papa Grows Funk and Galactic add a party-level amount of funk. Marcia Ball, the Radiators and Slim Harpo contribute love songs.

I play three songs by Davis Rogan, one from each of his albums, and then he calls in and we talk about his upcoming performance in Olympia, trade some stories about neighborhood schools, hear his idea for creating a Museum for Southern Racists and learn more about the connection between his music and his work on the HBO “Treme” show where he served as songwriter/technical consultant and the inspiration for one of the lead characters, D J Davis played by Steve Zahn.  If you just want to hear Rogan’s music and interview instead of the whole show, here it is.

As Mardi Gras heats up so does immigration songs

This weekend, the Mardi Gras parade season heats up so I start today’s show with like-themed music.  In fact, the opening Cowboy Mouth song kicks ass.  But this show was more inspired by the recent State of Union address.  Go ahead and get it started and read on.

Earlier this week, I was put off by the President’s State of the Union remarks about immigration. In particular, comments that used a very broad brush to suggest that all immigrants are gangsters.  I’m so glad Trump wasn’t in charge of immigration when my great grandparents immigrated from Cork, Ireland.  News reports of Irish thugs and gangs in New York during the mid-19th Century might be considered threatening enough to block Irish immigration under his standards.  immigration

New Orleans music is very much a melting pot of cultures. Today being the first day of February, African American month, I’ll start with the role of slaves and their descendants in creating jazz, blues, funk and every other kind of music I love and listen to.  Nicholas Payton’s “Jazz is a Four-Letter Word” says its better. “All of this exemplifies the genius of Black creation.”  Definitely hang in for his eight-minute wonder later in the show..

The migration of French-speakers from Acadia (political refugees who refused to pledge loyalty to the English King) to southern Louisiana gave us Cajun culture.  Listen for the three-song set on Cajun music.

Haitian refugees, Cubans, Central Americans who helped rebuild the city after Katrina and musicians from all over the world continue to stir the Gumbo Ya Ya pot. And this show has a taste of all that and some.

I even play Davis Rogan’s allegorical song about New Orleans newcomers which argues that unless we’re Native Americans, we’re all immigrants.

I hope you enjoy the show and consider subscribing to be alerted when I post new shows.

This week’s show runs through a mix of music

No plan this week. Mardi Gras season gets into full swing so I start with Professor Longhair’s “Mardi Gras in New Orleans.”  Go ahead and listen to the edited show.

I also play two tracks by Davis Rogan who will be performing in Olympia in February.  If you’d liked to be invited to the house concert, leave me a message on my Facebook Page (Sweeney’s Gumbo YaYa).  Also on this show is The Radiators, Gritz, Carol Fran, Smoking Time Jazz Club, the New Orleans Jazz Vipers and much more.

Keep in touch.

New Orleans vocalists have great back up

Click the arrow in the box to this week’s edited show started and then read about what you will hear

New Orleans vocalists have such a deep musician’s bench to pull from for their recordings that its no surprise they’re great to listen to.  But there’s no question who the star is in the songs I played today. . .starting with “Sweet Home New Orleans” by Dr. John. It’s the voice!

Alexandra Scott follows with her haunting “Something Altogether New.” I played a rare major label song with Harry Connick Jr. doingdownload “Wish I Were Him” and Antoine Diel does a duet with Arsene Delay singing “Bless You (For the Good That is in You).

Later sets include Marva Wright, Linnzi Zaorski, Lena Prima, Aaron Neville, Johnny Adams, Percy Mayfield, Ingrid Lucia, and Debbie Davis.  Sarah Quintana, Miss Sophie Lee and Theryl Declouet (Houseman) keep the focus on the voice. Though in every case, there is excellent support.

I realize I could easily do another show of vocalists without repeating. Afterall, this show does not include Irma Thomas, Ernie K-Doe, Fats Domino, John Boutte to name a few.  Instead, I finish twith a tribute to my alma mater, a trio of songs on Georgia to honor the University of Georgia marching band getting to perform in the Rose Bowl and now the NCAA championship. Go dawgs!

Your 2017 New Orleans Music Buying Guide, Part 2

Mardi Gras dot background.

Here’s Part 2 of my annual roundup of 2017 releases from New Orleans  (and a couple from Lafayette) just in time for the holiday shopping season.   Part 1 here.  The recording of this show features songs from the releases discussed in this article so you can listen while you read.  Please consider subscribing (on the right)

Kermit Ruffins & Irvin Mayfield – There’s an infectious joy with a Kermit Ruffins performance and on the occasion of its 20th anniversary,  Basin Street Records created the environment for Ruffins to reach peak effervescence.  A Beautiful World is lovingly produced by Irvin Mayfield and supported by a large cast of top New Orleans talent including Cyril Neville, John Boutte, Jason Marsalis,  Dr. Michael White, Shannon Powell, Glen David Andrews and actor Wendell Pierce.  Throw in the sterling voice of Haley Reinhart and the party sounds of Rebirth Brass Band, which Ruffins co-founded, and you have an album that richly deserves its place on top of the Billboard Jazz chart. Here’s more on the album including my interview with Ruffins and Mayfield at the Mother-in-Law Lounge in New Orleans.

Trombone Shorty – Troy “Trombone Shorty” Andrews is an international touring artist with a grammy nomination and a slick third release Parking Lot Symphony since his breakout Backatown.  But his recordings still reflect his roots.  From the opening and closing funeral-like dirges to his cover of Allen Toussaint’s “Here Come the Girls” to his colloquially titled “Where It At?” Andrews leaves no doubt he’s a part of a proud family of Treme musicians. Check out his “Tripped Out Slim” for a healthy hit of brass funk.

Bonsoir_Catin_LAurore_Cover_WebBonsoir Catin – First, don’t use the Google translation to say the English version of this band’s name. I made that mistake while doing my show and was promptly corrected by a fan of the band listening from Baton Rouge (Thank you Bill Boelens) This mostly all-female group from Lafayette plays cajun music in a fresh, addictive manner.  L’aurore  is an excellent ambassador for your friend who’s been reluctant to attend a fais do-do. The opening, title track makes it clear you’re going somewhere else and by the funky La Delaissee, you two will be dancing. I GAR-ON-TEE!.

Shotgun Jazz Band –  Steppin on the Gas is not just another New Orleans hot jazz release.  Imagine attending one of the three live performances this band does on a weekly basis on Frenchmen Street, except get rid of all the chatting diners and drinkers and add clarinetist Tom Fischer and trumpeter Ben Polcer to the already strong Shotgun Jazz Band line up featuring Charlie Halloran on trombone and Marla Dixon on vocals.  You will be transported to another time, say 100 years ago, to Tom Anderson’s saloon at the corner of Basin and Iberville.

Twerk Thomson  –  Mr. Thomson is clearly into time travel.  With Twerk Thomson Plays Unpopular Songs, the bass player for Shotgun Jazz Band literally takes you back to the infancy of music recording, assembling a talented band and using one microphone to feed into a Presto K8 lathe, cut directly to acetate discs at 78 rpm. He edited for sound and fortunately made it available on more new-fangled formats like CD and MP3. The total vintage jazz effect is perfect for the vinyl lover who doesn’t own a turntable.

roamin-jasmine-live-at-horaces-barTaylor Smith & The Roamin’ Jasmine – With his third release, Live at Horace’s, Taylor Smith continues his mission of being a New Orleans guardian of the R&B groove.  Singing from behind his upright bass in the cozy neighborhood bar walking distance from his Central City home, Taylor and his five Roamin’ Jasmine deliver 13 tight songs. The band fearlessly tackle Blind Lemon’s “Hangman’s Blues,” Maybelle’s “That’s a Pretty Good Love,” Blind Boy Fuller’s “Step It Up and Go,” Little Bob’s “I Got Loaded” and Earl King’s almost forgotten “Feeling My Way Around.”  Here is more, including an interview with Taylor Smith

Lost Bayou Ramblers –  Brothers Andre and Louis Michot formed this band in 1999, having learned their craft from their father and uncles in the family band, Les Frères Michot. They are more than capable of playing traditional cajun music sung in French/French Cajun. Yet while Kalenda is uncompromising in its presentation, it also pushes the boundaries with a jazz like, edgy pacing, particularly with the title track which taps into a folklore that dates back to before Congo Square.

Paula and the Pontiacs,  Looking for some swinging blues with sax, harmonica and a voice that fills the roadhouse but is connecting directly to you, consider Paula Rangel’s Seventeen– a sort of best hits from her previous releases. She handles all the above, including stongwriting but also gets great support from a rotating cast of familiar names including Jeffrey “Jelly Bean” Alexandar and Johnny Vidacovich on drums, John Mooney on slide guitar (Cadillac Love) and Cranston Clements on guitar.

Delfeayo Marsalis –  His exceptionally-timed 2016 release Make America Great Again with the Uptown Jazz Orchestra arrived too late for last year’s buying guide, so I’ll give it a two thumbs up now. And for something a bit different, Kalamazoo presents the trombonist member of the Marsalis musical dynasty performing with his father in a relaxed live setting. Starting with the New Orleans Rhythm King’s “Tin Roof Blues” to the oft-played standard “Do You Know What It Means to Miss New Orleans,” you’ll recognize many of the songs but you won’t have heard them played this way.  There is love in this music.

Preservation Hall Jazz Band – Any thought that Preservation Hall Jazz Band is a relic of New Orleans past, need only listen to So It Is. Following a trend from its last album. That’s It, the band continues to record original songs that break new ground. The opening track could have played on the TV show Mad Men while other tracks use Cuban rhythms, strong keyboards and liberal doses of brass band chaos. This is the new Preservation Hall Jazz Band – – long live them.

benny turnerBenny Turner – He might have 60 years of performing under his belt, but no moss is growing under this veteran bluesman who early in his career performed with his brother Freddie King and then did a 20-year stint in New Orleans as Marva Wright’s bandleader. His second tribute to his beloved brother, My Brother’s Songs, benefits from his guitar and voice and some choice performances by New Orleans musicians, including Jason Mingledorff, Joe Krown, June Yamigishi and Jeffery “Jellybean” Alexander.  An excellent choice for the blues fan on your list.

Dirty Bourbon River Show –  The band’s latest release, Flying Musical Circus, exemplifies its website billing of  “New Orleans Big Brass Circus Rock Music.” With its Eastern European flair and horns, the “show” reminds me of some of the better bands that frequent HonkFest. The difference is the original songwriting and Noah Adams’ voice which prowls through his songs much like he prowls on stage during the band’s energetic performances. The music engages you to clap and sing, particularly with the (unfortunately radio unfriendly) song  “All My Friends are Dead.” Here’s my interview with the band’s saxophonist Matt Thomas along with a couple of the band’s songs recorded during my show.

Revival!  – Carolyn Broussard is the best reason to pick up Now is the Time – the title pulled from the lyrics of Allen Toussaint’s “Yes We Can Can” covered on the album. She gets excellent support from her fellow band members with their bluesy soul vibe, but every time I hear her singing in “Sweet Inspiration” and the Temptation’s “I Can’t Get Next to You,” I kick myself for missing the band’s Thursday evening gig at Cafe Negril the last time I was in New Orleans.

Ken Swartz  and the Palace of Sin –  Smile Away the Blues was a pleasant surprise, arriving at my KAOS inbox for processing into the blues collection. He packs 16 songs into Smile Away the Blues most with an easy, acoustic feel balanced with upbeat harmonica and toe-tapping rhythm.  His unpretentious vocals is well-suited to his Americana-style, particularly in songs like “Payday.”

Darcy Malone and the Tangle – Following up on last year’s release, Darcy Malone and her band released four new tracks on the EP Make Me Over.  Perhaps the indie rock/pop sound is something you don’t associate with New Orleans, yet Darcy Malone and Christopher Boye are very much from the city. As with their last release, the band features a delightful amount of saxophone. If you’re looking for a break from jazz but you want to stay in New Orleans, Darcy Malone and the Tangle will take care of you.

 

Your 2017 New Orleans Music Buying Guide, Part 1

Mardi Gras dot background.This is my fourth annual Buying Guide to encourage you to give the gift of music. To hear the music click on this week’s show and then read about it below. (Here’s Part 2 of the guide).

Links to all the bands are provided so you can purchase from the source. There’s no pecking order to my presentation (I’ll present my top 10 at the end of the month).  Also, while there is a Part 2 coming, this list is far from comprehensive. Let me know if I’ve left something out you like.

boneramaBonerama -Trombone Shorty was 12-years-old when two trombonists from Harry Connick Jr.’s band decided to move to the front of the stage and create the brass-funk-rock group, Bonerama. With their seventh release, Hot Like Fire, Craig Klein and Mark Mullins joined by a third trombonist, a sousaphone, guitar and drums, are clearly in their element jamming on original tunes as well as a Radiohead cover and Allen Toussaint’s Basic Lady.  Learn more about this cool band, check out my interview with Klein and Mullins.

Stanton Moore  – One of the best drummers in the business, Moore pulled together an all-star cast (Trombone Shorty, Nicholas Payton, Maceo Parker, Donald Harrison Jr. and Cyril Neville to name a few) in paying homage to Allen Toussaint with With You In Mind. Whether you like Toussaint or not (what?!), you’re going to dig this album from “Here Come the Girls” with Trombone Shorty  to Toussaint’s autobiographical “Southern Nights” with Wendell Pierce reading, not singing, the lyrics.

The Deslondes   – The band’s second release, Hurry Home, solidifies the Deslondes reputation as the premiere example of the New Orleans Americana scene. Despite its title, the album takes its time, meandering 13 songs with lyrics that linger in your mind and entice you to sing along.  Why not? Four of the five band members sing as well.

hot 8 on the spot.jpgHot 8 Brass Band – A good brass band can get even the most stiff-limbed old man moving his hips. But what makes this venerable New Orleans brass band special is its great solos, unexpected twists and those sneaky covers you don’t recognize at first.  From the band that has survived to see it all and gave the world the brass version of “Sexual Healing” comes On The Spot — essential to any brass band fan collection.

Tuba Skinny – With its eighth release Tupelo Pine, Tuba Skinny has moved from the streets into institutional status in New Orleans. This band has a deep repertoire of Prohibition and Depression era tunes performed with entertaining and reverent orchestration.  If you’re looking for something special for a traditional jazz fan, you can’t go wrong with this band that has won its audience one street performance at a time. See Pops Coffee for a far more detailed review.

Smoking Time Jazz Club –  Another street-hardened traditional jazz band  that takes you back to another era, Smoking Time has a sultry quality fueled by the band’s mission statement embedded in its name The band started  2017 with a new release Ain’t We Fortunate and finishes the year with Take Your Time and Fly —  they’re both excellent but the second one is strengthened by Sarah Peterson’s vocals.

erica-falls-home-grownErica Falls – With HomeGrown, Erica Falls has demonstrated that hard work, grit and talent can pay off. At least it does for the listener.  While this is her first full release, Fall has paid her dues singing with Allen Toussaint and Galactic and providing backing vocals in the studio for Irma Thomas, Dr. John, Marva Wright, and Bobby Charles — not to mention adding some sweet vocals to two tracks on Rebirth Brass Band’s last release.  But HomeGrown is all hers — eight of the songs are her own composition. She’s soulful, funky, sweet. . .yea, I’m in love.

Naughty Professor   – While Identity does not have a title track, its first two songs go right to the heart of the issue. The rhythmic “Mirror,” choruses with “Give people what they want”  while the second track advises to “be what you want, do what you feel.” And that’s exactly how this jazz-funk sextet has rolled ever since emerging from the New Orlean’s Loyola jazz program in 2010. The band skillfully flows through soul, R&B and hip hop. But underlying it all is a strong jazz sensibility that keeps its fresh and unique. Now that’s an identity.

New Orleans Jazz Vipers  – If you’ve visited Frenchmen Street, chances are you’ve had the opportunity to see the Vipers live. The swing jazz band has been a fixture there long before tourist knew to direct their cab to Frenchmen. “Live & Viperizin” captures the band at its most enigmatic with danceable numbers designed to draw you into the nightclub, except now you can get that live feeling at home.

Jon Cleary – With Live at Chickie Wah Wah, this master piano player follows up his grammy-award winning album featuring his funk group Monster Gentleman with an intimate solo performance recorded live at one of his favorite hometown venues.  It’s just Cleary, his voice and his piano playing some of his favorites, including two from GoGo Juice, as well as some tasty R&B and soul numbers made famous by Smiley Lewis, Jessie Hill and Jessie Belvin.  The only way you can beat this release is if you really catch him live at Chickie Wah Wah.

Sonny Landreth – This electric slide guitar master delivers a much-anticipated live acoustic set performed in his hometown Lafayette and for lagniappe, a second live set with his electric guitar.  If you are fan of this tireless touring professional (he’s in Deming for the Mt. Baker Blues Festival in August 2018), you’ve heard these songs before but not like this. If not, Live at Lafayette is a great way to become a new fan.

debbie-davie-josh-paxton-vices-and-virtuesDebbie Davis and Josh Paxton – There is a magic that derives from the alchemy of a pianist and vocalist who have performed regularly, particularly if they use their familiarity to push each other.  Davis is a lifelong singer who, in addition to her own projects, performs with The Pfister Sisters.  Josh Paxton, who is part of Johnny Sketch and the Dirty Notes, is clearly capable of tearing up the keyboards on inspired solos but lovingly wraps his performance around Davis’ voice.  Vices and Virtues puts you in the room with these two creative professionals.

Johnny Sketch and the Dirty Notes – The band’s website describes it best: “their irreverent funk is cut with rock riffs, a Gypsy/Klezmer flare, a Latin tinge courtesy of a hard hitting horn section, and a sense of humor.” Yea, you right.  And Sketch is the band’s best release yet.  I’m still pissed I can’t play “Fine Time” on the radio but I’ve definitely been playing the dozen other tracks that deliver soul, funk, reggae, and a power violin rock thing (“The Dragon”) that has garnered listener phone calls to the studio.

John Mooney –  John Mooney is a hard act to catch. He has no website and his Facebook and wikipedia pages don’t list his latest CD,  Truth of the Matter. But don’t let that stop you. Mooney’s voice and guitar playing are top flight but its the arrangements and the support he gets that should elevate this release to your shopping list. Ten songs with eight originals.  Most are backed up by a rotating cast of star power keyboardists (Jon Cleary, John Gros and C.R. Gruver) usually on a Hammond B-3.  And his use of male background singers on “Deal with Love” and “Push & Shove” enhance an already strong soul feeling to Mooney’s music.

Egg Yolk Jubilee – To celebrate 20 years of performing, Egg Yolk Jubilee has compiled a retrospective of a dozen previously released songs and three new ones in Crux of the Yolk.  Yes, they are frenetic, irreverent, loud and pretty damn funny, but they also rock. The band provided the brass on Jello Biafra’s New Orleans Raunch All-Stars  release a few years back.  If you have a Frank Zappa fan on your shopping list, particularly if they like horns, literally blow them away with Egg Yolk Jubilee.

Sweet Crude   –  Like many indie acts from New Orleans, Sweet Crude’s music may not make its hometown roots obvious.  Well, except that they sing a lot of their songs in French.  “We are joining a small but fervent group of young Louisianians engaged in keeping the language relevant via art,” announces the band’s website. Soaring vocals (Mon Esprit in particular) and world rhythms place the band’s first full release, Creatures, above the large stack of alternative rock releases we get in the station.

Stay tuned for Part 2 and catch my show on Thursday.

Hot Poop music shop in Walla Walla made for a worthy stop

Go ahead and click the arrow to get my show started before reading the rest.
Okay, so we actually went to Walla Walla to check out the town and the wine scene. But I had spent a pleasurable afternoon at the Hot Poop music store on Main Street several years back so I was anxious to see if it was still thriving.

Hot Poop store
Hot Poop owner Jim McGuinn peering over the counter loaded with items

When I noted how much stock was in the store, the owner, Jim McGuinn, joked that it could all be mine for three easy payments.  The store does suffer from a lot of clutter but its fun clutter to poke through, including autographed guitars and 8-track tapes if you make it all the way to the back.

I found some NOLA CDs that weren’t already in my collection, including a 1991 release by the Dirty Dozen Brass Band that I hadn’t seen before.  They also had some Radiator releases — always a positive indicator that I should dig deeper into a store.

Today’s show features choice cut from the music I found there along with some other gems such as a Wynton Marsalis take of Layla (Eric Clapton does assist on that one). with Charmaine Neville performs the eclectic “Leave Room for the Dancers” and I follow that up with Diablo’s Horns’ original Bending Like a Willow Tree.  If you can hang in there through those songs, stick around for a charming version of Don’t Worry, Be Happy with Glen David Anderson doing some humorous vocal responses.