4 Good-time New Orleans jazz is served up by California native and flugelhornist Jackie Coon and a spirited crew of local New Orleans players, including cornetist Connie Jones, bassist John Loupe, sousaphone ace Matt Perrine and bass drummer Richard Taylor, along with Pete Fountain sidemen Charlie Lodice on drums, Tom Gekler on trombone and Bob Molinari on piano. Together they strike a joyous accord on authentic New Orleans street-beat numbers like Louis and Lil Armstrong’s “Once in a While,” Paul Barbarin’s “The Second Line” and Spencer Williams’ “Mahogany Hall Stomp.” Rick Fay offers some soulful, restrained clarinet work on Jelly Roll Morton’s “The Winnin’ Boy Blues” and then wails with abandon on the traditional “Joe Avery’s Piece” (a common theme played on Mardi Gras day) and the obscure swing-era number “Bee’s Knees.” The band puts a Dixieland spin on Horace Silver’s “The Preacher,” Gene Autry’s seasonal classic “Here Comes Santa Claus” and Hank Williams’ “Jambalaya (On the Bayou).” Ringleader Coons also turns in some appropriately bluesy flugelhorn work on “Trouble in Mind” and “Basin Street Blues” while mixing it up with cornetist Jones on a rousing uptempo rendition of the swing-era chestnut “Avalon.” Originally recorded in 1993 at Ultrasonic Studios in New Orleans, this CD was released shortly after Katrina hit. All proceeds will be donated to the Jazz Foundation of America for the benefit of New Orleans Musicians’ Relief. true 21 2007-06-07T14:05:44-04:00 17010 103 200606 true 0 111 2006-06-01T00:00:00-04:00

Good-time New Orleans jazz is served up by California native and flugelhornist Jackie Coon and a spirited crew of local New Orleans players, including cornetist Connie Jones, bassist John Loupe, sousaphone ace Matt Perrine and bass drummer Richard Taylor, along with Pete Fountain sidemen Charlie Lodice on drums, Tom Gekler on trombone and Bob Molinari on piano. Together they strike a joyous accord on authentic New Orleans street-beat numbers like Louis and Lil Armstrong’s “Once in a While,” Paul Barbarin’s “The Second Line” and Spencer Williams’ “Mahogany Hall Stomp.” Rick Fay offers some soulful, restrained clarinet work on Jelly Roll Morton’s “The Winnin’ Boy Blues” and then wails with abandon on the traditional “Joe Avery’s Piece” (a common theme played on Mardi Gras day) and the obscure swing-era number “Bee’s Knees.” The band puts a Dixieland spin on Horace Silver’s “The Preacher,” Gene Autry’s seasonal classic “Here Comes Santa Claus” and Hank Williams’ “Jambalaya (On the Bayou).” Ringleader Coons also turns in some appropriately bluesy flugelhorn work on “Trouble in Mind” and “Basin Street Blues” while mixing it up with cornetist Jones on a rousing uptempo rendition of the swing-era chestnut “Avalon.” Originally recorded in 1993 at Ultrasonic Studios in New Orleans, this CD was released shortly after Katrina hit. All proceeds will be donated to the Jazz Foundation of America for the benefit of New Orleans Musicians’ Relief.

2009-03-02T00:25:33-05:00

4 This project was started in October 2004 and was finally finished in August 2005, just a few days before Katrina devastated much of New Orleans. Essentially a collection of familiar tunes heard during Mardi Gras season dressed up in a new suit of clothes, it features some hip, punchy horn arrangements by guitarist Charlie Brent and showcases the potent field-holler vocals of New Orleans’ own resident blues dynamo Luther Kent. These Dukes put a fresh twist on such Mardi Gras staples as “Carnival Time,” “All on a Mardi Gras Day,” “Go to the Mardi Gras,” “Big Chief,” “Iko Iko/Mardi Gras Mambo,” “Hey Pocky Way” and “When the Saints Go Marchin’ In.” Sadly, the producer of this spirited session, trombonist Brian O’Neill, died of a heart attack at age 50 less than 24 hours after the final tracks were laid down. This CD, which is guaranteed to fuel any Mardi Gras party, is dedicated to his memory. true 21 2007-06-07T14:05:44-04:00 17011 103 200606 true 0 111 2006-06-01T00:00:00-04:00

This project was started in October 2004 and was finally finished in August 2005, just a few days before Katrina devastated much of New Orleans. Essentially a collection of familiar tunes heard during Mardi Gras season dressed up in a new suit of clothes, it features some hip, punchy horn arrangements by guitarist Charlie Brent and showcases the potent field-holler vocals of New Orleans’ own resident blues dynamo Luther Kent. These Dukes put a fresh twist on such Mardi Gras staples as “Carnival Time,” “All on a Mardi Gras Day,” “Go to the Mardi Gras,” “Big Chief,” “Iko Iko/Mardi Gras Mambo,” “Hey Pocky Way” and “When the Saints Go Marchin’ In.” Sadly, the producer of this spirited session, trombonist Brian O’Neill, died of a heart attack at age 50 less than 24 hours after the final tracks were laid down. This CD, which is guaranteed to fuel any Mardi Gras party, is dedicated to his memory.

2009-03-02T00:25:33-05:00

4 Recorded at Tipitina’s in New Orleans during Mardi Gras 1989, Right Place, Right Time has the good Dr. John (aka Mac Rebennack) pulling out such crowd pleasers as “Junco Partner,” Earl King’s “Let the Good Times Roll,” Willie Dixon’s “Wang Dang Doodle” and Doc Pomus’ “Such a Night.” Tenor saxophonist Amadee Castenell and trumpeter Charlie Miller make strong solo contributions while Rebennack tickles the ivories in the spirited manner of his hero and mentor Professor Longhair (particularly on “Traveling Mood” and “Kinfolks”). This edition of Dr. John’s Lower 911, featuring bassist David Barard, drummer Herman Ernest and guitarist Tommy Moran, also turns in haunting renditions of “Walk on Guilded Splinters” and “Black Widow.” Dr. John’s latest offering, Mercernary, is an inventive twist on the Johnny Mercer songbook. Done up in a similar vein to Rebennack’s distinctly New Orleans-flavored tribute to Duke Ellington (2000’s Duke Elegant), it features funkified renditions of “Blues in the Night” (based on Fats Domino’s “I’m Walkin’”) and “You Must Have Been A Beautiful Baby” along with similarly Mac-ified takes on Mercer staples like “Personality,” “That Old Black Magic,” “Moon River,” “Come Rain or Come Shine” and “Lazy Bones,” along with a clever instrumental Afro-Cuban rendition of “I’m an Old Cow Hand.” Featuring the current edition of his Lower 911 band, which still features charter members Barard, Ernest and Miller, Dr. John offers one original in the self-deprecating love song “I Ain’t No Johnny Mercer” and closes out the set with Danny Barker’s “Save the Bones for Henry Jones.” Nothin’ but a good time here. true 21 2007-06-07T14:05:44-04:00 17012 103 200606 true 0 111 2006-06-01T00:00:00-04:00

Recorded at Tipitina’s in New Orleans during Mardi Gras 1989, Right Place, Right Time has the good Dr. John (aka Mac Rebennack) pulling out such crowd pleasers as “Junco Partner,” Earl King’s “Let the Good Times Roll,” Willie Dixon’s “Wang Dang Doodle” and Doc Pomus’ “Such a Night.” Tenor saxophonist Amadee Castenell and trumpeter Charlie Miller make strong solo contributions while Rebennack tickles the ivories in the spirited manner of his hero and mentor Professor Longhair (particularly on “Traveling Mood” and “Kinfolks”). This edition of Dr. John’s Lower 911, featuring bassist David Barard, drummer Herman Ernest and guitarist Tommy Moran, also turns in haunting renditions of “Walk on Guilded Splinters” and “Black Widow.” Dr. John’s latest offering, Mercernary, is an inventive twist on the Johnny Mercer songbook. Done up in a similar vein to Rebennack’s distinctly New Orleans-flavored tribute to Duke Ellington (2000’s Duke Elegant), it features funkified renditions of “Blues in the Night” (based on Fats Domino’s “I’m Walkin’”) and “You Must Have Been A Beautiful Baby” along with similarly Mac-ified takes on Mercer staples like “Personality,” “That Old Black Magic,” “Moon River,” “Come Rain or Come Shine” and “Lazy Bones,” along with a clever instrumental Afro-Cuban rendition of “I’m an Old Cow Hand.” Featuring the current edition of his Lower 911 band, which still features charter members Barard, Ernest and Miller, Dr. John offers one original in the self-deprecating love song “I Ain’t No Johnny Mercer” and closes out the set with Danny Barker’s “Save the Bones for Henry Jones.” Nothin’ but a good...

2009-03-02T00:25:33-05:00

4 A Piedmont-style finger-style virtuoso, Flower adds engaging, crystal clear vocals to the compelling mix on this encounter in May 2005 at Piety Street Studios with some of the Crescent City’s finest, including trumpeter Charlie Miller, pianist Jon Cleary, accordion player Amasa Miller, sousaphone aces Kirk Joseph and Matt Perrine and pianist Henry Butler. Flower sings sweetly on “Blues My Naughty Sweety Gives to Me,” then turns in a stellar slide-guitar performance on her instrumental romp “Raise the Devil,” which features Cleary’s rolling piano work. Her six-string work on the instrumental numbers “La Grippe” (a duet with bassist Kerry Lewis) and “Terminal Rag” (a duet with clarinetist Dr. Michael White) are dazzling. Her mournful “Brother, Can You Spare a Dime?,” accompanied by clarinetist Tim Laughlin, trombonist Craig Klein and trumpeter Miller, is an emotional high point while her engaging instrumental “Hudson River Rag” recalls Leo Kottke at his most giddy. And for deep blues, look no further than “Nobody’s Fault but Mine,” which is underscored by Henry Butler’s barrelhouse piano. true 21 2007-06-07T14:05:44-04:00 17013 103 200606 true 0 111 2006-06-01T00:00:00-04:00

A Piedmont-style finger-style virtuoso, Flower adds engaging, crystal clear vocals to the compelling mix on this encounter in May 2005 at Piety Street Studios with some of the Crescent City’s finest, including trumpeter Charlie Miller, pianist Jon Cleary, accordion player Amasa Miller, sousaphone aces Kirk Joseph and Matt Perrine and pianist Henry Butler. Flower sings sweetly on “Blues My Naughty Sweety Gives to Me,” then turns in a stellar slide-guitar performance on her instrumental romp “Raise the Devil,” which features Cleary’s rolling piano work. Her six-string work on the instrumental numbers “La Grippe” (a duet with bassist Kerry Lewis) and “Terminal Rag” (a duet with clarinetist Dr. Michael White) are dazzling. Her mournful “Brother, Can You Spare a Dime?,” accompanied by clarinetist Tim Laughlin, trombonist Craig Klein and trumpeter Miller, is an emotional high point while her engaging instrumental “Hudson River Rag” recalls Leo Kottke at his most giddy. And for deep blues, look no further than “Nobody’s Fault but Mine,” which is underscored by Henry Butler’s barrelhouse piano.

2009-03-02T00:25:33-05:00

4 A bevy of key players with Crescent City connections band together here as the New Orleans Social Club in supporting a string of special guests on this celebratory CD. Recorded in one week last October in Austin, the core group of drummer Raymond Weber, pianist Henry Butler, organist Ivan Neville and two founding members of the Meters in bassist George Porter Jr. and guitarist Leo Nocentelli provides an appropriately funky setting for Dr. John (“Walking to New Orleans”), Irma Thomas and Marcia Ball (“Look Up”), Mardi Gras Indians chief Monk Boudreaux (the reggaefied “Chase”) and Willie Tee (the R&B ballad “First Taste of Hurt”). Cyril Neville sings sweetly on the Impressions’ protest ballad “This Is My Country” while Ivan Neville delivers a blistering indictment on his funkified version of John Fogerty’s “Fortunate Son.” Troy “Trombone Shorty” Andrews is featured on the buoyant calypso-flavored party number “Hey Troy, Your Mama’s Calling You” while Butler hits a dramatic peak with his soul-stirring rendition of “Somewhere” from West Side Story. On the gospel tip are the Mighty Chariots of Fire, who offer a rousing “99 1/2 Won’t Do.” And the Subdues offer some sage advice for rebuilding the Crescent City in “Make a Better World.” An infectious second-line medley is offered by the Sixth Ward All-Star Brass Band Revue featuring Charles Neville, and the album closes on a reflective note with John Boute’s heart-wrenching cover of Annie Lennox’s “Why,” in which he inserts the lyrics “Why can’t you see that this bowl is sinking?” as a pointed reference to the city below sea level. true 21 2007-06-07T14:05:44-04:00 17014 103 200606 true 0 111 2006-06-01T00:00:00-04:00

A bevy of key players with Crescent City connections band together here as the New Orleans Social Club in supporting a string of special guests on this celebratory CD. Recorded in one week last October in Austin, the core group of drummer Raymond Weber, pianist Henry Butler, organist Ivan Neville and two founding members of the Meters in bassist George Porter Jr. and guitarist Leo Nocentelli provides an appropriately funky setting for Dr. John (“Walking to New Orleans”), Irma Thomas and Marcia Ball (“Look Up”), Mardi Gras Indians chief Monk Boudreaux (the reggaefied “Chase”) and Willie Tee (the R&B ballad “First Taste of Hurt”). Cyril Neville sings sweetly on the Impressions’ protest ballad “This Is My Country” while Ivan Neville delivers a blistering indictment on his funkified version of John Fogerty’s “Fortunate Son.” Troy “Trombone Shorty” Andrews is featured on the buoyant calypso-flavored party number “Hey Troy, Your Mama’s Calling You” while Butler hits a dramatic peak with his soul-stirring rendition of “Somewhere” from West Side Story. On the gospel tip are the Mighty Chariots of Fire, who offer a rousing “99 1/2 Won’t Do.” And the Subdues offer some sage advice for rebuilding the Crescent City in “Make a Better World.” An infectious second-line medley is offered by the Sixth Ward All-Star Brass Band Revue featuring Charles Neville, and the album closes on a reflective note with John Boute’s heart-wrenching cover of Annie Lennox’s “Why,” in which he inserts the lyrics “Why can’t you see that this bowl is sinking?” as a pointed reference to...

2009-03-02T00:25:33-05:00

4 Recorded at Dockside Studios in rural Maurice, La., just a couple of months after Hurricane Katrina wiped out her New Orleans home and her popular Lion’s Den Lounge, this cathartic comeback album showcases the Crescent City soul queen at the peak of her emotive powers at age 65. Thomas’ rich, lustrous voice resonates with unparalleled soul-stirring authority on R&B staples like Arthur Alexander’s “In the Middle of It All,” Doc Pomus’ “I Count the Tears” and Clyde Otis’ “Till I Can’t Take It Anymore,” along with earthy, deep-blue offerings like the traditional “Make Me a Pallet on Your Floor” and Blind Willie Johnson’s “Soul of a Man,” spirited gospel-flavored numbers like “I Wish I Knew How It Would Feel to Be Free” and “If You Knew How Much” and the anthemic rocker “Stone Survivor.” On the traditional Delta-blues number “Another Man Done Gone,” Thomas alters the lyrics—“Another storm has come/The water’s at his door/He couldn’t stay no more/The water’s at his door”—to address the plight of Katrina evacuees. She also offers a touch of humor on her own clever ditty “These Honey Dos,’ which contains some streetwise spoken passages about domestic bliss gone wrong. She closes out the collection on an emotional high note with a glorious rendition of Stevie Wonder’s “Shelter from the Rain,” accompanied only by pianist David Torkanowsky. true 21 2007-06-07T14:05:44-04:00 17015 103 200606 true 0 111 2006-06-01T00:00:00-04:00

Recorded at Dockside Studios in rural Maurice, La., just a couple of months after Hurricane Katrina wiped out her New Orleans home and her popular Lion’s Den Lounge, this cathartic comeback album showcases the Crescent City soul queen at the peak of her emotive powers at age 65. Thomas’ rich, lustrous voice resonates with unparalleled soul-stirring authority on R&B staples like Arthur Alexander’s “In the Middle of It All,” Doc Pomus’ “I Count the Tears” and Clyde Otis’ “Till I Can’t Take It Anymore,” along with earthy, deep-blue offerings like the traditional “Make Me a Pallet on Your Floor” and Blind Willie Johnson’s “Soul of a Man,” spirited gospel-flavored numbers like “I Wish I Knew How It Would Feel to Be Free” and “If You Knew How Much” and the anthemic rocker “Stone Survivor.” On the traditional Delta-blues number “Another Man Done Gone,” Thomas alters the lyrics—“Another storm has come/The water’s at his door/He couldn’t stay no more/The water’s at his door”—to address the plight of Katrina evacuees. She also offers a touch of humor on her own clever ditty “These Honey Dos,’ which contains some streetwise spoken passages about domestic bliss gone wrong. She closes out the collection on an emotional high note with a glorious rendition of Stevie Wonder’s “Shelter from the Rain,” accompanied only by pianist David Torkanowsky.

2009-03-02T00:25:33-05:00

4 This post-Katrina compilation contains several essential New Orleans tracks from Rounder’s extensive catalog dating back 25 years. Included here are such classic cuts as the Dirty Dozen Brass Band’s “Mardi Gras in New Orleans,” Eddie Bo’s “Check Mr. Popeye,” the ReBirth Brass Band’s “Do Whatcha Wanna, Pt. 3,” Irma Thomas’ medley of “Iko Iko/Hey Pocky Way” and Bo Dollis and the Wild Magnolia’s “Meet de Boys on de Battlefront.” Other treats here include Professor Longhair’s “Cuttin Out,” James Booker’s rendition of “Lawdy Miss Clawdy,” Walter Wolfman Washington’s “Funkyard,” Jelly Roll Morton’s “I’m Alabama Bound” and Johnny Adams and Aaron Neville’s duet on the spiritual “Never Alone.” Branford Marsalis also managed to sneak in his affecting duet with Harry Connick Jr. on “Good to Be Home” and “B’s Paris Blues.” All of the proceeds from the sale of this disc will be donated to MusiCares Hurricane Relief. true 21 2007-06-07T14:05:44-04:00 17016 103 200606 true 0 111 2006-06-01T00:00:00-04:00

This post-Katrina compilation contains several essential New Orleans tracks from Rounder’s extensive catalog dating back 25 years. Included here are such classic cuts as the Dirty Dozen Brass Band’s “Mardi Gras in New Orleans,” Eddie Bo’s “Check Mr. Popeye,” the ReBirth Brass Band’s “Do Whatcha Wanna, Pt. 3,” Irma Thomas’ medley of “Iko Iko/Hey Pocky Way” and Bo Dollis and the Wild Magnolia’s “Meet de Boys on de Battlefront.” Other treats here include Professor Longhair’s “Cuttin Out,” James Booker’s rendition of “Lawdy Miss Clawdy,” Walter Wolfman Washington’s “Funkyard,” Jelly Roll Morton’s “I’m Alabama Bound” and Johnny Adams and Aaron Neville’s duet on the spiritual “Never Alone.” Branford Marsalis also managed to sneak in his affecting duet with Harry Connick Jr. on “Good to Be Home” and “B’s Paris Blues.” All of the proceeds from the sale of this disc will be donated to MusiCares Hurricane Relief.

2009-03-02T00:25:33-05:00

4 For his follow-up to 2002’s Grammy-winning album for Solomon Burke, Don’t Give Up on Me, producer Joe Henry gathered together three soul-music icons in Ann Peebles, Billy Preston, and Mavis Staples and two New Orleans legends in Irma Thomas and Allen Toussaint. Recorded in Los Angeles two months before Katrina, this soul-music compilation soon became a benefit recording after its release last October, with 100 percent of the proceeds being donated to MusiCares Hurricane Relief. While the production throughout is overtly slick, Toussaint’s Fess-influenced rolling piano work does cut through the mix on the instrumental “Turvalon,” and Peebles oozes tons of soul on the more intimate “When the Candle Burns Low.” But it’s Staples who steals the show on a chilling “You Must Have That True Religion” and on her foot-patting gospel feature “That’s Enough.” true 21 2007-06-07T14:05:44-04:00 17017 103 200606 true 0 111 2006-06-01T00:00:00-04:00

For his follow-up to 2002’s Grammy-winning album for Solomon Burke, Don’t Give Up on Me, producer Joe Henry gathered together three soul-music icons in Ann Peebles, Billy Preston, and Mavis Staples and two New Orleans legends in Irma Thomas and Allen Toussaint. Recorded in Los Angeles two months before Katrina, this soul-music compilation soon became a benefit recording after its release last October, with 100 percent of the proceeds being donated to MusiCares Hurricane Relief. While the production throughout is overtly slick, Toussaint’s Fess-influenced rolling piano work does cut through the mix on the instrumental “Turvalon,” and Peebles oozes tons of soul on the more intimate “When the Candle Burns Low.” But it’s Staples who steals the show on a chilling “You Must Have That True Religion” and on her foot-patting gospel feature “That’s Enough.”

2009-03-02T00:25:33-05:00

4 Recorded in New York, Memphis, Houston and Maurice, La., in the two months following Hurricane Katrina, this benefit album documents some of New Orleans’ living treasures expressing their feelings in song for their beloved hometown. Allen Toussaint opens the collection on an optimistic note with a new take on “Yes We Can Can,” his hit song for the Pointer Sisters in the early ’70s that now serves as a mantra for rebuilding the City That Care Forgot. Dr. John delivers a haunting rendition of “A World I Never Made,” which he originally cowrote with Doc Pomus in 1980 for B.B. King, and New Orleans soul queen Irma Thomas channels Bessie Smith on the earthy “Back Water Blues,” accompanied by Toussaint on piano and Doyle Bramhall II on guitar. Pianist-singer Eddie Bo contributes a solo N’awlins-rumba rendition of “When the Saints Go Marchin’ In,” and the Preservation Hall Jazz Band speaks for the whole crew with an intimate, heartfelt rendition of “Do You Know What It Means to Miss New Orleans?” Toussaint also turns in a mournful minor-key reading of the Professor Longhair anthem “Tipitina,” which he’s dubbed “Tipitina and Me.” Emotional highpoints here include Randy Newman’s poignant and telling “Louisiana 1927,” performed at Avery Fisher Hall in New York with the Louisiana Philharmonic Orchestra, Davell Crawford’s solo reading of his gospel number “Gather by the River,” Buckwheat Zydeco’s redemptive “Cryin’ in the Streets” (with Ry Cooder on slide guitar) and trumpeter Charlie Miller’s cathartic and slightly unhinged “Prayer for New Orleans.” On the upbeat side are Dr. Michael White’s buoyant “Canal Street Blues,” the Wild Magnolia’s raucous, percussion-fueled throwdown on “Brother John Is Gone” and the Dirty Dozen Brass Band’s festive romp “My Feet Can’t Fail Me Now.” Net proceeds for Our New Orleans will be donated to Habitat for Humanity to aide those affected by Hurricane Katrina. true 21 2007-06-07T14:05:44-04:00 17018 103 200606 true 0 111 2006-06-01T00:00:00-04:00

Recorded in New York, Memphis, Houston and Maurice, La., in the two months following Hurricane Katrina, this benefit album documents some of New Orleans’ living treasures expressing their feelings in song for their beloved hometown. Allen Toussaint opens the collection on an optimistic note with a new take on “Yes We Can Can,” his hit song for the Pointer Sisters in the early ’70s that now serves as a mantra for rebuilding the City That Care Forgot. Dr. John delivers a haunting rendition of “A World I Never Made,” which he originally cowrote with Doc Pomus in 1980 for B.B. King, and New Orleans soul queen Irma Thomas channels Bessie Smith on the earthy “Back Water Blues,” accompanied by Toussaint on piano and Doyle Bramhall II on guitar. Pianist-singer Eddie Bo contributes a solo N’awlins-rumba rendition of “When the Saints Go Marchin’ In,” and the Preservation Hall Jazz Band speaks for the whole crew with an intimate, heartfelt rendition of “Do You Know What It Means to Miss New Orleans?” Toussaint also turns in a mournful minor-key reading of the Professor Longhair anthem “Tipitina,” which he’s dubbed “Tipitina and Me.” Emotional highpoints here include Randy Newman’s poignant and telling “Louisiana 1927,” performed at Avery Fisher Hall in New York with the Louisiana Philharmonic Orchestra, Davell Crawford’s solo reading of his gospel number “Gather by the River,” Buckwheat Zydeco’s redemptive “Cryin’ in the Streets” (with Ry Cooder on slide guitar) and trumpeter Charlie Miller’s cathartic and slightly unhinged “Prayer for New Orleans.” On the upbeat side are...

2009-03-02T00:25:33-05:00

4 In January 2005 Louisiana blues guitarist Tab Benoit gathered an all-star crew of New Orleans’ finest, including Dr. John, Big Chief Monk Boudreaux, Cyril Neville, Anders Osborne, George Porter Jr. and drummer Johnny Vidacovich, for a session at Piety Studios in New Orleans. The resulting CD was intended to sound an alarm about the dangerous erosion of the wetlands, warning the world of the devastation that a major hurricane would visit on Louisiana now that the marshes and swamps weren’t there to slow the storm down. Eight months later, Katrina devastated the Gulf Coast, proving Benoit to be prescient. Dr. John carries the vocals on two thought-provoking pieces, “Clean Water” and the protest song “We Ain’t Gonna Lose No More (Without a Fight),” while Cyril takes over on the sweet “Louisiana Sunshine,” in which he sings about the sweeter aspects of the weather down there. Benoit and Osborne exchange some acoustic-guitar licks on “Kiddin’ Me,” while Benoit sings passionately on “Heart of Stone” as Dr. John tickles the ivories behind his rough-hewn vocals. On the nonpolitical front are Earl King’s “Weary Silent Night,” sung by Dr. John, and Doug Kershaw’s unruly Cajun anthem “Louisiana Man.” And the collection closes on a festive note with Monk Boudreaux leading the crew through a Mardi Gras Indians staple, “Me Donkey Want Water.” true 21 2007-06-07T14:05:44-04:00 17019 103 200606 true 0 111 2006-06-01T00:00:00-04:00

In January 2005 Louisiana blues guitarist Tab Benoit gathered an all-star crew of New Orleans’ finest, including Dr. John, Big Chief Monk Boudreaux, Cyril Neville, Anders Osborne, George Porter Jr. and drummer Johnny Vidacovich, for a session at Piety Studios in New Orleans. The resulting CD was intended to sound an alarm about the dangerous erosion of the wetlands, warning the world of the devastation that a major hurricane would visit on Louisiana now that the marshes and swamps weren’t there to slow the storm down. Eight months later, Katrina devastated the Gulf Coast, proving Benoit to be prescient. Dr. John carries the vocals on two thought-provoking pieces, “Clean Water” and the protest song “We Ain’t Gonna Lose No More (Without a Fight),” while Cyril takes over on the sweet “Louisiana Sunshine,” in which he sings about the sweeter aspects of the weather down there. Benoit and Osborne exchange some acoustic-guitar licks on “Kiddin’ Me,” while Benoit sings passionately on “Heart of Stone” as Dr. John tickles the ivories behind his rough-hewn vocals. On the nonpolitical front are Earl King’s “Weary Silent Night,” sung by Dr. John, and Doug Kershaw’s unruly Cajun anthem “Louisiana Man.” And the collection closes on a festive note with Monk Boudreaux leading the crew through a Mardi Gras Indians staple, “Me Donkey Want Water.”

2009-03-02T00:25:33-05:00