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Honorable Mentions:

Warren Haynes/Benefit Concert Vol 8/Evilteen

Toby Walker/Just Rolled In/Toby Walker

Sarah Borges/Diamonds In The Dark/Sugarhill Records

Doug MacLeod/The Utrecht Sessions/Black & Tan Records

Scrapomatic/Sidewalk Ceasars/Landslide Records

JW Jones/Bluelisted/Northern Blues

Besides sons of legends, grand babies are now getting into the act and the results are also positive. The blues must live on and pianist/producer Alex Dixon has something to say about it. Alex Dixon is the grandson of the late Chess Blues writer, arranger and bassist Willie Dixon. Guitarist, vocalist and former Chess sideman Cash McCall was brought in by Alex to revive and compliment the old Chess Blues sound. The album is billed as The Blues Experience with Cash McCall, entitled “The Vintage Room” (Dixon Landing Music). The end result is a great collection of Muddy grinders and dance floor blues rockers. The 67 year old McCall sounds great as they open the album with “Helluva Time” a Wang-Dang- Doodle inspired tribute to the artists of the past. Willie is definitely smiling as he looks down and listens to this one from Blues Heaven. The rest of the supporting cast on this very impressive album include: Steve Bell (Carey Bell’s son - yet another acorn has fallen) on harmonica, Brady Wills on bass, Alex Dixon on piano, Vinnie Threats on drums, Dylan Cooper on upright bass, Bill “Young Blood” Learned and Katy J. on rhythm guitar. The Willie Dixon penned Chess classics reinvented on this release are: “I Just Want To Make Love To You,” “I’m Ready” and “Bring It On Home.” Alex Dixon makes his mark by not only producing this release but penning six very impressive blues numbers. I’m not only glad to see that there is another Dixon to carry on the tradition, but another blues man named Cash McCall to call one of my new favorites.

Greg “Doc” Lefebre

Thank you Armand and all the other sponsors and participants. We are already starting to work on “Hot Blues For The Homeless III.” See you then.

With 30 years of performing and seven solo recordings under her belt, vocalist Janiva Magness is back with her first Alligator records release entitled “What Love Will Do.” I caught Janiva last year at the Chenango Blues Festival and she torn the place apart. Janiva really brings it on her new disc, which contains covers of tracks from Al Green, Ike Turner and Annie Lennox. Janiva Magness has been the winner of the 2007 & 2006 Blues Music Award for Contemporary Female Artist Of the Year. I think 2008’s award is also on the way to Ms. Magness. Run don’t walk is my recommendation on your trip to the local record store to find this one.

Are you ready for the return of Satan And Adam? I wish I was going to tell you that they have a new studio release out, but I’m not. The good news is they have a new release of a NYC street performance entitled, “Word on the Street: Harlem Recordings, 1989.” Sterling Magee and Adam Gussow, otherwise known at Satan And Adam have been out of the blues scene as a team for almost a decade. Magee (guitar, vocalist) and Gussow(harmonica) first met in Harlem in 1987. “Word On the Street” is the first live album and first new release for Satan And Adam in twelve years. The release is for download only and contains over two hours of music and interviews. The sound quality is not great, but the realness of a Maxwell Street feel and raw power of two fine blues musicians out weighs the crowd noises and muddy mix. Adam describes the new CD as, “A real look into the true sound that the duo had acquired before even stepping into a recording studio.” The release is available through ModernBluesHarmonica.com. Look for a few select reunion dates as Satan and Adam are going to be on the road promoting this release this summer. Look for a documentary out on these two soon, click here for a sample.

As I’ve mentioned on the air, my mail man has been busy. The new releases have been pouring in. When I see a new disc full of the same old Blues standards I am tempted to slip the disc to the bottom of my listening stack. I’m glad that I kept and open mind and tossed M.T. Leon’s self titled debut album into my discman. Back Door Man, Farther On Up the Road, I Smell Trouble, I’m A King Bee, I’ll Play The Blues For You, Love Her With a Feelin’, they are all here, but in a fresh style that is all Mr. Leon’s own. I really enjoyed this disc. An interesting cover on this CD was M.T.’s take on the Johnny Cash classic, “Folsom Prison Blues.” What’s wrong with the same old blues covers, nothing, when M. T. Leon is on top of them. M.T. Leon “M.T. Leon” on Armed & Dangerous Records features a great supporting cast, my favorite is Robert “Night-Hawk” Tooms on the B3 with some help from former Muddy Water’s bassist Mac Arnold. This is a great debut disc and I look forward to what the future holds for Mr. M.T. Leon.

Greg “Doc” Lefebre

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The piano is an often over looked but still a major component of the blues mix. Two new piano CDs round out the springtime offerings of Electro-Fi Records. Keyboardist Kenny Blues Boss Wayne returns with “Can’t Stop Now” (Electro-Fi Records). Lucky for us Kenny’s Grandma lived in New Orleans and her grandson soaked up the sounds of the Crescent City and Fats Domino. Wayne provides a fine cover of the Dave Bartholomew song “You Can Pack Your Suitcase.” The opening track “Boogie Woogie Mama” sounds as good as its title. Kenny rolls the keys and pays tribute to his friend and mentor the late Johnnie Johnson on two tracks on this new release. The “Blues Boss” covers Johnnie Johnson’s “Tanqueray” and also wrote a tribute to Johnny entitled “Johnny J. Was Good.” For music fans that don’t know, Johnnie Johnson was the key component and driving musical force behind the success of the great Chuck Berry. The late guitarist Jeff Healey makes an appearance on “You Cured My Blues” one of my favorite tracks on this CD.

The second piano offering from Electr0-Fi is the sophomore effort from the talented signer/songwriter Julian Fauth. “Ramblin’ Son” is a CD that will take you on a varied adventure down the road to yesterday with a hint of today. Working mainly up in Toronto, Julian likes to put his own touches onto musical classics of the past while entertaining us with his wit and wisdom on his own 14 personally penned tracks on this new release. No lounge lizard here. Julian lays down some serious Barrelhouse boogie piano. The opening track “Maggie Campbell” really kicks things into high gear with some real nice guitar work from Jason Danley. Besides the piano, Julian also picks up the guitar on two tracks. Julian Fauth possesses a voice and style that reminds me of Southern piano player, Bobby Lounge. Julian tackles and reworks the Carter Family classic “Will The Circle Be Unbroken.” Other covers include Fats Waller’s “Hopeless Love Affair,” Guitar Slim’s “Done Got Over That,” Sister Rosetta Thorpe’s “Can’t No Grave Hold My Body Down” and a nice reworking of “Stagger Lee” entitled “Yet Another Stagger Lee.” Julian Fauth proves that sometimes we need to look North to find the good old sounds of the South.

Greg “Doc” Lefebre

Like his live shows the “Wolfman” perfectly blends his guitar playing with the tight horn arrangements of James “Jimmy” Carpenter. Age has improved the soulful voice of Walter “Wolfman” Washington, and his guitar playing reminds us of the great heyday of the Crescent City’s R&B Kings that Walter once backed (Ernie K-Doe, Lee Dorsey, Irma Thomas & Johnny Adams). “Just Like That” reminds us of those days and “Only You” reminds of the progression of R&B into the 70’s and beyond. Walter also shows us his other side with a straight ahead tune called “Wolf Jazz” that reminds us that NOLA was the birth place of Jazz. Shake your booty on down to the local record store or get on that internet thing and get this CD.

Greg “Doc” Lefebre

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Now how about some guitar. Mighty Mike Schermer has been a fixture on the Bay Area Blues scene for over 20 years. Sometimes you got to give the sideman a chance to have his own thing. Mighty Mike has been a sideman for Elvin Bishop, Bonnie Raitt, Charlie Musselwhite, Maria Muldaur, Howard Tate, Angela Strehli, Sista Monica, Shana Morrison and many more. Mighty Mike Schermer’s new self-released CD is appropriately titled “Right Hand Man Volume 1” (Fine Dog Records), The CD consists of 5 brand new previously unreleased songs with 8 live and studio tracks that include a tasty mix of blues, soul & R&B. Highlights include Howard Tate’s live version of “Part Time Lover” & the Maria Muldaur, Mike Schermer composition, “That’s What I Love About The Blues.” Sista Monica Parker takes Muscle Shoals into the new millenium with “The Truth.” “Still A Fool” is a funky number that features the triple threat vocal stylings of Angela Strehli, Marcia Ball and Lou Ann Barton. I found myself circling 12 out of the 13 tracks on this CD that made me feel like I was listening to a good jukebox mix. If variety is the spice of life, than this CD will help complete your blues collection.

Greg “Doc” Lefebre

Fortunately a musical storm, not a real weather storm hit the French Quarter of New Orleans on Friday. Heavy wind and the threat of thunderstorms didn’t stop Waylon Thibodeaux from taking the Old U.S. Mint stage a little late on Friday morning.

The Bourbon Street Cajuns laid it down in true Louisiana style with a grand festival opening - “Zydeco Boogaloo.” Waylon is promoting his brand new release “Who’s Yo’ Cher Be’Be’” on Rabadash Records. Meanwhile over at the Riverfront Pavilion Stage Susan Cowsill was with her rock/pop combo. I found Susan’s voice and music even better live. I only wished I had been able to see her entire set. Mem Shannon & The Membership followed Susan on the same stage with a revved up blues/soul/funk groove that said, “hey I can play the blues, but you know I’m from New Orleans.” This one time New Orleans cab driver has really become a headlining act for any blues festival.

The Tin Men , a side project for Washboard Chaz, Matt Perrine & Alex McMurray consisting of Chas on the washboard/vocals, Matt Perrine on sousaphone and Alex McMurray on guitar/vocals provide real fun music with an old-time 20’s-30’s feel. The Tin Men’s music just seemed to fit too well in the early afternoon as you have the Mississippi River just along side you and the sunshine now beating down. Thoughts of old Storyville and the music of that day seem fitting when your feet are down in the old Crescent City.

The Riverfront Brass Band Stage is always a source of the pure brass band sound that makes New Orleans music unique. Brass Band music new and old shows the true evolution of Buddy Bolden’s Jazz. The Treme’ Brass Band feature the legend of brass band music, “Uncle” Lionel Batiste on vocals and bass drum. “Uncle” sounds as great as ever, always eager to entertain and speak with the young and old interested in his music. You can catch the Treme’ Brass Band on the new Arhoolie Records release “A New Orleans Visit - Before Katrina.”

Next, a jump back to the Pavilion Stage where Joe Krown & his Combo were just hitting the stage. The location there is unbelievable, as you get to not only hear and see the music being performed but look out upon the mighty Mississippi River. To the left of the stage you can see the Steamboat Natchez exit and enter its adjacent dock. Besides the steamboat you can also watch the many freighters from all over the world navigate the river’s bend that New Orleans is famous for and founded on. Joe Krown started out on piano & then later switched to organ. Joe was a longtime sideman of Clarence “Gatemouth” Brown before he became another fixture on the New Orleans music scene. Joe played tribute to the Professor (Longhair) with a great version of “Tipitina,” before inviting his old friend Jumpin’ Johnny Sansone to join him on the stage.

Sometimes when old friends get together, it just naturally becomes a party. This time was no exception as the band seemed to take it up a notch as the two began to play together. Mainly keeping his squeeze box down and concentrating on his harp Johnny put it down and the swamp had reached the river.

Deep in the French Quarter on Bourbon Streeet where the Frat Party usually begins after 7pm & goes to well into the next day, the true sounds of jazz return to where they once dominated. Lionel Ferbos, a jazz trumpet institution in New Orleans is fronting the Louisiana Shakers. Just across the street from this stage a non-festival event was carrying visitors on Bourbon Street through the afternoon hours with the blues sounds of the Rooster.

Back on the Main Riverfront Stage, Johnny Sketch & The Dirty Notes were hitting the stage with their version of New Orleans funk & jams. Johnny Sketch is currently promoting his new CD “The Big Awesome.” The Dirty Notes play a different kind of funk that consists of various common and uncommon instruments and a great live show that will definitely keep you moving. Johnny Sketch doesn’t tour much up North, but luckily last summer we had a chance to have him here at the Big Ribs BBQ & Blues Festival in Rochester.

Unfortunately like most good musical festivals, multiple stages make for hard decisions on who to see at one particular time when there are overlaps in stage times. With great anxiety I decided it was time to go back over to the brass band stage where the Hot 8 Brass Band was also on stage. The Hot 8 are arguably one of New Orleans premier newer age brass bands to come out of the Crescent City. As they said on stage they were happy to be back in New Orleans in front of a hometown audience, where they worked through some of their better known brass band treatments of such R&B classics as Marvin Gaye’s “Sexual Healing.” The hometown crowd grew rowdy as the Hot 8 pumped up the rap/fused lines and brass pumping lines to New Orleans classics in a natural danceable groove.

Friday’s French Quarter Festival lineup was coming to a close as Bonerama was slated to be the last band of the day on the Riverfront Pavilion Stage. Bonerama has certainly now gotten to the point of popularity where they could have easily traded stages with the veteran rockers of New Orleans, the Radiators. Bonerama jammed the capacity crowd as darkness fell. A smaller Bonerama outfit, now only fronting 4 instead of 5 trombones, rocked the crowd of mainly 40 somethings & up. Since their stops in the Rochester area last year, Bonerama has continued with a busy touring schedule and continue to release their independent CD’s. Bonerama is a must see if they come to your neck of the woods.

Time now to duck out of the crowds to a little more sedate setting. The Hotel Monteleone on Royal Street in the French Quarter contains the unique Carousel Bar (which actually has a bar made out of a carousel). On Friday and Saturday nights you can catch piano man John Autin holding down the stool where he dishes out New Orleans classics, standards and your requests. When John isn’t entertaining the guests at the Carousel Bar he is busy running his long time record label which contains a variety of New Orleans & Louisiana based acts (Rabadash Records).

Saturday started with a cool not often found in New Orleans in April. A bed waking thunderstorm the night before had really cooled off the Big Easy. 11am the French Quarter Festival restarted with a country feel. Youngster Kayla Woodson & Louisiana Lightning opened the Pavilion Stage. The band started without their lead singer and a rousing version of Larry Williams “Slow Down.” After the opener they brought on their lead singer, Kayla Woodson, who is an amazing talent with a deep rich contemporary country sound worthy of today’s radio. If you didn’t look at the stage you would have never guessed that this was a13 year old girl with such a mature powerful sound. I think you’ll see this one at the Opry soon, if she hasn’t already been there.

Time to take in a little Jackson Square where the Dukes of Dixieland are opening this stages’ full day of performances. The entire square has been transformed into an incredible assortment of food vendors, artists and liquid refreshment booths. Behind the square was where I chose to settle down and I backed myself up to the park bench that hosted the Glen David Andrews Band. Glen told me and the crowd that no he’s not Trombone “Shorty” Andrews, but his cousin. Glen sported the same instrument as Shorty along with the vocal stylings similar to Louis Armstrong and more recently Kermit Ruffins. Working the crowd only for tips and possible CD sales, Glen David was joined by a tuba player, upright bass and snare drum. Later he was joined by a traditional bass drum player complete with upside down cymbal. Glen worked his way through such New Orleans classics as “Hold That Tiger”, “O0h Poo Pah Do” and “St. James Infirmary. ” Glen David Andrews & The Lazy Six is how the band is billed on his My Space page. I’m just glad I got to meet him and his band which contained a young member of the New Birth Brass Band, who was nice enough to sell me one of their untitled releases, which I give a thumbs up to. This is what it is all about in New Orleans, these guys were not part of the festival just part of what makes New Orleans great.

Back to the festival and surprisingly more country music. Gal Holiday & The Honky Tonk Revue were keeping the country theme going at the Riverfront Pavilion Stage. Gal Holiday, who is easy on the eyes and sweeter to the ears, played a fantastic set of standard sounding honky tonk country consisting of both originals and Loretta Lynn classics. Gal and her band are transplants to New Orleans and the Crescent City is very lucky that they have settled there. The long line of people following her set fighting over her CD is the best review I can provide of what the people in attendance thought of her and her band.

Drummer, radio DJ & keeper of the New Orleans Jazz Flame, Bob French was up next at the main stage. Midway through Bob’s set he had to do battle with the Steamboat Natchez calliope that was blasting over the Mississippi and the French Quarter Festival crowd. After cracking a few jokes about the calliope Bob French & The Original Tuxedo Jazz Band launched into my favorite, “Bourbon Street Parade.”

No rest at a music festival, you never know what you might be missing over at the next stage. Fortunately I did not miss most of the Storyville Stomplers‘ set. The Stompers featured Craig Klein of Bonerama fame on trombone. Craig and the band worked their way through New Orleans Brass Band classics fueled with energy and youth as they also featured a young Parade Grand Marshall who danced and blew his marching whistle. They concluded their set with a song featured on the Bonerama CD entitled “Live From New York,” entitled “Shake Your Rugalator.” The New Orleans Nightcrawlers followed on the same stage. If you like to “Kick Some Brass” then the Crawlers are for you. The New Orleans Nighcrawlers also feature a busy Craig Klein on trombone & Matt Perrine on sousaphone.

A trip back to the French Quarter & the 400 Block Stage on Royal Street allowed for a nice setting for blues on a Saturday afternoon. Long time New Orleans store owner & local blues musician Smoky Greenwell lead a top notch version of his band the Blues Gnus, featuring vocalist Margie Perez. Smoky was out promoting his new CD “Between Iraq And A Hard Place” (Southland Records). Smokey was there not only to promote his new release but also promote Margie’s release. Featuring Pete “The Foot” Brandish on drums, Smoky’s band cooked through a mix of blues originals and standards. Smoky is not only an accomplished harp player but also likes to strap on the saxophone. During the set Smoky played “Low Rider” in tribute to the band War, with whom he said he spent some time. The set also consisted of a fun version of “Peter Gunn” and some really great blues instrumentals off his new release. A real highlight of the set was the title track off Smoky’s brand new release “Between Iraq And A Hard Place.” The title track is about the constant struggle that those still face in a post Katrina New Orleans with added messages about how he feels it relates to the current situation in Iraq. The cover of his new CD really says it all.

With just enough time to settle in upfront at the main stage, Little Freddie King and his band were ready to take the stage. Blues in New Orleans = Little Freddie King. You could hear the Louisiana Spirits start to rise as Freddie started to pluck on his strings. The sounds of Slim Harpo and Lightnin’ Hopkins began to rise from the Woldenberg Park soil and the Mississippi began to churn - the blues is back in New Orleans with a little help from the Musicians Village workers. Someone else decided to help another Louisiana Soul/Blues legend, Rockie Charles. Just before Little Freddie took the stage, Rockie Charles was presented with a brand new guitar. Little Freddie invited Rockie up for a few tunes of his own. Rockie thanked everyone again for his new guitar and then proceeded to rip into “Johnny B Goode.” After one more song, Rockie gave the stage back to an invigorated Little Freddie King who proceeded to duck walk, split and twist his way through some great stuff and dirty blues. The rough and ready sound of Little Freddie was just right for the growing capacity crowd and the sun even decided to make an appearance on this otherwise overcast afternoon.

Next a step back into the French Quarter to actually escape some of the growing crowds. There was music everywhere in the French Quarter. I headed down Decatur Street toward the French Market toward Jimmy Buffet’s contribution to the New Orleans music scene, Margaritaville. Through the years I’ve seen some of my most memorable shows right on the small stage in the front of this tourist intended restaurant and theme bar. Eddie Bo, Rockie Charles & Washboard Chaz to name a few who have played on this same stage. I like to think of this as New Orleans biggest music secret that I’m happy to share with you. On that afternoon Irving Bannister was holding down the stage with his Allstars. I was surprised but happy to find Irving still playing here since I last left him in the same spot four years ago. Irving did not disappoint, his behind the back and neck brand of old school New Orleans R&B guitar playing was just how I remembered it. A new addition to Irving’s Allstars brought the singing talents of Charles Otis. Charles is a native of New Orleans. His card describes him as “The Man with the Velvet Voice.” Charles told me that he is going to be performing for the first time at the up and coming New Orleans Jazz Festival as a part of Guitar Slim, Jr’s set. While Charles took a break, Irving & his Allstars provided a great finish to the set with a rousing version of Chris Kenner’s “Sick And Tired” and The Neville Brothers “Hey Pocky Way.” I didn’t have the “Cheese Burger in Paradise” but I did have some kind of cajun burger that had shrimp on it that really hit the spot, just like Irving and his Allstars. Yes, now Doc’s Juke Joint is breaking into the food review business.

Back to the festival and the Cajun/Zydeco stage. Maybe it was fitting that I would end the festival where I began. Dwayne Dopsie & the Zydeco Hellraisers were on stage to be the final performer of the day on this stage. A large but well behaved and footloose crowd was treated to some great Zydeco classics and classic rock covers. The good news for Rochester fans is that besides having upcoming dates in Amsterdam and Rio, Dwayne Dopsie is also slated to play at the Rochester International Jazz Festival in June. Dwayne Dopsie, son of the late legend of Zydeco, Rockin’ Dopsie, tore down the old U.S. Mint Stage. Dopsie also played tribute to the other “King of Zydeco” besides his father, Clifton Chenier with a great version of “I’m A Hog For You.” Dopsie traded licks with his shirtless rub board player who shared his enthusiasm and energy for entertaining the crowd. Mardi Gras beads were flying and Grenades & Hurricanes were going down.

A long day at a music festival calls for some feet resting but no rest from finding more live music. Fortunately I planned well as a short trip down the block brought me to the Balcony Music Club (formerly the El Matador) for an early evening performance of Juke Joint favorite Big Daddy-O. Big Daddy-O took the stage solo in support of his new CD on Rabadash Records entitled “What You Gotta Go Through.” Big Daddy-O, a once full time performer on Bourbon Street, did a great job of mixing covers and songs from his three CD releases.

Well as they say, all good things must come to an end. I unfortunately had to leave and miss Sunday the third and final day of the French Quarter Festival. I think I did pretty well in my 48 hours in New Orleans and only hope to get back there soon. For reference the French Quarter Festival has really grown and become the official start of the major festival season in New Orleans which leads up to the big finale, known as the New Orleans Jazz And Heritage Festival (or Jazz Fest as everyone calls it). Jazz Fest is a two weekend festival that is always the last weekend in April and the first weekend in May. Within the two weeks that make up Jazz Fest you will also find the Ponderosa Stomp, Chaz Fest , numerous in-store performances at the Louisiana Music Factory & the famous Professor Longhair inspired - Piano Night.

So much music, so little time.

Greg “Doc” Lefebre doc@jazz901.org