Lynn Drury has been performing, in one arena or another, her entire life. At the ripe old age of five she won a 4-H state competition in Mississippi in pole bending. If you don’t know what pole bending is, it’s a little like barrel racing, Lynn says. That’s horse talk. In a word, rodeos. Once you know that much about Lynn, you understand her approach.
She picked up the guitar at 26, went at it like a pro, and she’s never stopped working. Her inspiration is her environment and since the mid nineties, that environment has been New Orleans. The transition for the Yazoo City – born Drury was smooth. She says jasmine smells like honeysuckle, and you believe her. Sultry, sweet songs turn funky, and it’s all in the same neighborhood.
In 2012 Lynn celebrated the release of her latest album “Sugar On The Floor.” Drury, an undeniable talent, is ever more present on her latest recording; a genuinely passionate album consisting of 12 original compositions. The Mississippi ex-patriot, now residing in New Orleans, brings wonderful imagery to her compositions, that seemingly transports all who listen to another time and place.
Big Chief Donald Harrison and the Congo Square Nation
Harrison, creator of “Nouveau Swing Jazz,” and a Jazz saxophonist is a born and raised New Orleanian. He created the Congo Square Nation in 1999 to keep the music of Congo Square. As a former member of the Guardians of the Flame, his father Donald Harrison, Sr. founded, Harrison merges Afro-New Orleans cultural songs, funk and jazz to create a unique sound. Tickets are extremely limited and few tickets will be sold at the door. Tickets can be purchased at http://www.friendsofthecabildo.org/events-calendar/ or by calling the FOC Office at (504) 523-3939.
Goodnight Radio performs the music of jazz greats from a century ago to today as well as some of their own original music. On this afternoon, they will be paying homage to a variety of jazz bass legends by performing and giving history on the works of Charles Mingus, Ray Brown, Esperanza Spalding, and more.
Davell Crawford, an all-around musical sensation, is one of the true wonders of the contemporary Crescent City music scene. Bill Taylor from Blues Access proclaims, “Plain and simple, Davell Crawford is one of the most talented musicians alive!”
Also known as the “Prince of New Orleans,” Davell is one of the city’s most exiting live performers. Despite his age, he has for years been a major force in American Roots Music. He has traveled, recorded, and taught the importance of music not only from New Orleans, but true Roots music from Traditional Jazz, to Gospel, Funk and R&B. Cited as one of the few musicians committed to keeping the piano sounds of New Orleans alive, he stands as the only and most documented young piano player that has kept the music true while adding a little freshness and vitality.
As a true roots musician, he shoots out from his deep gospel roots to incorporate the entire piano tradition from R & B to Blues, Soul and Funk.
Davell Crawford’s music is for real from the first note to the last. He has hailed as the gatekeeper of the New Orleans piano legacy, following Professor Longhair and James Booker. At the very least, he fulfills the bill only because he’s an original stylist rather than a copier.
Originally founded in New Orleans by Percussionist and Composer, Louis Romanos, the Louis Romanos Quartet (LRQ) relocated to Athens, Georgia in 2005. The LRQ features Dan Sumner on guitar, Alex Noppe on trumpet and Neal Starkey on acoustic bass. The music that Mr. Romanos composes reinterprets both traditional and modern jazz, interweaving Latin, bebop, and New Orleans street beat rhythms with profound melodies to create a playful, rhythmically driven, compelling sound.
Mr. Romanos studied percussion with Idris Muhammad, John Vidacovich. He has recorded and/or performed with many great musicians including Tommy James, Gene Bertoncini, Steve Masakowski, Keith Richards, John Mayer, Earl Turbinton, Al Hirt, Charles Neville, and Stanton Moore.
Aashish gave his first public performance at the age of 13, with his grandfather, on the All India Radio National Program along with Pandit Kanthe Maharaj on Tabla, in New Delhi. In that same year, 1953, he performed with his father and grandfather at the Tansen Music Conference, Calcutta. In 1961, he accompanied his father Ustad Ali Akbar Khan as a representative by the Government of India to the East West Music Encounter in Tokyo, Japan. In 1967 he played a Sarode duet with his father at the Hollywood Bowl, Los Angeles, for an audience of over 20,000 people and gained acclaim. Since then, he has performed throughout India and the world, not only with his father but also as a soloist in his own right.
Besides his virtuosity as a traditional sarodist, for which he was recognized in 1996 with the “Best Sarode Player” award from the All India Critics Association of India, he is considered to be one of the most distinguished musicians of the Seniya Beenkar and Seniya Rababiya Gharana and a music teacher throughout India and the world.
Since 1979, the Pfister Sisters have been bringing traditional jazz from New Orleans to the world. Holley Bendtsen, Yvette Voelker and Debbie Davis (in truth, neither Pfisters nor Sisters) have shared stages with everyone from Linda Rondstadt and Irma Thomas to Maxine Andrews of the Andrews Sisters. Steeped in New Orleans traditional jazz, they carry on the legacy of innovative jazz vocal harmony begun by New Orleans’ own Boswell Sisters in 1925. The subject and stars of an original show in Berlin’s premier cabaret venue, the “sisters” have toured the US and Europe, performing in venues as diverse as Jazz at Lincoln Center, the Ascona Jazz Festival and Angola State Penitentiary as well as having played themselves in an episode of the HBO series, TREME. They continue to be staples of the New Orleans Jazz and Heritage Festival and perform regularly domestically and abroad.
Born In Denmark, saxophonist, clarinetist and composer Christian Winther was introduced to jazz by his fathers albums of jazz masters such as Louis Armstrong, Thelonious Monk and
John Coltrane. At the age of 11 Winther began playing the clarinet; Louis Armstrong was among his first influences. Then Winther heard the music of Charlie Parker and John Coltrane and the saxophone seemed the logical next step.
He studied with saxophonist Darryl Barber and attended the Skidmore Jazz Institute program and was encouraged to continue his studies in jazz by the late legend Milt Hinton.
Since moving to New Orleans in 1997 Christian Winther has established himself as a in-demand saxophonist on the New Orleans jazz scene through his strong versatile sound. His four recordings on the Steeplechase label have earned him critical acclaim from many national and international jazz publications. Jazz Times noted of Winther’s release “Soul House” – “It marks his rise as another promising tenor saxophonist among the ranks of well schooled young jazz musicians”. Winther has toured the US and europe as the leader of the Christian Winther Quartet and performed as a sideman with many New Orleans groups.
The New Orleans Nightingales are a diverse group of the best and brightest singers in New Orleans. Steeped in the musical traditions of early American music, the ladies of the New Orleans Nightingales bring new life to this hundred year art form through new compositions, vibrant live performances and a commitment to the idea that traditional jazz and folk music is still evolving. ?Backed by a group of dynamic players, this explosive combination of quality musicianship and vocal prowess guarantees and entertaining and memorable experience.
Born in McComb, Mississippi in 1940, Fread E. Martin grew up playing alongside his blues guitar-picking father (Jessie James Martin), then rode the rails to New Orleans during the early fifties where he crossed paths with itinerant South Louisiana blues man such as “Poka- Dot” Slim and “Boogie” Bill Webb whose unique country-cum-urban styles would influence his own. Honing his guitar chops at notorious joints like the Bucket of Blood (which he later immoralized in song), he jammed and gigged with Bo Diddley and John Lee Hooker, and also played bass for Freddy King during one of the guitarist’s stints in New Orleans. People began comparing the two musicians’ styles, hence Martin’s nome-de-plume. While well-vested in a variety of styles, nowadays Little Freddie sounds a lot more like his cousin Lightin’ Hopkins – albeit after a three day corn liquor bender! Nevertheless, the King sobriquet if fitting, as Freddie is undeniably the monarch of the Crescent City Blues scene.
His latest release Chasin the Blues was released in 2012.