Programs Free And Open To The Public (unless otherwise noted)
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.
The New Orleans Clarinet Summit
The Tradition: from Sidney Bechet to Alvin Batiste
featuring Evan Christopher and Greg Agid
NOLA Art House Music and WWNO radio present clarinetists Evan Christopher and Greg Agid. These talented musicians use their unique approaches to the instrument to pay tribute to clarinetists from different eras with different approaches.
Clark Vreeland is a New Orleans born and raised guitarist/keyboardist/visual artist. During the 1970’s guitarist Clark Vreeland had the opportunity to work with Earl King (who was a close mentor), Lee Dorsey and Professor Longhair. While being one of the founding members of the Rhapsodizers (precursor to the Radiators), Clark also crossed paths with members of the Meters; George Porter and Zig Modiliste. Clark was a talented songwriter and produced a CD by the Subdudes called “Primitive Streak”. He moved to Atlanta in 1984. A trio called Spanky and the Love Handles with his wife Beth Vreeland and Bob Rice was his last musical project . Clark passed away in December 2013.
A group of Clark’s friends and musical collaborators have organized a tribute to Clark featuring artists like Tommy Malone, Mark Mullins, Spencer Bohren, Andre Bohren, Carlo Nuccio, Clarks’s wife Beth and more.untitled
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.
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 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.
If you have spent much time strolling in the French Quarter you have probably seen David and Roselyn dressed in purple surrounded by instruments playing folk music and blues on Royal Street or on Jackson Square. They met in San Antonio, Texas in 1959 touring Air Force Bases throughout the United States. Over the past 55 years they have toured the world playing festivals, appearing on TV, and of course, hitting the street. Come hear unparalleled and unforgettable music magic! Instruments include Guitar, Harmonica, Trumpet, Mandolin, Banjo and a raft of African Finger Pianos: Kalimba, Sansa, Mbuti, Mbira, Morimbula, and Rhumba Box.
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.