CD Reviews
By Staff Music WritersThe Iguanas
If You Should Ever Fall On Hard Times
Yep Roc Records
It has been a long time for fans of The Iguanas, but they are back and quite possibly better than ever with their highly anticipated If You Should Ever Fall On Hard Times. The Iguanas’ latest release is their first album since their 2003 Plastic Silver 9-Volt Heart and the first album since Hurricane Katrina displaced the band members. It has been a long road for the Iguanas, but they have come together and created an album that speaks to the emotions that uncertainty brought in the wake of Katrina. If You Should Ever Fall On Hard Times has the gritty funk of a bar room and the classic horns that New Orleans is famous for all wrapped together. The end result is an album produced by Justin Niebank that was well worth the wait. –Rebecca Brych
Armand St. Martin & His Bayou Bohemian All-Stars
Katrina Anthem
Patty Lee Records
Armand St. Martin is the quintessential New Orleanian that can trace his family history back over ten generations, which is one reason why Katrina Anthem speaks to the listener on so many levels. The seven-song CD ranges in musical genres, but it all comes back to that distinctive flavor of New Orleans rhythmic beats, gracious melodies, sharp witty lyrics that flow like the Mississippi River, and an unbeatable spirit and love heard clearly in each piece. “Down to the Bridge” sounds like a storm brewing, while “Orleans Lullaby” showcases Martin on the piano telling a story of the aftermath, when so many of us stared at what was left of our lives in severe distress and silence. “That’s the Way In Your Heart” has got to be one of my favorites on this CD, with a mysterious voodoo vibe intro and a light pop sound filled with notes from a beautiful sax and guitar strums similar to Santana. “Saint Expedite” brings back sounds of the 60s while a “Creole Good-Bye” highlights the Cajun culture down here with the distinctive sound of an accordion. The CD is truly New Orleans and simply a mere nibble of Armand St. Martin as a performer, since he’s truly charming in every way. Try to catch this divine southern gent at the Ritz Carlton while sipping on a cool mint julep, as his witty lyrics and musical mastery on the ivories will keep you smiling all evening long. –Sheri McKee
Joe Krown Walter “Wolfman” Washington, Russell Batiste Jr.
Live at the Maple Leaf
Indie
The musicians on this recording may be enough incentive for any lover of music to add Live at the Maple Leaf to their funk and R&B collection. The recording was produced by well known Big Easy award-winning musician Joe Krown, who also plays organ on the album. Walter “Wolfman” Washington, whose credentials include backing up Lee Dorsey, and Irma Thomas does lead vocals as well as guitar. Russell Batiste Jr., an amazing drummer who not only has played with The Funky Meters and Harry Connick Jr., but who, as part of the legendary Batiste family here in New Orleans, works as the spine of the groups’ relationship. This particular band started in 2007 and has had a regular Sunday gig at the Maple Leaf ever since. The collection of songs, some original compositions and some borrowed, displays knowledge of the theory of music and the precision needed to execute it, but when played, New Orleans’ comfort, color and sway decorate the sound that is inherent in these men. The first track on the recording, “Steal Away,” has a guitar solo so tasty your ears will salivate for the remaining tracks. Marvin Gaye’s hit “What’s Going On” contains more of Washington’s jazzy soloing. The three-instrument simplicity allows the artistic strength of the musicians to play this legendary track with an easy and feel-good vibe. “Sunday Night Crawfish,” a Batiste, Jr. composition, is an energetic and fun boogie jam where Russell’s yell works as a cue for Washington and Krown to take their solos. May I give you a piece of advice, good reader? Buy this record. –Brian Serpas
Leo Nocentelli
Say Na Hey
TLT Records
Leo Nocentelli is best known for being one of the “Fathers of Funk” from his time in The Meters, but he’s also got a brand new two-song CD out that will have you grooving even further with his incorporation of funk and a little hip-hop. The title track, “Say Na Hey” explores beats from the street, Mardi Gras Indian chants, and that funky guitar sound that Nocentelli is so well-known for. From the first note, you can hear Nocentelli’s signature guitar licks that so many try to imitate. The sound combination is simply incredible and even better than Galactic’s From the Corner to the Block, which also infused the funk and hip-hop together. Nocentelli has said that this song is one that all New Orleanians can share any time of year, and it’s so true. The other tune on this CD is “The Hype” which is a badass melody of beats, will have you groovin’ right away. Be sure to pick up this latest release from Nocentelli for your next bash.
–Sheri McKee
John Rankin
Last in April First in May
Rankomatic Music
John Rankin has successfully put together a great 47 minutes and 49 seconds of listening. A native New Orleans guitarist, his first track on Last in April First in May is a float-in entrance to the second, which immediately takes it up three notches to a complex euro-folk ditty with an optimistic sounding progression. Percussion is thrown in to the mix right then, and later in the rest of the album, he joins other musicians on instruments such as steel drums, saxophone, bass guitar, and I believe what is a melody, but not one voice. Yet there’s something to be said for his wordless music and how much he conveys through six steel strings. The entire album is instrumental, a conscious decision made by Mr. Rankin, with 10 original compositions and four covers. When playing it at my house, a friend of mine, a young lady, commented that she felt like a classic film was being played in the other room, and later, that she was in Ratatouille—both compliments, I believe. The third comment from another friend was that it was “simply lovely.” Rankin obviously hit spot-on with the world-music feel throughout the disc that is fitting for his New Orleans sound. He rotates around various styles of music using only one acoustic guitar, being able to articulate the substance of the songs using a verbose instrumental language. Without even seeing his hands, any listener can tell that his fingers are flying around in a picking style that he has developed to the point of granting him complete freedom in moving about the fret board. It appears audibly that what he wants to be played in his mind is being flawlessly translated through to the guitar—something all musicians hope for. –Thomas Rush
TrifunctA
Hangin’
(Indie)
Funk music is an important part of the New Orleans music scene. Drummer Wayne Maureau and keyboardist Mike Lemmler remind us of this by founding the project TrifunctA. Mike Villa completes the trio as the guitarist. Their record, Hangin’, is an array of songs that takes you on a sonic tour with the help of George Porter, Jr., a name we all know, Mark Mullins of Bonerama, and Steve Masakowski, a musician who designs his own seven-string guitars and has the ability to cover the universe on his fretboard. “Hangin’ on Frenchman Street” is a display of George Porter, Jr.’s skills on bass and jammy guitar soloing that finishes the track. Track 3 is another Maureau arrangement that features Mark Mullins ability to play a number of solos while making his trombone sound like a wailing monster refined by years of growth after breaking out of an egg laid by New Orleans. Mike Lemmler directs “Lower Nine Time” which sounds like lounge music played by musicians that actually do have a pulse and is eventually spiced up with a technical keyboard solo. Funky, jazzy, jammy, and New Orleans is all over this record, so give some support to these musicians and check it out. –Brian Serpas
Flow Tribe
Pregnant with a Baby called Funk
CD Baby
Flow Tribe, a local funk/rock/blues band does well to blend the three. Along with dashes of other genres, they’ve fashioned an album that lends itself to a type of music that isn’t created in New Orleans very often. They make it obvious through the recorded Pregnant With a Baby Called Funk that they’d be great to see live. The group shines brightest during the instrumental portions of their songs when they’re allowed to roam freely around their instruments more. The drummer and bassist have audible chemistry between them with the other band members coming in to supplement their style. With everything from the harder version of funk reminiscent of Pepper to the calmer O.A.R. influenced tracks, they still maintain a sound that is their own. They have a good standard core of the funky music that is expected of funky music. Classic funk chords being played on guitar surrounded by the other instruments dancing alongside seems to be the theme of the album. They find original ground to cover, especially in the track “The Worx,” which isn’t in the same 4-4 I-know-what’s-coming-next structure. The lead guitarist has a knack for pulling original sounds out of his guitar, a difficult thing to do in this day of home-recording, multitudes of gadgets, gizmos and electronics and every John, Dick and Harry putting their material out there. If you’re a funk fan, it’s likely that this disc is for you. It’s funky. It’s got the fast paced bass lines and the wah-wah-pedal infused axe with a spattering of other instruments being placed tastefully over the top. Go get it, support your local funk band. Heck, do me one better and buy their album at a show. –Thomas Rush