Lucien Barbarin is an American trombone player. Barbarin tours internationally with Harry Connick Jr.. He made his debut at age six, playing drums in the Onward Brass Band, with his great-uncle Paul Barbarin, has played with: Harry Connick Jr. Dr. Michael White, Wynton Marsalis, Dianne Reeves, Doc Cheatham, Lionel Hampton. While in New Orleans he performs locally and helps raise his five children. Comment from Barbarin, after Hurricane Katrina in 2005: "I'm not running from New Orleans," said Lucien Barbarin, who suffered severe damage to his home. "I'm going to stay because I was born and raised there and I'm going to pass away there. We name drinks after hurricanes. We should be used to this." It's Good to be Home, independent, 2007 Little Becomes Much: Jazz at the Palm Court Vol. 3, Lucien Barbarin & the Palm Court Swingsters, G. H. B. Records, 2000 Trombone Tradition, Lucien Barbarin with Henry Chaix Trio, Jazz Connaisseur, 1989Barbarin appears as a sideman on: 2008 What a Night! A Christmas Album – Harry Connick Jr. 2007 Oh, My NOLA – Harry Connick Jr. 2007 Chanson du Vieux Carré: Connick On Piano, Volume 3 – Harry Connick Jr. 2004 Unforgivable Blackness – Wynton Marsalis 2004 Dancing In The Sky – Dr. Michael White 2003 The Marsalis Family: A Jazz Celebration – The Marsalis Family 2003 Shake That Thing – Preservation Hall Jazz Band 2003 Harry for the Holidays – Harry Connick Jr. 2002 Jazz From the Soul of New Orleans – Dr. Michael White 2002 My One and Only Love – Topsy Chapman And The Pro's 2001 Songs I Heard – Harry Connick Jr. 2000 Song for George Lewis – Dr. Michael White 1999 Mr. Jelly Lord – Wynton Marsalis 1999 Come By Me – Harry Connick Jr. 1997 Doc Cheatham & Nicholas Payton – Doc Cheatham & Nicholas Payton 1995 Star Turtle – Harry Connick Jr. 1994 Mo' Cream from the Crop – Leroy Jones 1993 When My Heart Finds Christmas – Harry Connick Jr. 1992 World on a String – Kermit Ruffins 1991 Blue Light, Red Light – Harry Connick Jr. 1976 Hurricane Jazz Band – Hurricane Jazz Band 2011 Harry Connick Jr.
– In Concert On Broadway – Harry Connick Jr. 2011 Tradition is a Temple 2004 Only You: In Concert – Harry Connick Jr. 2003 Harry for the Holidays – Harry Connick Jr. 2003 The Marsalis Family: A Jazz Celebration – The Marsalis Family 2000 Armstrong—When the Saints Go Marching In – Lincoln Center Jazz Orchestra with Wynton Marsalis and special guests 1994 The Harry Connick Jr. Christmas Special – Harry Connick Jr. 1993 The Harry Connick Jr. Christmas Special – Harry Connick Jr. 1993 The New York Big Band Concert – Harry Connick Jr. Lucien Barbarin on MySpace Lucien Barbarin, official website
Daniel Moses Barker was an American jazz musician and author from New Orleans. He was a rhythm guitarist for various bands of the day, including Cab Calloway, Lucky Millinder and Benny Carter throughout the 1930s. One of Barker's earliest teachers in New Orleans was fellow banjoist Emanuel Sayles, with whom he recorded. Throughout his career, he played with Jelly Roll Morton, Baby Dodds, James P. Johnson, Sidney Bechet, Mezz Mezzrow, Red Allen, he toured and recorded with his wife, singer Blue Lu Barker. From the 1960s, Barker's work with the Fairview Baptist Church Brass Band was pivotal in ensuring the longevity of jazz in New Orleans, producing generations of new talent, including Wynton and Branford Marsalis who played in the band as youths. Danny Barker was born to a family of musicians in New Orleans in 1909, the grandson of bandleader Isidore Barbarin and nephew of drummers Paul Barbarin and Louis Barbarin, he took up clarinet and drums before switching to a ukulele that his aunt got him, a banjo from his uncle or a trumpeter named Lee Collins.
Barker began his career as a musician in his youth with his streetband the Boozan Kings, toured Mississippi with Little Brother Montgomery. In 1930 he switched to the guitar. On the day of his arrival in New York, his uncle Paul took him to the Rhythm Club, where he saw an inspiring performance by McKinney's Cotton Pickers, it was their first performance in New York as a band. Barker played with several acts when he moved to New York, including Fess Williams, Billy Fowler and the White Brothers, he worked with Buddy Harris in 1933, Albert Nicholas in 1935, Lucky Millinder from 1937 to 1938, Benny Carter in 1938. During his time in New York, he played with West Indian musicians, who mistook him for one of them due to his Creole style of playing. From 1939 to 1946 he recorded with Cab Calloway, started his own group featuring his wife Blue Lu Barker after leaving Calloway. On September 4, 1945 he recorded with Ohio's native jazz pianist, Sir Charles Thompson, saxophonists Dexter Gordon and Charlie Parker.
In 1947 he was performing again with Lucky Millinder, with Bunk Johnson. He returned to working with Al Nicholas in 1948 and in 1949 rejoined efforts with his wife in a group. During the 1950s he was a freelance musician, but did work with his uncle Paul Barbarin from 1954 to 1955. In the mid-1950s he went to California to record again with Albert Nicholas, he performed at the 1960 Newport Jazz Festival with Eubie Blake. In 1963 he was working with Cliff Jackson, in 1964 appeared at the World Fair leading his own group. Sometime in the early 1960s he formed a group. In 1965, Barker returned to New Orleans and took up a position as assistant to the curator of the New Orleans Jazz Museum. In 1970 he founded and led a church-sponsored brass band for young people—the Fairview Baptist Church Marching Band—which became popular. Reverend Andrew Darby, Jr. the Pastor of Fairview Baptist Church commissioned'Brother' Barker to form a Christian band, Barker went throughout the neighborhood of the church enlisting young musicians.
The Fairview band launched the careers of a number of professional musicians who went on to perform in brass band and mainstream jazz contexts, including Leroy Jones, Wynton Marsalis, Branford Marsalis, Kirk Joseph, Nicholas Payton, Shannon Powell, Lucien Barbarin, Dr. Michael White and others; as Joe Torregano—another Fairview band alumnus—described it, "That group saved jazz for a generation in New Orleans." In years the band became known as the Dirty Dozen Brass Band. During that time, he led the French Market Jazz Band. Barker played at many New Orleans venues from the late 1960s through the early 1990s, in addition to touring. During the 1994 Mardi Gras season, Barker reigned as King of Krewe du Vieux, he published an autobiography and many articles on New Orleans and jazz history. Barker had published two books on jazz from the Oxford University Press; the first was Bourbon Street Black, cowritten with Dr. Jack V. Buerkle, in 1973, followed by A Life In Jazz in 1986, he enjoyed painting and was an amateur landscape artist.
Living during a period when segregation was still common practice in the United States, Barker faced many obstacles during his career. Barker suffered from diabetes throughout most of his adult life, was in general poor health, he died of cancer in New Orleans on 13 March 1994 at age 85. Barker is featured posthumously in the 2011 non-fiction film by Darren Hoffman, Tradition is a Temple. Musicians from the documentary speak at length of the profound impact that Barker had on their lives and careers and New Orleans poet Chuck Perkins reads a poem written for and dedicated to his memory. Barker appears in Les Blank's New Orleans documentary Always for Pleasure, including an interview and several performance sequences. Barker appeared in the 1987 American television drama film A Gathering of Old Men, in which he played the role of Chimlee. 1994 - Big Easy Entertainment Awards - Best Traditional Jazz Group for Danny Barker 1993 - Big Easy Entertainment Awards - Lifetime Achievement In Music 1993 - Big Easy Entertainment Awards - Best Traditional Jazz Group for Danny Barker 1991 - National Endowment for the Arts NEA Jazz Masters Award 1991 - Big Easy Entertainment Awards - Best Traditional Jazz Group for Danny Barker 1990 - Big Easy Entertainment Awards - Best Traditional Jazz Group for Danny Barker and the Jazz Hounds 1989 - Big Easy Entertainment Awards - Best Traditional Jazz Group for Danny Barker and the Jazz Hounds with Blue Lu Barker List of people from New Orleans Barker and Alyn Shipton.
A Life in Jazz. New
A trumpet is a brass instrument used in classical and jazz ensembles. The trumpet group contains the instruments with the highest register in the brass family. Trumpet-like instruments have been used as signaling devices in battle or hunting, with examples dating back to at least 1500 BC. Trumpets are used in art music styles, for instance in orchestras, concert bands, jazz ensembles, as well as in popular music, they are played by blowing air through nearly-closed lips, producing a "buzzing" sound that starts a standing wave vibration in the air column inside the instrument. Since the late 15th century they have been constructed of brass tubing bent twice into a rounded rectangular shape. There are many distinct types of trumpet, with the most common being pitched in B♭, having a tubing length of about 1.48 m. Early trumpets did not provide means to change the length of tubing, whereas modern instruments have three valves in order to change their pitch. There are eight combinations of three valves, making seven different tubing lengths, with the third valve sometimes used as an alternate fingering equivalent to the 1-2 combination.
Most trumpets have valves of the piston type. The use of rotary-valved trumpets is more common in orchestral settings, although this practice varies by country; each valve, when engaged, increases the length of lowering the pitch of the instrument. A musician who plays the trumpet is called trumpeter; the English word "trumpet" was first used in the late 14th century. The word came from Old French "trompette", a diminutive of trompe; the word "trump", meaning "trumpet," was first used in English in 1300. The word comes from Old French trompe "long, tube-like musical wind instrument", cognate with Provençal tromba, Italian tromba, all from a Germanic source, of imitative origin." The earliest trumpets date earlier. The bronze and silver trumpets from Tutankhamun's grave in Egypt, bronze lurs from Scandinavia, metal trumpets from China date back to this period. Trumpets from the Oxus civilization of Central Asia have decorated swellings in the middle, yet are made out of one sheet of metal, considered a technical wonder.
The Shofar, made from a ram horn and the Hatzotzeroth, made of metal, are both mentioned in the Bible. They were played in Solomon's Temple around 3000 years ago, they were said to be used to blow down the walls of Jericho. They are still used on certain religious days; the Salpinx was a straight trumpet 62 inches long, made of bronze. Salpinx contests were a part of the original Olympic Games; the Moche people of ancient Peru depicted trumpets in their art going back to AD 300. The earliest trumpets were signaling instruments used for military or religious purposes, rather than music in the modern sense. Improvements to instrument design and metal making in the late Middle Ages and Renaissance led to an increased usefulness of the trumpet as a musical instrument; the natural trumpets of this era consisted of a single coiled tube without valves and therefore could only produce the notes of a single overtone series. Changing keys required the player to change crooks of the instrument; the development of the upper, "clarino" register by specialist trumpeters—notably Cesare Bendinelli—would lend itself well to the Baroque era known as the "Golden Age of the natural trumpet."
During this period, a vast body of music was written for virtuoso trumpeters. The art was revived in the mid-20th century and natural trumpet playing is again a thriving art around the world. Many modern players in Germany and the UK who perform Baroque music use a version of the natural trumpet fitted with three or four vent holes to aid in correcting out-of-tune notes in the harmonic series; the melody-dominated homophony of the classical and romantic periods relegated the trumpet to a secondary role by most major composers owing to the limitations of the natural trumpet. Berlioz wrote in 1844: Notwithstanding the real loftiness and distinguished nature of its quality of tone, there are few instruments that have been more degraded. Down to Beethoven and Weber, every composer – not excepting Mozart – persisted in confining it to the unworthy function of filling up, or in causing it to sound two or three commonplace rhythmical formulae; the attempt to give the trumpet more chromatic freedom in its range saw the development of the keyed trumpet, but this was a unsuccessful venture due to the poor quality of its sound.
Although the impetus for a tubular valve began as early as 1793, it was not until 1818 that Friedrich Bluhmel and Heinrich Stölzel made a joint patent application for the box valve as manufactured by W. Schuster; the symphonies of Mozart, as late as Brahms, were still played on natural trumpets. Crooks and shanks as opposed to keys or valves were standard, notably in France, into the first part of the 20th century; as a consequence of this late development of the instrument's chromatic ability, the repertoire for the instrument is small compared to other instruments. The 20th century saw an explosion in the variety of music written for the trumpet; the trumpet is constructed of brass tubing bent twice into a rounded oblong shape. As with all brass instruments, sound is produced by blowing air through closed lips, producing a "buzzing" sound into the mouthp
Herlin Riley is an American jazz drummer and a member of the Lincoln Center Jazz Orchestra led by Wynton Marsalis. A native of New Orleans, Riley started on the drums, he played trumpet through high school. After graduating, he spent three years as a member of a band led by Ahmad Jamal, he has worked with Wynton Marsalis as a member of the Jazz at Lincoln Center Orchestra and of Marsalis's small groups. He has worked with George Benson, Harry Connick, Jr. and Marcus Roberts. Riley played a large part in developing the drum parts for Wynton Marsalis's Pulitzer Prize-winning album, Blood on the Fields, he is a lecturer in percussion for the jazz studies program at the Bienen School of Music at Northwestern University in Evanston, Illinois. Watch What You're Doing Cream of the Crescent New Direction With Ahmad Jamal Digital Works Live at the Montreal Jazz Festival 1985 Rossiter Road Blue Moon With Marcus Roberts Deep in the Shed With Wynton Marsalis 1988 The Majesty of the Blues 1988 Uptown Ruler: Soul Gestures in Southern Blue, Vol. 2 1990 Crescent City Christmas Card 1990 Standard Time, Vol. 2: Intimacy Calling 1990 Standard Time, Vol. 3: The Resolution of Romance 1990 Tune in Tomorrow 1991 Blue Interlude 1991 Levee Low Moan: Soul Gestures in Southern Blue, Vol. 3 1992 Citi Movement 1993 In This House, On This Morning 1994 Jazz at Lincoln Center Presents: The Fire of the Fundamentals 1994 Jazz at Lincoln Center: They Came to Swing 1994 Joe Cool's Blues 1996 Jump Start and Jazz 1997 Blood on the Fields 1999 Big Train 1999 Live at the Village Vanguard 1999 Live in Swing City: Swingin with the Duke 1999 Reeltims 1999 Standard Time, Vol. 6: Mr. Jelly Lord 1999 The Marciac Suit 2000 Selections from the Village Vanguard Box 2004 Trios 2004 Unforgivable Blackness: The Rise and Fall of Jack Johnson 2005 A Love Supreme 2005 Don't Be Afraid: The Music of Charles Mingus 2005 Higher Ground Hurricane Benefit Relief Concert 2006 Cast of Cats 2007 Standards & Ballads 2009 Christmas Jazz Jam 2012 Swinging into the 21st 2012 The Music of America 2013 The Spiritual Side of Wynton Marsalis 2002 Bennie Wallace In Berlin HerlinRiley.com - official website Drummerworld biography Herlin Riley Interview at allaboutjazz.com Herlin Riley Interview NAMM Oral History Library
The guitar is a fretted musical instrument that has six strings. It is played with both hands by strumming or plucking the strings with either a guitar pick or the finger/fingernails of one hand, while fretting with the fingers of the other hand; the sound of the vibrating strings is projected either acoustically, by means of the hollow chamber of the guitar, or through an electrical amplifier and a speaker. The guitar is a type of chordophone, traditionally constructed from wood and strung with either gut, nylon or steel strings and distinguished from other chordophones by its construction and tuning; the modern guitar was preceded by the gittern, the vihuela, the four-course Renaissance guitar, the five-course baroque guitar, all of which contributed to the development of the modern six-string instrument. There are three main types of modern acoustic guitar: the classical guitar, the steel-string acoustic guitar, the archtop guitar, sometimes called a "jazz guitar"; the tone of an acoustic guitar is produced by the strings' vibration, amplified by the hollow body of the guitar, which acts as a resonating chamber.
The classical guitar is played as a solo instrument using a comprehensive finger-picking technique where each string is plucked individually by the player's fingers, as opposed to being strummed. The term "finger-picking" can refer to a specific tradition of folk, blues and country guitar playing in the United States; the acoustic bass guitar is a low-pitched instrument, one octave below a regular guitar. Electric guitars, introduced in the 1930s, use an amplifier and a loudspeaker that both makes the sound of the instrument loud enough for the performers and audience to hear, given that it produces an electric signal when played, that can electronically manipulate and shape the tone using an equalizer and a huge variety of electronic effects units, the most used ones being distortion and reverb. Early amplified guitars employed a hollow body, but solid wood guitars began to dominate during the 1960s and 1970s, as they are less prone to unwanted acoustic feedback "howls"; as with acoustic guitars, there are a number of types of electric guitars, including hollowbody guitars, archtop guitars and solid-body guitars, which are used in rock music.
The loud, amplified sound and sonic power of the electric guitar played through a guitar amp has played a key role in the development of blues and rock music, both as an accompaniment instrument and performing guitar solos, in many rock subgenres, notably heavy metal music and punk rock. The electric guitar has had a major influence on popular culture; the guitar is used in a wide variety of musical genres worldwide. It is recognized as a primary instrument in genres such as blues, country, folk, jota, metal, reggae, rock and many forms of pop. Before the development of the electric guitar and the use of synthetic materials, a guitar was defined as being an instrument having "a long, fretted neck, flat wooden soundboard, a flat back, most with incurved sides." The term is used to refer to a number of chordophones that were developed and used across Europe, beginning in the 12th century and in the Americas. A 3,300-year-old stone carving of a Hittite bard playing a stringed instrument is the oldest iconographic representation of a chordophone and clay plaques from Babylonia show people playing an instrument that has a strong resemblance to the guitar, indicating a possible Babylonian origin for the guitar.
The modern word guitar, its antecedents, has been applied to a wide variety of chordophones since classical times and as such causes confusion. The English word guitar, the German Gitarre, the French guitare were all adopted from the Spanish guitarra, which comes from the Andalusian Arabic قيثارة and the Latin cithara, which in turn came from the Ancient Greek κιθάρα. Which comes from the Persian word "sihtar"; this pattern of naming is visible in setar and sitar. The word "tar" at the end of all of these words is a Persian word that means "string". Many influences are cited as antecedents to the modern guitar. Although the development of the earliest "guitars" is lost in the history of medieval Spain, two instruments are cited as their most influential predecessors, the European lute and its cousin, the four-string oud. At least two instruments called "guitars" were in use in Spain by 1200: the guitarra latina and the so-called guitarra morisca; the guitarra morisca had a rounded back, wide fingerboard, several sound holes.
The guitarra Latina had a narrower neck. By the 14th century the qualifiers "moresca" or "morisca" and "latina" had been dropped, these two cordophones were referred to as guitars; the Spanish vihuela, called in Italian the "viola da mano", a guitar-like instrument of the 15th and 16th centuries, is considered to have been the single most important influence in the development of the baroque guitar. It had six courses, lute-like tuning in fourths and a guitar-like body, although early representations reveal an instrument with a cut waist, it was larger than the contemporary four-course guitars. By the 16th century, the vihuela's construction had more in common with the modern guitar, with its curved one-piece ribs, than with the viols, more like a larger version of the contemporary four-course guita
Leroy Jones is a jazz trumpeter from New Orleans, Louisiana. Jones began playing trumpet at the age of ten, by the time he was 12 was leading the Fairview Baptist Church Marching Band, a group of young musicians organized by guitar- and banjo-player Danny Barker; when the musicians' union forced Barker to disband the group in 1974, Jones became a union musician and took over the running of the group, renamed the Hurricane Brass Band, himself. In 1975 or 1976 he left the group, touring for a time with Eddie Vinson and Della Reese before forming his own group, the Leroy Jones Quintet. In 1991 Jones joined the big band of Harry Connick, Jr. and the exposure with Connick's band, led to Jones' releasing his first album under his own name. The Leroy Jones Quintet continues to tour and record, since 2004 Jones has appeared with the Preservation Hall Jazz Band and Dr. John. 1975 - Leroy Jones and his Hurricane Marching Brass Band of New Orleans 1994 - Mo' Cream from the Crop 1996 - Props for Pops 1999 - City of Sounds 2002 - Back to My Roots 2003 - Wonderful Christmas: A Brass Salute to the King of Kings 2005 - New Orleans Brass Band Music: Memories of the Fairview & Hurricane Band 2007 - Soft Shoe 2009 - Sweeter Than a Summer Breeze "Trumpeter Leroy Jones takes New Orleans jazz to the world" - The Advocate https://web.archive.org/web/20140226142658/http://theadvocate.com/entertainment/6979454-84/trumpeter-leroy-jones-takes-new "Leroy Jones - Blowing Up A Storm" - OffBeat http://www.offbeat.com/2013/08/01/leroy-jones-blowing-up-storm/ Leroy Jones on the Spirit of New Orleans Website "Trumpeter Leroy Jones takes New Orleans jazz to the world".
The Advocate, October 14, 2013 "Leroy Jones: Blowing Up A Storm". OffBeat, August 1, 2013 "Roots of'Jazz". BestofNewOrleans.com, April 8, 2003
Dirty Dozen Brass Band
The Dirty Dozen Brass Band is a New Orleans, brass band. The ensemble was established in 1977 by members of the Tornado Brass Band; the Dirty Dozen revolutionized the New Orleans brass band style by incorporating funk and bebop into the traditional New Orleans jazz style, since has been a major influence on local music. The Dirty Dozen Brass Band grew out of the youth music program established by Danny Barker at New Orleans' Fairview Baptist Church. In 1972, Barker started the Fairview Baptist Church Marching Band to provide young people with a positive outlet for their energies; the band achieved considerable local popularity and transformed itself into a professional outfit led by trumpeter Leroy Jones and known as the Hurricane Brass Band. By 1976, opportunities for brass bands were drying up. A few of the musicians from the Tornado band—trumpeter Gregory Davis, sousaphonist Kirk Joseph, trombonist Charles Joseph, saxophonist Kevin Harris–continued to rehearse together into 1977, they were joined by Efrem Townes and Roger Lewis on saxophone and Benny Jones and Jenell Marshall on drums.
By this point the popularity of brass band music in New Orleans was at a low ebb, paying gigs were rare, a circumstance which influenced the early development of the band. As Davis describes it, In the beginning, there was a lot of rehearsal going on... we started to develop a repertoire.... We were just rehearsing, we were interested in learning the chord progressions and the melodies.... We were all free to bring in. We weren't thinking about getting gigs; this sense of freedom allowed the band to incorporate bebop tunes and jazz standards into their repertoire, as well as lighthearted pieces like The Flintstones theme song. When Benny Jones, active in the social and pleasure club scene, was asked to get a band together for a parade he would draw from this rehearsal group. "I thought it would be better to use the same people as as I could," he explains. "That helped to keep it tight." The band called themselves the Original Sixth Ward Dirty Dozen, a name designed to show their strong connection to the Tremé neighborhood and the local social club scene, as represented by the Dirty Dozen Social and Pleasure Club.
The band began playing regular Thursday night gigs at a Seventh Ward club called Daryl's, added a regular spot at the Glasshouse, a neighborhood bar in a black neighborhood of Uptown New Orleans, which lasted "about seven or eight years". The performances at Daryl's caught the attention of Jerry Brock, a radio broadcaster and co-founder of new local radio station WWOZ. Brock describes his initial reaction to the band: I'll never forget the first time I walked in there.... The people were so exuberant—the floor was covered with people, rolling on the floor!... This is what the Fairview band and the Hurricane Brass Band had been leading up to—the Dirty Dozen had renewed this music to the New Orleans community; the people were going wild. Going to Daryl's became the weekly ritual. In 1980, Jerry Brock made the first professional recording of the Dirty Dozen Brass Band, which he played "constantly" on WWOZ, he prepared a press kit for the group and, in his words, "helped them to present themselves professionally".
Back in 1982, Brock had arranged a concert for the band at the well-known local music venue Tipitina's, the first time they had played at a "white club" in New Orleans. It was a double bill with Danny Barker band. Barker and The Dozen were both apprehensive about the match-up: Barker about being blown off the stage and The Dozen out of respect and knowledge of Barker's deep roots and knowledge; the Dozen were recognized as the new energy and force that they were and Mr. Barker held his own as the elder statesman giving his blessing to the generations to come. Afterwards the band had one of its first international appearances, when Kidd Jordan recommended the band to the organizers of Swingin' Groningen in the Netherlands; the band's popularity began to take off in 1984. Promoter George Wein booked them on a tour of southern Europe, when they returned to the United States they secured engagements at two clubs in New York: Tramp's and The Village Gate, where their original short bookings were extended to six weeks.
After a week at home in New Orleans the band travelled to California for four weeks, before the year was out made three more trips to Europe. 1984 saw the recording and release of the band's first album, My Feet Can't Fail Me Now, on the Concord Jazz label. Gregory Davis assesses the band's popularity at the time: Outside Louisiana, support was in pockets, it was okay in California, but our widest support was in Europe.... There were many more festivals and clubs that featured jazz, a high level of enthusiasm. We got the same sort of reception in Japan. In 1986, the band's set at the Montreux Jazz Festival in Montreux, was recorded and released as Mardi Gras at Montreux on Rounder Records; the album and the band's touring successes attracted major-label attention, in 1987 the band signed a contract with Columbia. Their Columbia debut, 1987's Voodoo, featured guest appearances by Dr. John, Dizzy Gillespie, Branford Marsalis. Recordings saw them joined by a variety of special guests including Elvis Costello, DJ Logic, Norah Jones, the man who started it all, Danny Barker.
The group has toured and recorded with jam band Widespread Panic, as well as spending all of 1995 as the opening act for The Black Crowes'Amorica Or Bust' US Tour. In 1998, after a five-year hiatus from