doubleplusgood

with Lizbot

Monkey. Robot.

Artist Song Album Label Comments
Professor Longhair If You Go to New Orleans, You Got to Go to the Mardi Gras Go To The Mardi Gras / Everyday, Everynight Ron Records 1959; BEGIN NEW ORLEANS: CRESCENT CITY BLUES theme for Mardi Gras coming this Tuesday but celebrated in NOLA for two weeks leading up to the big day. Just flew in from New Orleans.
Dr. John Life In The Right Place Atco 1973
Professor Longhair Big Chief, Part 2 Big Chief, Part 1 / Big Chief, Part 2 7" Watch Records 1964
Leroy Jones Carnival Is In the Air Carnival Is In the Air jazz trumpeter
Dr. John Qualified In The Right Place Atco 1973
The Meters This Is My Last Affair Look-Ka Py Py Josie 1969; 2nd studio album. Instrumental funk from NOLA. Often sampled
Tami Lynn Mojo Hannah Love Is Here and Now You're Gone Cotillion 1972; NOLA soul singer
The Dixie Cups Two Way Poc-A Two-Way-Poc-A-Way / That's Where It's At ABC-Paramount 1965;1960s pop girl group from NOLA
James K-Nine Live It Up Live It Up / Counting Tear Drops Federal Records 1972; NOLA funk
The Meters Look-Ka Py Py Look-Ka Py Py Josie 1969
Stop, Inc. The Second Line The Second Line Part 1/ The Second Line Part 2 J.B.'s Records
James Andrews featuring Monk Boudreaux Ghetto Funk Music The Big Time Stuff 2011
Wynton Marsalis Oh, But On the Third Day The Majesty Of The Blues Columbia 1989; The second side of this album, (culminating with this track,) features a sextet with additional New Orleans musicians in a style influenced by the traditional New Orleans brass band. This section mirrors a traditional jazz funeral, with a dirge-like first selection ("The Death of Jazz"), then a spoken word section ("Premature Autopsies", an essay by Stanley Crouch performed by Jeremiah Wright) and preached like a minister at a graveyard, and a second line number ("Oh, But on the Third Day – Happy Feet Blues").
Rebirth Jazz Band Do Whatcha Wanna Feel Like Funkin' It Up Rounder Records 1989; New Orleans brass band formed in 1983 by Philip and Keith Frazier, jazz trumpeter Kermit Ruffins and other musicians attending Clark High School in Treme at that time.(yes, the show Treme used a version of this song in its theme, with completely different lyrics.)
Jessie Hill Ooh Poo Pah Doo (Pt 1) Ooh Poo Pah Doo - Part I / Ooh Poo Pah Doo - Part II Minit He began his career as a drummer in the 1950s and after performing with Professor Longhair and Huey "Piano" Smith, he focused on singing and songwriting. "And I won't stop trying until 'til I create a disturbance in your mind."
Cousin Joe When Your Mother's Gone When Your Mother's Gone Blue Moon 1946; Cousin Joe, AKA "Pleasant Joseph," was an American blues and jazz singer, later famous for his 1940s recordings with clarinetist Sidney Bechet and saxophonist Mezz Mezzrow.
Fats Domino Blue Monday Fats Domino Swings Imperial 1959; American pianist and singer-songwriter and one of the pioneers of rock and roll music.
Betty Harris Hook, Line 'n Sinker Hook, Line 'n Sinker / Show It 7" Sansu Records 1968
Duke of Iron Calypsonian Invasion Calypsonian Invasion 7" RCA Italiana 1957
Kid Eggplant & The Melatauns Boy Big Trouble In Little Chalmette
Big Al Carson All On a Mardi Gras Day All On a Mardi Gras Day Mambito Born Alton Carson. American blues and jazz singer from New Orleans. He performs with his band, the Blues Masters.
The Mighty Terror No Carnival In Britain The Emperor of Africa Trinidadian Calypso artist, he moved to England in 1953, working his passage as a ship's fireman. In England he first recorded for Melodisc, making him labelmates with his long time hero, Lord Kitchener.
Professor Longhair Tipitina Rock 'N' Roll Gumbo Blue Star 1974; Born Henry Roeland "Roy" Byrd, Professor Longhair or "Fess" for short, was an American singer and pianist who performed New Orleans blues. He was active in two distinct periods, first in the heyday of early rhythm and blues and later in the resurgence of interest in traditional jazz after the founding of the New Orleans Jazz and Heritage Festival in 1970. His piano style has been described as "instantly recognizable, combining rumba, mambo, and calypso".
Blue Lu Barker with Danny Barker's Fly Cats Don't You Make Me High (Don't You Feel My Leg) Don't You Make Me High / He Caught That B&O Decca 1938; Blue Lu Barker, was a New Orleans jazz and blues singer.She wrote this song with her husband, guitarist Danny Barker, a regular of the New Orleans music scene
The Meters Hey Pocky A-Way Rejuvenation Reprise Records 1974
Rosetta Howard Men Are Like Streetcars Men Are Like Streetcars Decca 1939; Chicago blues singer, BUT streetcars are an important part of the New Orleans streetscape and this is a great song, so I'm slipping this one in!
Fats Domino Blueberry Hill Blueberry Hill Imperial 1956; The Domino family was of French Creole background, and Louisiana Creole was his first language.
Eddie Bo Tell It Like It Is Tell It Like It Is / Every Dog Got His Day Ric Records 1960; Edwin Bocage (1930–2009), better known as Eddie Bo, was a singer, pianist and songwriter from New Orleans.
Allen Toussaint West End Blues The Bright Mississippi Nonesuch 2009; American musician, songwriter, arranger and record producer, who was an influential figure in New Orleans rhythm and blues from the 1950s to the end of the century, described as "one of popular music's great backroom figures"
The Wild Tchoupitoulas Big Chief Got a Golden Crown The Wild Tchoupitoulas Mango 1976; a group of Mardi Gras Indians formed in the early 1970s by George "Big Chief Jolly" Landry. Landry, with his mixed African-American, Caucasian, and Native American (Choctaw) heritage. The group is named after the Tchoupitoulas tribe who also gave their name to Tchoupitoulas Street. With help from local New Orleans musicians The Meters, The Wild Tchoupitoulas recorded an eponymous album, which featured the "call-and-response" style chants typical of Mardi Gras Indians. Vocals were provided by Landry, as well as other members of his Mardi Gras tribe. Instrumentation was provided in part by members of the Meters. The album also notably featured Landry's nephews, the Neville Brothers, providing harmonies and some of the instrumentation. The album was produced by famed New Orleans writer-musician-producer Allen Toussaint.
Duke of Iron Pepper Sauce Milly Calypso Carnival RCA Victor 1957
Allen Toussaint Bono Heavenly Baby
Clarence "Frogman" Henry Ain't Got No Home Ain't Got No Home / Troubles, Troubles Argo 1956; Clarence Henry was born in New Orleans, Louisiana, United States, in 1937, moving to the Algiers neighborhood in 1948. He started learning piano as a child, with Fats Domino and Professor Longhair being his main influences. When Henry played in talent shows, he dressed like Longhair and wore a wig with braids on both sides. He joined Bobby Mitchell & the Toppers in 1952, playing piano and trombone, before leaving when he graduated in 1955 to join saxophonist Eddie Smith's band. He used his trademark croak to improvise the song "Ain't Got No Home" one night in 1955. Chess Records' A&R man Paul Gayten heard the song, and had Henry record it in Cosimo Matassa's studio in September 1956. Initially promoted by local DJ Poppa Stoppa, the song eventually rose to number 3 on the national R&B chart and number 20 on the US pop chart.
Fats Domino Let the Four Winds Blow Good Hearted Man / Let The Four Winds Blow Imperial Records 1961
Jelly Roll Morton King Porter Stomp Jelly Roll Morton: The Complete Library of Congress Recordings Rounder Ferdinand Joseph LaMothe, AKA, Jelly Roll Morton, was an American ragtime and early jazz pianist, bandleader and composer who started his career in New Orleans, Louisiana.In being called a supreme egotist, Jelly Roll was often a victim of loose and lurid reporting. If we read the words that he himself wrote, we learn that he almost had an inferiority complex and said that he created his own style of jazz piano because "All my fellow musicians were much faster in manipulations, I thought than I, and I did not feel as though I was in their class." So he used a slower tempo to permit flexibility through the use of more notes, a pinch of Spanish to give a number of right seasoning, the avoidance of playing triple forte continuously, and many other points". --Quoted in John Szwed, Dr Jazz
Armede Ardoin Blues du Basile New Orleans Blues
Louis Prima Buona Sera Buona Sera / Oh Marie Capitol 1957; American singer, actor, songwriter, bandleader, and trumpeter. While rooted in New Orleans jazz, swing music, and jump blues, Prima touched on various genres throughout his career: he formed a seven-piece New Orleans-style jazz band in the late 1920s, fronted a swing combo in the 1930s and a big band group in the 1940s, helped to popularize jump blues in the late 1940s and early to mid 1950s. Prima made prominent use of Italian music and language in his songs, blending elements of his Italian identity with jazz and swing music. At a time when "ethnic" musicians were often discouraged from openly stressing their ethnicity, Prima's conspicuous embrace of his Sicilian ethnicity opened the doors for other Italian-American and "ethnic" American musicians to display their ethnic roots.
Louis Armstrong & The All-Stars Basin Street Blues (pts 1 & 2) Basin Street Blues (pts 1 & 2) Decca 1954
Nina Simone The House of the Rising Sun Nina Simone Sings the Blues RCA Victor 1967
Quiana Lynell Sing Out, March On A Little Love