Tag Archives: George Porter

I Love The Rain: Dave Jordan

New Orleanian Spreads Americana Wings With Bring Back Red Raspberry

 

By Tom Speed

Dave JordanIn the years following Hurricane Katrina, when New Orleans musician Dave Jordan’s band disbanded and his marriage dissolved, he did what musicians do in such times. He picked up his acoustic guitar. Then the songs came out.

Jordan released his first solo record, These Old Boots, in 2010 and it was something of a departure. Swathed in pedal steel guitar and populated with melancholy, acoustically-rendered tunes, the Americana leanings of These Old Boots stood in contrast to his previous work as the founder/bassist/bandleader of the funk outfit Juice.

These Old Boots was lauded by the local press in New Orleans, and three years later, Jordan’s follow-up, Bring Back Red Raspberry, expands that palette even more with a collection of songs that sample flavors from country, zydeco, and R&B while fleshing out the songs with more instrumentation and a joie de vivre that didn’t exist on the last outing. It’s a culmination many years in the making, but a natural progression for a musician who has been steeped in the sounds of southern Louisiana all his life, and who has been around long enough that he’s no longer just an up-and-comer.

Now an elder statesman of the New Orleans music scene, Jordan finds himself playing the mentor role to musicians a decade younger than he is, much like he learned from Anders Osborne, George Porter and others. It’s a lineage Jordan embraces.

“Very early on in this process I realized that my whole career with Juice, I was always looking up to Porter and Anders and Joe Krown and the older guys,” says Jordan.

But when he coincidentally formed the loose-knit band that plays on Red Raspberry, he recognized that they might be looking up to him in the same way. “I realized early on that I was working with guys the other end of the spectrum now, about a decade younger than me. I really got into that idea. I had kind of cordoned myself off. All those years on the road, I wasn’t here for a lot of these guys coming up. I didn’t get to witness it. I was gone. It was really fun for me, and informative and educational to work with guys that were not in my wheelhouse.”

Fortified

Juice had been part of the local funk scene in the late 1990s and helped bridge the gap between the burgeoning jam band scene and the funk heritage of New Orleans—it was Jordan who personally
Juice_Fortifiedintroduced George Porter to Widespread Panic, for example. Peers of the time included bands like Galactic, All That and Iris May Tango.

Of the group, only Galactic and Juice toured the country relentlessly, each with their own take on classic New Orleans funk music.  Heavily influenced by the Meters and George Porter’s Runnin’ Pardners, Juice always leaned to the R&B side of the funk equation, with Taj Mahal and Bill Withers songs populating their setlists alongside their groove-laden originals. They gained a reputation as a party band and blanketed the Southeast, but also found audiences in Colorado and California eager to soak up their New Orleans vibe.

They released three albums while juggling a rotating lineup.   Their funky debut Fortified came in 2000, followed by the Anders Osborne-produced All Lit Up in 2002. The live collection Juice Live: Hey Buddy! came out in 2005. It was a double disc set that positioned them to reach an even larger audience. Alas, it was released just weeks before Hurricane Katrina hit. Like many New Orleans bands, the members of Juice scattered far and wide in Katrina’s wake, from California and Colorado to Nashville and beyond. Some members didn’t return to the city for years, and though they had about half of a new album in the can, they never quite got back together.

Neighborhood Improvement

Following the dissolution of his band, and the concurrent dissolution of his marriage, Jordan sought out solo gigs wherever he could find them as he adjusted to a single-income household and its attendant bills. One of those gigs was a weekly show at the Banks Street Bar, a neighborhood joint near his home in Mid-City New Orleans.

There, he pulled out his acoustic guitar on Thursday nights and began pouring his heart out with confessional, emotionally wrenching tales. Soon his drummer buddy Andre Bohren, a founding member of Johnny Sketch and the Dirty Notes, would join him along with fiddle player Harry Hardin, also a bandmate of Bohren’s.

The Thursday night gig went from solo to a trio…then sometimes a quartet. Friends dropped in and out from week to week. The makeshift band in the making was joined by Greg “Wolf” Hodges, who like Jordan, was adept at both bass and guitar, which enabled the two to swap instruments as the songs demanded.

The two had met back in the Juice days, when Juice would share bills with Col. Bruce Hampton and the Codetalkers, with whom Hodges was playing bass at the time.

“Me and Wolf made a quick connection,” says Jordan. “Our sense of humor is kind of the same. The connection with Col. Bruce was a focal point. Our music sensibilities are very similar in their diversity. He knows serious country music, rock music.”

These gigs started being billed as “Dave Jordan and the Neighborhood Improvement Association”—a loose-limbed consortium that by definition had no described membership or precise repertoire. Before he knew it, the Thursday night gig at Banks Street had lasted two years.

“It’s a brutal amount of time,” says Jordan. “But a lot grew out of it.”

The most tangible thing that grew out of it is Bring Back Red Raspberry, on which Jordan and his pals incorporate the instrumentation of those weekly gigs with some of the songs forged from them. For some of those songs, Jordan would bring a basic blueprint to the group, and the players would add their own flourishes. Others were later developed in the studio.

“These tunes were written real fast, but I’d write them and then we’d go to Banks Street and they’d flesh themselves out over time,” says Jordan. “Andre and Wolf really developed the songs live. Then we got in the studio and that’s where the other things come in. What [Bill] Machow did with keyboards and accordion in the studio really took it to another level.”

Two-Step

The twin touchstones of Jordan’s musical upbringing were the Meters and the Grateful Dead, and if Juice explored the territory of the former, his latest output channels the more acoustically tinged Printside of the latter, only bringing it to it’s modern conclusion. Several of the selections on Bring Back Blue Raspberry place Jordan not within the context of his forbearers but alongside his contemporaries, and in some somewhat surprising areas. Much of the album fits comfortably into a twangy shuffle that brings to mind Americana stalwarts like Son Volt and Drive-By Truckers moreso than Galactic or their other fellow funksters.

Elsewhere, accordion and fiddle provide a rhythmic foundation that draws on zydeco and Cajun music. Though Jordan may have started out playing jam-based funk music, it’s hard not to soak up one’s surroundings.

“You write the songs and then the songs kind of tell you what they need,” he says. “If a song says, some accordion would sound cool here, you put some accordion on there. I never thought I would end up writing zydeco style music, but it is what it is. To me, it’s just another part of growing up in south Louisiana and being surrounded by music. It’s not something I set out to do. It’s just something absolutely natural for me to do. It’s as easy for me to do that as it is to pick up a bass and play a Meters tune.”

It’s apparent on “By The Side of The Stage,” a breezy mid-tempo tune in which Bohren makes his kit sound like a washboard and Malchow decorates the beat with graceful accordion swaths while Hardin rounds out the melody on fiddle. It’s a true amalgamation—too country to be zydeco, too rock to be country.

In fact, a compelling factor of Bring Back Red Raspberry is the diversity that defies categorization. Classic New Orleans piano tunes (“Biggest Little Shrimp In Town”) stand alongside plaintive ballads like the wispy “She Was Born In April,” alt-country rockers like “Dontcha Come Runnin’” and those zydeco two-steps like “The Waiting Feeling.”  Listening to the record from start to finish brings to mind the experience of walking through the Louisiana Jazz & Heritage Festival: you find your toe tapping in different but congruous ways. But that’s a natural synthesis for someone who spent a lifetime soaking up those sounds.

“I think with this record all the music of my life is coming to a natural juncture,” says Jordan. “I’m into funk, I’m into Dr. John, Tom Petty and the Dead. I think this record shows that. One of the things I’m most proud of with this record and the band really is that we are touching on a lot of bases but we’re not forcing any of it.”

Hubig’s Pie

The album’s title comes from the song “Hubig’s Pie,” a barrelhouse piano tune that humorously proposes the reliably satisfying New Orleans fried pie delicacy as a an antidote for a frustrating relationship. It’s about an appreciation for the simple things in life that pull us through when the trappings and clutter are removed.

It’s the kind of swaying sing-along that likely urges a sense of solidarity among those denizens of the local pub who hung around long enough for last call. Towards the end, Jordan goes off a rant extolling the virtues of the beloved confectionaries. One particular exaltation is to “bring back red raspberry!” in reference to a rare flavor that was discontinued after Hurricane Katrina.

Indeed,  now eight years later, life in New Orleans is still demarcated by Pre-Katrina and Post-Katrina. That things neccesarily changed forever means an instant nostalgia was created.

Sonically, Bring Back Red Raspberry is mostly good time rockers and swaying dance numbers that reveal the culmination of that Louisiana heritage. Thematically, it belies Jordan’s experience too, and beneath the surface it’s not quite as rosy as all that. Years of rugged touring are revealed in Jordan’s gravely voice, and lyrically Red Raspberry touches on themes of regret, betrayal, frustration and yes, nostalgia. But the comforts of the past can sooth the problems of the present, and vice-versa.

“Telluride,” one of the album’s standouts, is a sweeping country road tale of risk and frustrated dreams, at once describing a perilous journey through bad weather and the rigors of eeking out a living as a traveling musician.  Other songs touch on indiscretions and failing while others point to finding hope in the face of frustration.

Kickstarting

Like many independent musicians these days, Jordan turned to the crowd-funding platform Kickstarter to help fund the recording and distribution of the album. But it wasn’t something he was comfortable with at first.

“I didn’t want to do it,” admits Jordan. “ I felt like a beggar. I felt like after years of being able to fund my own records or having record labels, I really didn’t want to go that route. I tried to find outside funding and it never materialized. I had some friends—younger people who are much more savvy with this kind of stuff than I am—told me just do it, it’s gonna work.”

And it did. With a campaign bearing the boastful title “I Am Gonna Make A Killer Record I Promise,” Jordan sought to raise $11,000 to defray the costs of studio time, manufacturing and self-distribution, among other expenses.  Not only did he meet and exceed that goal, he was humbled by the outpouring of support from across the country, a shot in the arm that inspired him to live up to his boastful promise that also included the tagline: “The album will sound like Dr. John, Tom Petty and John Prine met in south Louisiana and had an illegitimate love child. And it was me!”

But the outpouring also helped him put the legacy of Juice into perspective. Many of his Kickstarter backers were friends and fans from around New Orleans. Others were high school buddies he hadn’t seen in 20 years. But others were fans that had been touched by his music during those grueling, relentless tours with Juice.

“It was an overwhelmingly awesome experience,” says Jordan. “Once again, it put the legacy of what Juice did into light. It made me realize that there are people out there that our music has touched and they were willing to support me to make more music. That’s an amazing feeling.”

And while Juice didn’t gain the same momentum as their brethren band Galactic, it’s becoming apparent that they did make an impact on the scene and left a legacy that can’t be considered lightly.

That realization came into even sharper focus with the sudden death of former Juice harmonica player/percussionist/vocalist Jamie Galloway this year. His death received an enormous flood of support and the second line parade and wake at the Maple Leaf Bar in New Orleans garnered considerable media coverage. And that caused Jordan to reflect on the band’s history, and maybe resolve to revisit it.

“I think for right now, everyone in Juice has gone through some tumultuous shit in the past six or seven years,” says Jordan. “Be it dealing with Katrina, dealing with divorce, family members having health problems. Dealing with various substance abuse issues, personal health problems. We’ve all hit a few crossroads, very common to the age we are. And none of these things we should look at in a negative way, in a way that we’ve failed on any level.

“We worked as hard as we could for as long as we could,” said Jordan. “I think that Jamie’s death put all that in perspective and we’d all like to finish this record and do some stuff. But take some time and figure it out and not just finish it to finish it. But really figure out what we want to do.”

That reunion may come to light and may not. There will always be problems to deal with, troubles in life. The other members of Juice, like Jordan, have their own outside outlets. But in the meantime Jordan seems to have found his artistic voice, and it’s one that includes insightful songs, a cadre of talented musicians with a wide swath of styles, and when he needs it, nothing more than an acoustic guitar.

 

For more information on Bring Back Red Raspberry, tour dates and more: http://www.davejordanmusic.com

Billy Iuso: Dead Inspired Funk

     

Journeyman guitarist Billy Iuso is hitting his groove in the live-music scene by awakening the Dead.

 

Billy Iuso

“I’m a hippie,” Billy Iuso says in describing himself, his musical influences, and inspirations during a recent phone interview, as he speaks through a cold during the depths of winter.

 
Iuso’s Restless Natives opened the previous Saturday’s Anders Osborne’s Holiday Spectacular at Tipitina’s in New Orleans before Iuso supplied guitar-shredding support to Osborne’s set. The following Sunday, Iuso would perform downtown at The Maison with the Iko Iko All-Stars, a group of New Orleans-based, like-minded Deadheads in which he and former Restless Native C.R. Gruver (Outformation) slick the Grateful Dead’s wheels with a bit of Nola grease. From his home in Uptown New Orleans, Iuso, 44, explained he was looking forward to spending the holidays at home with this wife and family before taking off in January with Osborne to gig at Gov’t Mule’s Island Exodus IV in Jamaica in January.

 

While his serene summation of “feeling blessed” at this point in his life and career is the stuff of sage hippie wisdom, Iuso, a Port Chester, New York native of Italian heritage, applies the hippie label when discussing music. Iuso’s ascent in stature and gigs (such as being named Bear Creek Festival artist-in-residence in 2011) within groovy circles is obvious in the few last few years, particularly in his recently discovered kinship with the beastly, divine rock-and-soul stew that is Osborne’s sound. This ascent comes after decades of toil, triumphs and tribulations in various musical adventures, most notably to many in the Brides of Jesus, which Iuso formed just out of high school, earning fans and buzz in the early 1990s in New York City via weekly gigs at the Wetlands before moving to Athens, Georgia, where he moved the band to soak up “the hip little Southern music scene”.

Billy Iuso & Mickey Hart

Engagingly equal parts jaded musician and enthusiastic fan, buoyant boy and old soul, Iuso, a tattoo of Jerry Garcia’s famously four-fingered hand emblazoned on his right forearm, talks after sound-check/shrimp boil for the Holiday Spectacular on the sidewalk outside Tipitina’s.

 

He’s asked about the magic created last Jazz Fest, which found him in a late-night jam at an Osborne show that reached full-tilt guitar frenzy in a “Third Stone from the Sun” jam during the encore that featured Luther Dickinson, Warren Haynes, Osborne and himself. “In this genre, we have a respect that makes things easy,” Iuso says of how the aforementioned players worked harmoniously together, “because it’s really not work. Anders and I just click. Those others guys, they know when to play and when not to play. It’s a respect thing.”

 

Billy Iuso band2Iuso’s opening set with the Restless Natives — Thomas McDonald (bass), Michael Burkhart (keys), Eddie Christmas (drums), Jimmy Carpenter (saxophone) and the debut of vocalist Ginger Matthews — grooves with originals and covers including Jimmy Cliff’s “Sitting Here in Limbo.” Iuso is the first guest in Osborne’s set, locking in for an extended “Black Eyed Galaxy,” the title track off Osborne’s acclaimed album from last year that announced the Swedish-born, now-sober guitarist/singer was a Dead Head and proud of it. Along with rock songstress Shannon McNally, Iuso sang and soared in “Sugaree,” a staple Grateful Dead cover.

“I’m kind of a closeted Deadhead,” Osborne said in a Relix magazine interview following his Holiday Spectacular and in advance of his latest EP, Three Free Amigos, of which Iuso played an integral role. “Lately, it’s just popped up more and more. One of my closest friends right now, Billy Iuso, is a huge, huge fan of the Grateful Dead and he keeps sending me a bunch of stuff.”

 

 

Iuso moved to his adopted home of New Orleans from Georgia in 1997 at a point when the Brides of Jesus “started falling apart,” he recalls, and after the guidance of Meters bassist George Porter, Jr., whom Iuso began working for as road manager. Iuso credits Porter and Russell Batiste for indoctrinating an Billy Iuso & George PorterItalian hippie from New York into New Orleans, immersing him in its culture, musical traditions and community. In addition to solo albums (such as 2011’s Trippin’ over Dragons) and works with the Restless Natives, Iuso played guitar for five years with the Wild Magnolias, the Mardi Gras Indian band initiated by Big Chief Bo Dollis, Sr., who received the National Endowment for the Arts (NEA)’s National Heritage Fellowship in 2011. Countless miles, studio hours, sit-ins, and small-crowds at no-cover shows have schooled Iuso in the cruel realities of music as business. But those same lessons, amazingly, have not diminished his energy, a palpable draw to his infectious handling of the Fender Stratocaster driven with passion and intensity through his Mesa Boogie amp.

 

Reflecting on the attributes brought by band mates Iuso, Carl Dufrene (bass) and Eric Bolivar (drums) on Three Free Amigos in the aforementioned Relix interview, Osborne says: “Well, usually they bring who they are, which is why we play together. There is not a lot of pre-thinking on my part. I just throw it out there and then we design it together. The reason that we are a band is because we like to see how things turn out. They add a tremendous amount by just being themselves and playing the way they do.”Anders Osborne at Brooklyn Bowl June 2012 Honest Tune

 

Playing his way — a trippy-licks, white-boy guitarist in a funky, soulful city — has landed Iuso new audiences among familiar faces via uncompromised virtues of vibe and tone in a town he now calls home. “When I first got here with the buzz from Brides of Jesus still out there, I came across some haters,” Iuso remembers. “They thought I was a tool, like ‘Who’s this guy coming to our town?’ But I’ve been here long enough, played enough, that I’ve gained respect. And once you’re in this community, you’re in it for good.”

George Porter Jr. and Runnin’ Pardners, 6/30/12

George Porter Jr. and Runnin’ Pardners
Mexicali Live
Teaneck, NJ
June 30, 2012

 

 

It is not a common thing to see the word “legend” alongside the phrase of “one of the hardest working,” but then again, there isn’t really anything “common” about George Porter Jr.

As a founding member of legendary funk ensemble, The Meters, on a given night, you might see George with any number of outfits and whether he is found on stage with 7 Walkers or The Trio (with Johnny Vidacovich), he is always an integral member. 

By being able to hold down the low end just as well as he can take off on a pulsating lead, George is a bassist that many look to with awe. This is for good reason. A multifaceted player, even Porter Jr. himself cannot deny his status as a MVP, acknowledging that he has never “seen a bassist that can connect himself to a drummer as well as [he] can.”

His current pet project, Runnin’ Pardners, now have an album under their belt (2011’s Can’t Beat the Funk!) and it it seems that the vast majority of George’s attention is being devoted to this band, and people — in the forms of festivals, booking agents and the like  — are definitely taking notice. (Listen to George briefly talk to Honest Tune about the album)

This is much to the benefit of fans because with an all-star Runnin’ Pardners cast –  consisting of Brint Anderson on guitar, Michael Lemmler on keys, Dark Matter‘s Khris Royal on sax and one of the greatest drummers to come out of NOLA in recent memory, Terrence Houston — George finds himself in the role of undisputed leader, a position that is relatively unique for him. Because of this, the funk that is brought forth by this outfit is downright dirty.  

This was the case when the quintet rolled into New Jersey on a late June evening, playing to a nicely filled Mexicali Live room. The night was one that consisted of things that are all par for the course for these NOLA vets and natives: blissfully funky improvisation, stretched strings and tight musical kinship.

The best part though was seeing the 64 years wise Porter still absolutely loving what he does, his famously infectious smile serving as the only evidence needed to attest. 

 

Click the thumbnail(s) to view photos from the show by Vernon Webb...

(Click HERE to follow Vernon’s photo journey on Facebook & Twitter)

 


 

 

 

funky Meters (w/ The Pimps of Joytime), 2/18/12

funky Meters with The Pimps of Joytime
Tipitina’s
New Orleans, LA
February 18, 2012

 

 

As Mardi Gras approached and anticipation in regards to the Jazz Fest late night original Meters gig at the Howlin’ Wolf continues to build, the most recognized offshoot of the legendary band, the funky Meters, took the stage in their hometown  on a recent Friday night.

Let’s face the fact that it doesn’t get much better than spending a weekend night in New Orleans with the funky Meters. In addition, the fact that the annual Mardi Gras festivities were just days away, and visitors had already began to descend upon The Big Easy, made it an extra special occasion. Further deepening things (as if the pot wasn’t already simmering over), the legendary members of the funky quartet — that consists of original Meters members George Porter, Jr. and Art Neville as well as Brian Stoltz (Neville Brothers, Bob Dylan) and Russell Batiste (Walter “Wolfman” Washington, Porter, Batiste & Stoltz) — welcomed relative funk newcomers, The Pimps of Joytime, to the stage to kick off the evening.

All in all it was yet one more night that seems to only take place in NOLA and the Crescent City’s own Jeffrey Dupuis was on the scene to bring back images for the rest of us.

 

Funky Meters Setlist :: 2/18/12 ::

Click the thumbnail(s) to view photos from the show by Jeffrey Dupuis

funky Meters

The Pimps of Joytime

 

 

Sailing Deep with 7 Walkers: An Honest Tune Interview with Bill Kreutzmann & Papa Mali (Video)

When the 7 Walkers came on the scene, it was like a breath of fresh air. Finally, a founding member (Bill Kreutzmann) of one of the most important bands of the century (Grateful Dead), if not all time, was creating new material. Furthermore, he was doing so with lyricist, Robert Hunter, one of the most profound songwriters to ever put pen to paper, but who had released very little material for far too long of a time period.

Putting together an all-star lineup, made up of guitarist and vocalist Papa Mali, multi-instumentalist Matt Hubbard  and bassist Reed Mathis who was replaced by funk legend, George Porter, Jr., due to Mathis’ Tea Leaf Green commitments.

What happened with the addition of Porter was an all new depth of Kreutzmann and Mali’s original Reese’s Peanut Butter Cup vision… “getting even more of each other’s  funk on each other’s Grateful Dead and vice versa.”

While on Jam Cruise 10, David Shehi sat down with Kreutzmann and Mali for a lengthy discussion on many topics, from a new album that is in the works to Grateful Dead vault releases. Most notably though was Kreutzmann’s setting the record straight in regards to his relationship with Bob Weir, Mali’s openness about the importance of Bill in his life, and Kreutzmann’s tearful candor when talking about the the vacancy he felt after the passing of Jerry Garcia and how that has been somewhat filled by Papa Mali and the 7 Walkers.

 

 

Sailing Deep:

An Interview with Bill Kreutzmann & Papa Mali

(7 Walkers)

 

 

 

New Year’s Eve in NOLA with Galactic, Funky Meters & Earphunk, 12/31/11

Galactic, Funky Meters & Earphunk
Various Venues
New Orleans, LA
December 31, 2011

 

New Year’s Eve is massive for fans of live music and in cities that are among those that are the most well-known for their musical heritage, events take place from one end of the city to the other. Naturally, this was the case as 2011 came to a close in New Orleans and the city became — as it is known to do –  a Utopia for its resident and visiting lovers of all things funk.

From uptown to the quarter, the city had venues filled past the brim and resident New Orleans photographer, Jeffrey Dupuis, took on a mission that many would find near impossible as he took in three gigs: Galactic at Tipitina’s Uptown, Funky Meters at Tipitina’s French Quarter and up and coming outfit, Earphunk at the Maple Leaf.

 

 

Click the thumbnail(s) to view Jeffrey‘s photos from Galactic at Tip’s Uptown…

 

Click the thumbnail(s) to view Jeffrey‘s photos from the Funky Meters at Tip’s French Quarter…

 

Click the thumbnail(s) to view Jeffrey‘s photos from Earphunk at the Maple Leaf…

 

 

7 Walkers, 10/31/11

7 Walkers
Great American Music Hall
San Francisco, CA
October 31, 2011

 

Though only half of the 7 Walkers cast came out in costumes, there was no doubt that the celebration of the Halloween festivities was in full swing when they took the stage at San Fran’s Great American Music Hall.

On this night, Reed Mathis (Tea Leaf Green) — the bassist who is present on the self-titled album from 2010 — would fill out the low end duties alongside the 7 Walkers staples: legendary drummer and Grateful Dead co-founder Bill Kreutzmann, guitarist/funk crooner Papa Mali and multi-instrumentalist Matt Hubbard.

Susan Weiand was on the scene to capture the scenes from the event through her lens.

 

Setlist

I: Space > Someday You’ll See, Junco Partner, King Cotton Blues, I Know You Rider, Nobody’s Fault But Mine, Walk on Guided Splinters, He’s Gone, Goin Down The Road
II: Positively 4th St*, New Orleans Crawl, Bird Song, Werewolves of London, Sue From Bogalusa,
7 Walkers, Evangeline, Bottle Up and Go
Encore: Big Railroad Blues, Wharf Rat

*Performed with Bob Dylan impersonator

Click the thumbnail(s) to view photos from the show by Susan J. Weiand

7 Walkers announce fall tour plans

IMG_8649.jpg7 Walkers, the revered band featuring legendary drummer and Grateful Dead co-founder Bill Kreutzmann, guitarist Papa Mali, multi-instrumentalist Matt Hubbard (Willie Nelson, Fastball) and legendary New Orleans bass man George Porter Jr. (The Meters, Funky Meters) today announce a run of fall tour dates that bring them to U.S. points south and west. Included along the tour are stop in hometowns of New Orleans and San Francisco, where very special local guest musicians are expected to sit in with the band. With George Porter Jr. also on a reunion tour with The Meters this fall, look for 7 Walkers Fall Tour to alternate bass players between shows, with select performances to feature Dirty Dozen Brass Band founder and sousaphone player Kirk Joseph Jr., and Tea Leaf Green’s bassist Reed Mathis (who also appears on the 7 Walkers’ album).

Current confirmed 7 Walkers tour dates are as follows:

October 14^ Harvest Music Fest Ozark, AR
October 15^ Kenny Dorham’s Backyard Austin, TX
October 18^ Tipitina’s New Orleans, LA
October 20^ MagnoliaFest Live Oak, FL
October 22^ LEAF Festival Black Mnt., NC
October 23^ Carolina Theatre Durham, NC
October 25-26***The Abbey at Hopmonk Tavern Sebastopol, CA
October 27***Napa Valley Opera House Napa, CA
October 29^ Hangtown Halloween Ball Placerville, CA
October 30*** Great American Music Hall San Francisco, CA
October 31*** Great American Music Hall San Francisco, CA
January 9-14^ JamCruise with Steve Kimock Ft. Lauderdale, FL

^Featuring George Porter Jr. (The Meters, Funky Meters) on bass
*Featuring Kirk Joseph (The Dirty Dozen Brass Band) on sousaphone
***Featuring Reed Mathis (Tea Leaf Green)

Additional dates to be announced.

www.7walkers.com

Rex-A-Vision Presents: Swamp Deadication with 7 Walkers (VIDEO)

7_Walkers_2.jpgBorn from casual live collaborations between Bayou crooner and guitarist Papa Mail and legendary Grateful Dead drummer Bill Kreutzmann, the 7 Walkers have created a brand unto itself. Through a critically acclaimed record (that was cowritten by Grateful Dead lyricist Robert Hunter), a heavy tour schedule and a solid lineup — consisting of Mali, Kreutzmann, the Meters’ George Porter, Jr. on bass and multi-instrumentalist Matt Hubbard — Bill and Papa’s swampedelic vision is now complete and it could not be more grand.

While on the scene at Stables Studio Music Festival, Woodford Reserve and Rex-A-Vision partnered with Honest Tune to round up the 7 Walkers for a rare conversation that ranged from friendship, marriage and of course, to the craftsmanship that goes into the molding of the swampedelic groove.

Continue reading Rex-A-Vision Presents: Swamp Deadication with 7 Walkers (VIDEO)