When the jazz mass at St. Augustine’s Church finally ended, the Treme Brass Band came marching out of the church, and the second-line, which had already lined up outside, got underway. The Treme Brass Band was at the front, with the Baby Dolls and Zulus behind them, and then I walked with the TBC Brass Band, who were marching with the Sudan Social Aid and Pleasure Club, and behind us came the Fi Ya Ya Warriors with their chief and their drummers. We marched first down to Rampart Street, past a couple of hotels where tourists were cheering from the balconies, and to the entrance of Louis Armstrong Park, which was entirely appropriate given the purpose of this festival. From there, we headed back down Rampart to Esplanade, and down Esplanade toward the old U.S. Mint where the festival stages were located. Although I had imagined the second-line as something of an artificial thing scheduled for tourists, I was pleasantly surprised to see it pick up second-liners and buckjumpers as it proceeded down Esplanade. By the time we passed through the festival gates at the Mint, there was hardly room to move. I had meant to hang out at the festival, but I soon found that all of my homeboys in the TBC were leaving out to walk back up toward the Treme, and I was tired too. It took every bit of strength I had to walk back up to the Treme Center where I had parked my car.
New Orleans hip-hop artist and activist Truth Universal may not be one of New Orleans’ most popular rap artists, but he is certainly one of the best. He appeared at the Recording Academy celebration in conjunction with cultural guardian and percussionist Luther Gray and with notable New Orleans DJ E.F. Cuttin. His amazing show opened with a libation ceremony for the ancestors, including poet Amiri Baraka who died recently.
Robin Barnes is a relatively new neo-soul singer in New Orleans, backed by an excellent band known as the Soul Heirs. Her performance at the Recording Academy event on January 13 at the U.S. Mint was especially impressive, as was the musicianship of her band members.
Immediately after Black Water Bride, Valcour Records’ artists Bonsoir Catin appeared. They are an all-female band playing traditional Acadian music from Lafayette, Louisiana, and like all Valcour artists, they are really good.
The service region for the Memphis Chapter of The Recording Academy also includes Shreveport, which is a city with a recording past and which seems to be experiencing something of a musical rebirth since the opening of Brian and Brady Blade’s Blade Studios. Black Water Bride is one of Shreveport’s hot up-and-coming new bands, blending elements of country, rock, soul and other Louisiana music styles, and they were a natural opening act for our Recording Academy party at the Old Mint.
The Memphis Chapter of The Recording Academy (formerly NARAS) is a large, regional chapter that includes the city of New Orleans, so one a year our chapter board meeting is held in New Orleans. This year, after the meeting on January 13, we held a Membership Celebration at the Old U. S. Mint in the French Quarter, which featured food, drink and great live music from several bands and artists. Attendees included the chapter’s executive director Jon Hornyak, chapter president and legendary Memphis producer Boo Mitchell, chapter trustee and Memphis artist Susan Marshall, board member and producer Scott Bomar and folk artist/board member Shannon McNally.
The second full day of the Cutting Edge NOLA conference opened with a series of panels at the Old U.S. Mint at the foot of Esplanade Street in the French Quarter, and ended with showcases at three locations in the city, including Little Gem Saloon in the Central Business District.
For 20 years, Cutting Edge has been the only comprehensive music business conference in Louisiana. Although it has seen some changes, like a move from August to September, and a couple of changes of location, Cutting Edge offers music industry professionals in Louisiana an opportunity to network and learn, and it offers local musicians a chance to showcase their talent to the larger music industry.
This year, Cutting Edge’s daytime panels, workshops and showcases were housed in the Historic U.S. Mint, in the French Quarter at the foot of Esplanade Street. The new location was extremely convenient, and parking was relatively cheap and plentiful compared to some of the past years. I was also thrilled to see that our Memphis chapter of the Recording Academy had agreed to sponsor some of the events, since New Orleans professionals are members of the Memphis chaper, as there is no New Orleans chapter.
In the afternoon, I ventured out around the French Quarter and Frenchmen Street, and ended up meeting my fellow panelists Rico Brooks (an artist manager from Atlanta) and Travis McFetridge (a New York-based publishing executvie) at Drago’s for dinner.