LOUISIANA RED HOT RECORDS

Posts in the R&B category

DUMPSTAPHUNK

Dumpstaphunk 2BIO

Dumpstaphunk stands out among New Orleans’ best as one of the funkiest bands to ever arise from the Crescent City. Born on the Jazz & Heritage Festival stage, and descended from Neville family bloodlines, these soldiers of funk ignite a deep, gritty groove that dares listeners not to move. Their performances combine ingenious musicianship and complex funk and jazz arrangements with soulful melodies that are simple enough for anyone to enjoy. In Big Easy tradition, dueling baselines from Tony Hall and Nick Daniels III set off one of the dirtiest rhythm sections on the planet, while Ivan Neville lights up the Hammond B3 keys and cousin Ian Neville’s funky guitar riffs send the groove into overdrive. The band recently welcomed their newest member, Alvin Ford Jr. to the quintet, a New Orleans born and raised powerhouse drummer. Dumpstaphunk tosses around lead vocals and four-part harmonies the way Sly & the Family Stone did, but with three studio albums under their belt, Dumpstaphunk stands on the merit of their own material. Songs like “Dancin’ To The Truth” off their latest record, Dirty Word (July 30, 2013, Louisiana Red Hot Records), offer an escape into the funky sublime, sharing the true spirit of New Orleans with every note.


PRESS

“I don’t expect to hear anything funkier this year.” – Jon Pareles, New York Times

“[A] jackpot of a funk record from Dumpstaphunk.” – WNYC

“Dumpstaphunk’s self-produced sonic approach feels live, nasty, and greasy. The band’s writing celebrates community, self-reliance, and social responsibility.” – iTunes

“Dumpstaphunk’s ‘If I’m In Luck’ brings the bass… boasts a fiery lead vocal from drummer Nikki Glaspie” – USA Today

“Funksters and those who relish solid musicianship and incredible vocal harmonies can just be glad that an album like Dirty Word is still being made — that the ‘one nation under a groove’ remains vital. It’s a head noddin’, booty shakin’ disc…” – Louisiana Weekly

“If Dumpstaphunk was a 3 course meal it would start with a juicy rhythm section, then move on to a beautiful arrangement of guitars and keys, seasoned with some soulful vocals and add a pinch of Cosmic Slop for good measure.” – Austin Chronicle

“Dirty Word offers a remarkably fresh update on a sometimes neglected genre.” – Mix Magazine

“[Dirty Word] stands on its own as the harbinger of a new style of 21st century funk.” – The Vinyl District

“Dumpstaphunk has grown from a small side project into one of New Orleans’ most prestigious modern funk ensembles.” – Rolling Stone

www.dumpstaphunk.com

COREY HENRY

coreyHenryBIO

Born in July 1975, Henry grew up on Barracks Street just down from Little People’s Club, a now shuttered popularized spot for second line parade stops in the Treme. Henry was the third child born to a family of five boys and two girls. His grandfather Chester Jones played bass drum in a traditional jazz band at Preservation Hall. His uncle is Bennie Jones of the world renowned Treme Brass Band. “Being in Treme was my biggest inspiration, being around all that music at once. We always had brass bands playing – the Pinstripes, Olympia, the Dirty Dozen. I’d go outside and they’d be playing a party or doing a second line. I got inspired by that and of course it’s in my family, my uncle and grandfather.”

As a result of this unique environment, Henry didn’t learn his craft in the school band the way many other brass band musicians in New Orleans learn. Treme was his music classroom; family members and neighbors on every block were his teachers. “I always had people like Tuba Fats giving me tips on what I needed to do during gigs; Freddie Kemp, sax player with Fats Domino; also Stack Man, Frederick Shepard, Roderick Lewis. They all lived in the neighborhood and played with the Treme Brass Band.

Henry started on the snare drum but switched over to the trombone at the age of 10. When he turned 16, his uncle Bennie hired him to play with the Treme Brass Band. “He just threw me in the mix with all those bad musicians, said ‘This is how you gon’ learn. Just go for it.’ So I learned doing it live, not during rehearsals. It was like learning on the job.” Showing him the ropes along with his uncle was trumpeter Kermit Ruffins. “They put me with a lot of musicians who were phenomenal, taught me a lot about stage presence, how to conduct yourself, coming to gigs on time.” He counts legendary trombonists Keith ‘Wolf’ Anderson and Revert Andrews as mentors who helped him develop his unique sound. “It was these two different musicians showing me things and me listening and practicing and just researching, being hungry and eager to learn.”

With “Lapeitah,” his national debut from Louisiana Red Hot Records, Henry reveals a signature playing style with the capacity to lead a band with its own muscular voice, his trombone blasting through the crowd like a fast-coming train, charging audiences with fire and excitement.

www.coreyhenry.com
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GREGG MARTINEZ

Gregg_MartinezBIO

A premier, powerhouse vocalist of Louisiana, Gregg Martinez (from the Spanish Creoles of Bayou Lafourche) is a sensationally soulful baritone often compared to Sam Cooke and Luther Vandross. Recognized early on in local churches and bars, the young Martinez rapidly ascended all the way to an exclusive contract with billionaire Donald Trump in Atlantic City, and a seven figure recording deal with multi-platinum Philly producers Victor Carstarphen and Keith Benson. On the brink of stardom, though, the bubble burst, eventually returning the prodigal son to his native Bayou Blues and Creole Soul roots.

The late Ed Bradley of TV’s 60 Minutes—upon seeing him perform at the New Orleans Jazz and Heritage Festival in 2005—called Gregg Martinez one of America’s greatest hidden treasures. His talent is the stuff of legend and even after more than thirty-five years, Gregg is better than ever. He has performed throughout the U.S. and has toured South Africa, England, Wales, Taiwan, Malaysia, Singapore, Indonesia, and Vietnam. Gregg has released ten recordings, Wonders Never Cease- 1991, Love Has A Voice- 1993, They That Wait- 1997, For The Ages- 1999, All The Days- 2001, Christmas- 2002, Bring Down The Thunder- 2004, Big Bad Daddy- 2006, South Of The Parish Line-2011, and the brand new Creole Soul-2013, his first on Louisiana Red Hot Records. His music is played on radio stations in the U.S. and abroad. Gregg has shared the stage with many notable artists including Stevie Wonder, Foreigner, BTO, Dobie Gray, Shirley Caesar, Percy Sledge, The Fabulous Thunderbirds, Patti Labelle, and Bobby “Blue” Bland. He is also the former lead singer of the Boogie Kings, for which, as a member of that legendary group, he was selected into the Louisiana Music Hall of Fame in 2010. He wrote and recorded the title song for their final album, Never Go Away- 2007. He has twice been nominated for Best Male Vocalist by OFFBEAT Magazine – the only one outside of New Orleans to ever receive a nod in this category. He recently had the incredible honor of singing for the funeral of the great Percy Sledge.

If Elvis were remaking his famous New Orleans movie now, the man “…with a great big soul” he’d be singing about would be Gregg Martinez – the REAL King Creole.

 


PRESS

“…one of America’s greatest hidden treasures. ” – Ed Bradley, 60 Minutes

“…the white Teddy Pendergrass.” – Offbeat Magazine

“…brilliant interpretive success. A real find.” – Blues Revue

“A strong, daring presence – heartfelt when others are boastful, soulful when others simply shout.” – Something Else

“The best voice in Atlantic City and a terrific performer.” – Donald Trump

“A world class talent.” – Atlantic City Magazine

“Martinez is a vocal genius…the smoothness of Sam Cooke.” – Times Record News

“One day soon, we will all be buying his records.” – Patti Labelle

“My personal favorite.” – Ivana Trump

“…the most beautiful instrument is the human voice and Gregg Martinez has one of the best ever.” – Blues Radio, Poland

www.greggmartinez.com

RODERICK PAULIN

Roderick PaulinBIO

Native New Orleanian Roderick Paulin is blazing his own trail keeping the rich New Orleans music tradition alive in non-traditional ways. Roderick is known as being the lynchpin of The Rebirth Brass Band where he composed and arranged anthems that went outside of the ‘normal’ brass band sound with intricate harmonies, rhythms, and mainstream music concepts which attracted younger audiences. That new interest in the music was needed because at that time a lot of the older traditional players weren’t able to accommodate the physical demands of walking the long routes of second-line parades and a shift in music was happening with the younger cats. The social-aid and pleasure clubs themselves that employed the bands, reaped the benefits from this shift in the music because they were now bombarded with new members wanting to parade to this ‘new’ style of music that Rebirth was playing and Roderick was behind the scenes composing and arranging the new modal type of brass band music.


PRESS

“…Paulin possesses a chameleonlike command of his tenor, living up to his legacy as the son of New Orleans trumpeter “Doc” Paulin.”  – Patricia Myers, JazzTimes.com

 

THE BLUEBIRDS: Highway 80 East

highwayEast“Louisiana’s most soulful roots rockers” – Offbeat Magazine

If hard-rockin’ blues, stripped-down R&B and scorching slide guitars are your high test gasoline, then the Bluebirds are definitely the premium fuel for you.

The Bluebirds hail from the northern-Louisiana town of Shreveport that has spawned such blues greats as Huddie “Leadbelly” Ledbetter and platinum-selling blues slinger Kenny Wayne Shepherd (who played his first professional gig with the Bluebirds). Anyone who has ventured out into the Southern blues circuit in the last seventeen years has probably heard the Bluebirds at one of their 150+ annual gigs!

With Kerry Hunter on drums, Bruce Flett on bass and slowhand slider, blues sharpshooter extraordinaire Buddy Flett on guitar (yes…they are brothers), the Bluebirds echo the big-beat blues of Southern-style R&B, Creedence Clearwater Revival, and the “Tush”-era ZZ Top. Buddy’s guitar work scintillates throughout with the ferocity of Elmore James, the economy of Billy Gibbons and the Southern-fried soul of Lowell George.

Leaner than a silver stiletto and tighter than a Saturday night party dress, Highway 80 East is likely to be the best blues/roots/R&B album you’ll hear this year.

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