LOUISIANA RED HOT RECORDS

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dirty word“Ivan’s so good…I play with him.” – Keith Richards

“Dumstaphunk has grown from a small side project into one of music’s most prestigious modern funk ensembles.” – Rolling Stone

A decade into the formation of Dumpstaphunk, the New Orleans’ all-star collective – Ivan Neville (vocals, B3 and Clav), the double bass attack and soulful voices of Tony Hall and Nick Daniels III, Ian Neville on guitar, and the monster addition of Nikki Glaspie (formerly with Beyonce’s all-female band) on drums and vocals – releases their third studio album, Dirty Word.

Initially started as an impromptu line-up of some of New Orleans’ tightest players, hand-picked by Ivan Neville to accompany his 2003 New Orleans Jazz & Heritage Festival performance, Dumpstaphunk has become a stalwart touring act, richly deserving the title “Heavyweight Champions of Funk.” Press accolades for the band have ranged from the New York Times hailing, in 2007, “Dumpstaphunk is the best funk band from New Orleans right now,” to Bass Player Magazine saying, “The colossal low end and filthy grooves they threw down from the Gentilly Stage must have set a Jazz Fest record for baddest bass jams ever.”

Dirty Word offers a fresh and varied take on funk, blues, gospel, second-line, R&B and rock ’n’ roll. The album features special guest appearances by Art Neville, Trombone Shorty, Rebirth Brass Band, Skerik, Ani DiFranco and Flea (Red Hot Chili Peppers). Catch the band, supporting the album with major venue and festival appearances, throughout 2013. But be forewarned…the groove will be nasty and the funk will be deep!

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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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LILLI LEWIS

Lilli LewisBIO

With vocals said to have “enough energy to power a large city, Lilli Lewis is a singer, pianist, and composer of rare grace and grit. Paired with a love for music that began before she composed her first song on the piano at age three, her progressive, provocative, and conscientious presence is fueled by a boundless appetite for poetry and rhythm. Whether looping solo a cappella as “a one woman Sweet Honey in the Rock,” throwing down with full on soul psychedelica, the Athens, Georgia native has the power to stir even the stiffest listener.

Even though she was born to a Baptist minister in the deep south, Lewis grew up studying classical music, spending countless hours at the piano decoding Brahms and Beethoven well into the late hours of the night. She also knew she loved to sing from a very early age, and her near obsession with harmony led to early experiments in recording and overdubbing her voice to analog tape, a practice that ultimately made her a 2008 NewSong Competition regional finalist, and the A Cappella Recording Awards 2009 runner-up for best world-folk album, a title she shared with the Grammy Award winning Ladysmith Black Mambazo. It was upon her first hearing of the earthy a cappella ensemble Sweet Honey in the Rock as a young teenager that Lewis determined she would have a musical story to tell outside of the world of classical music.

Since then, she’s been a featured performer on main stages across the US and abroad, making her home in New Orleans in 2014 and quickly becoming a sought after side arm to some of New Orleans’ most musical elite, including Dirty Dozen Brass Band founding member and sousaphone master Kirk Joseph’s Backyard Groove. Equal parts unassuming and fearless, her own full band known simply as the The Lilli Lewis Project, features the Dozen’s own Takeshi Shimmura on lead guitar. The 8 piece is a rhythm and soul orchestra ensemble of depth, girth and decibels that delivers “innovative, soulful music that will never go out of style.”

www.lillilewis.com

Tommy MaloneBIO

Malone’s musical roots run deep, beginning with the formative ‘70s bands Dustwoofie, the Cartoons and the Continental Drifters; the last of which spawned a stripped-down band known as the Subdudes. With a single tambourine for percussion and a keyboardist who favored accordion, the Subdudes almost single-handedly bucked the ‘80s trend of mile-high production, proving that memorable songs, soulful delivery and true chemistry were all you really needed. The original quartet disbanded after 1997’s Live At Last album; Malone first joined the short-lived supergroup Tiny Town (with Pat McLaughlin, Ken Blevins and fellow Subdude Johnny Ray Allen), then made his solo debut with 2001’s Soul Heavy. But solo projects were put aside as a reshuffled Subdudes lineup appeared in 2004, producing another run of first-class albums before disbanding—for good, it seemed—in 2011.

He formed another short-lived band with his older brother Dave—whose own longrunning band, the Radiators had also just broken up—but wound up gravitating to the funky New Orleans club Chickie Wah Wah, where he played regular gigs to work out a new batch of solo songs. The first result was Natural Born Days, recorded with an all-star cast including keyboardist Jon Cleary, guitarist Shane Theriot, bassist David Hyde, drummer Doug Belote and singer Susan Cowsill. Reviewing that album, OffBeat magazine’s David Kunian notes, “It’s a crime that Tommy Malone isn’t better known around the world. He is a triple threat—beautiful singer, fine songwriter, and killer guitarist.” No Depression’s Alan Harrison confided that after listening to the album, “My pulse was racing far too fast for a man my age.”

Malone’s only regret was that he didn’t finish Natural Born Days in time to play the New Orleans Jazz & Heritage Festival in 2013, so he resolved to have the followup ready for a spring 2014 release. But despite its quick turnaround, Poor Boy sports the finely crafted songs and soulful delivery that fans have come to expect from Malone.

Once again he assembled a cast of old and new musical partners. Anchoring the studio band on Poor Boy is coproducer and multi-instrumentalist Ray Ganucheau, who played in the ‘90s incarnation of the Continental Drifters before joining Malone to record and tour behind Soul Heavy. Representing another Drifters lineup is drummer Russ Broussard, who joined that band in the later ‘90s and now plays regularly with his wife Susan Cowsill and with bluesman Johnny Sansone. Completing the core band is Sam Brady, a key part of Malone’s road band over the past year.

Another old musical friend, co-writer Jim Scheurich—a bandmate from Dustwoofie days, and a frequent collaborator on Natural Born Days—again contributes to a handful of tracks. Ex-Tiny Town mate Pat McLaughlin co-writes the lively “Bumble Bee”—a song that literally had us laughing for two hours,” Malone notes—and ace Nashville songwriter Gary Nicholson co-authored “Once in a Blue Moon.” Malone wrote the remaining tracks on his own including “Talk to Me,” which draws an especially soul-baring vocal. “That’s just one of those times when you dig down deep and say what you need to say. We cut it with almost nothing besides voice and 12-string. If it’s real, it’s real.”

“Time to Move On” and “We Both Lose” both take a more pointed look at friendships gone south. “There’ve been a few of those in my life, a couple people that weren’t doing me much good emotionally,” he says. “But I don’t like songs that point the finger too much, so I tried to be a little more delicate with those.”

One surprise highlight is Stevie Wonder’s “Big Brother,” the first cover tune on a Malone solo album. “Still pretty timely, isn’t it?” he says of the 1972 track. “And I’ve always been a huge Stevie Wonder fan, in fact Talking Book was the first album I ever bought. To this day I think it’s his best record.” An even earlier influence gets recalled on “You May Laugh,” which sports an unmistakable British Invasion feel. “My brothers and I all watched the Beatles on Ed Sullivan, and we all got guitars afterwards, I was only seven but they were a huge influence, on me and so many other Baby Boomers.”

Another longtime influence is his hometown of New Orleans, where he’s now resettled after a few years as a Katrina exile in Nashville. The Crescent City feel is hard to miss, whether it’s the funky groove on “All Dressed Up” (“my party song for geriatrics,” Malone laughs), or his evocation of debutante balls in “Pretty Pearls.” “As everyone knows, trying to sum up New Orleans is like trying to explain rock and roll to an alien. But it’s my home and it feels good—the language you hear on the street, the craziness in the air and the obvious things like the great food. And I rekindled a few old friendships, which really helped on this album.”

Look for Tommy on the road this spring and summer, with keyboardist Brady joining him as the Tommy Malone Duo. And to everyone’s surprise, he’s also signed on for a string of dates with the other original Subdudes—keyboardist John Magnie, bassist Johnny Ray Allen, and percussionist Steve Amadee—together for the first time in 17 years. So far they’re taking it slow, doing selected dates including a New Orleans club show during Jazz Fest. “I think our days of being constantly on the road are over, but it’s not often you get four guys with this kind of chemistry and this much good music,” he says. But Malone plans above all to follow his muse, whether as a solo artist, band member or collaborator. “I just plan to continue doing what I do best, and that’s writing, recording and playing new material.”


PRESS

“Bands like this and men like this once thundered across the American music scene in mighty herds. Few are left now. Bruce Springsteen and Tom Petty come leaping to mind. Bar bands — guys who pour their hearts out — have gotten a bad name of late. Because of their refusal to do any one trick over and over and their tendency to produce what the uninformed may refer to as pastiche, albums like this often go overlooked. That’s a real shame. Tommy Malone‘s band is a facile instrument, pliable and expressive enough to be the perfect vehicle for his accomplished songwriting. And it’s the song that’s the thing. Tales of heartache exist peaceably with the odd murder ballad and tender musing. Malone‘s voice is mature, and his arrangements are impeccable. There used to be a lot of Tommy Malones. Let’s hope he doesn’t go the way of the buffalo.” – Rob Ferrier, AllMusic.com

www.tommymalone.net

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