LOUISIANA RED HOT RECORDS

Posts in the LEGACY category

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

 

WARDELL & HIS SLAMMIN’ BIG BAND

WQBIO

After playing with Dave Bartholomew’s band from the late 1940s and serving as an army musician in Korea, Wardell emerged as a bandleader in his own right in the mid-1950s with his Royal Dukes of Rhythm. He also worked as an arranger with the cream of New Orleans musicians, including Professor Longhair and Fats Domino.

In 1964, he formed Nola Records, and Robert Parker’s “Barefootin’” from the label reached number 2 on the R&B chart. Other artists on the label include Eddie Bo, Willie Tee and Smokey Johnson. Later, he recorded King Floyd’s “Groove Me” and Jean Knight’s “Mr. Big Stuff”. When major labels including Stax and Atlantic initially rejected them as uncommercial, Stax eventually released “Mr Big Stuff”, and it became the biggest selling, most successful release on the Stax label (currently over 3 million copies), outselling Otis Redding, Sam & Dave, and the other Stax acts. “Groove Me” was released on the Chimneyville label, a huge hit (King Floyd’s biggest), and was covered by artists as diverse as Etta James and Tom Petty. Quezergue was also the keyboardist on both hits. Quezergue arranged Dorothy Moore’s “Misty Blue”, which “crossed over” and also became the label’s (Malaco) biggest seller.

At the same time, Wardell was charting, at Berry Gordy’s request, stage arrangement for Stevie Wonder and other Motown acts.

As a result of these successes, Quezergue’s skills as an arranger, and Malaco’s studios, became in demand in the 1970s, and were used by artists as diverse as Paul Simon, Willie Nelson and B. B. King. He also worked with G.C. Cameron, former lead singer of The Spinners (“It’s A Shame”) and The Temptations, the Pointer Sisters, and many more.

Quezergue also produced and arranged the Grammy Award-winning Dr. John album Goin’ Back to New Orleans in 1992. Already an award winning classical composer and conductor, in 2000 he created an extended composition entitled “A Creole Mass”, drawing on his experiences in the Korean War.[3]

In 2005, Wardell was awarded “Best Produced CD of the Year”(by the NY Blues and Jazz society) for his first sessions with singer-songwriter Will Porter. Also a Blues Foundation nominee, the sessions featured Billy Preston, Leo Nocentelli, The Louisiana Philharmonic Strings, and Nola’s best musicians. The CD was awarded 4 stars by AMG, and received what Quezergue called “the best reviews of my career”.

In May 2009, Wardell Quezergue received an honorary doctorate from Loyola University New Orleans for his selfless dedication to enhancing the careers of others, while remaining in the background; for his dedication to teaching others, especially the young aspiring musicians of the city, leading many great New Orleans musicians to refer to him as “my teacher;” and for his contributions to the sounds of the city, particularly the driving horn sounds of the 60s and 70s, for which New Orleans music became known.

On July 19, 2009, a tribute was mounted to Wardell Quezergue at the Lincoln Center’s Alice Tully Hall. By all standards, the show was a triumph, its concept begat from Dr. Ike and the Ponderosa Stomp crew. A nine-piece band was assembled and imported from New Orleans to back up singers like Dr. John, Robert Parker, Jean Knight, and The Dixie Cups, just to name a few. Veteran writer/arranger/bandleader/producer Quezergue showed everyone that he still had it, as he conducted the whole concert.

In 2011 Quezergue finished work on what he called his “two most important works”; his classical religious work “The Passion” and the sophomore recording for Will Porter. On August 25, 2011, Quezergue approved final mixes of 15 tracks of the Will Porter project, featuring duets with Dr. John, Bettye Lavette, Barbara Lewis, jazz bassist Jimmy Haslip, Leo Nocentelli (all multiple Grammy nominees/awardees,) with, once again, the best of New Orleans, including the 12 last recordings of the late drummer Bernard “Bunchy” Johnson, and the Louisiana Philharmonic Strings.

Wardell Quezergue passed away September 6th, 2011, at the age of 81, but his music and legacy will live on forever.

PRESS

“The stellar cast includes Warren Bell Sr., Roderick Paulin, Joe Saulsbury, Julius Hardy and Carl Blouin in the saxophone section; Tracy Griffin, Barney Floyd and Brian Murray among the trumpets; Craig Klein on trombone; the legendary Sam Henry on keyboards; Wardell’s son Brian Quezergue on bass; guitarists Leo Williams and Detroit Brooks; and drummers Bunchy Johnson and Leon Alexander. Quezergue’s crisp, juicy charts are well-played throughout, and the soloists make almost uniformly excellent contributions to the music.” – John Sinclair

 

KIPORI WOODS

KIPORI WOODSBIO

A legend in the making, Kipori Woods is a Blues, Funk and Funk Master vocalist and guitarist from New Orleans. Schooled under the direction of Ellis Marsalis, this fledgling ‘blues man from down south’ won OffBeat Magazine’s Best New Blues Artist two consecutive years, in 1998-1999.

On his second album the man they call ‘Baby Wolf’ took his fans on a musical trek, telling his story, from ‘The Day I Started playing the Blues’ to the ‘Hard Times’ and his aspirations for a ‘Big Black Cadillac’.

Kipori Woods is a talented blues guitarist rich with the wisdom of ages, he shows the maturity and control of a seasoned veteran and has the guitar chops to match.

Music became a part of Kipori’s life at an early age. His grandfather “Luscious” Lloyd Lambert, the legendary New Orleans bass player who worked with the likes of Ray Charles, Little Richard, Danny Barker and Doc Cheatham, raised him. From Lambert, Kipori learned the ins and outs of the music business.

Kipori’s first taste of the stage came while working with renowned gospel greats like the Zion Harmonizers and Raymond Myles. A funk outfit, Kipori Funk, Later let the budding artist stretch his talents in other directions, but the blues was always calling.

“I’ve always been influenced by the blues,” says Kipori, but it wasn’t until my grandfather passed in 1996 that I really got serious about playing the blues.”

Taking his cues from masters like B.B. King, Buddy and Jimi Hendrix, Kipori’s sound blends blues classics and modern flavors. His fretwork is at turns fierce and playful. His songs range from blues ballads to jumping firetorms of sound. His vocals flow strong from a well that belies his age and often take clever, unexpected turns.

On stage, Kipori is an engaging entertainer with boundless energy. He moves as though his guitar were a part of him, becoming one with the audience in an escalating dance of seduction. Kipori taunts, teases, and tickles the crowd until they beg for more. When Kipori and the band get grooving, the whole club shimmies with exuberance.

“I just go out there and be me,” says Kipori.” I try to put on a good show because I want the people to have a good time.”

Kipori perfected his high-energy performance in numerous New Orleans nightclubs. His soaring set with Davell Crawford at the 1999 New Orleans Jazz and Heritage remains one of the most remarkable performances of that year’s festival. Kipori has also toured extensively throughout the U. S. and Europe. He has shared the stage with notables such as The Neville Brothers, Wynton, Delfeayo and Jason Marsalis, Kermit Ruffins, Trombone Shorty, Dr. John as well as toured with the Dirty Dozen Brass Band for almost two years.

In 1998, Kipori’s self-produced debut CD, “Blues Man From Down South,” garnered enthusiatic support from local and national reviewers. The CD Sizzled with Kipori’s clever urban blues and featured a rich texture that included hints of New Orleans funk, soul swamp groove and jazz. However, ‘The Baby Wolf’ has matured, giving him a sound of his own and labeling him as one of the Big Easy’s premiere blues performers.

In 2012, Wood’s album Blues Gone Wild was shortlisted for OffBeat ‘s Best Blues Album.

PRESS

“This is an album you put on at a party to keep the mood light and fun.” – Peter Dupont, Where Y’at Magazine

“Clean guitar-picking and lyrics that sometimes wound their way into risque territory” – Laura McKnight, The Times Picayune

“Uptown Blues” has good energy, with solid guitar work from the hands of Woods.” – Bob Putignano, Blues Revue Magazine

“Kipori “Baby Wolf” Woods was raised in part by his grandfather, the venerable New Orleans bassist “Luscious” Lloyd Lambert. Thus, at an early age, Woods was tuned in to the sound and style of Guitar Slim, whom Lambert backed.” – Keith Spera, The Times Picayune

“Kipori Woods was heralded as a rising young blues star.” – Gambit Magazine

Visit Kipori Woods’ Facebook page here

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