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Roland Guerin Stands On The Edge Of A New Time In New Song “Hickery Dickery” – OffBeat Magazine

New Orleans singer / songwriter / producer / bass wunderkind Roland Guerin reminds us in his new single produced in quarantine “Hickery Dickery” [Louisiana Red Hot Records] that “With nothing said, we’ll be blin-dead” if time runs out.

Guerin’s musical and songwriting chops were honed in his years touring with the legendary Allen Toussaint, who gave his longtime bass player the lyrics to “Stick to the Basics” after hearing his riffs for the song.

The Toussaint-penned track was part of Guerin’s critically acclaimed album “Grass Roots” celebrated at the New Orleans Jazz Museum in a February record release party, before Coronavirus shut down the music industry.

In addition to being in Toussaint’s band, Guerin was the bass player and music director for the legendary Dr. John, touring with him internationally for years. Of their inspiration, Guerin says: “Allen Toussaint and Dr John always wrote about
inspired truthful things and instances.

A year ago, an older gentleman told me that when he was growing up, he and his peers looked to the musicians to find direction in what was happening in the world, and looked to them for inspiration… he then looked me straight in my eyes and asked: “What are
you gonna do?”

I responded, “It may not be as widely known, but I’m doing it.” Guerin comes by his songwriting naturally, his Creole grandfather was a zydeco musician who wrote a song popularized by Boozoo Chavis: “Paper in My Shoe” — the hit that put zydeco music on the map. Roland’s mother also played bass, his father sang and his uncles were musicians.

“Hickery Dickery” is his warning and glimmer of hope for our turbulent times, in the best tradition of songwriters who reflect back what’s happening in the world, and offer a roadmap out if we listen to our hearts.

Solid As A Rock: Roland Guerin Is Not Waiting For A Stamp Of Approval
SEPTEMBER 26, 2019
by: JOHN WIRT

Roland Guerin keeps good company.

A master of six-string bass, he put the bottom in Allen Toussaint’s band during the composer-pianist-producer’s second act as a world-traveling concert artist. Guerin spent 2017, Dr. John’s final year of performing, as the singer-pianist’s bandleader. This fall, Guerin is touring Europe with the virtuoso hard-rock guitarist Paul Gilbert. His prestigious sideman work further includes Marcus Roberts, John Scofield, Mark Whitfield, George Benson, Ellis Marsalis, Gerry Mulligan and Jimmy Scott.

Moreover, in addition to being an in-demand bassist, Guerin writes, sings, plays and produces his own music. On October 18, Louisiana Red Hot Records will release his latest solo album, Grass Roots. The album mirrors Guerin’s broad and surprising influences. He sings lead for the project as well as multi-tracked clouds of backing vocals. The other Grass Roots players include Mike Esneault, piano; Chris Atkins, guitar; and drummers Herman LeBeaux Jr. and John Jones.

Grass Roots’ tracks include two Prince-like pop-rhythm-and-blues songs, “Running on Nightfumes” and “Inside Outside Upside Down;” the Peter Gabriel-inspired “Summer Moon”; the adventurous, almost rock of “Stick to the Basics” (with lyrics by Allen Toussaint); and the jazz-rock hybrid piece “To the Edge of Something.”

Lilli Lewis, head of the artist-and-repertoire department at Louisiana Red Hot Records—and an accomplished musician in her own right—said the subtlety and cinematic beauty in Guerin’s music persuaded her to sign him. “It’s as universal as anything any other New Orleans master might produce, but also wholly unto its own,” Lewis said. “Roland considers himself a New Orleans roots musician, but what he’s produced here is timeless and 100 percent unexpected.”

Read More at OffBeat.com

“He has no competition in his genres, he’s the Jimmy Hendrix of the accordion.” – Rolling Stone magazine

Born March 3, 1979 in Lafayette, Louisiana, was the last of eight children of Rockin’ Dopsie, Sr., a pioneer of Zydeco music. To this day, Dwayne attributes his passion and prodigious abilities to his father, but the truth is he was simply born to play this music. “This is my calling – Zydeco music is in my blood and it is my heart and soul.”

A virtuoso tradition holder with a high power style of his own, Dwayne Dopsie and his band, the genre defying Zydeco Hellraisers have thrilled audiences over 40 countries and hundreds of cities since his debut at age 19. Dopsie and the Zydeco Hellraisers have enjoyed National exposure with outlets like Rolling Stone Magazine, Good morning America, CBS this morning, Food Network, and The Jamie Kennedy experiment, and his latest release was nominated for a Grammy in 2018. Louisiana Red Hot looks forward to releasing his national debut followup in early 2019.

CURRENT ARTIST ROSTER

GLEN DAVID ANDREWS

glen david andrews - promo01BIO

A warrior for cultural preservation in New Orleans at a time when indigenous traditions are being threatened, Andrews is standing up now for his own salvation. As the journalist Larry Blumenfeld, a Katrina Media Fellow with the Open Society Institute, has written: ”Long before he began trying to save himself in earnest, Andews’s music projected the promise of redemption…His remarkable singing voice and commanding trombone sound (both powerful, direct, resonant, and with just enough rasp) as well as his disarmingly honest manner have provided whatever the situation calls for: beauty, truth, compassion, anger, joy or all of the above.”

Andrews comes from a storied extended family of musicians. He was born in the historic Tremé neighborhood – which many consider to be the oldest black community in the United States – where the struggle to survive is older than the mighty oak trees in the Crescent City. According to family folklore, Anthony “Tuba Fats” Lacen, a patriarch of modern New Orleans music, directed the bell of his horn toward Andrews’s mother’s belly as a way to induce labor. Andrews was born the following day. Transfixed by the magic and mystery of the city’s second-line parades, Andrews and his older brother, Derrick Tabb of the Rebirth Brass Band, along with their younger cousin Troy “Trombone Shorty,” soaked up life’s musical lessons by learning the history of the brass band tradition firsthand from iconic figures like Tuba Fats. They also learned the power of the city’s Mardi Gras Indian culture.

“The musicians I heard coming up literally brought me out of the womb,” Andrews says. “Jesus was born in a manger. I was born in a second line.”

Starting on the bass drum as a child, Andrews soon picked up the trombone; he was blowing a joyful noise by the time he was 12. He practiced his musicianship and showmanship with the city’s most energetic brass bands, from New Birth and L’il Rascals to ReBirth and Treme. “He’s always had a massive presence and a massive sweetness,” says Paul Sanchez, the New Orleans singer-songwriter who has collaborated with Andrews.

That presence and sweetness have long endeared Andrews to audiences at his regular gigs at such New Orleans clubs as dba and Three Muses. In recent years he began making waves as a headliner at the world’s biggest block party – the annual New Orleans Jazz & Heritage Festival where he has ripped it up in the gospel tent, the blues tent and the jazz tent. “ “Glen is one of the giant talents of New Orleans music,” says the festival’s producer Quint Davis.

Andrews says he’s determined to make new fans with Redemption. Leo Sacks, who produced the project, says that ”Glen surprised everyone with the emotional range and maturity of his voice. It was astonishing to hear him slide from a whisper to a scream.” A dear friend of New Orleans music who produced the New Orleans Social Club’s Sing Me Back Home after Katrina and won a 2014 Grammy Award for documenting the life’s work of Bill Withers, Sacks says that Andrews conjured “the soul fire of Wilson Pickett, the preacher power of Solomon Burke and the world-weariness of Louis Armstrong’s voice. He took artistic risks that were tremendously courageous.”

The centerpiece of the new album is “Surrender,” a deeply personal song about acceptance which Andrews wrote in rehab. “I woke up from a nightmare, in a cold sweat,” he recalls in chilling detail. “That nightmare was my life. I realized I had been given an opportunity to change my attitudes, my actions, my whole outlook on living. I knew it was okay to forgive myself. That was my moment of grace.”

With the release of Redemption, Louisiana Red Hot Records is also making available four of Andrews’s previous projects: the gospel-driven Walking Through Heaven’s Gate (recorded live in 2009 at Zion Hill Baptist Church in New Orleans where Andrews was baptized); Live at Three Muses, a sweaty club date from 2012; and two trad jazz releases, French Quarter Jazz from Jackson Square (his first recording, from 1997) and Dumaine Street Blues (2002).


PRESS

“Andrews and his band are a force. Their music is an electrifying combination of Funk, R&B, Jazz, Gospel and Zydeco, a joyful, communal noise that prompts, even the most casual listeners to lose their inhibitions, whoop, holler and shake the booty. (San Jose Jazz Festival, Aug 8, 2015)” – Latin Jazz Net

“Redemption, New Orleans trombonist/vocalist Glen David Andrews’s electrifying, career (re-)defining opus, is all about metaphoric rebirth, linking his own spiritual and physical rehab with the Crescent City’s post-Katrina recovery. The music is a fiery amalgam of brass band roots, gospel, funk, soul, and R&B. And it rocks with all the gritty, soulful, ass-shakin’ intensity Andrews can muster, which pretty much sets the standard these days.” – Rick Mason, Minneapolis City Pages

“A mix of preacher, R&B singer, jazz vocalist, trombonist and New Orleans musical history lesson, Glen David Andrews is a sweaty showman, entertainer and improviser. He has a Louis Armstrong rasp, an Al Green falsetto, a Thomas Dorsey sense of spirituals, James Brown moves with the microphone stand, trombone licks a la Trombone Shorty (his cousin) and Robin Williams-like manic energy. Look for Andrews to showcase material from this year’s commendable ‘Redemption’, whose highlights include the funky ‘Bad by Myself’ and the breezy, gospelly ‘Movin’ Up’.” – Minneapolis Star

“Andrews has talent to spare. He is an amazing player and singer. The trombonist/vocalist’s legendary performances (melding rock, pop, soul, gospel, jazz, funk and brass) are nothing less than electrifying…. On what was the warmest day of the year (to that point) in New York City, Andrews and his band burned through a blistering set at the Rockwood Music Hall. If it was hot outside the venue, it was even hotter inside. The walls were sweating, the floor was bouncing. The audience members were singing along and jumping up and down while Andrews, their leader, functioned as master of ceremonies at what was part rock ‘n’ funk concert, part gospel revival service, part Mardi Gras party and one helluva good time.” – Mike Perciaccante, All About Jazz

“True redemption is earned: a celebration of today, anchored by lessons learned through the work it took to get here and sweetened with gratitude for our good fortune. This record is steeped in all that, soaked in tears and night sweats that have been dried but not forgotten. It’s revealed by degrees — first in the thunderclap opening of “NY to Nola,” then with cuts like the funky, rueful “Bad by Myself,” Andrews’ Mahalia Jackson-assisted cover of “Didn’t It Rain,” and the downright lovely “Surrender,” as well as a trio of post-rehab anthems (‘Movin’ Up’, ‘Lower Power’, and ‘You Don’t Know’), the latter two of which feature appearances from fellow survivor Anders Osborne. The whole journey culminates with a beautiful rendition of the Curtis Mayfield classic ‘Something to Believe In’ that sends the record sailing out on a note of well-deserved rest and release.” – Jeff Giles, popdose

“A stunning achievement… a career-best triumph for both artist and producer, an album that joins recent work by Trombone Shorty and Rebirth Brass Band in a new era of New Orleans jazz and R&B excellence.” – John Swenson, Offbeat Magazine

www.glendavidandresband.com

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