Posts in the OTHER category

Imagine a child of the 80s/90s underground scene falling in with a 70s prog, classically-trained cellist. What do ya get? A refreshing and often unexpected sound. The Two’s are hitting the road this summer with their new release Push On.

The Two’s new EP release Push On showcases the duo’s musical styles covering rock, roots, bluegrass, and classical. The writing and arrangements intentionally work the interplay between the vocal and the cello supported by a rhythmic foundation of guitar and percussion. Recorded in New Orleans by Adam Keil, the five-track EP was mixed by Ben Lorio and Grammy winner Sylvia Massy. The Two’s have opened for such acts as rock legend Heart, international pop Star Zucchero, Dave Matthew’s side man Tim Reynolds, and have placed music on the Emmy award-winning show “Nip/Tuck.”

About Ruby Rendrag
Ruby – the band octopus – delivers a sultry vocal and sets the groove with her guitar and foot-drum kit. She was born to a Houma Indian Mother and a banjo playing, West Virginian Father. Ruby has been a part of the New Orleans music scene for over 18 years performing as a solo artist, and as a side woman with many local acts. She lives a life immersed in music. As owner and manager of NOLA Muse, she helps local, national, and international artists plan and execute their recording projects. She infuses The Two’s with her bluegrass-Led Zeppelin-80’s underground influences.

About Suki Kuehn
Cellist Suki Kuehn was made in Japan (a Navy brat). Growing up he was exposed by his parents to every kind of classical and theatrical music. Although he became an nuclear engineer, Suki has studied cello “on the side” from the fifth grade on. He has lived throughout the US, finally settling in New Orleans after a stint driving subs for the Navy. He plays either an old French cello that for who-knows-how-long lived in a barn south of Paris, or a battered German cello bought from an ancient woman in a dark French Quarter alley. Using a few tasteful effects, Suki weaves texture and force into every song, hinting at rock, folk, jazz, and classical styles.

National Street Date: 7/5/2019


“I listen to her when I want to be high on my soul.” – Lilli Lewis fan

Set against the buoyant backdrop of the New Orleans bon vivant, “The Henderson Sessions” is an exquisitely intimate self-portrait with Lilli Lewis’s vocals set to the barest of piano accompaniment. The record was co-produced by Lewis alongside James “Jimbo” Walsh (HBO’s Treme) and Mark Bingham (Allen Ginsberg, REM, Sun-Ra) at a studio built in a country home in Henderson, LA that was once used as refuge for Walsh’s musical community after Hurricane Katrina. When the three teamed up to demo songs for a full band album, they found the songs had something useful to say in their most raw, earnest, and primitive incarnation.

​Award-winning singer/songwriter Lilli Lewis grew up on a dirt road on the outskirts of Athens, GA. She is the daughter of a southern minister and a Chicago reared civil rights activist, and her bent towards social justice is reflected in her music and stage show. The prolific writer, composer, pianist, and producer has been composing music since she started playing piano at the age of three. Lewis is known for her powerful vocals and progressive message. The classically trained “folk-rock diva” is a sought after featured performer on main stages across the United States and abroad. In 2017, feminist folk trio The Malvinas recorded Lilli’s “O, Let Your Light Shine Bright” (Louisiana Red Hot, 2016) on God Bless the Grass (Soona Songs). Lewis made New Orleans her home in 2013 where she performs regularly as a soloist and with her acoustic soul orchestra, The Lilli Lewis Project (LLP). Lewis is also a current member of sousaphone master Kirk Joseph’s Backyard Groove.



Mardi Gras Classics
“Music that will get you on your feet”

This compilation by the Louisiana Red Hot Records label is a must for anyone who wants to get into the Mardi Gras spirit. Starting things off with Cyril Neville’s gritty and passionate rendition of “Tipitina”, the album includes other staples of carnival season by New Orleans greats like Leroy Jones, Trombone Shorty, the Rebirth Brass Band, Wardell Quezergue and many more. If you want a taste of what makes the Big Easy so unique, this compilation should be in your collection.

Wardell Maestropiece

“There is sleek, swinging pop jazz, hip big-band bebop, and the wide-bottomed second-line numbers Tippy  and Hail King Zulu (a definite candidate for the hallowed Carnival canon with its thrilling James Rivers saxophone excursion).”

“Wardell has been leading bands since he formed the Royal Dukes of Rhythm in the mid- 50s. In recent years he has fielded a smoking ensemble known as Wardell and his Slammin  Big Band, an all-star aggregation showcasing his original compositions and arrangements. A 4-track teaser  CD was issued a year ago, introducing drummer-entrepreneur Bunchy Johnson’s great Wild Indian song, Pass It On ; the hard-swinging 3 Tenors for Moose,  dedicated to WWOZ’s Don Big Moose  Jamison; and Frankly Speaking,  Wardell’s tribute to pianist and long-time musical compatriot Ed Frank.

These tunes and six more songs of equal weight and delight (including two versions of Johnson’s terrific Killer Joe  homage titled Crazy Mary ) are finally available to the record-buying public as Maestropiece, the orchestra’s premiere full-length CD on Louisiana Red Hot Records. There is sleek, swinging pop jazz ( El Pavo,  Slammin ), hip big-band bebop ( Chip ), and the wide-bottomed second-line numbers Tippy  and Hail King Zulu  (a definite candidate for the hallowed Carnival canon with its thrilling James Rivers saxophone excursion).

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


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