LOUISIANA RED HOT RECORDS

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

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.
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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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SUNPIE: Sunpie

SUNPIE“Sunpie Barnes is to zydeco what Taj Mahal is to blues—an eclectic type who follows his music to African and Caribbean roots.” – Brett Milano, Offbeat Magazine
Sunpie in the colorful top hat on the cover of this CD is none other than Bruce Sunpie Barnes. The zydeco star is based in Louisiana, where by day he is a park ranger and naturalist with the National Park Service at Jean Lafitte National Park and at night he transforms into one of the most popular musicians in the region. Adept at numerous instruments — including the accordion, harmonica, and piano and vocals — Barnes shows his versatility on this CD, released in 2001. In it, sounds from different places and genres merge into something that Barnes has dubbed “Bouje, Bouje.” A listener can hear zydeco, of course, but there is also a definite Afro-Caribbean influence, along with the funky backbeat that characterizes the music of the city of New Orleans. The CD features tunes written by the multi-talentedBarnes. It opens on a pleasant note with the “Lah Lah Song,” with an infectious rhythm that permeates the entire album. Barnes sings in both English and French. “Mo Bien Comme Me Ye” is followed by a whimsical piece called “Tomato.” He sings — or is that howls — on his popular song about the legend of the werewolf in the Louisiana swamp country, entitled “Loup Garou, Loup Garou.” All the while there is the accordion or harmonica to keep the toes tapping. “Mother Earth” speaks to Barnes’ deep love for nature, as evidenced by his choice of day jobs. The music closes out with “Blues With a Groove,” which proves the point: This music is meant for dancing.”

 

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TOMMY MALONE: Soul Heavy

soulHeavy“Tommy Malone makes music that alternately soothes and fires up the soul.” – Something Else

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. Listen to this record and be a true believer in a uniquely American form.


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