Every year, the options for events held during the days between New Orleans Jazz & Heritage Festival weekends grow larger. One event that has been happening for 20 years is the Threadhead Cultural Foundation “Party” and this year’s lineup was one of the best the non-profit organization has ever offered up.
Held at Deutsches Haus, not too far from The Fairgrounds, on Tuesday, April 29th, under gorgeous skies, hot, but with a constant breeze, so not stifling. The all-day musical celebration also featured crawfish, auctions, and more at the pristine venue, with all funds raised benefiting a good cause. The foundation promotes the cultural heritage of New Orleans through grants and assistance to musicians, artists, and others involved in endeavors related to music and other artistic expressions that preserve, promote, and disseminate the cultural heritage of New Orleans and the surrounding area of Louisiana. They have raised over a million dollars for grants and plan to continue their mission with their flagship event, helping out.
Filled to the brim with talent, the concert kicked off at 11 and ran until 9 pm, featuring: Charlie and the Tropicales, feat. Mireya Ramos, Lilli Lewis Project, Lost Bayou Ramblers with members of the Louisiana Philharmonic Orchestra, Haus Band with George Porter Jr., & River Eckert, Eric Johanson, and Morning 40 Federation.
Kicking off with the musical stylings of Charlie and the Tropicales, feat. Mireya Ramos, the outfit, serenaded the early-arriving crowd with covers of Venezuelan jazz, Irma Thomas’ New Orleans soul, and waltzes. Ramos sang expertly in both English and Spanish, while Charlie Halloran took over lead vocals on the fun “Fifty Cents,” which featured fluid solos from the guitar and sax around a fun, upbeat rhythm. The bubbling “Take Her To Jamaica (Where The Rum Come From) was also joyous, having the crowd up and bopping around under the bright noon sun.
The Lilli Lewis Project took the stage next, as Lewis, nicknamed “the folk rock diva,” showcased her unique style with her piano and vocals. The meaty blues of “Water II (Walk on Water)” were stretched out and highlighted by Lewis’ passionate singing that soared with gospel style. The boogieing “Love Bomb” preached positivity around a great groove while Lewis’ cover of Nina Simone’s “Sinnerman” was excellently delivered.
The GRAMMY-winning Lost Bayou Ramblers brought their cajun music to the city, adding some friends for their set as some of the Louisiana Philharmonic Orchestra joined in. The band’s sound expands beyond Cajun confines, and on this afternoon, the bass was bumping and the strings were hot as frontman Louis Michot sang and led the outfit on violin. When the seven LPO members joined the band, the outfit’s sound swelled expertly, as Michot mentioned; this was the first time LBR and LPO had played amplified on stage together. “Cote Clair Waltz” was a dynamite offering from the large group, while “Si J’aurais Des Ailes” had undertones of a Scottish ballad floating through it. Another highlight offering was “Tit Yeux Noirs” as the swaying number showed how well the two groups clicked.
The guitar-rocking Eric Johanson was up next as his trio delivered crackling blues rock, turning up the volume. The New Orleans resident Johanson mentioned that multiple songs he was playing were written about the town and shouted out the Foundations’ good work. “Undertow” started the revved-up set while the stomping drums and mean guitar riffs pushed both “Never Tomorrow” and “Live Oak,” written for the city’s famous trees. “Stepping Stone” flashed Johanson’s guitar shredding, feeling a bit Hendrix influenced, while two covers were winningly done. Chuck Berry’s “Oh, Louisiana” was slowed down, dripping with the blues, while Dr. John’s “I Walk on Guilded Splinters” showed off Johanson’s slide work. The big banging closer of “Don’t Hold Back” lived up to its title as the trio let it all hang out.
As the sun set the newly titled Haus Band took the stage. Perhaps no better example of the power of New Orleans music transcending generations is needed than George Porter Jr. playing with the young River Eckert as the 77-year-old and 15-year-old laughed and jammed with excellent interplay and joy. Jake Eckert, Roger Lewis, and Russ Broussard rounded out the sound as the funk flowed. The Meters’ “Love Slip Upon Ya” started things out after a long and funky intro eased out. The extended jamming was the focus of this set as the group just let it bubble over, covering Earl King’s “Let’s Make a Better World” with River taking lead vocals. Roger Lewis came onstage and ripped hard on baritone sax before the special set ended with a pairing of “Love The One You’re With” flowing into “Turn On Your Lovelight”.
The finale brought to the stage the New Orleans funky punk rockers Morning 40 Federation as the energy was pumped up from the opening notes of “Gin Instead of Whiskey”. The band was incredibly tight, showing off their unique brand of horn-accented rock that was both silly (“Toodle My Hukill”) and boozy (“Sorry Mom”). The scorching “White Powder” was slamming while “God Help Me” increased the noise rock with preaching sarcasm. The distorted lounge rock of “Bottom Shelf Blues” was highlighted by muted trombone work, while “Chili Cheese Fries” had funky guitar work.
The biggest surprise of the set was a straight-up cover of Bob Seger’s “Watch Her Strut,” while the punk slamming of “Intuition” was manic. Head banging “Dumpster Juice”, the psychotic “Gotta Nickel” and the blaring “Chew It” all prove the power of the outfit when they are synched up, as the blaring wall of noise and fiery riffs all combine to a powerful output unlike other bands.
Overall, this was a fantastic day of music from New Orleans-based acts supporting a great foundation that helps musicians continue to make music, keeping this unique city’s sound alive.
