DR. JOHN & THE LOWER 911
"TRIBAL"
AUG 3, 2010
57:38
1. Feel Good Music/3:29
2. Lissen At Our Prayer/4:02
3. Big Gap/4:43
4. Change Of Heart/3:41
5. When I'm Right, I'm Wrong/4:15
6. Jinky Jinx/3:24
7. Manoovas/4:08
8. Tribal/6:53
9. Music Came/4:10
10. Them/3:18
11. Only In Amerika/3:10
12. Whut's Wit Dat/4:33
13. Potnah/4:18
14. A Place In The Sun/4:18
David Barard / Bass, Vocals, Backing Vocals
Carl Blouin / Baritone Saxophone
Alonzo Bowens / Tenor Saxophone, Horn Arrangements
Natalia Casante / Violin
Dr. John / Organ, Piano, Vocals, Producer
Herman V. Ernest III / Percussion, Drums, Backing Vocals, Producer
Herman Ernest / Vocals, Duet
Erica Falls / Backing Vocals
John Fohl / Guitar, Backing Vocals
Elaine Foster / Backing Vocals
Lisa Foster / Backing Vocals
Helen Gillet / Cello
Harry Hardin / Violin
Donald Harrison / Alto Saxophone
Charla Herman / Chant
Lauren Lemmler / Viola
Charlie Miller / Trumpet
Mark Mullins / Trombone
Wardell Quezergue / String Arrangements
Marcel Richardson / Organ, Piano
Lulu Siker / Chant
Derek Trucks / Guitar
Kenneth "Afro" Williams / Percussion, Backing Vocals
REVIEW
by Thom Jurek
Dr. John revived his "Night Tripper" persona at the 2006 Bonnaroo Festival. In the aftermath of Hurricane Katrina, his sense of urgency about Louisiana and the Gulf region allowed his spiritual persona free rein in concerts and interviews for the first time since the '70s. He wore the garb on-stage and brought his entire history as a musician to bear in his performances. He's become a full-fledged activist who does his part educating the world about his geography's unique significance as a musical, spiritual, and environmental territory. As an album, Tribal, employs some of the spookier elements of Dr. John's earlier recordings like Gris Gris, but it's all rooted in blues, funk, folk traditions, and R&B that have been at the heart of his musical career since the '50s. His crack unit, the Lower 911, are augmented by a number of guests, including a horn section led and arranged by saxophonist Alonzo Bowens, alto saxophonist Donald Harrison (himself a Mardis Gras Indian Chief), a string section arranged by Wardell Quezergue, Derek Trucks on select cuts, and the fine backing vocal trio of Elaine Foster, Lisa Foster, and Erica Falls throughout. Dr. John wrote or co-wrote 13 of the set's 14 cuts (there are 16 on the vinyl version). Musically "Jinky Jinx," the title track with its Oglala Lakota Indian chant intro, and the guitar- and percussion-driven voodoo blues on "Manoovas" (with Trucks) hearken back to the '70s with better production. But current modes, such as slippery R&B and jazz, are fused on the album-opener "Feel Good Music," and a shimmering old-school New Orleans intro gives way to a laid-back yet fingerpopping political R&B in Allen Toussaint's "Big Gap." There's Southern-fried groove in "Change of Heart," (one of three songs co-written with the late Bobby Charles, whose memory the album is dedicated to; "Podnah" is another, but it's a nasty blues). A gritty, late-night funk saturates "When I'm Right, I'm Wrong" and "What's wit Dat" (a scathing admonition to eat healthy). He also lays down the socio-political second line in "Them," and the angry, jazz-fueled swagger in "Only in Amerika." Dr. John's piano and organ, which are everywhere present, highlight the beautiful closer "A Place in the Sun." When taken as a whole, Tribal is a revelation: it traces Dr. John's entire past, and integrates everything into a whole that is familiar yet points forward. Thematically, Tribal meditates on the state of the country and the world; it exhorts listeners to quit bullshitting one another because our mutual survival depends upon it. This isn't just a logical follow-up to 2008's excellent The City That Care Forgot, it's close to a career-defining summation from one of America's most important musicians.
BIOGRAPHY
by Richie Unterberger Although he didn't become widely known until the 1970s, Dr. John had been active in the music industry since the late '50s, when the teenager was still known as Mac Rebennack. A formidable boogie and blues pianist with a lovable growl of a voice, his most enduring achievements have fused New Orleans R&B, rock, and Mardi Gras craziness to come up with his own brand of "voodoo" music. He's also quite accomplished and enjoyable when sticking to purely traditional forms of blues and R&B. On record, he veers between the two approaches, making for an inconsistent and frequently frustrating legacy that often makes the listener feel as if "the Night Tripper" (as he's nicknamed himself) has been underachieving.
In the late '50s, Rebennack gained prominence in the New Orleans R&B scene as a session keyboardist and guitarist, contributing to records by Professor Longhair, Frankie Ford, and Joe Tex. He also recorded some overlooked singles of his own, and by the '60s had expanded into production and arranging. After a gun accident damaged his hand in the early '60s, he gave up the guitar to concentrate on keyboards exclusively. Skirting trouble with the law and drugs, he left the increasingly unwelcome environs of New Orleans in the mid-'60s for Los Angeles, where he found session work with the help of fellow New Orleans expatriate Harold Battiste. Rebennack renamed himself Dr. John, the Night Tripper when he recorded his first album, Gris-Gris. According to legend, this was hurriedly cut with leftover studio time from a Sonny & Cher session, but it never sounded hastily conceived. In fact, its mix of New Orleans R&B with voodoo sounds and a tinge of psychedelia was downright enthralling, and may have resulted in his greatest album.
He began building an underground following with both his music and his eccentric stage presence, which found him conducting ceremonial-type events in full Mardi Gras costume. Dr. John was nothing if not eclectic, and his next few albums were granted mixed critical receptions because of their unevenness and occasional excess. They certainly had their share of admirable moments, though, and Eric Clapton and Mick Jagger helped out on The Sun, Moon & Herbs in 1971. The following year's Gumbo, produced by Jerry Wexler, proved Dr. John was a master of traditional New Orleans R&B styles, in the mold of one of his heroes, Professor Longhair. In 1973, he got his sole big hit, "In the Right Place," which was produced by Allen Toussaint, with backing by the Meters. In the same year, he also recorded with Mike Bloomfield and John Hammond, Jr. for the Triumvirate album.
The rest of the decade, unfortunately, was pretty much a waste musically. Dr. John could always count on returning to traditional styles for a good critical reception, and he did so constantly in the '80s. There were solo piano albums, sessions with Chris Barber and Jimmy Witherspoon, and In a Sentimental Mood (1989), a record of pop standards. These didn't sell all that well, though. A more important problem was that he's capable of much more than recastings of old styles and material. In fact, by this time he was usually bringing in the bacon not through his own music, but via vocals for numerous commercial jingles. It continued pretty much in the same vein throughout the '90s: New Orleans super sessions for the Bluesiana albums, another outing with Chris Barber, an album of New Orleans standards, and another album of pop standards.
In 1994, Television did at least offer some original material. At this point he began to rely more upon cover versions for the bulk of his recorded work, though his interpretive skills will always ensure that these are more interesting than most such efforts. His autobiography, Under a Hoodoo Moon, was published by St. Martin's Press in 1994, and in 1998 he resurfaced with Anutha Zone, which featured collaborations with latter-day performers including Spiritualized, Paul Weller, Supergrass, and Ocean Colour Scene. Duke Elegant followed in early 2000. Additional albums for Blue Note followed in 2001 (Creole Moon) and 2004 (N'Awlinz: Dis Dat or d'Udda). Sippiana Hericane, a four-song EP celebrating his beloved hometown of New Orleans in the wake of Hurricane Katrina, arrived in November of 2005. Mercernary, an album of covers of songs made famous by Johnny Mercer, appeared on Blue Note in 2006. City That Care Forgot followed in 2008. The Night Tripper persona was revived for 2010's Tribal, which featured guest spots from Derek Trucks, Allen Toussaint, Donald Harrison, and the late Bobby Charles. Dr. John also contributed to French electronic artist Féloche's international hit single "Gris Gris John" the same year. He teamed with the Black Keys' Dan Auerbach, to producer and record Locked Down. It was issued in the spring of 2012.
"TRIBAL"
AUG 3, 2010
57:38
1. Feel Good Music/3:29
2. Lissen At Our Prayer/4:02
3. Big Gap/4:43
4. Change Of Heart/3:41
5. When I'm Right, I'm Wrong/4:15
6. Jinky Jinx/3:24
7. Manoovas/4:08
8. Tribal/6:53
9. Music Came/4:10
10. Them/3:18
11. Only In Amerika/3:10
12. Whut's Wit Dat/4:33
13. Potnah/4:18
14. A Place In The Sun/4:18
David Barard / Bass, Vocals, Backing Vocals
Carl Blouin / Baritone Saxophone
Alonzo Bowens / Tenor Saxophone, Horn Arrangements
Natalia Casante / Violin
Dr. John / Organ, Piano, Vocals, Producer
Herman V. Ernest III / Percussion, Drums, Backing Vocals, Producer
Herman Ernest / Vocals, Duet
Erica Falls / Backing Vocals
John Fohl / Guitar, Backing Vocals
Elaine Foster / Backing Vocals
Lisa Foster / Backing Vocals
Helen Gillet / Cello
Harry Hardin / Violin
Donald Harrison / Alto Saxophone
Charla Herman / Chant
Lauren Lemmler / Viola
Charlie Miller / Trumpet
Mark Mullins / Trombone
Wardell Quezergue / String Arrangements
Marcel Richardson / Organ, Piano
Lulu Siker / Chant
Derek Trucks / Guitar
Kenneth "Afro" Williams / Percussion, Backing Vocals
REVIEW
by Thom Jurek
Dr. John revived his "Night Tripper" persona at the 2006 Bonnaroo Festival. In the aftermath of Hurricane Katrina, his sense of urgency about Louisiana and the Gulf region allowed his spiritual persona free rein in concerts and interviews for the first time since the '70s. He wore the garb on-stage and brought his entire history as a musician to bear in his performances. He's become a full-fledged activist who does his part educating the world about his geography's unique significance as a musical, spiritual, and environmental territory. As an album, Tribal, employs some of the spookier elements of Dr. John's earlier recordings like Gris Gris, but it's all rooted in blues, funk, folk traditions, and R&B that have been at the heart of his musical career since the '50s. His crack unit, the Lower 911, are augmented by a number of guests, including a horn section led and arranged by saxophonist Alonzo Bowens, alto saxophonist Donald Harrison (himself a Mardis Gras Indian Chief), a string section arranged by Wardell Quezergue, Derek Trucks on select cuts, and the fine backing vocal trio of Elaine Foster, Lisa Foster, and Erica Falls throughout. Dr. John wrote or co-wrote 13 of the set's 14 cuts (there are 16 on the vinyl version). Musically "Jinky Jinx," the title track with its Oglala Lakota Indian chant intro, and the guitar- and percussion-driven voodoo blues on "Manoovas" (with Trucks) hearken back to the '70s with better production. But current modes, such as slippery R&B and jazz, are fused on the album-opener "Feel Good Music," and a shimmering old-school New Orleans intro gives way to a laid-back yet fingerpopping political R&B in Allen Toussaint's "Big Gap." There's Southern-fried groove in "Change of Heart," (one of three songs co-written with the late Bobby Charles, whose memory the album is dedicated to; "Podnah" is another, but it's a nasty blues). A gritty, late-night funk saturates "When I'm Right, I'm Wrong" and "What's wit Dat" (a scathing admonition to eat healthy). He also lays down the socio-political second line in "Them," and the angry, jazz-fueled swagger in "Only in Amerika." Dr. John's piano and organ, which are everywhere present, highlight the beautiful closer "A Place in the Sun." When taken as a whole, Tribal is a revelation: it traces Dr. John's entire past, and integrates everything into a whole that is familiar yet points forward. Thematically, Tribal meditates on the state of the country and the world; it exhorts listeners to quit bullshitting one another because our mutual survival depends upon it. This isn't just a logical follow-up to 2008's excellent The City That Care Forgot, it's close to a career-defining summation from one of America's most important musicians.
BIOGRAPHY
by Richie Unterberger Although he didn't become widely known until the 1970s, Dr. John had been active in the music industry since the late '50s, when the teenager was still known as Mac Rebennack. A formidable boogie and blues pianist with a lovable growl of a voice, his most enduring achievements have fused New Orleans R&B, rock, and Mardi Gras craziness to come up with his own brand of "voodoo" music. He's also quite accomplished and enjoyable when sticking to purely traditional forms of blues and R&B. On record, he veers between the two approaches, making for an inconsistent and frequently frustrating legacy that often makes the listener feel as if "the Night Tripper" (as he's nicknamed himself) has been underachieving.
In the late '50s, Rebennack gained prominence in the New Orleans R&B scene as a session keyboardist and guitarist, contributing to records by Professor Longhair, Frankie Ford, and Joe Tex. He also recorded some overlooked singles of his own, and by the '60s had expanded into production and arranging. After a gun accident damaged his hand in the early '60s, he gave up the guitar to concentrate on keyboards exclusively. Skirting trouble with the law and drugs, he left the increasingly unwelcome environs of New Orleans in the mid-'60s for Los Angeles, where he found session work with the help of fellow New Orleans expatriate Harold Battiste. Rebennack renamed himself Dr. John, the Night Tripper when he recorded his first album, Gris-Gris. According to legend, this was hurriedly cut with leftover studio time from a Sonny & Cher session, but it never sounded hastily conceived. In fact, its mix of New Orleans R&B with voodoo sounds and a tinge of psychedelia was downright enthralling, and may have resulted in his greatest album.
He began building an underground following with both his music and his eccentric stage presence, which found him conducting ceremonial-type events in full Mardi Gras costume. Dr. John was nothing if not eclectic, and his next few albums were granted mixed critical receptions because of their unevenness and occasional excess. They certainly had their share of admirable moments, though, and Eric Clapton and Mick Jagger helped out on The Sun, Moon & Herbs in 1971. The following year's Gumbo, produced by Jerry Wexler, proved Dr. John was a master of traditional New Orleans R&B styles, in the mold of one of his heroes, Professor Longhair. In 1973, he got his sole big hit, "In the Right Place," which was produced by Allen Toussaint, with backing by the Meters. In the same year, he also recorded with Mike Bloomfield and John Hammond, Jr. for the Triumvirate album.
The rest of the decade, unfortunately, was pretty much a waste musically. Dr. John could always count on returning to traditional styles for a good critical reception, and he did so constantly in the '80s. There were solo piano albums, sessions with Chris Barber and Jimmy Witherspoon, and In a Sentimental Mood (1989), a record of pop standards. These didn't sell all that well, though. A more important problem was that he's capable of much more than recastings of old styles and material. In fact, by this time he was usually bringing in the bacon not through his own music, but via vocals for numerous commercial jingles. It continued pretty much in the same vein throughout the '90s: New Orleans super sessions for the Bluesiana albums, another outing with Chris Barber, an album of New Orleans standards, and another album of pop standards.
In 1994, Television did at least offer some original material. At this point he began to rely more upon cover versions for the bulk of his recorded work, though his interpretive skills will always ensure that these are more interesting than most such efforts. His autobiography, Under a Hoodoo Moon, was published by St. Martin's Press in 1994, and in 1998 he resurfaced with Anutha Zone, which featured collaborations with latter-day performers including Spiritualized, Paul Weller, Supergrass, and Ocean Colour Scene. Duke Elegant followed in early 2000. Additional albums for Blue Note followed in 2001 (Creole Moon) and 2004 (N'Awlinz: Dis Dat or d'Udda). Sippiana Hericane, a four-song EP celebrating his beloved hometown of New Orleans in the wake of Hurricane Katrina, arrived in November of 2005. Mercernary, an album of covers of songs made famous by Johnny Mercer, appeared on Blue Note in 2006. City That Care Forgot followed in 2008. The Night Tripper persona was revived for 2010's Tribal, which featured guest spots from Derek Trucks, Allen Toussaint, Donald Harrison, and the late Bobby Charles. Dr. John also contributed to French electronic artist Féloche's international hit single "Gris Gris John" the same year. He teamed with the Black Keys' Dan Auerbach, to producer and record Locked Down. It was issued in the spring of 2012.
No comments :
Post a Comment