On March 12th, The Jazz Foundation of America presented: Sweetie Pies of New Orleans, Live at Snug Harbor
Personel:
-Becky Lynn Blanca: vocals, banjo uke, washboard
-Russell Lee Welch III : Guitar
-Jason Jurzak: Sousaphone /Bass, vocals
-Matt Rhody: Fiddle
-Mike Voelker: Washboard
Chris Pierce is an Americana and folk singer, songwriter, producer, and multi-instrumentalist, recently handpicked by Mr. Neil Young to be the special guest opener for his Neil Young Coastal Tour. His album ‘Let All Who Will’ was released in 2023, with critical acclaim from NPR, No Depression, American Songwriter, and more. He gained prominence with “We Can Always Come Back to This,” his hit cowrite that aired on three episodes of the NBC primetime series This Is Us and went on to #1 on the Billboard Blues Chart. Pierce has toured and performed on stage with Steve Earle, Allison Russell, B.B.King, Seal, Al Green, and Neil Young. Chris Peirce provided proof that there are still some left who’s words can travel well while we stand still, going both back & forth.
Ranky Tanky has achieved many firsts for South Carolina’s West African–rooted Gullah community since their formation, earning yet another milestone at the 2019 Grammy Awards® by taking home the Best Regional Roots Album prize for their sophomore release ‘Good Time’. The album, which also hit No. 1 on Billboard’s Contemporary Jazz Chart, combines songs carried down through generations in the Sea Islands of the Southeastern United States with the band’s own original compositions in the Gullah tradition. In Ranky Tanky’s hands, this style of music has been described as “soulful honey to the ears” (NPR) while being covered by The New York Times, NPR’s Fresh Air, and The TODAY Show, who had the band on for a performance. Ranky Tanky (a Gullah phrase for “get funky”) are 5 lifelong friends from Charleston, South Carolina who have established themselves as passionate global ambassadors for their local culture and community, helping to faithfully preserve the traditions originated by African Americans in the coastal South during slavery that are kept alive through the present day. The band has been featured on NPR’s Fresh Air, The Today Show, PBS Newshour, and The Late Show with Stephen Colbert #playathome. Ranky Tanky were honored to be featured artists in President Biden’s inauguration event, ‘We The People’. They were the subjects of a ten-page profile in Oxford American’s South Carolina music issue and were named 2020 Artist of The Year by the Charleston City Paper. They sure did give it to us all so good on March 8th at the Kennedy Center. You can watch the video of the entire event here and below click into Quentin’s name to hear my conversation with him a couple years back before a show here in Madison.
Quentin Baxter, drums and percussion
Kevin Hamilton, bass
Quiana Parler, vocalist
Clay Ross, guitar and vocals
Charlton Singleton, trumpet and vocals
The final part of the proGram this week went thru the solid and liquid transformation.
Love & Revolution (Cinnamon Version)- Seun Kuti & Egypt 80 Ft. Adi Oasis
In and Outta Love- Kenya Eugene
Love and Energy- Ky-Mani Marley, Iba Mahr & Lutan Fyah
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Konvergence (Hybrid 12-Inch Mix)- Sosun Suh X Rise Ashen
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Children Of Zu Zu- Charles Petersohn Ft. Roberto Di Gioia & People of Tala’aga Somoa
Myth Versus Reality- Charles Petersohn Ft. Sun Ra Arkestra
Juju Man- Nadav Schneerson Ft. Afronaut Zu
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The Lion- Yellowjackets Ft. Raul Midón
Swingmeister General- Yellowjackets
Human Intelligence (interlude)- CHRISTOPH IRNIGER PILGRIM
Hendrix- CHRISTOPH IRNIGER PILGRIM
Andromeda- Rachel Eckroth & John Hadfield
Speaking In Tongues- Rachel Eckroth & John Hadfield
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Mack The Knife- Ella Fitzgerald (Live At The Coliseum)
Whole Lotta Love- Richard Baratta
The middle pat of the proGram was laying down just about in the water.
Terzo- Paolo Zavallone
That’s What’S Up- Mojoflo Ft. Bootsy Collins
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Anything for my Baby- Davie
In The Place To Be- Hot 8 Brass Band
Midway- Hot 8 Brass Band
Get My Share- The Freedom Affair
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Çiçek Açıyor- Derya Yildirim & Grup Şimşek
**pre-record conversation with Derya & Helen of Derya Yildirim & Grup Şimşek**
İstanbul’un Kuşları- Derya Yildirim & Grup Şimşek
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Seeds- Sola Rosa
Mam Pe’ela Su’ure- Florence Adooni
Vocalize My Love- Florence Adooni
SANGO- Celia Wa Ft. Owomide
Aye Papi- El Dusty Ft. Ratchetón & Harlay
The first part of this week’s proGram had a bunch of iceholes around it.
Copperhill- Helene Cronin
Snowed In- The Droptines
Granny Takes A Trip- Elliott Murphy
Till the Morning- Brian D’Addario
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Russian Spy Canisters- Roger Clark Miller
Pink Felt Trip- The Chemistry Set
Love Or Confusion- The Chemistry Set
On ne prête qu’aux riches- Les Breastfeeders
She’s Got a Problem- HotWax
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Bagful of Boogie- The Tigermen
Eyes Wide Open- Downtown Roots Ft. Saxbob Swift
Twitchy Witcha- Max Hightower
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Bang Bang Bang Bang- SEX-O-RAMA
The Legend of Poon Tang- SEX-O-RAMA
Outta My Way- Frollen Music Library
Questural- Paolo Zavallone
Born in Hamburg, Germany to Turkish parents, Derya Yıldırım grew up influenced by her family’s Anatolian background and the myriad of cultures in the city. Derya’s musical roots started at home playing folk music with family members. Her father pushed her to learn various instruments, beginning with the bağlama, a seven stringed Turkish lute. Then she picked up the guitar, piano, & saxophone. Although she is a multi-instrumentalist, Derya always felt drawn to the sound of the bağlama, finding a special magic within that sound. With her band Grup Şimşek’s forthcoming album Yarın Yoksa, which translates to ‘If There’s No Tomorrow’, Derya continues her journey revitalizing Anatolian folk music and instrumentation by infusing timeless melodies with a modern psychedelic flair. Ten years ago, while participating in a community theater project, Derya met French musicians Graham Mushnik & Antonin Voyant from Catapulte Records and formed the band Grup Şimşek with Helen Wells, a drummer from Cape Town, South Africa joining in 2021. While the band is truly international, they eschew the term ‘world music’, preferring instead ‘outernational’ which they say suggests a sound that’s more inclusive or “beyond borders.” DY&GS embody what defines Anatolian folk music, finding a groove and melody and then looking for the freedoms within. It’s this ethos that guides the band’s songwriting and the way they take on Anatolian folk standards. Respecting the roots of the music while entertaining their own spins on the music while preserving historic words & melodies…perhaps the soul changes just a little bit. While it’s easy to think of folk music as a music of the past, Derya insists it’s just as valid today since this music is so important as it remains the voice of the people, the minority, and the oppressed. After self-producing multiple albums, they signed with New York’s Big Crown Records in 2024 and teamed up with Grammy-nominated producer Leon Michels (El Michels Affair) for Yarın Yoksa. The new album embodies their balance of preservation and innovation across nine original compositions and three traditional folk songs. It is a record that will enchant any listener regardless of language barrier with Derya’s passion and authenticity front and center and music too moving to deny. Yarın Yoksa is sure to captivate the hearts and minds of all those who hear it, and just wait until you experience them play it live.
I had the pleasure of chatting it up with Derya & Helen of Derya Yıldırım & Grup Şimşek shortly before the new album, Yarın Yoksa drops. This album delves into deeply personal pain and collective resistance with a central thread of loss, longing and hope for change running throughout. Derya also sings in her parents’ native Anatolian with lyrics that are poetic with symbolic language, metaphors & storytelling. Derya & Helen talk a bit about the album’s journey from beGinning to it’s almost peek into the ears of others. Together, Derya Yıldırım & Grup Şimşek have created a memorable and emotional record that challenges genre while having broad appeal and a powerful message. None of this is lost on my ears, body and spirit as I listen and share. I feel the album’s haunts and romances. We talk about getting to work with Big Crown Records and the one and only Mr. Leon Michels. I really get into being educated a bit about the region and corners of the world on the birth certificate of this record, including a geography lesson and some extra insights into the bağlama. I even got to learn a few more bands to look up when Helen & Derya build a setlist around one of the new tracks.
Photo by: Philomena Wolflingseder
Ezekiel’s Wheels Klezmer Band is one of the world’s preeminent klezmer ensembles. 2024–2025 season highlights include performing as soloists with Maestro Joshua Weilerstein and the Aalborg Symphony Orchestra (DK) in Abigale Reisman’s Gedanken for klezmer band and orchestra; StetlFest (CZ); and the Museum of Fine Arts Boston (USA).Their music has been featured on television in the Netherlands and Brazil, on the Boston Jewish Music Festival’s compilation album, and a feature length film, in addition to their eight albums. The Wheels have performed with Hankus Netsky, David Broza, Paula Cole, Jill Sobule, BETTY, and many more collaborators from the klezmer world and beyond. When they’re not playing klezmer, they can be found backing up such household names as Eminem, Hugh Jackman, Weird Al Yankovic, Amanda Palmer, and Chris Botti, and holding down the pit orchestras of musical theater shows across New England. Last night, they took to the Millennium Stage at The Kennedy Center and transformed the space into a vibrant landscape of Klezmer gold.
The final part of the proGram this week had a good spot for watching you.
Pearl Diver- SEX-O-RAMA
Shehzadi – शहज़ादी- Sababa 5 & Sophia Solomon
Mood Swing- BALTHVS
It’s Okay- Emma-Jean Thackray Ft. Kassa Overall
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Walking To The Jungle- La Pandemic
The Shadow of your Smile- Larry McDonald Ft. Zem Audu & Natty Frenchy
Jamaican Jig- Dub Syndicate
Gun Too Hot- Dub Syndicate
Moussokéléyato- Allata Broulaye
PATAS ARRIBA- Tony Allen & La BOA
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Ainda Preciso do Sol- Adrian Younge
Mon Gamin- The Loire Valley Calypsos
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Dinorah Dinorah- Butcher Brown
9 Bar Tune- Sullivan Fortner
Tres Palabras- Sullivan Fortner
California Dreamin’- Richard Baratta
The middle part of the proGram reminded us to pick ’em wisely.
Someday Baby- Crosscut Saw
Poor Black Mattie- Southern Fried Groove Queens
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Electric War- Little Barrie & Malcolm Catto
Dedicated To The One I Love- Schizo Fun Addict
Born to Be Wild- Joe Satriani, Eric Johnson & Steve Vai (G3 Reunion Live)
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I’m Working On A Building- Kid Ramos
Insatiable- Analog Son Ft. Adryon de León
God Reason- MonoNeon Ft. Katt Williams, George Clinton & James Fauntleroy
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Dominoes- Kendra Morris
**pre-recorded conversation with Kendra Morris**
The Door- Kendra Morris
In My House- Kendra Morris
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Hatif- The Bombillas
Mayo con Yayo- Polyrhythmics
Twangy Morocco- Danzón El Gato
Fatal Attraction- The Charities
The first part of this week’s proGram followed the fluid’s direction.
Sleepy Eyed John- Jesse Smathers
That Chick’s Too Young To Fry- Catherine Russell
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Up Against The Wall- Jessie Wagner
So Damn Good- Jon Cleary & The Absolute Monster Gentlemen
Let Me Go- The Reverend Peyton’s Big Damn Band
Hellhole Shuffle- Travellin’ Blue
Thick Jello- Max Hightower
Assmograph- Max Hightower
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Get High- Rashad the Blues Kid (Live)
Sanguine- Mitch Ryder
Beware The Wolf- Jimmy Vivino Ft. John Sebastian
Roller Coaster- The Bob Lanza Blues Band
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Together Again- Southern Hospitality
Shake (Make Your Body Move)- Stacy Mitchhart Ft. Bobby Rush
Hittin’ On Nothin’- Janiva Magness Ft. Jesse Dayton
There is something completely out-of-time about Kendra Morris and her latest album ‘I Am What I’m Waiting For’ on Karma Chief Records. It combines powerhouse vocals w/arrangements that betray an extensive record collection & a whimsical instinct for a joyous kinda noise. It’s vibrant & varied and packed w/personality. She & Torbitt Schwartz, AKA Little Shalimar (Run The Jewels) wanted to make it feel like listeners cracked open the ooze in her head. Torbitt was the Co-Writer & Producer on the record. Kendra is also an accomplished visual artist & stop-motion animator, so it’s appropriate that the album takes a collagist approach, recombining all sorts of Rock-n-Roll ingredients, the sass & swagger of Ronnie Spector, The more acid-fried corners of The Nuggets Compilations, post-modern interpolations of mid-century Exotica music, the cracking snares & sugary Urbanity of ESG, all while offering moments of vulnerable insights from a life in pursuit of expression. She was a musically precocious child and, after playing in Florida bar bands, moved to New York to chase the dream. Thus began a 13-year stint bartending at the beloved lower East Side dive The Library, which thrust her directly into the heart of Manhattan’s fertile post-Strokes creative scene. Brian Jonestown Massacre’s Anton Newcombe lived Upstairs, music journalist Marc Spitz was a regular, and touring acts would come through to hang after playing Bowery Ballroom. During those moments, Morris yearned to join those folks on the other side of the bar. All the while, she kept pursuing her music dreams. Her process was pure, 100% DIY. She never took no for an answer. After the dissolution of her first band, She Recorded 8-track demos and performed solo shows backed by cassette recordings of her own vocal harmonies. Through these shows she connected w/longtime producer Jeremy Page. It felt meant to be. She worked with Jeremy for the next 10+ years, they Worked together thru some of the most beautiful & hardest life things she’s ever gone thru. It was a fruitful partnership: she signed to Wax Poetics for the release of her 2012 debut ‘Banshee’ & 2013’S ‘Mockingbird’, self-released her 2016 EP ‘Babble’, & signed to Karma Chief for 2022’S ‘Nine Lives’. She’s hooked up with a great cast of collaborators, including DJ Premier, MF Doom, Ghostface Killah, & David Sitek. Despite her strong professional & personal relationship w/Page, Kendra knew that she needed to change up the energy for her next project. She connected w/Torbitt Schwartz and set about making ‘I Am What I’m Waiting For’. Kendra was eager to break out of old habits: she started playing guitar again live, pulled old songs out and reworked them, less-than-perfect takes were tolerated. To me, it feels like he risk has paid off.
I had the pleasure of catching up with Kendra as she sets out on a brief run with Marc Brousaard which brings her to Madison on March 16th to play the Majestic Theatre. We get into how that gig got put on her calendar and what that set of music will be like, ranging from her past albums into trying out some new music on us. You heard it riGht, NEW music. We also never had time to discuss her most recent release, “I Am What I’m Waiting For” so we go a little seed to flower on that and prompt a little double check on the video for Dominoes. I would have been remiss if this time around I neglected to get into a little conversation on the really cool track, ‘White Noise‘ she worked on with Peter Matson – this tune really collides well with how she makes a little magic every time we hear a new thing and should be heard by everyone at least once. Ready…GO!
Boma Bango takes the hypnotic, reverb drenched, tremolo-ed electric guitar heavy music from the 1960s in the Congo and reimagines it as if it came out of some humid outdoor bar in Southwest Louisiana. Boma Bango formed after Daniel Coolik became infatuated with 1950s and 1960s Congolese Rumba. A music originally influenced by Cuban records from the 1930s and 40s and infused with melodies and instruments from the Congo. Boma Bango, by taking musical cues from Congolese luminaries as Franco Luambo & le TPOK Jazz, L’Orchestra African Fiesta with Docteur Nico and Tabu Ley Rochereau, and Le Grand Kallé et l’African Jazz, has strived to create their own kind of improvisational music based upon the sounds from this golden age. The band was started in 2018 by musical compatriots Daniel Coolik (electric guitar/electric mandolin), Trey Boudreaux (bass), Megan Constantin (vocals/percussion), Bill Smith (congas/marimba), and Glenn Fields (drums/percussion) – and is sometimes joined by Aurora Nealand (saxophones). They reinvent old songs and write new ones in Louisiana French just as the Congelse wrote songs in Lingala. In the same way jazz musicians took the Great American Songbook in the 1940s and 50s and now take from popular music, Boma Bango has reworked these beautiful and almost forgotten melodies to create an alluring, tropical, and exciting new sound.
Millennium Stage
This evening, Daymé Arocena, a Grammy®-nominated and Juno Award-winning Afro-Cuban singer who is known for her genre-defying creativity and deep connection to her Cuban heritage, rocked a sold out stage at the Kennedy Center. Her latest album, Alkemi (2024), follows the acclaimed Sonocardiograma (2019) and marks a bold evolution from her jazz roots, blending neo-soul, Afro-Caribbean rhythms, and modern pop. In recognition of her work, she received a 2024 Latin Grammy® nomination for Song of the Year for “A Fuego Lento” featuring Vicente García.
Millennium Stage – Sat. Feb. 22, 2025
Renowned vocalist Alicia Waller provided an unforgettable evening as she brings her ensemble, Alicia Waller & The Excursion, to Millennium Stage at the Kennedy Center. Featuring a vibrant blend of jazz, soul, and vernacular sounds, Waller performed selections from her acclaimed EP, Some Hidden Treasure (2020), along with fresh material from her highly anticipated debut album, Louder Then. Known for the luminous warmth of her voice and her captivating approach to soul, Waller creates a rich, expressive sound that has been praised as a synthesis of splendor and depth.
The final part of this week’s proGram took to the road with a certain sort of ease.
Forever- Flevans
No Worries- 808ts_
Circling The Drain- Lower Life Forms
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Brats In The Boudoir- SEX-O-RAMA
An Afrofuturistic Poem- Anthony Joseph
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She Loves Me Now (Alt Mix)- Cocoa Tea
93 Struggle- Dub Syndicate
Green Stick- Dub Syndicate
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Purple Haze- Richard Baratta
I Feel Good- Richard Baratta
This Masquerade- Joe Syrian Motor City Jazz Octet
Kusi Na Sibo- Ebo Taylor, Adrian Younge & Ali Shaheed Muhammad
ALE- Tony Allen & La BOA
The middle part of this week’s proGram has to watch out when walking by.
How You Carry On- Marcia Ball
**pre-recorded conversation with Marcia Ball**
Red Hot- Marcia Ball
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Until We Overcome- Skip the Needle
Little Miss Suicide (2025)- History Of Guns
Evil Everywhere- The Taxpayers
Les pieds chez toi- Les Breastfeeders
Jasper’s World- LaMP ft. Russ Lawton, Scott Metzger & Ray Paczkowski
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I Don’t Wanna Be So High- M Ross Perkins
Freddie- The Sure Fire Soul Ensemble
There Ain’t Enough Roses- Thee Baby Cuffs with Cold Diamond & Mink
Body Pressure- Sho-Nuff
Monster Monster- Sho-Nuff
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No money no honey- Santrofi
Not In Surrender- Obongjayar
The first part of today’s proGram had a blustering dust-up inside.
Wild Light- Marty Bohannon
Gone Too Soon- Matt Bohannon
Highway 41- Matt Bohannon
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Hell Of A Good Time- Joanne Shaw Taylor
One Mint Julip- Steve Howell & The Mighty Men
Rum Boogie- Southern Avenue
Devil Woman- Johnny Ray Jones Ft. Junior Watson
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Holes- Janiva Magness Ft. Sue Foley
Masterpiece- Janiva Magness Ft. Joe Bonamassa
Down to the River We Go- Jim White & Trey Blake
Where You Found Me- Mustang McGee Ft. Christone “Kingfish” Ingram
Wide and Far- NO KING
Get A Hold Of Myself- Jamie James
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Mean Time (R.E.)- Born Ruffians
50+ years have passed in a flash for pianist/songwriter/vocalist Marcia Ball. The 2018 Texas State Musician Of The Year has won worldwide fame & countless fans for her ability to ignite a full-scale roadhouse party every time she takes the stage. Born in Orange, Texas and raised in Vinton, Louisiana, her deep Acadian heritage and a lifetime of absorbing Gulf Coast rhythm & blues is evident in her original songs and the classics she chooses to cover. This has made her a one-of-a-kind favorite with music lovers all over the world. With each new release, her reputation as a profoundly soulful singer, a boundlessly talented pianist and a courageous, inventive songwriter continues to grow. Her love of the road has led to years of soul-satisfying performances at festivals, concert halls & clubs. Marcia grew up in a family whose female members all played piano and she began taking lessons at age 5, playing old Tin Pan Alley and popular music tunes from her grandmother’s collection. But it wasn’t until she was 13 that Marcia discovered the power of soul music. One day in 1962, she sat amazed as Irma Thomas performed on a show at the Municipal Auditorium in New Orleans and delivered the most spirited & moving performance the young teenager had ever seen. A few years later she attended Louisiana State University and after dropping out to explore the brave new hippie world of the late 1960s, she was invited to try out for a blues-based rock band called Gum. She made the cut and her future was set. In 1970, she left Baton Rouge for San Francisco. Her car broke down in Austin, and while waiting for repairs she fell in love with the city and decided to stay. It wasn’t long before she was performing in local clubs with a band called Freda And The Firedogs, which attracted many musicians & significant media attention to Austin. It was around this time that she discovered Professor Longhair she knew she had found her direction. When Freda And The Firedogs broke up in 1974, Ball launched her solo career and began touring outside of Texas & Louisiana. She signed with Capitol Records in 1977, debuting with the country-rock album Circuit Queen. As she honed her own sound, she released 6 critically acclaimed titles on the Rounder Records label during the 1980s & 1990s. In 1990, Ball, collaborating with Angela Strehli & Lou Ann Barton, recorded the hugely successful Dreams Come True on the Antone’s label. At the end of 1997, Marcia finished work on a similar “three divas of the blues” project for Rounder, this time in the distinguished company of Tracy Nelson and her longtime inspiration, Irma Thomas. The CD, Sing It!, was released in 1998 and was nominated for a Grammy Award. Marcia Ball has appeared many times on national TV over the years, including the PBS special In Performance At The White House with B.B. King & Della Reese, Austin City Limits & HBO’s Treme. She performed in Piano Blues, the film directed by Clint Eastwood included in Martin Scorsese’s The Blues series which aired on PBS television nationwide in 2003. Marcia also appeared on The Late Show With David Letterman w/The New Orleans Social Club, where she helped to benefit victims of Hurricane Katrina. In 2012, she had a role in the independent film Angels Sing starring Harry Connick, Jr. & Lyle Lovett & Willie Nelson. Ball joined Alligator Records in 2001 with the release of the critically acclaimed Presumed Innocent. The CD won the 2002 Blues Music Award for Blues Album Of The Year. Her follow-up, So Many Rivers, was nominated for a Grammy Award, and won the 2004 Blues Music Award for Contemporary Blues Album Of The Year as well as the coveted Contemporary Blues Female Artist Of The Year award. Her next release, Live! Down The Road, released in 2005, also garnered a Grammy nomination, as did 2008’s Peace, Love & BBQ. She holds 11 Blues Music Awards, 10 Living Blues Awards, and 5 Grammy Award nominations. 2010’s Grammy-nominated Roadside Attractions and 2014’s The Tattooed Lady And The Alligator Man successfully grew her fan base even further. She has been inducted into both the Gulf Coast Music Hall Of Fame & the Louisiana Music Hall Of Fame and the Texas State legislature named her the official 2018 Texas State Musician. In 2018, Marcia was inducted into the Austin City Limits Hall of Fame. And she kept on traveling down the road to the next gig…
I had the pleasure of catching up with the legendary pianist/singer/songwriter ahead of her heading back to Madison for a gig at The Bur Oak on March 5th. Marcia and I get into a bit of what that show will be like, with some of that good ol’ rockin’ and rollin’ being at the center. We talk about her love of Madison and how much she enjoys being here, musically and otherwise, including her working with a staple here, The Jimmys (with whom she’ll be hanging and playing with down in Jamacia before heading here). We get into her passion for Irma Thomas, and how much seeing her early on changed her life, and then they worked toGether on a few occasions. How dreamy?! For me, it is always nice to talk about new music and Marcia drooped a little knowledge this way that there in fact, is some of that heading our way. YES!!! While new music is usually a big part of my thanG, so is the give-back. Marcia is doing her part as well with the HOMES initiative, providing financial housing assistance for aging musicians in need. So I would have been remiss not to shine a little light on these fantastic efforts.
The Jazz Foundation Presents: Simon Lott’s We Gon Do Dis
February 19, 2025 5:00 pm – February 19, 2025 6:00 pm
Snug Harbor
Drummer & beyond, Simon Lott was born on January 6, 1982 and has been making music professionally since 1995. His career as a versatile drummer began in Louisiana at age 13 in Baton Rouge & New Orleans. He completed an B.A. in English Literature in 2004. At age 23, he moved to New York City after the destructive Hurricane Katrina & began touring internationally. 2 years later, he returned to the South and has been living in New Orleans since. He fashioned his first album of original music at age 18, an instrumental jazz recording called “In The Parking Lott of Swing.” Then at age 23 completed his second album of original music entitled “Things.” Things stepped into other facets of music: hip-hop, electronica, funk, rock, R&B, and included bits of vocals and a heavy amount of post-production and “cutting-&-pasting” of live recorded tracks mixed with composition and improvisation, highlighting Lott’s skills as composer as well as producer. The music was recorded in 2002 and was slowly edited over 3 years. At the age of 25, Simon began home recording and experimenting more with synthesizers and effects pedals. At age 28, he created a home studio called THE EARSE in New Orleans where he cultivated two alteregos– Context Killer and Diamond Kinkade: Context Killer’s main rig is a drum set w/contact microphones, synthesizer(s), looper(s), & effects pedal(s); later, electric bass & vocals were added– a malleable, morphing rig indeed… The initial concept of Context Killer’s music was to create a more visceral, organic kind of electronic music by making the music without pre-set loops or samples and with live drumming & keyboard playing. The Context Killer concept was also fabricated as a way to develop playing other instruments and singing. Context Killing is also about changing your current situation if it’s not working; it’s a way to come at things from a different angle so you don’t get stuck, or face the infinite spectrum–there’s always another layer to be uncovered & explored. For instance, using “negative” energy effectively to make music thus giving the listener diverse experience; or employing physical exercise to free your mind and become more in touch with the body that is needed for music-making. This looping period lasted for a good while with great affects & effects.
