Galactic with Maggie Koerner
It's incredible that GALACTIC has never made a carnival album yet, but now it’s here.
To make CARNIVALE ELECTRICOS, the members of GALACTIC (Ben Ellman, harps and horns; Robert Mercurio, bass; Stanton Moore, drums and percussion; Jeff Raines, guitar; Rich Vogel, keyboards) draw on the skills, stamina, and funk they deploy in the all-night party of their annual Lundi Gras show that goes till sunrise and leads sleeplessly into Mardi Gras day.
GALACTIC was formed eighteen years ago in New Orleans, and they cut their teeth playing the biggest party in America: Mardi Gras, when the town shuts down entirely to celebrate. CARNIVALE ELECTRICOS is beyond a party record. It’s a carnival record that evokes the electric atmosphere of a whole city – make that, whole cities – vibrating together all on the same day, from New Orleans all down the hemisphere to the mighty megacarnivals of Brazil. Armed with a slew of carnival-ready guests from high-school students to 72-year-old AL “CARNIVAL TIME” JOHNSON (who remakes his all-time hit), GALACTIC whisks the listener around the neighborhoods to feel the Mardi Gras moment in all its variety of flavors.
CARNIVALE ELECTRICOS begins on a spiritual note, the way Mardi Gras does in the black community of New Orleans. On that morning, the most exciting experience you can have is to be present when the small groups of black men called Mardi Gras Indians perform their sacred street theater. Nobody embodies the spiritual side of Mardi Gras better than the Indians, whose tambourines and chants provide the fundament of New Orleans carnival music. These “gangs,” as they call them, organize around and protect the figure of their chief. The album’s keynote singer, WAR CHIEF JUAN PARDO, is, says Robert Mercurio, “one of the younger Chiefs out there, and he’s become one of the best voices of the new Chiefs. Pardo grew up listening to the singing of the older generation of Big Chiefs, points out Ben Ellman, and “he’s got a little Monk [Boudreaux], a little Bo Dollis, he’s neither uptown nor downtown.”
On “Karate,” says Ellman, the band was aiming to “capture the power” of one of the fundamental musical experiences of Mardi Gras: “a marching band passing by you.” The 40-piece KIPP RENAISSANCE HIGH SCHOOL MARCHING BAND’s director arranged up GALACTIC’s demo, then the band rehearsed it until they had it all memorized. The kids poured their hearts into a solid performance, and, says Mercurio, “I think they were surprised” to hear how good they sounded on the playback.
Musical energy is everywhere at carnival time. “You hear the marching bands go by,” says Mercurio, moving us through a Mardi Gras day, “and then you hear a lot of hiphop.” There hasn’t been a Mardi Gras for twenty years that hasn’t had a banging track by beatmaker / rapper MANNIE FRESH sounding wherever you go. “You can’t talk about New Orleans hiphop without talking about MANNIE FRESH,” says Ellman. His beats have powered literally tens of millions of records, and he and GALACTIC have been talking for years about doing something together. On “Move Fast,” he’s together with multiplatinum gravel-voiced rapper MYSTIKAL, who is, says Ellman, “somebody we’ve wanted to collaborate with forever. It was a coup for us.”
Out in the streets of New Orleans, you might well hear a funky kind of samba, reaching southward toward the other end of the hemispheric carnival zone. There has for the last twenty-five years been a smoking Brazilian drum troupe in town: CASA SAMBA, formed at Mardi Gras in 1986. They’re old friends of GALACTIC’s from their early days at Frenchmen Street’s Café Brasil, and the two groups joined forces for a new version of Carlinhos Brown’s “Magalenha,” previously a hit for Sérgio Mendes.
But the Brazilian influence on CARNIVALE ELECTRICOS goes beyond one song. “When we started this album, we all immersed ourselves in Brazilian music and let it get into our souls,” says Mercurio. The group contributed three Brazilian-flavored instrumentals, including “JuLou,” which riffs on an old Brazilian tune, though the name refers to the brass-funk Krewe of Julu, the “walking krewe” that Galactic members participate in on Mardi Gras morning. After creating the hard-driving track that became “O Côco da Galinha,” they decided it would be right for MOYSÉS MÁRQUEZ, from the São Paulo underground samba scene, who collaborated with them and composed the lyric.
If you were GALACTIC and you were making a carnival album, wouldn’t you want to play “Carnival Time,” the irrepressibly happy 1960 perennial from the legendary Cosimo Matassa studio? Nobody in New Orleans doesn’t know this song. The remake features a new performance in the unmistakable voice of the original singer, AL “CARNIVAL TIME” JOHNSON, who’s still active around town more than fifty years after he first gained Mardi Gras immortality.
The closing instrumental, “Ash Wednesday Sunrise,” evokes the edginess of the post-party feeling. The group writes, “There is the tension you feel on that morning -- one of being worn out from all of the festivities and one of elation that you made it through another year.”
But, as New Orleanians know, there’s always another carnival to look forward to, and GALACTIC will be there, playing till dawn and then going to breakfast before parading.
GALACTIC is a collaborative band with a unique format. It’s a stable quintet that plays together with high musicianship. They’ve been together so long they’re telepathic. But though the band hasn’t had a lead singer for years, neither is it purely an instrumental group. GALACTIC is part of a diverse community of musicians, and in their own studio, with Mercurio and Ellman producing, they have the luxury of experimenting. So on their albums, they do something that’s unusual in rock but not so controversial an idea in, say, hiphop: they create something that’s a little like a revue, a virtual show featuring different vocalists (mostly from New Orleans) and instrumental soloists each taking their turn on stage in the GALACTIC sound universe.
Mostly the band creates new material in collaboration with its many guests, though they occasionally rework a classic. Despite the appearance of various platinum names on GALACTIC albums, they especially like to work with artists who are still underground. If you listen to CARNIVALE ELECTRICOS together with the two previous studio albums (YA-KA-MAY and FROM THE CORNER TO THE BLOCK), you’ll hear the most complete cross-section of what’s happening in contemporary New Orleans anywhere – all of it tight and radio-ready.
Despite the electronics and studio technology, GALACTIC’s albums are very much band records. Mercurio explained the GALACTIC process, which starts out with the beat: “The way we write music,” he says, “we come up with a demo, or a basic track, and then we collectively decide how we’re gonna finish it.” The result is a hard-grooving sequence of tight beats across a range of styles that glides from one surprise to the next.
What pulls all the diverse artists on CARNIVALE ELECTRICOS together into a coherent album is that one way or another, it’s all funk. GALACTIC is, always was, and always will be a funk band. Whatever genre of music anyone in New Orleans is doing, from Mardi Gras Indians to rock bands to hardcore rappers, it’s all funk at the bottom, because funk is the common musical language, the lingua franca of New Orleans music. Even zydeco can be funky -- and if you don’t believe it, check out “Voyage Ton Flag,” the album’s evocation of Cajun Mardi Gras, in which Mamou Playboy STEVE RILEY meets up with a sampled Clifton Chenier inside the GALACTIC funk machine.
Trampled Under Foot
Siblings Danielle and Nick Schnebelen have a life-long connection with the blues. Growing up in Kansas City, MO, they soaked up the music of their parents, who were active in the thriving blues scene. Trampled Under Foot was originally formed as a family band consisting of Danielle, Nick and Kris Schnebelen. The trio headed to Memphis in 2008 for the IBC and walked away from the competition with First Place honors. Riding the wave of support following the IBC, Trampled Under Foot was ready to take their style of power blues/rock to audiences around the world. After a series of headlining tours and stand out performances at blues festivals across the globe, TUF earned the reputation as one of the hottest bands on the blues circuit.
While watching their fan base grow world-wide, the trio released multiple CDs and DVDs under their own label, TUF Records, including the highly acclaimed 2011 album Wrong Side of the Blues. The success of that album caught the attention of many throughout the music industry and in 2013 the band partnered with Concord Music Group to release their major label debut, Badlands. Hailed by fans and critics alike, Badlands revealed a musical sophistication well beyond the band’s years and provided further proof that Trampled Under Foot was the real deal.
In 2014, after brother Kris announced he was leaving the band, Danielle and Nick solicited long-time friend and fellow KC musician Jan Faircloth to join them on drums. Jan brought with him years of experience as a musician in the Kansas City blues scene and provided a fresh take on the band’s trademark sound. The addition of Jan inspired TUF to make other changes in their line up and the group added keyboardist Mike “Shinetop” Sedovic as an official member, turning the trio in to a 4-piece powerhouse blues band and adding a new dimension to their already stellar live performance.