THE CONGO SQUARE PROJECT FOUNDATION
The televised images of Hurricane Katrina's catastrophic impact will be remembered by the entire world for years to come. The storm, one of the deadliest natural disasters in US history, deeply affected a New Orleans' musical community that had already suffered from decades, if not centuries, of neglect on the part of politicians and government officials.
At that time, LA session drummer Fabian Jolivet had already began recording two albums of instrumental music entitled "The Electroroots Project" for Standard Music Library (UK). This project included a tribute to The Crescent City, a drum suite, to be called CONGO SQUARE, also featuring friends & fellow trapsmiths Clem Burke (Blondie), Don Heffington (Lucinda Williams) and Stephen Hodges (Tom Waits). Before the project was completed, Katrina had hit The Gulf Coast with devastating force. The terrible flood and lack of response from the local and federal authorities deeply touched the life of many people. Including those living on the other side of the country, witnessing the tragedy unfold from a seemingly comfortable distance.
"DEEDS NOT WORDS, that's the title of that great Max Roach record, isn't it?" Fabian asks. "See, I truly believe in the message this sorcerer of the skins sent out to all of us, that NOW is the time for everybody to act. To finally help re-build this amazing community that influenced the entire world. After all, we are talking about thee cradle of modern music". We all know that without Louis Armstrong, Jelly Roll Morton, Buddy Bolden, King Oliver, Sidney Bechet, Preservation Hall Jazz Band, Alvin Batiste, Fats Domino, Dave Bartholomew, Smiley Lewis, James Booker, Professor Longhair, Earl King, Dr. John, Irma Thomas, Ernie K Doe, The Meters, The Neville Bros, the amazing Mardi Gras Indians and street players, the music world will not be the same.
Percussion legends such as Baby Dodds, Big Sid Catlett, Zutty Singleton, Paul Barbarin, Joseph Cie Frazier, Vernell Fournier, Dave & Frank Oxley, 'Smokey' Johnson, June Gardner, James Black, 'Uncle' Lionel Batiste, Charles 'Honeyboy' Otis, Earl Palmer, John Boudreaux, Bob French, Freddy Staelhe, Joseph 'Uganda' Roberts, 'Bunchy' Johnson, Lady Tambourine, 'Zigaboo' Modeliste, Johnny Vidacovich, Herlin Riley, all paved the way for the rhythms that we all groove to in today's world.
"DEEDS NOT WORDS, that's the title of that great Max Roach record, isn't it?" Fabian asks. "See, I truly believe in the message this sorcerer of the skins sent out to all of us, that NOW is the time for everybody to act. To finally help re-build this amazing community that influenced the entire world. After all, we are talking about thee cradle of modern music". We all know that without Louis Armstrong, Jelly Roll Morton, Buddy Bolden, King Oliver, Sidney Bechet, Preservation Hall Jazz Band, Alvin Batiste, Fats Domino, Dave Bartholomew, Smiley Lewis, James Booker, Professor Longhair, Earl King, Dr. John, Irma Thomas, Ernie K Doe, The Meters, The Neville Bros, the amazing Mardi Gras Indians and street players, the music world will not be the same.
Percussion legends such as Baby Dodds, Big Sid Catlett, Zutty Singleton, Paul Barbarin, Joseph Cie Frazier, Vernell Fournier, Dave & Frank Oxley, 'Smokey' Johnson, June Gardner, James Black, 'Uncle' Lionel Batiste, Charles 'Honeyboy' Otis, Earl Palmer, John Boudreaux, Bob French, Freddy Staelhe, Joseph 'Uganda' Roberts, 'Bunchy' Johnson, Lady Tambourine, 'Zigaboo' Modeliste, Johnny Vidacovich, Herlin Riley, all paved the way for the rhythms that we all groove to in today's world.
"New Orleans is the birthplace of American music, Baby Dodds was born there. Without The Crescent City's rich musical contribution there would have been no Elvis Presley or Beatles. Because both acts were heavily influenced by the songs recorded by Fats Domino & Little Richard's at Cosimo Matassa's Studios. Without the Afro Cuban rhythms filtered by the city's master drummers I doubt it that we would have had that infectious Bo Diddley two bar beat ( Havana Clave ) traveling the world's airwaves promoting AMERICAN MUSIC. Then, later there would have been no Rolling Stones or Led Zeppelin, there would have been nothing of the kind... So, I believe that everybody in our music world owes something to New Orleans."
The Congo Square Project is a volunteer organization dedicated to help the New Orleans musicians via SIX albums released by non profit label Threadhead Records. A musical journey that traces the evolution of the African music that was later brewed in the heart of the city of New Orleans during the 1700's. Recorded all over the world with a modern day Alan Lomax production approach compiled & produced by drummer Fabian Jolivet, it moves body & soul, at the same time that feeds the listener's heart & mind. It has all the ingredients for the spicy gumbo that made the city famous. Including those (often overlooked) contributions made by the Native American tribes and the European, Caribbean & Mexican influences that soon followed.
These albums will DIRECTLY benefit The New Orleans Musicians Clinic; The Mardi Gras Indians Hall of Fame; The Reverend Lois Dejean's Youth Assistance Foundation; Sweet Home New Orleans; The Congo Square Drummers & The Preservation Hall Foundation, etc...
NOTE: Neither me personally, nor any of the musicians included will ever receive any future financial benefit from this multiple charity project. The income generated from anything related to THE CONGO SQUARE PROJECT FOUNDATION will solely benefit the charities involved in re-constructing the city of New Orleans. We have ALL united for them in this good cause. It's a humble tribute to the musicians that we love so much. I sincerely hope that the many donations, volunteers, powerful documentaries, and all the big and small musical contributions currently taking place will help some of those in need. They need to know that they are NOT alone, that we truly care for them. As Nathan Chasing Horse (Medicine Man/Musician/North Lakota Nation Spiritual Leader) said: "LISTEN WITH YOUR HEART"
FABIAN JOLIVET ( drummer / producer / activist )
SACRED GROUND - Volume 1: The debut album in this series, opens with "Mother Africa" an Orisha ceremonial introduction conducted by African Yoruba Priest-Master drummer Ayo Adeyemi (Babe Olatunji), plus a sensational performance by brazilian great Airto Moreira (Miles Davis), followed by an array of musical pieces and grooves that include a cry for HELP that comes directly from the very heart of CONGO SQUARE led by Luther Gray. The dance of the Bamboula, Secondliners, Dixieland, Beat Poetry by Seminole Maroon activist Phil Fixico and the eccentric songwriter Chuck E Weiss walking us through NOLA's music history. At the very center is the historic NYC session (led by Soul Brother N#1 Steve Jordan) by Levon Helm & The East Coast Gang pointing the finger at corrupted bureaucrats while ripping through "Tip On". Levon Helm (The Band) on drums & lead vocals, Hubert Sumlin (Howlin' Wolf) on guitar & lead vocals, Steve Jordan (Keith Richards) drums & b. vocals, Danny Kootch Kortchmar (Carole King) & Larry Campbell (Bob Dylan) guitars & b. vocals. Aided by Niko Bolas behind the vintage board's controls & Artie Smith donating loyal tech support > what a super-session!!! This album comes towards it's end some 300 years later, with The Revend Lois Dejean's Gospel Choir's emotional rendition of "He Knows How Much We Can Bear". One of Mahalia Jackson's close circle of singers showing us that the city's African descendants, regardless of the many hardships, have always remained together throughout their difficult history thanks to their loyalty to the strong spiritual music brought from their ancestral land. Then comes Uncle Lionel Batiste, often referred as "The Heartbeat of New Orleans", who closes the album singing the nostalgic classic "Do You Know What It Means To Miss New Orleans?", inviting the world to return to sweet NOLA (Mr. Earl Palmer shed a tear when he heard this track).
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SACRED GROUND - Volume 2: Starts back where it all began, with a second Orisha ceremonial introduction conducted by Ayo Adeyemi (Babe Olatunji). Followed by "The Middle Passage" performed by Prof. Joseph Mitchell Jnr. (LA Philharmonic), a percussion piece that reflects the painful voyage enforced on millions of slaves that crossed the Atlantic Ocean. An array of Afro-Cuban influences splashes all over an album full of musical memories and personal tales of redemption. You will hear fantastic stories and mighty grooves by the legends that made the music that counts in today's contemporary music: The Rev. Lois Dejean, Earl Palmer, Alfred Uganda Roberts, Smoky Johnson, John Boudreaux, Jerry Jumonville, Freddy Staelhe, Benny Jones Snr. & Bunchy Johnson. European classical visionary Thomas Bloch (Bjork/The Scala de Milan/Radiohead) recording in Paris the Glass Harmonica & Crystal Baschet, later including a Berlin soprano's layer of voices to represent the devastation & sadness brought by Hurricane Katrina. This virtuoso composer is here sharing the limelight with street player extraordinaire Washboard Chaz, a New Orleans entertainer beloved by both locals & visitors. The album ends with "These Days Are Beautiful" featuring singer/songwriter Maya, backed by Sir Tony Martin bass, Fabian Jolivet on drums & percussion, Deacon Jones (John Lee Hooker) Hammond B3, Larry Campbell (Bob Dylan) dobro guitar, Tex Nakamura (WAR) congas, The Reverend Lois Dejean's Gospel Choir & Jerry Jumonville's Spotted Cats Brass Section sending a message of HOPE for a brighter future, reminding us that we have another chance to reconstruct and do things RIGHT.
CLICK HERE
SAINTS AT CONGO SQUARE - Volume 1: The third album in the series starts with "Rewind (300 Years of Musical History)", an unusual track that blends all recorded music in one song. This concept album takes the listener through a music journey that includes a second track by the ever so soulful Levon Helm & The East Coast Gang singing "Stealin" with Teresa Williams on backing vocals, followed by Preservation Hall Jazz Band confronting nature with "Blow Wind Blow" featuring Stanton Moore on drums; a solo piece by jazz bassist Ira Coleman in honor of his friend, drummer Tony Williams (Miles Davis); Beat Poetry from the heart of Mississippi by Canadian singer Gord Downie who introduces us to "Amelia's Song" performed by pianist Warren Bernhardt (Steely Dan), Ira Coleman (Dee Dee Bridgewater) and the legendary trapsmith Jimmy Cobb (Miles Davis). You will hear Indian tabla by british virtuoso Pete Lockett; the avant garde be bop sounds of The Barry Altschul Quartet; Louie Bellson & Chester Whithmore taking us back though memory lane sending a message of LOVE, leading to the 5/4 time Hard Bop Blues progression of "James Black's Idea" by John Boudreaux & Co; the Lakota Sioux piece by Nathan Chasing Horse calling the sacred spirits, reminding us were one of the main ingredients for rock'n'roll may have come from (the strong backbeat of 2 & 4 has always been present on native music). Followed by the superb AfroCuBop contribution that gives the album it's title, performed by latin jazz leader Francisco Mora Catlett, featuring none other than Sun Ra's protege, Marshall Allen on sax. An inspiration and a fitting tribute to Congo Square & Louis Armstrong dedicated to the warrior of the skins & thought, Mr. Max Roach (Francisco is a Cuban born musician, and, part of the legendary NOLA trapsmith 'Big Sid' Catlett's family). Finally, getting close to the edge with the friendly handshake of an Afro-Colombian Native piece led by percussionists Neil Benitez & Walter Valencia, wrapping it all up with "Closing Time", a David Lynch style organ 'dream' piece played by Argentine pianist Ciro Fogliatta (Los Gatos), confirming how far the Jelly Roll Morton/Dr. John's NOLA influence has reached.
CLICK HERE
CLICK HERE
SACRED GROUND - Volume 2: Starts back where it all began, with a second Orisha ceremonial introduction conducted by Ayo Adeyemi (Babe Olatunji). Followed by "The Middle Passage" performed by Prof. Joseph Mitchell Jnr. (LA Philharmonic), a percussion piece that reflects the painful voyage enforced on millions of slaves that crossed the Atlantic Ocean. An array of Afro-Cuban influences splashes all over an album full of musical memories and personal tales of redemption. You will hear fantastic stories and mighty grooves by the legends that made the music that counts in today's contemporary music: The Rev. Lois Dejean, Earl Palmer, Alfred Uganda Roberts, Smoky Johnson, John Boudreaux, Jerry Jumonville, Freddy Staelhe, Benny Jones Snr. & Bunchy Johnson. European classical visionary Thomas Bloch (Bjork/The Scala de Milan/Radiohead) recording in Paris the Glass Harmonica & Crystal Baschet, later including a Berlin soprano's layer of voices to represent the devastation & sadness brought by Hurricane Katrina. This virtuoso composer is here sharing the limelight with street player extraordinaire Washboard Chaz, a New Orleans entertainer beloved by both locals & visitors. The album ends with "These Days Are Beautiful" featuring singer/songwriter Maya, backed by Sir Tony Martin bass, Fabian Jolivet on drums & percussion, Deacon Jones (John Lee Hooker) Hammond B3, Larry Campbell (Bob Dylan) dobro guitar, Tex Nakamura (WAR) congas, The Reverend Lois Dejean's Gospel Choir & Jerry Jumonville's Spotted Cats Brass Section sending a message of HOPE for a brighter future, reminding us that we have another chance to reconstruct and do things RIGHT.
CLICK HERE
SAINTS AT CONGO SQUARE - Volume 1: The third album in the series starts with "Rewind (300 Years of Musical History)", an unusual track that blends all recorded music in one song. This concept album takes the listener through a music journey that includes a second track by the ever so soulful Levon Helm & The East Coast Gang singing "Stealin" with Teresa Williams on backing vocals, followed by Preservation Hall Jazz Band confronting nature with "Blow Wind Blow" featuring Stanton Moore on drums; a solo piece by jazz bassist Ira Coleman in honor of his friend, drummer Tony Williams (Miles Davis); Beat Poetry from the heart of Mississippi by Canadian singer Gord Downie who introduces us to "Amelia's Song" performed by pianist Warren Bernhardt (Steely Dan), Ira Coleman (Dee Dee Bridgewater) and the legendary trapsmith Jimmy Cobb (Miles Davis). You will hear Indian tabla by british virtuoso Pete Lockett; the avant garde be bop sounds of The Barry Altschul Quartet; Louie Bellson & Chester Whithmore taking us back though memory lane sending a message of LOVE, leading to the 5/4 time Hard Bop Blues progression of "James Black's Idea" by John Boudreaux & Co; the Lakota Sioux piece by Nathan Chasing Horse calling the sacred spirits, reminding us were one of the main ingredients for rock'n'roll may have come from (the strong backbeat of 2 & 4 has always been present on native music). Followed by the superb AfroCuBop contribution that gives the album it's title, performed by latin jazz leader Francisco Mora Catlett, featuring none other than Sun Ra's protege, Marshall Allen on sax. An inspiration and a fitting tribute to Congo Square & Louis Armstrong dedicated to the warrior of the skins & thought, Mr. Max Roach (Francisco is a Cuban born musician, and, part of the legendary NOLA trapsmith 'Big Sid' Catlett's family). Finally, getting close to the edge with the friendly handshake of an Afro-Colombian Native piece led by percussionists Neil Benitez & Walter Valencia, wrapping it all up with "Closing Time", a David Lynch style organ 'dream' piece played by Argentine pianist Ciro Fogliatta (Los Gatos), confirming how far the Jelly Roll Morton/Dr. John's NOLA influence has reached.
CLICK HERE
