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THE

Defender Picks

 

Lundi

July 24th

Service Industry Mondays

Drifter Hotel, 12PM

Drinks specials for all industry members, plus music and food truck

 

Happy Hour

Ace Hotel, 4PM

With SaudadeViVian

 

Happy Hour

Chickie Wah Wah, 5:30PM

With Justin Molaison

 

Not-So-YA Book Club

Tubby & Coo’s, 6PM

For adults who read young adult fiction

 

Stuart McNair

Mahogany Jazz Hall, 6PM

Early blues and jazz

 

Tincture Making

Under the Waning Moon, 6PM

Get the 411 on herbal healing 

 

Tap That Yoga

NOLA Brewing, 6PM

Yoga + brews

 

Reiki Chakra Cleanse

Broadmoor Arts & Wellness Center, 6:30PM

Start your week right

 

Blue Velvet

The Neutral Ground, 7PM

+ Kawaii AF + Chris Billiot

 

Gypsy Juke Box

Dragon’s Den, 7PM

A very special Monday Night Swing

  

Cure For The Mondays

Buffa’s, 8PM

With Antoine Diel + Sam Kuslan

 

Blind Texas Marlin

One Eyed Jacks, 8PM

In the front lounge

 

Easter Teeth

Saturn Bar, 9PM

+ Landlocked Seas, Jonathan Brown, Raspy

 

Street Rat

Gasa Gasa, 9PM

+ Dolce, Blotchouts, Heaven Limosine, Sipalong

 

Pink Lion

Rare Form NOLA, 10PM

Enter a dreamy sonic world

Mardi

July 25th

The Essence of Resurrection

Under the Waning Moon, 6PM

An intro to flower essences

 

Songwriter Sessions

Foundation Room, 7PM

Ft. Jim. McCormick

 

Thinkin’ With Lincoln

Bayou Beer Garden, 7PM

Trivia on the patio

 

Eviction Second Line & Party

Frenchman Art Market, 7PM

Come say goodbye

 

Idina Menzel

The Saenger, 8PM

See the Tony-winning artist live

 

Dapper Dandies

BMC, 8PM

Bringing back traditional jazz

 

Tony Seville & The Cadillacs

Mahogany Jazz Hall, 9PM

R&B + Jazz classics

 

Elvis DeLarge

The Circle Bar, 10PM

The songs of Elvis Presley

  

FLOW

Hi-Ho Lounge, 10PM

The Fake Ladies Of Wrestling are back for another round

 

MERCREDI

July 26th

Gloria Park & the Arrowhead Jazz Band

The Mint, 2PM

Music at the Old U.S. Mint

 

Kaya Nicole Band

The Maison, 4PM

Samba & Bossa Nova sounds

   

Debachuerous Duets

Allways Lounge, 7PM

An erotic reading

 

The Rocketboys

Siberia, 7PM

 Feat. The Whistles & The Bells

  

Space Kadet

Howlin’ Wolf, 8PM

Their New Orleans debut

 

Rooftop Cinema

Catahoula Hotel, 8PM

A showing of The Boondock Saints

 

Scatterjazz

Side Bar, 8:30PM

Feat. Eric “Benny” Bloom + David Torkanowsky

  

Organized Crime & Friends

Maple Lead, 10PM

Feat. Cliff Hines

 

Antoine Diel & the Misfit Power

Spotted Cat, 10PM

A jazzy midweek show

JEUDI

July 27th

Antoine Diel Quartet

Hotel Monteleone, 5PM

At the Carousel Bar

 

Yoga Social Club

The Crescent Park, 5:45PM

Get zen and ready to mingle

 

Ogden After Hours

Ogden Museum, 6PM

Feat. Paul Sanchez

 

Book Signing

Alvar Library, 6:30PM

An appearance and reading by James Nolan

 

Crescent Fresh Open Mic

Dragon’s Den, 7PM

No cover

 

Singing In The Rain

Orpheum Theater, 7PM

Free screening of the Gene Kelly classic

 

Meek Mill

Lakefront Arena, 8PM

Feat. Yo Gotti + YFN Lucci

 

Derek Brueckner

Art Klub, 8PM

Come observe and participate as you wish

 

Tony Seville & The Cadillacs

Mohogany Jazz Hall, 9PM

R&B and Jazz classics

 

VENDREDI

July 28th

Food Truck Friday

Champions Square, 11AM

Feat. even more trucks

 

Dinner and a ZOOvie

Audubon Park, 6PM

A showing of Trolls

 

John Waters Film Festival

NOMA, 7PM

The Pope of Trash's classic 1981 film, Polyester

 

Leonardo Hernandez Trio

Casa Borrega, 7PM

A night of Latin jazz

 

Akira Movie Night

Art Klub, 8PM

A night for anime

 

Corey Feldman

Southport Music Hall, 8PM

The 80's idol comes to town with his Angels 

 

Bloodsick

Siberia, 9PM

Feat. Cave of Swimmers + Smoke

 

Blue Velvet

Howlin Wolf, 10PM

Feat. Skelatin, Dusty_tupelo + The Family Band

 

Foundation Free Fridays

Tipitina's, 10PM

Feat. Rory Danger & The Danger Dangers and more

 

Spektrum Fridays

Techno Club, 11PM

Feat. Zander, Javier Drada 


The Surprise Soloist

LPO Still Buzzing From Dazzling, Last-Minute Concerto By One of Their Own



When a world-renowned soloist fell ill, the Louisiana Philharmonic called on one of their own. Elizabeth Gross talks to orchestra members about Christopher Pell's heroic weekend.

 

Anticipation for Louisiana Philharmonic Orchestra’s “Eroica” concert on Thurs., Feb. 21, ran high. Beethoven’s “Eroica” is a favorite of many, and opportunities to hear world-class clarinetists like Jose Franch-Ballester don’t come often.

 

The concert began with American composer Michael Torke’s “Ash”, which created a bridge between Beethoven’s grand themes and Copland’s quintessentially American style. The piece was exciting to hear, relying on insistent repetitions in a rhythm that is just a little unsettling—as if the whole thing is spinning at an angle.

 

After applause came, there was an unexpected announcement from Maestro Carlos Miguel Prieto: the orchestra would take the intermission early because the featured guest soloist, clarinetist Franch-Ballester, was ill (and possibly unable to perform). With that, the lights came up on a concerned, disoriented audience. By the end of the intermission, rumors were circulating about what would happen next.

 

When Prieto addressed the audience again, he was excited. He announced that the LPO’s own principal clarinet, Christopher Pell, had volunteered to perform Copland’s Clarinet Concerto with the orchestra. Pell, who is only 21 and is still completing his undergraduate degree at Julliard, had already enchanted the LPO audience this season with memorable solos from his chair. But performing a 17-minute concerto alone in front of the orchestra was an entirely different task. Prieto stressed that the orchestra had not rehearsed this piece with Pell.

 

Violist Matt Carrington shared what went through his mind during the “emergency intermission” between Prieto’s two announcements. Like others in the orchestra and the audience, Carrington had a crazy thought: Pell could play this. Besides the soloist, there’s no clarinet part in the Copland. Even though Carrington’s gut feeling was that Pell could do it, when he saw Pell preparing backstage he thought, “Holy crap this is actually happening.”

 

Pell took the stage looking a little pale, and in the silence before the piece began it seemed the whole hall held its breath. And then, the haunting melody that opens the first movement lifted into the air. Pell’s performance was magical and moving. The intensity of the audience’s attention (and the orchestra’s) during his virtuosic cadenza in the second movement was unlike anything this writer has been a part of in a lifetime of symphony-going. The orchestra (or, rather, the rest of the orchestra) sounded great, too. Prieto’s conducting was responsive and kept everyone together throughout—both in the delicate conversation between clarinet and strings in the moody first movement and in the bright, jazzy third movement.

 

The audience response was immediate—a leaping ovation, complete with the kind of hooting and hollering usually reserved for sporting events. But what made the concert so special was the response Pell got from the rest of the orchestra, who also leapt to their feet for Pell’s first bow, then stamped their feet on the stage during his subsequent bows. Maestro Prieto gave Pell a warm hug, and showed his own triumph by raising both fists in the air as he bounded offstage.

 

 “It’s every orchestral musician’s dream to sort of step up and save the day and be in the limelight—and music-making captures the feeling of music when it can be so spontaneous and impromptu," Carrington said.

 

Copland originally wrote his Clarinet Concerto for jazz clarinetist Benny Goodman, a famous improviser. Through his beautiful interpretation and through the incredible circumstances, Pell’s unplanned performance brought that improvisational spirit to life. 

 

After a brief pause, Pell attempted a discreet return to his seat in the woodwind section, but was interrupted by more applause. He still had to play the “Eroica”! Prieto took Pell’s extraordinary example as an opportunity to remind the audience of the high caliber of musicianship in the LPO as a whole.

 

The timing for Beethoven’s triumphant third symphony couldn’t have been more appropriate. Though I doubt anyone was thinking of Napoleon Bonaparte that night, one could certainly make an argument for the values of egalité and fraternité. The LPO’s performance of “Eroica” captured perfectly the democratic ideals that inspired Beethoven, and are also present in the LPO organization itself as the nation’s only full time orchestra that is self-owned and self-managed. 

 

Pell stepping in at the last minute was nothing short of revolutionary in the world of professional orchestras.

 

“I have never seen this circumstance in my 40 years of professional playing, and it underscores the importance of live music. You never know what magic can happen," said Annie Cohen, a cellist and founding member of the LPO.

 

After the concert, the first question for the orchestra was “Who’s going to take Chris out to celebrate?” Violists Katie and Matt Carrington happily rose to the occasion. But before they headed out, Katie had to ask, “Wait—is he old enough?” (he is).

 

Pell performed Copland’s Clarinet Concerto again Friday night in Covington, as the guest soloist was still violently ill in his hotel. Friday night’s concert was also enthusiastically received.

 

Prieto has announced on the LPO’s website www.lpomusic.com that he will match all donations to the orchestra until March 31st of this year, inspired by Pell’s performance to ensure the LPO is able to continue to attract such extraordinary musicians.

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Contributors

Renard Boissiere, Evan Z.E. Hammond, Naimonu James, Wilson Koewing, J.A. Lloyd, Nina Luckman, Dead Huey Long, Joseph Santiago, Andrew Smith, Cynthia Via, Austin Yde

Photographers


Art Director

Michael Weber, B.A.

Editor

Alexis Manrodt

Listings Editor

Linzi Falk

Editor Emeritus

B. E. Mintz

Editor Emeritus

Stephen Babcock

Published Daily