The DPT has been playing up and down the East Coast (and occasionally out to the Midwest and beyond) for the better part of the last twenty-five years. The sound, tone, and mission of the band have changed dramatically since the first rehearsal in Andy's basement back in 1989. The biggest shift in the band in recent years began with the addition of guitarist Chuck Underwood, a consummate musician who excels in just about any style of playing. Besides being featured prominently on this new album, he also wrote two of the tunes including "Cajun Country," a tribute to D.C. guitar legend Danny Gatton. Fans of the band may note that a couple of the cuts were recorded on earlier CDs--but the band sounds so different now, the tunes are essentially new. "Ol Levee Stomp" is the first recording of Zack's Humboldt Award-winning brass composition.
Our hop is that this collection of songs will transport you to Jazzfest in New Orleans with a hurricane in your hand, some beads around your neck, and a bunch of good friends (or inebriated strangers) partying until midnight on Mardi Gras. Don't be afraid; come boin the Big Parade!
Good Dog - Bad Dog - Zydeco Dog
When we started this project there was one clear goal: put out a CD that reflected exactly what the band sounds like today. If you haven’t heard the DPT in a few years, then this album may come as something of a shock. Andy is playing electric bass, Wayne’s guitar is being pushed to the forefront, Byron is singing a couple leads, and Zack’s name is hanging out in front of the band (thus ending fifteen years of speculation as to why there are four people in the trio). It’s called evolution baby! The group has consistently added more and more original material to its live shows over the past decade, and this is reflected in the song choices for the collection (only two covers appear in the final lineup). The recording is especially for our fans of zydeco, Cajun music, and Louisiana funk. There is a little more "jam band" stuff going on (check out "The Swampgrinder"), and we amped up the rubboard quotient considerably. If you really want to hear us play some N’awlins jazz, we suggest you skip to the last cut, then pull out your copy of “Bad Spuds”. Everyone else, start with cut number one and enjoy the ride. L’aissez le bon temps rouler!
Let's All Go Down To New Orleans
It was a brisk evening on March 19, 2004 as the Dixie Power Trio took the stage to record their first live CD. Several hundred fans had packed themselves into Ashland Coffee & Tea to cheer the band on and be a part of DPT history. As Doctor Henley Smythe introduced the group, it was clear this was not going to be an ordinary set. Zack and Andy had been kicking around the idea of doing a live CD for years, but the thought of releasing a recording that wasn't "studio perfect" seemed like a bit of a gamble. What the band was hoping to capture on this project was the feel and energy of one of their live concerts. Some of the tunes that ended up on the set list for that night have appeared on other DPT albums, but as happens in most bands, the songs have evolved over the years into pieces worthy of a fresh listen. There was also an emphasis on original compositions, since many of these songs have become signatures of the group. Everybody in the band had their moments to shine throughout the evening, and fortunately, Zack remembered most of the correct words. So here it is! A live album featuring the sweet notes and the sweaty ones, some fun moments and some funky ones, and a whole lot of love from our loyal fans.
The Virgil Sessions
In January of 2002, the DPT went into the studio and spent a month recording and mixing what they hoped would be their “statement” CD-- an album of songs that would showcase their style, musicianship and humor with a “live” feel. The result of this labor is an album that they feel confident to call their best so far. It includes originals such as “Virgil Under the Hood”, “Prickly Pear”, and “Tango For Jam-Jam”, and some well-worn standards (“Wild Man Blues”, “My Girl Josephine”). It’s feel-good music-- if it felt good, they recorded it. Special guests include Gaye Adegbalola and Page Wilson.
Recorded in 2000, this is the DPTs most recent CD. It features Andy, Zack,
Wayne, and Ryan, plus the New Line Brass on a couple of cuts. The lineup
of eleven tunes includes four originals, and an even mix of zydeco and New
Orleans jazz. Highlights of the album are the vocal feature “Sweet
Lorraine,” the brass band classic “Ain’t My Fault,” and a burning
rendition of “Limehouse Blues.” If you are a new fan of the group, this
album is a must have.
Recorded in 2000, this is the DPTs most recent CD. It features Andy, Zack, Wayne, and Ryan, plus the New Line Brass on a couple of cuts. The lineup of eleven tunes includes four originals, and an even mix of zydeco and New Orleans jazz. Highlights of the album are the vocal feature “Sweet Lorraine,” the brass band classic “Ain’t My Fault,” and a burning rendition of “Limehouse Blues.” If you are a new fan of the group, this album is a must have.
Recorded in 1999, this is the debut CD of the New Line Brass Band. It features the DPT rhythm section along with a five horn frontline (two trumpets, two saxophones, and a trombone). The band laid this album down in one five hour session, and the loose New Orleans vibe is apparent from the start. The eight song collection includes three originals along with five brass band classics like “Joe Avery’s Piece” and “May the Circle Be Unbroken.” Second line fans will not be disappointed.
This is the band’s sophomore effort, recorded in 1995. It contains the original band lineup of Andy, Zack, Byron, and Bert. The tune selection is all over the map, with six originals and ten covers. Fans of the DPT’s early days will enjoy the mix of traditional jazz, zydeco, and over-the-top covers. Highlights include the plunger cornet/tuba feature, “St James Infirmary,” Louis Armstrong’s “Sleepytime Down South,” and a hyperactive rendition of Talking Heads' “Once in a Lifetime.”
Out of Control
This is the DPT’s debut CD, recorded in 1993. It features Andy, Zack, Bert, and Byron. The drums were recorded after the instrumental tracks had already been laid- which helps explain why they are buried somewhat in the mix. All but one of the fifteen tunes are covers. The CD has become notorious for its tuba/banjo rendition of “Stairway to Heaven,” though several other cuts have become mainstays of the bands live shows, including “Spiderman,” “Big Chief,” and “That Mellow Sousaphone.”
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