Ivan Neville’s Dumpstaphunk
Formed in 2003, Dumpstaphunk was initially assembled by keyboardist Ivan Neville on a whim, to perform a solo slot at the New Orleans Jazz and Heritage Festival. Ivan tastefully selected the unique double-bass attack of both Nick Daniels and Tony Hall on bass, enlisted his own bloodlines for the scorching guitar rhythms of cousin, Ian Neville, and most recently, added the newest member to the group, heavy-hitting female protégé Nikki Glaspie on drums, replacing original powerhouse Raymond Weber. The project has since grown from a chance side-project into what is now widely considered to be one of New Orleans' most prestigious modern funk ensembles. An offspring with a direct lineage to their fathers in The Meters and The Neville Brothers, Dumpstaphunk is a recipe for creating a new standard for an entire genre.
Dumpstaphunk's musicians have shared the stage with many legendary figures. Ivan and Ian‚ the sons of Neville Brothers Aaron and Art Neville respectively‚ seem to play their instruments flawlessly, and the dirty funk resonates organically from their souls as the offspring and kin of the legendary New Orleans Neville Brothers family. A conservative sample of the impressive list of bands Ivan has either recorded or performed with includes The Rolling Stones‚ Bonnie Raitt‚ The Neville Brothers, Gov't Mule‚ John Mayer, Keith Richards and The X-pensive Winos, to name a few. Trey Anastasio and Dave Matthews have both tapped bassist extraordinaire Tony Hall for their own official side projects, and Nick Daniels, who supplements the bottom as one of two bass players in the band, boasts an impressive list of colleagues including Etta James and Boz Scaggs. Guitarist, Ian Neville has played with the likes of Funky Meters, Lettuce & Dr. Klaw with Eric Krasno of Soulive, and recently sitting in and adding some flavor to the Southern Cali reggae fusion of Slightly Stoopid. Nikki Glaspie, Dumpsta’s newest addition, has performed with Beyoncé, Cee Lo Green, Me'Shell Ndgeocello, Vernon Reid, Maceo of De La Soul, Vernon Reid of Living Colour, and numerous Jazzfest cameos with Meters bassist George Porter Jr., Karl Denson and Soulive.
Dumpstaphunk’s latest 10 song self-released LP, Everybody Want Sum (2010) contains original material including the single “Oughta Know Better” (co-penned by Allman Brothers/Govt. Mule’s Warren Haynes), and a more obscure cover of Meter's drummer Zigaboo Modeliste's composition "Standin In Your Stuff". The band’s first EP, Listen Hear was also self-released in 2007. Both albums were recorded at New Orleans' infamous Music Shed Studios in New Orleans, LA and have received outstanding praise from key music tastemakers like Relix Magazine, Off Beat Magazine and Jambase; to name a few.
Not uncommon to the festival and live touring circuit, Dumpstaphunk has unleashed notable performances at some of the nation's largest music extravaganzas including Bonnaroo, VoodooFest, 10,000 Lakes, New Orleans Jazzfest 2005-2011, Bear Creek, Wanee, High Sierra, All Good, JamCruise 2011, Gathering of the Vibes, Ottawa Blues Festival, Dave Matthews Band Caravan and Monterey Jazz Festival. They have recently supported everyone from Widespread Panic and Slightly Stoopid to Galactic and String Cheese Incident, not to mention sit-ins with Derek Trucks, Mike Gordon from Phish and Warren Haynes, which only begin to scratch the surface.
Moving forward in 2011, the band continues to develop its sound and further push the envelope within a progressive funk sound that has arguably become the most defining in the modern genre from New Orleans. The band continues to receive accolades and awards such as "New Orleans Best Funk Band" by Offbeat Magazine and Gambit Weekly in 2007 and 2009. They also took home the trophy for Best Funk Award at the 2010 Big Easy Awards. For more information, visit http://www.dumpstaphunk.com
Recorded at the famed Dockside Studio in Maurice, Louisiana, BLACK EYE GALAXY was produced by Anders along with engineer Warren Riker and Galactic’s Stanton Moore. Sounds on the album range from heavy electric mayhem to joyous acoustic melodicism, lyrics move from the darkest depths to the healing power of love. Black Eye Galaxy is a personal record for Osborne, but one with universal themes.
The album is a journey of sorts, following the main character (based on Anders’ own life experiences) from the uncontrolled, primal chaos of "Send Me A Friend" to the inner peace of "Higher Ground." The disjointed and brutally honest "Mind Of A Junkie" leads into the warm and hopeful "Lean On Me/Believe In You." The gentle "When Will I See You Again?" finds Anders rebuilding broken relations, while the feral and confrontational "Black Tar" (co-written with Little Feat’s Paul Barrere) says farewell to a dark past. The final four songs — "Tracking My Roots," "Louisiana Gold," "Dancing In The Wind," and "Higher Ground" — bring an almost ecstatic tranquility after the intense stress and turbulence of the beginning of the album. From ultra-heavy and challenging to sweetly soul-soothing and melodic, Osborne’s guitar work, like his vocals, is simply mesmerizing. Black Eye Galaxy is a harrowing but ultimately uplifting cycle of richly detailed songs that are musically and lyrically thought-provoking, exhilarating and completely engaging.
In the studio and in concert, Anders channels the music throughout his entire body, becoming a whirling dervish of pure energy. BLURT says, “This is modern music at its transcendent best.” PASTE adds, “He is wildly diverse, thoughtful and raw.” With BLACK EYE GALAXY, Osborne’s star has exploded into the universe, fully formed and spinning freely in its own unique direction.
Even in a city that doesn't play by the rules, New Orleans' Bonerama is something different. They can evoke vintage funk, classic rock and free improvisation in the same set; maybe even the same song. Bonerama has been repeatedly recognized by Rolling Stone, hailed as "the ultimate in brass balls" (2005) and praised for their "…crushing ensemble riffing, human-feedback shrieks and wah-wah growls" (2007). Bonerama carries the brass-band concept to places unknown; what other brass band could snag an honor for "Best Rock Band" (Big Easy Awards 2007 and 2010)? As co-founder Mark Mullins puts it, "We thought we could expand what a New Orleans brass band could do. Bands like Dirty Dozen started the "anything goes" concept, bringing in the guitars and the drum kit and using the sousaphone like a bass guitar. We thought we could push things a little further."
New Orleans' fertile club scene was directly responsible for Bonerama getting together. Trombonists Mullins and Craig Klein were both members of Harry Connick's band, where they'd been since 1990. Both were looking to supplement this gig with something a little less structured. "Harry sets the bar pretty high, and you have to play it the same way every night for everyone to follow.
The big chance came in the summer of '98, when Mullins had a weekly residency at Tipitina's in the French Quarter. The club was then turning weekly slots over to some of the city's favorite musicians, including Allen Toussaint and Cyril Neville; Mullins got charge of Wednesdays. Word got out one week that he and Klein were staging their trombone super-session and everybody they knew wanted to get involved. "It seemed that half the trombone players in town showed up," Klein recalls. "At the end of the night we had them all onstage, maybe fifteen trombones at once. It sounded like a freight train; a big wall of sound coming right at you."
Along with his jazz connections, Mullins is Bonerama's resident rock 'n' roller: It was Mullins who instigated the offbeat classic-rock covers that have become a band tradition. Edgar Winter's "Frankenstein" was the first nugget to get the treatment and songs by Hendrix, Zeppelin, Black Sabbath and the Allman Brothers Band have since appeared in their set right alongside the funk and jazz-flavored numbers. "There's definitely something about the guitar and the trombone that are related," Mullins figures. "You compare the fretboard to the slide; there's a lot of similarity there." Indeed, the sounds Mullins makes by playing through a guitar amp and wah-wah pedal may explain why he's named Jimi Hendrix as one of his favorite trombonists. "It's great to grab people with the rock songs, and then turn them on to some New Orleans music at the same time," Klein says.
The buzz on Bonerama grew with hometown acclaim (with the band winning numerous OffBeat Magazine Awards; and Mullins regularly topping OffBeat's trombone category), lots of roadwork, and three live albums – the first recorded close to home at the Old Point in Algiers; the second on tour in New York and the third album, Bringing It Home recorded live from New Orleans' world famous nightclub, Tipitina's. The Boston Herald called them a "bonehead's dream"; the Vail (CO) Daily noted that "the sound is fat and wet; sometimes downright lusty." As hometown music zine Off- Beat put it, "That nerdy kid in the band room with the trombone just might have the last laugh after all."
The new EP Hard Times contains four studio tracks including the title track, "Hard Times", the instrumental number "Folly" and "Lost My House" which was co-wrttten by Craig Klein and Dave Malone from the Radiators. These three new originals along with a cover of Led Zeppelin's "When the Levee Breaks" marks the band's first ever studio recordings. A bonus fifth track features a live performance of "Turn on Your Love Light" captured live from the stage at The New Orleans Jazz and Heritage Festival.
"'Lost My House' is a true story inspired by the the levee failures in 2005. The verse was written by Dave Malone, who knows the story of the Rugalator. In the song, it is symbolic of losing everything, but still having the things you love and cherish. Some things can't be taken away," says Klein.
"The song "Hard Times" is really about the antithesis of hard times and flipping our fears over to optimism. To those that say all hell is breaking loose, we say kick out the demons and embrace all the positives that are always around us but often ignored in this world," says Mullins.