This 1995 recording showcases the legendary Dr. John (Mac Rebennack) fronting a full band of New Orleans greats - including Alvin "Red" Tyler on tenor saxophone in the horn section - playing a deep rootsy set that ranges from deep second-line funk, like "Iko Iko" and "Right Place, Wrong Time," to beautiful standards including "Blue Skies" and "Makin' Whopee," to pop tunes like "(C'mon Baby) Let the Good Times Roll," to sophisticated blues like Charles Brown's "Tell Me You'll Wait For Me." The good Doc doesn't steal all the glory for himself, either; this crack band gets a chance to shine throughout. The highlights of the set are the extended workouts like "The Bass Bass Drum (On a Mardi Gras Day)" (which medleys with "I Shall Not Be Moved"), "Iko Iko" and the burning read of "Mess Around." This is a cooking set from start to finish. Its sound is clean, immediate and warm, documenting a momentous occasion by a very hot and inspired band.

After the release of Mardi Gras in 1975, Dr. John (aka Mac Rebennack) left Atlantic Records. In late 1977, he signed with A&M's Horizon imprint – a label whose purpose was to showcase the jazz side of its parent company. City Lights is the better of two recordings he cut there. Produced by Tommy LiPuma and Hugh McCracken, City Lights was recorded at New York's Hit Factory Studios with a band of studio aces: drummer Steve Gadd, guitarists Cornell Dupree and John Tropea, bassist Will Lee, and Richard Tee as an additional keyboardist; Arthur Jenkins added percussive effects. The five-piece horn section included both David Sanborn and Ronnie Cuber. What's really startling, however, is the material. For most of the 1970s, Rebennack had been playing well-known tunes by other Crescent City luminaries and pop songwriters, contributing precious little of his material to his albums. On City Lights he wrote or co-wrote everything on the set. His songwriting partner for part of this date was none other than Doc Pomus. The best of both men is captured on the opener, "Dance the Night Away with You," a strolling New Orleans R&B number.

A collection of Dr. John’s finest Montreux Jazz Festival live performances! The audio has Expertly restored and remastered in superlative HD audio; The Montreux Years is released on superior audiophile heavy weight vinyl, MQA quality CD and in HD digital.

The second of back-to-back solo albums cut in the early '80s, The Brightest Smile in Town presents a more balanced mix of vocal and instrumental tracks than its predecessor, Dr. John Plays Mac Rebennack. While it's fun to hear the great New Orleans pianist romp through "Box Car Boogie" and patiently work his way through the twilight blues of "Pretty Libby," the unexpected treats are the best: a heartsick version of Jimmy Rodgers's "Waiting for a Train;" a Doc Pomus cover, "Average Kind of Guy," that sounds like Randy Newman on a particularly good day; and "Marie La Veau," a highly syncopated bow to one of the Crescent City's many voodoo queens. By the time Rebennack ends Brightest Smile with two gorgeous instrumentals–a lovely take on Harold Arlen's "Come Rain or Come Shine" and "Suite Home New Orleans"–you're reminded just how encyclopedic his knowledge of American music is.

Louisiana slide master Sonny Landreth takes his time between releases – his last studio disc of original material was five years prior to this – but when they arrive, the wait seems justified. For the debut album on his own Landfall records, Landreth calls in marquee name guitarists Eric Clapton, Mark Knopfler, Robben Ford, Eric Johnson, and Vince Gill to bolster the visibility factor. Rather than focusing on guitar duals, Landreth wrote songs that incorporate their styles, and occasional vocals, organically into the material. There are plenty of stunning solos of course, but they are integrated into the tunes that stand up just fine without the six-string fireworks. The album's title is a double entendre as "reach" is a body of water and also describes Landreth inviting his guests to be part of the project.

Playing in front of an invited studio audience, Dr. John is featured with a full-scale jazz ensemble on this 1991 session Funky New Orleans. Alto saxophonist Donald Harrison Jr. is the leader of the date, which allows Dr. John to concentrate not only on piano and vocals but also his guitar playing. A hand full of Mac Rebennack and Harrison originals are mixed with the dirty blues of "Shave em Dry" and a nod to Professor Longhair and Earl King on "Big Chief." Also, two instrumental straight-ahead jazz pieces are explored on "Hu-Ta-Nay" and "Walkin Home." This really isn't a Dr. John recording as much as an honest portrayal of these (mainly) New Orleans musicians in an extremely loose and funky setting. Recommended and available on the budget Metro label.

Unlike his In a Sentimental Mood, which swung wildly from Tin Pan Alley standards to supper-club blues, Afterglow is mostly interested in recapturing the late '40s and early '50s, when jazz, blues, and pop intersected with sophisticated ease. The choice of material is impeccable–songs made popular by Nat "King" Cole, Louis Jordan, and Duke Ellington–and the playing is superb throughout. However, "Ain't I Been Good to You," "Just a Lucky So and So," and a stark read of "I'm Confessin'" are particularly effective. And on his original, "I Still Believe in You," Dr. John proves just how influenced he is by West Coast blues legend Charles Brown, who once recorded at Cosimo Matassa's studio where the future Night Tripper got his start.

"With this solo piano performance, he romps, he stomps, he lays back, he makes the keys cry and he makes them jump for joy." - Randy Lewis (Los Angeles Times) This expanded look at his landmark album features a bonus LP of tracks appearing on vinyl for the very first time. Three of the songs had yet to be released on any format!

2 CD 2019 Release featuring Dr. John's early singles pre-Atlantic Records and live concert recordings previously unreleased in North American and Japan. This new retrospective includes rarities from the Rex, Ace, Crazy Cajun labels, and rare live band and solo performances of Dr. John's greatest hits.