the New Iberians Blues & Zydeco Band

New Iberians Zydeco Blues Band “Bon Temps Rouge”
Posted on April 1, 2011 by Phil

When you think of zydeco music, you think of New Orleans. Bourbon Street, the Quarter and the roots of Dixieland are all wrapped up in the zeitgeist of the music, which is a musical patois that could be born nowhere else. Thus, finding the New Iberians practicing their wares from their home base in Oregon is a surprise. The New Iberians formed from the detritus of 1990’s zydeco act Mumbo Gumbo, and the band’s sophomore album, Bon Temps Rouge, was named from a rant by an overly spirited MC who mis-pronounced Bons Temps Rouler (Let The Good Times Roll). Even with the history of the title, there is nothing accidental about the music.

Bon Temps Rouge opens with a feisty cover of Fats Domino’s “My Girl Josephine” that mixes Zydeco and blues. This is a high-energy tune with Claes Almroth making an absolutely wonderful spectacle on harmonica. Evan Shlaes has a pleasant, down-home voice that works perfectly in this setting. “Goin’ To The Levee” is a Dave Edmunds-inspired rock number that makes the most of Evan Shlaes piano work, and “Bon Temps Rouge” is a catchy zydeco number featuring a fun night on the town with a scheming gal that doesn’t end the way the story-teller might have hoped. This is a classic tale that’s fun and highly danceable.

“Black Snake Blues” is a Clifton Chenier tune that sees Claes Almroth stepping up to the mic for a solid lead vocal surrounded by some dazzling vocal harmonies. “Terry Anne” puts Shlaes back on vocals in a tune that pays homage to the culinary arts and their role in love. The musical blend here is rich, mixing early rock n roll, R&B and zydeco in an almost magical way that must be heard to be believed. “Rock Island Line” is a catchy and fun Leadbelly cover that stays true to the original while offering a richly stylistic interpretation. “Voulez-Vous Dancer?” (Do you want to dance?) skews Cajun on the Bobby Freeman tune that’s a great deal of fun; a low-key but danceable interpretation with layered instrumentation.

“The Belmont Waltz” works in a bowed saw solo that is a treat, but is presented here as an almost comical musical work, ala Spike Jones. Originally a ragtime piece, The New Iberians have taken this one to the woodshed and made something magical in the process. “Voodoo Juice” is a bit of Texas two-step, ala ZZ Top, done with Zydeco instrumentation. This tune is so out of the box that it will grab you by the collar and drag you along for the ride. Once the novelty wears off, however, you’ll be amazed at the virtuosity of the group on this number. “Hot Dog Stand” (Buck Owens) is an entertaining set-up for the finale, a jitterbug number that threatens to rip the roof off the album. The New Iberians wrap things up with a zydeco take on “I Can See Clearly Now” (Johnny Nash). This is a solid cover, but perhaps the last two tracks should have been reversed in order, as “I Can See Clearly Now” is something of a letdown after “Hot Dog Stand.”

The New Iberians put in a solid effort on Bon Temps Rouge. The blend of blues, rock and zydeco is novel, but in and of itself is quickly assimilated in the mind. What makes The New Iberians intriguing is their level of musicianship. You get the impression that this band could walk into any club, anywhere, of most any style, and be welcome on stage. Bon Temps Rouge is worth spending some time on, but it’s really just an appetizer for what is sure to be a spectacular live show.

Review by Wildy Haskell
Rating: 4 Stars (Out of 5)
- Reviewyou

New Iberians Zydeco Blues Band “Bon Temps Rouge”
Posted on April 1, 2011 by Phil

When you think of zydeco music, you think of New Orleans. Bourbon Street, the Quarter and the roots of Dixieland are all wrapped up in the zeitgeist of the music, which is a musical patois that could be born nowhere else. Thus, finding the New Iberians practicing their wares from their home base in Oregon is a surprise. The New Iberians formed from the detritus of 1990’s zydeco act Mumbo Gumbo, and the band’s sophomore album, Bon Temps Rouge, was named from a rant by an overly spirited MC who mis-pronounced Bons Temps Rouler (Let The Good Times Roll). Even with the history of the title, there is nothing accidental about the music.

Bon Temps Rouge opens with a feisty cover of Fats Domino’s “My Girl Josephine” that mixes Zydeco and blues. This is a high-energy tune with Claes Almroth making an absolutely wonderful spectacle on harmonica. Evan Shlaes has a pleasant, down-home voice that works perfectly in this setting. “Goin’ To The Levee” is a Dave Edmunds-inspired rock number that makes the most of Evan Shlaes piano work, and “Bon Temps Rouge” is a catchy zydeco number featuring a fun night on the town with a scheming gal that doesn’t end the way the story-teller might have hoped. This is a classic tale that’s fun and highly danceable.

“Black Snake Blues” is a Clifton Chenier tune that sees Claes Almroth stepping up to the mic for a solid lead vocal surrounded by some dazzling vocal harmonies. “Terry Anne” puts Shlaes back on vocals in a tune that pays homage to the culinary arts and their role in love. The musical blend here is rich, mixing early rock n roll, R&B and zydeco in an almost magical way that must be heard to be believed. “Rock Island Line” is a catchy and fun Leadbelly cover that stays true to the original while offering a richly stylistic interpretation. “Voulez-Vous Dancer?” (Do you want to dance?) skews Cajun on the Bobby Freeman tune that’s a great deal of fun; a low-key but danceable interpretation with layered instrumentation.

“The Belmont Waltz” works in a bowed saw solo that is a treat, but is presented here as an almost comical musical work, ala Spike Jones. Originally a ragtime piece, The New Iberians have taken this one to the woodshed and made something magical in the process. “Voodoo Juice” is a bit of Texas two-step, ala ZZ Top, done with Zydeco instrumentation. This tune is so out of the box that it will grab you by the collar and drag you along for the ride. Once the novelty wears off, however, you’ll be amazed at the virtuosity of the group on this number. “Hot Dog Stand” (Buck Owens) is an entertaining set-up for the finale, a jitterbug number that threatens to rip the roof off the album. The New Iberians wrap things up with a zydeco take on “I Can See Clearly Now” (Johnny Nash). This is a solid cover, but perhaps the last two tracks should have been reversed in order, as “I Can See Clearly Now” is something of a letdown after “Hot Dog Stand.”

The New Iberians put in a solid effort on Bon Temps Rouge. The blend of blues, rock and zydeco is novel, but in and of itself is quickly assimilated in the mind. What makes The New Iberians intriguing is their level of musicianship. You get the impression that this band could walk into any club, anywhere, of most any style, and be welcome on stage. Bon Temps Rouge is worth spending some time on, but it’s really just an appetizer for what is sure to be a spectacular live show.

Review by Wildy Haskell
Rating: 4 Stars (Out of 5)
- Reviewyou

The New Iberians (9 pm)
[ZYDECO BLUES] The New Iberians have planted Louisiana roots in the heart of Portland’s fertile musical soil. Since 1998, this local sextet has pumped out fine-tuned, polished Zydeco (which evolved from Louisiana Creole music and is a blend of jazz, blues and polka). The New Iberians’ newest album, Bon Temps Rouge, weaves Zydeco’s traditional guitars, accordions, a ripping horn section and a metal washboard into a catchy fabric of Southern audio flavor. So come shuffle, waltz, two-step or just plain ol’ shake a leg however you damn well please.Delorean opens. 2958 NE Glisan St., 232-1504. Free. WHITNEY HAWKE. - Willamette Week Portland, OR

The New Iberians (9 pm)
[ZYDECO BLUES] The New Iberians have planted Louisiana roots in the heart of Portland’s fertile musical soil. Since 1998, this local sextet has pumped out fine-tuned, polished Zydeco (which evolved from Louisiana Creole music and is a blend of jazz, blues and polka). The New Iberians’ newest album, Bon Temps Rouge, weaves Zydeco’s traditional guitars, accordions, a ripping horn section and a metal washboard into a catchy fabric of Southern audio flavor. So come shuffle, waltz, two-step or just plain ol’ shake a leg however you damn well please.Delorean opens. 2958 NE Glisan St., 232-1504. Free. WHITNEY HAWKE. - Willamette Week Portland, OR

New Iberians Zydeco Blues Band “Stumptown Zydeco”
Posted on March 17, 2011 by Phil

Historically, zydeco music can be a limiting genre. However, as times have changed, new elements have crept into the sound keeping it fresh. Traditionalists, though, might argue that those elements have created a sound that isn’t truly zydeco. Those same traditionalists might also feel that zydeco music, which evolved in Louisiana and played by musicians who are from other places, isn’t really zydeco. Anyone subscribing to those arguments would likely consider the New Iberians Zydeco Blues Band (hailing from Oregon) and album to be something other than zydeco. Music fans seeking an album with elements of zydeco music, particularly the flair for fun, though, will find plenty to like. In many ways it works better than a more traditional zydeco disc because the of the increased variety.

“Shake It” opens the set as a bouncing cut that has a lot of rockabilly and blues built into the arrangement, and enough zydeco for added flavor. While some of the tracks on the release are covers, they chose to open with an original. The accordion is shown off in a solo mid-track, too. The next number is as close to a title track as they come, as it’s called “Stumptown Roll.” In many ways the number is closer to a pure zydeco arrangement. The vocal delivery, though, almost calls to mind blues artists like B.B. King. The accordion figures heavily in the arrangement, but there is also a tasty guitar solo. In fact, that guitar solo also calls to mind the King of the blues to some degree.

“Et Tu Big Mamou?” is the first cover of the set. It is the New Iberian’s take on a zydeco standard. With a Latin element, this almost sounds like what you might get if a traditional Mexican band played zydeco. The combination works very well, making the piece one of the highlights. The fourth track is likely the first one that would prove problematic to zydeco purists. “Think It’s Gonna Work Out Fine” is a cover of an Ike Turner song. Rather than feeling like zydeco or even soul music, the piece seems like it could have been a long lost Grateful Dead session. Of course, there is accordion on hand, not really in keeping with The Dead reference, but Grateful Dead fans would certainly find the piece to seem familiar. It’s actually a nice change of pace and one of the stronger songs on the disc.

The ballad, “If It Don’t Work Out (Then You Can Tell Me Goodbye)” is one of the weak points. It’s a cover of a song by The Casinos, performed in a slow zydeco fashion, and feels a little too slow with vocals painfully delayed in terms of delivery. A cover of the R&B tune by Clyde McPhatter “Lover Come Back” follows, and is far more effective. It has more of that Grateful Dead element, but with a lot more zydeco in the mix than “Think It’s Gonna Work Out Fine” does. In fact, this might be the most successful marriage of traditional zydeco with more mainstream sounds of the whole set. It’s definitely a highlight. The guitar solo even brings in some rockabilly.

“East of Houston, West of Baton Rouge,” is another cover, an energetic number that brings in zydeco, more of that jam band sound, a bit of the blues and some rockabilly. It works quite well. “Charlize Bayou” is an original and the driving rhythm section calls to mind “Willy and the Hand Jive” a bit. It’s a bluesy number with a mix of traditional zydeco sounds. The hook on the chorus is extremely long, but still makes for a very catchy highlight. “Love’s Gonna Live Here” is a cover of a Buck Owens song and has more of a down-home country sound mixed with some jam band elements. “Walking to New Orleans” is a slow bluesy cover of a Fats Domino song, combining the blues and zydeco in a mix that’s quite effective.

On “Les Temp Est Serré” a zydeco sound is brought to a cover of the Booker T. and the MG’s song “Time is Tight.” It’s bouncy and fun. The final cut is another original entitled, “Corn Nuts.” It opens with a crunchy, blues styled guitar, but it turns out to one of the most purely zydeco based arrangements. It is quite effective and a good way to end the set.

With “Stumptown Zydeco,” the New Iberians have produced a set that’s quite entertaining. While it’s not all zydeco music, there are elements of zydeco throughout. Some purists might disregard this album, but that would be their loss.

Review by Gary Hill
Rating: 4 stars (out of 5)
- CD Baby

New Iberians Zydeco Blues Band “Stumptown Zydeco”
Posted on March 17, 2011 by Phil

Historically, zydeco music can be a limiting genre. However, as times have changed, new elements have crept into the sound keeping it fresh. Traditionalists, though, might argue that those elements have created a sound that isn’t truly zydeco. Those same traditionalists might also feel that zydeco music, which evolved in Louisiana and played by musicians who are from other places, isn’t really zydeco. Anyone subscribing to those arguments would likely consider the New Iberians Zydeco Blues Band (hailing from Oregon) and album to be something other than zydeco. Music fans seeking an album with elements of zydeco music, particularly the flair for fun, though, will find plenty to like. In many ways it works better than a more traditional zydeco disc because the of the increased variety.

“Shake It” opens the set as a bouncing cut that has a lot of rockabilly and blues built into the arrangement, and enough zydeco for added flavor. While some of the tracks on the release are covers, they chose to open with an original. The accordion is shown off in a solo mid-track, too. The next number is as close to a title track as they come, as it’s called “Stumptown Roll.” In many ways the number is closer to a pure zydeco arrangement. The vocal delivery, though, almost calls to mind blues artists like B.B. King. The accordion figures heavily in the arrangement, but there is also a tasty guitar solo. In fact, that guitar solo also calls to mind the King of the blues to some degree.

“Et Tu Big Mamou?” is the first cover of the set. It is the New Iberian’s take on a zydeco standard. With a Latin element, this almost sounds like what you might get if a traditional Mexican band played zydeco. The combination works very well, making the piece one of the highlights. The fourth track is likely the first one that would prove problematic to zydeco purists. “Think It’s Gonna Work Out Fine” is a cover of an Ike Turner song. Rather than feeling like zydeco or even soul music, the piece seems like it could have been a long lost Grateful Dead session. Of course, there is accordion on hand, not really in keeping with The Dead reference, but Grateful Dead fans would certainly find the piece to seem familiar. It’s actually a nice change of pace and one of the stronger songs on the disc.

The ballad, “If It Don’t Work Out (Then You Can Tell Me Goodbye)” is one of the weak points. It’s a cover of a song by The Casinos, performed in a slow zydeco fashion, and feels a little too slow with vocals painfully delayed in terms of delivery. A cover of the R&B tune by Clyde McPhatter “Lover Come Back” follows, and is far more effective. It has more of that Grateful Dead element, but with a lot more zydeco in the mix than “Think It’s Gonna Work Out Fine” does. In fact, this might be the most successful marriage of traditional zydeco with more mainstream sounds of the whole set. It’s definitely a highlight. The guitar solo even brings in some rockabilly.

“East of Houston, West of Baton Rouge,” is another cover, an energetic number that brings in zydeco, more of that jam band sound, a bit of the blues and some rockabilly. It works quite well. “Charlize Bayou” is an original and the driving rhythm section calls to mind “Willy and the Hand Jive” a bit. It’s a bluesy number with a mix of traditional zydeco sounds. The hook on the chorus is extremely long, but still makes for a very catchy highlight. “Love’s Gonna Live Here” is a cover of a Buck Owens song and has more of a down-home country sound mixed with some jam band elements. “Walking to New Orleans” is a slow bluesy cover of a Fats Domino song, combining the blues and zydeco in a mix that’s quite effective.

On “Les Temp Est Serré” a zydeco sound is brought to a cover of the Booker T. and the MG’s song “Time is Tight.” It’s bouncy and fun. The final cut is another original entitled, “Corn Nuts.” It opens with a crunchy, blues styled guitar, but it turns out to one of the most purely zydeco based arrangements. It is quite effective and a good way to end the set.

With “Stumptown Zydeco,” the New Iberians have produced a set that’s quite entertaining. While it’s not all zydeco music, there are elements of zydeco throughout. Some purists might disregard this album, but that would be their loss.

Review by Gary Hill
Rating: 4 stars (out of 5)
- CD Baby

The Portland based band New Iberians played last night to an enthusiastic crowd at the Hood River Inn. Everyone enjoyed the infectious second line and zydeco ryhthms and a sweaty good time was had by all. The line-up of accordion, harmonica, washboard and electric guitar produced a surprisingly dense and varied sound, ranging from blues to country to old time Rock'n'Roll.
The band's name comes from the Gulf Coast hamlet of New Iberia, Lousiana, and they showed off their Cajun roots with several Acadian numbers, including a rousing waltz. Harmonica player Claes Almroth was a exciting new addition to the band. - DN News

The Portland based band New Iberians played last night to an enthusiastic crowd at the Hood River Inn. Everyone enjoyed the infectious second line and zydeco ryhthms and a sweaty good time was had by all. The line-up of accordion, harmonica, washboard and electric guitar produced a surprisingly dense and varied sound, ranging from blues to country to old time Rock'n'Roll.
The band's name comes from the Gulf Coast hamlet of New Iberia, Lousiana, and they showed off their Cajun roots with several Acadian numbers, including a rousing waltz. Harmonica player Claes Almroth was a exciting new addition to the band. - DN News