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"In New Orleans, the funk always comes hard and heavy. But at the 2007 edition of the city&amp;apos;s Jazz and Heritage Festival, local soul men hit the classic-rock and heavy-metal songbooks with a vengeance. Singer-pianist Jon Cleary, a British native long resident in the Crescent City, salted his mix of Meters and Professor Longhair covers with vintage U.K. blues rock: Free&amp;apos;s &amp;quot;All Right Now,&amp;quot; rearranged as if Allen Toussaint had written it for Lee Dorsey. Trombone Shorty and his band Orleans Avenue remade AC/DC&amp;apos;s &amp;quot;Back in Black&amp;quot; with brass-band fury. Yet for airborne pow, there was no beating the four-trombone front line of Bonerama, which made dirty blues and swamp gas of Led Zeppelin&amp;apos;s &amp;quot;The Ocean&amp;quot; and the Beatles&amp;apos; &amp;quot;Helter Skelter&amp;quot; with crushing ensemble riffing, human-feedback shrieks and wah-wah growls. (Co-founder Mark Mullins plays an electric horn.) Both covers are on the group&amp;apos;s third album, Bringing It Home (bonerama.net) -- like the first two, taped live with no overdubs and a whole lotta mule kick -- along with brass-tornado spins through the Meters and Thelonious Monk and a six-pack of originals. The results definitively answer the age-old musical question: What would Black Sabbath sound like with the P-Funk horns instead of guitarist Tony Iommi? You can hear Cleary&amp;apos;s take on that Free number on his new demos EP, Hotel Room Ruffs (FHQ).\n\nThe Pine Leaf Boys are a biracial Cajun band -- no common thing -- steeped in tradition (singer-accordionist Wilson Savoy is the son of Cajun performer-scholars Marc and Ann Savoy) but with free-range ambitions in soul, Canned Heat-style boogie, zydeco (the country funk of black Louisiana) and Mardi Gras Indian chants. They did it all -- sometimes all at once -- in their Jazz Fest set with the tight, headlong delight that makes Blues de Musicien (Arhoolie), their second album, the next best thing to a Saturday night dance in Lafayette.\n\nIt&amp;apos;s hard enough making music in New Orleans now. Getting it out is a whole other struggle. Basin Street Records, one of the city&amp;apos;s most prolific labels before Katrina, has finally issued its first post-flood album: Live at Vaughan&amp;apos;s by singer-trumpeter Kermit Ruffins made at the Ninth Ward club that has been his party central every Thursday for fifteen years. &amp;quot;Treme Second Line&amp;quot; and &amp;quot;Hide the Reefer&amp;quot; are enough to make you forget anything interrupted that run -- until the hip-hop funeral march into James Brown&amp;apos;s &amp;quot;Talking Loud and Saying Nothing,&amp;quot; a blast of disgust at the way politicians at every level have left this city to save itself.\n"^^<http://www.w3.org/2001/XMLSchema#string>
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