Carl LeBlanc & Coco Robicheaux - Modern New Orleans Griots

"A griot (/ˈɡri.oʊ/; French pronunciation: ​[ɡʁi.o]), jali or jeli (djeli or djéli in French spelling) is a West African historian, storyteller, praise singer, poet and/or musician. The griot is a repository of oral tradition and is often seen as a societal leader due to his traditional position as an adviser to royal personages. As a result of the former of these two functions, he is sometimes also called a bard. According to Paul Oliver in his book Savannah Syncopators, "Though [the griot] has to know many traditional songs without error, he must also have the ability to extemporize on current events, chance incidents and the passing scene. His wit can be devastating and his knowledge of local history formidable". Although they are popularly known as "praise singers", griots may use their vocal expertise for gossip, satire, or political comment." wiki

So I had this possibly brilliant idea that the first of these albums could put the second one into a clearer context. I have been quite fortunate in my time here in "the city that care forgot" to know both of these gentlemen. Carl I know only to chat with for a bit now and then when we run into each other. Coco I knew quite well and drank with him often enough to be treated to many a tale including some of those included on this album. I recall be doubled over in laughter by a tale of youthful fishing exploits and the mummification of said fish. He was a very talented artist as well, that bronze bust of Professor Longhair at Tipitina's is an example of his work. A treasured old Meters t-shirt I've had more than 30 years is another.

It was Carl's brilliant album, of course, that was the source of my concept here as it is he who suggested to me that the West African tradition is alive and well in our wonderful cultural gumbo called New Orleans. He explains his connection quite well on the album, the stories are New Orleans stories. Now Coco was of Cajun, American Indian, Salem Witch and Voodoo ancestry as he told it, and I choose to accept all that as the 'reality' that actually matters. There are obvious reflections of the African griot in the Native American brujos and medicine men. I'd say that Coco embraced those traditions, particularly here on his final album.

This album hasn't been particularly well received, even folks who enjoyed his earlier albums seem under whelmed, but I choose to believe that is at least in part because the album is misunderstood. Musically Dave Easley and Jim Singleton and a host of other great Nola musicians provide mesmerizing backdrops for Coco's story-songs which are equally mesmerizing for me.
"Perhaps if you were to listen a little betta..."

I would be horribly remiss if I failed to mention how proud Coco was that his daughter was responsible for the cover art and design.