Porter Batiste Stoltz
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"George Porter Jr. 60th Birthday Bash :: 12.26.07 :: Howlin' Wolf :: New Orleans, LA"

George Porter Jr.'s 60th Bash | 12.26 | NOLA
Words by: Aaron Lafont

Apart from countries that celebrate Boxing Day, the day after Christmas typically doesn't hold much significance. But, in New Orleans, December 26 is a very special date. On this day, the Howlin' Wolf club holds an annual birthday party for native son and bassist extraordinaire, George Porter Jr. Over the years, these gatherings have turned out more than their fair share of memorable performances, but this year's fest, commemorating George's 60th, lived up to the billing "A Celebration of a Lifetime."
At 9:00 p.m., the full-on brass charge of Bonerama rang in the evening as guests enjoyed plates of red beans and rice, gumbo and jambalaya. With four trombones sliding to the accompaniment of a guitar, drum and sousaphone, the septet's unique blend of funk, jazz and rock reaffirmed their position as one of the most innovative and original outfits to come from the Crescent City. On choice cuts such as "Bayou Betty" and the New Orleans titled "Baronne" they pushed the limits of stride all the way to the edge of the swamp, shattering every traditional boogie-woogie brass band convention along the way. Also recognized this evening was Bone co-founder Mark Mullins, who celebrated his 40th birthday earlier in the week. His wah-rigged trombone solos enlivened the evening's spirit, echoing a pathway across the psychedelia of Hendrix's "Crosstown Traffic."
Next, following an introduction by his daughter, George Porter Jr. second-lined his way through the crowd up to the stage. Upon thanking those in attendance, he was greeted by a city official, under the decree of the mayor, who declared December 26 to be a citywide holiday in honor of the "funkiest bass player in the history of music." Subsequently, the Porter family treated the audience, that included such legendary New Orleanians as Dr. John and Art Neville, to a video tribute chronicling Porter's career.
As pieces of birthday cake were passed around the room, local favorites, Dumpstaphunk, took the stage. Led by Ivan Neville, the heavy funk brigade got the merry crowd bouncing to their own brand of ruckus. Over the course of their set, they saluted their host along with their homegrown roots, popping off two Meters covers; the undulating "Love Slip Up On Ya" and the good times jam "No More Okey Doke." With drummer Raymond Weber pushing the stank and Ian Neville's guitar licks raking up and down the wake, Ivan's keys swirled in and out of the slaps and pops of bassists Tony Hall and Nick Daniels' foot stomping solos. Before yielding the stage, Dumpstaphunk had the audience shaking their "beautiful booties" to the cadence of "Meanwhile" and chanting, "Just put it in the dumpster."

Bonerama :: 12.26 :: Porter 60th Bash :: By T. Walsh
At this point, soul singer Juanita Brooks and piano prodigy Davell Crawford appeared for a welcomed surprise, serenading the crowd with a cover of Etta James' "At Last." As the songstress and the "Prince of New Orleans" rolled through the classic, Porter made his way onto the stage, presenting a bouquet of roses to his wife, whom he then invited up for a dance. Once the dance drew to a close, Porter strapped on his bass, which remained at his side for the rest of the night.
Following the unexpected duet, George called for his Runnin' Pardners to join him. The large ensemble features a full brass section in addition to the quartet of Brit Anderson (guitar), Russell Batiste (drums), Michael Lemmler (keys) and Porter. Despite playing a minimal number of gigs over the last few years, this extended family had no problem finding their groove. Incorporating the flavors of New Orleans R&B into a hefty dose of funk, they spiced up the mix as their leader stirred the pot. Midway through the third number, the Meters' "I Need More Time," Ivan Neville grabbed the chair at an unaccompanied keyboard and Galactic's Stanton Moore jumped behind an unmanned drum kit. As the set progressed, the jams grew thicker as the slide guitar, trumpets, slide trombones, keyboards, saxophones and drums rose to a peak on "Just Kissed My Baby," a song Porter dedicated to his wife. With the birthday banter in full swing, Porter handed the tune over to his mates, allowing them to close the set while he passed out copies of his latest album, It's Life, to fans.

PBS :: 12.26 :: Porter 60th Bash :: By T. Walsh
Sealing the soiree were headliners, PBS (Porter-Batiste-Stoltz), the power funk trio that's become Porter's vehicle of choice in recent years. Before getting down and dirty, local drum guru Johnny Vidacovich and the Runnin' Pardners horn section sat in with the three-piece for a jazzy rendition of Curtis Mayfield's "Here But I'm Gone." Instantly locked together, the hometown posse cut loose, sparking the crowd with the beefy pulse of their hearty grooves. Porter let it all hang out during this final hour, rattling home the swells of Batiste's rumbles and Brian Stoltz's guitar riffs. Bo - Jambase.com


"Porter Batiste Stoltz and Friends"

12.30.07
Porter Batiste Stoltz and Friends
12/30/07
Blender Theatre at the Gramercy
New York, NY


As if the Beacon Theatre show wasn't enough, Gov't Mule wanted to do something memorable for their good friend George Porter Jr's 60th Birthday.

Everyone made their way downtown to the Blender Theatre at the Gramercy for a very special aftershow staring Porter Batiste Stoltz & Friends. PBS kicked off the show around 1AM with a funky set starting off with Grits and Hurricanes. The crowd danced around the Blender as the poured fourth the funk and as the first set ended, everyone could tell something special was in the air.

The second set kicked off with Warren Haynes & Danny Louis joining the PBS for the Dylan-penned Meet Me In The Morning and Honky Tonk Women. Not to be left out Andy Hess & Karl Denson joined the band on stage as George Porter Jr moved over to drums for That's What Love Will Make You Do. George moved over to guitar and was replaced by Warren on Drums for Cissy Got The Blues. The Mule and Karl Denson left the stage but were replaced by John Gros, Eric Krasno and the horn section of Pam Fleming, Buford O'Sullivan & Jenny Hill for Fiyo Lamp. Karl returned to join the masses on stage for Pass The Peas and Iko Iko. All the horns left the stage for Not Fade Away and Look-Ka-Py-Py, and then the Encore of OUW and Them Changes closed out the night.

Confused? Yeah, so are we. But that is why we record these things.
- Madison House Publicity


"Porter Batiste Stoltz at Chelsea's Cafe"

When it comes to side projects, most are undertaken with great ambitions – crossing over to new audiences, escaping previously established images, accomplishing personal goals – but relatively few are created solely for the sake of music. One exception to the aforementioned purposes is Porter-Batiste-Stoltz (PBS), an outgrowth of the Funky Meters, comprised of George Porter Jr. (bass), Russell Batiste (drums), and Brian Stoltz (guitar). These longtime mates have not only fortified the backbone of the New Orleans music scene, filling out such acts as The Meters, the Neville Brothers, Harry Connick Jr., Dr. John and Allen Toussaint, but also accompanied a virtual who's who of rock icons including Bob Dylan, Paul McCartney, Robbie Robertson, David Byrne and Paul Simon, just to name a few. Yet, when PBS converge, individual accolades become insignificant as the trio joins together with one objective in mind - music. And whether it's in front of a festival crowd or a room full of fans (as was the case at Chelsea's Cafe), PBS remains dedicated to spontaneous creation.
Given the nature of the group and its members, many would expect a funk-heavy set drawing primarily from their Meters background, but even though New Orleans funk may be at the core of PBS, they're no mere retread of their past. At Chelsea's, the opening number, "Cissy Got the Blues," perfectly illustrated their musical approach – staying true to their roots while taking the music to another level – using the classic hook from the Meters' "Cissy Strut" as a launching pad for a psychedelic, blues freakout. That led into the crunchy syncopation of "All We Wanna Do (Is Get Funky with You Tonight)" from their 2005's Expanding the Funkin' Universe. After cutting loose for a few tunes and getting the crowd into the beat of their gritty, bayou grooves, PBS dropped a seriously unexpected but very welcome surprise, an absorbing cover of Pink Floyd's "Us and Them" > "Any Colour You Like." Porter's meaty basslines, replete with long, thick notes, created deep pockets for Batiste's rhythm and Stoltz's sailing solos, which gradually rose to the point of transcendence on the instrumental "Any Colour You Like." Other first set highlights included the thundering "I Get High (Every Time I Think About You)" and the organic "Moving to the Country," two Porter originals from his recently released album, It's Life.
The second set picked up right where the first left off, building upon Deep South funk, infusing it with unfathomable improvisation and taking it on a long, twisted ride. It began with a back-woodsy, honky-tonk jam that locked onto the doo-wop of native New Orleanian Lee Dorsey's "Working in a Coal Mine," a track the Meters originally backed in 1966. As the night progressed, it became apparent that Stoltz had entered into another dimension, delivering the best guitar work I've seen since catching Richard Thompson earlier this summer. Saying that he combined the finesse of David Gilmour with the precision of Dickey Betts and the virtuosity of Jimmy Herring would be an unfair, unimaginative compliment that would only serve to detract from the scope of Stoltz's originality.
Stoltz's guitar overwhelmed the crowd as Porter and Batiste were right in step, instinctively pushing the boundaries of each song to the sonic brink. After a maddening jam session complete with round robin solo swapping, the trio launched into a feedback drenched, wah-wah driven cover of Jimi Hendrix's "Spanish Castle Magic." Next came the evening's most mind bending moment. As Batiste and Stoltz struck into what appeared to be another Floydian fugue, Porter began blasting the guitar solo from Neil Young's "Down by the River" on his bass while his compadres complemented his pulse with the rhythmic underpinnings of "Breathe in the Air." That track coalesced into the blues staple "Come On (Let the Good Times Roll)," a song recorded by both Hendrix and Stevie Ray Vaughan but originally the signature tune of legendary New Orleans blues master, Earl King. Keeping with the Hendrix theme, the trio lit into the surging melody of Band of Gypsys' "Them Changes." Later, PBS sealed the evening with a smooth exclamation point, sending the Baton Rouge crowd home with the haunting chill of Curtis Mayfield's "Here But I'm Gone."

With an overabundance of over hyped bands touring out there, seeing a band that shares its initials with the Public Broadcasting Service probably wouldn't even cross the mind of most fair weather music fans, but serious concertgoers should take note. PBS is a group like no other. Comprised of members who forged their reputations piloting arguably the foremost funk outfit of all time, not to mention recording and touring behind a list of musical luminaries a mile long, they have nothing left to prove. Their skills are unquestionable and their chemistry, unshakable. They are simply good friends who enjoy grooving together for music's sake regardless of place and time. And, perhap - Jambase.com


"Porter Batiste Stoltz"

Within the holy walls of New Orleans backline music, George Porter Jr., Russell Batiste Jr., and Brian Stoltz are easily looked at as the city's three funky wise men. They've been anchoring the New Orleans sound for decades and have made just as much of a musical contribution to the world as the Marsalis clan and the Neville Brothers — arguably with an even funkier format. Porter is the original bass player for the Meters, a group that practically defined the Crescent City's funktacular appeal. Batiste and Stoltz later joined with Porter in that group's latter incarnation, the Funky Meters, and played for years together alongside Art Neville. When Neville decided to start touring full-time with the Neville Brothers and abandon the Funky Meters, the legendary backing trio, instead of searching for another unit to back up, decided it was finally time to step out on their own, and Porter Batiste Stoltz was born. They've been exploring a funkier sound in recent years — think the JBs, deep in the pocket, circa 1968 — and leading with their instincts when it comes to the groove. It's not determinable how long original New Orleans funk like this will be around, so if you want to see a living, breathing, and jamming piece of history, put your dancing shoes on and check out PBS this weekend. Musically, they're just as informative as the television channel that they share an acronym with, and they're living proof that when it comes to hurricanes, soul is waterproof.

-Jonathan Cunningham, 8-30-2007 - New Times, Broward-Palm Beach


"Porter Batiste Stoltz Serve Up N'Awlins Funk in Denver"

Porter Batiste Stoltz
Cervantes Masterpiece Ballroom
Denver, Colorado
February 22, 2008

Is it just me, or is Denver getting to be a funky town? Maybe it's a new funky lifestyle: New Orleans style. Friday night the New Orleans power/funk trio of Porter, Batiste, Stoltz constructed groove after fortified groove over the course of two sets and about two and half hours of playtime.

PBS's funk roots run deep. Bassist George Porter was a member of the Meters for many years. Russell Batiste on drums and Brian Stoltz on guitar later joined up for the band's reincarnation as the Funky Meters. Along the way, the three have backed a list of this country's top musicians longer than the Mississippi. When Art Neville left the Funky Meters to spend more time with his family (the Neville Brothers), the remaining three lit out on their own.

While the Nevilles' and PBS's strains of funk have much in common, the main difference is the flexibility the trio format provides for PBS. The Neville Brothers were an eight-piece band when I saw them last summer. While that gives them a big sound, it can limit spontaneity because all those instruments have to stay coordinated. PBS, on the other hand, can let things ebb and flow, morph and re-morph and generally slink from one groove to the next.

A comparison to Medeski, Martin and Wood seems tempting; there are many similarities, particularly with the ever morphing grooves. PBS, however, throws in vocals (by all three members), and therefore their sets seem a little more song-oriented. A better comparison might be with an ultra funky version of Gov't Mule. Both bands jam relentlessly, both play original compositions as well as refreshed covers of all sorts, both seem to have a nearly limitless repertoire, both play concerts tending to go for around two and half hours and both feature extremely high levels of musicianship. Cream is another power trio that comes to mind—particularly so Friday night when the band sometimes went into one of those jams with every member soloing at the same time.

Some of the cover tunes Friday night included “Us and Them,” “Down by the River” and “When the Levee Breaks.” Visualize, if you can, funky Pink Floyd, funky Neil Young, funky Led Zeppelin (or Memphis Minnie if you prefer). All were tossed in among original tunes like “I Get High (Every Time I Think About You)” and “All We Wanna Do (Is Get Funky With You).”

George Porter played piano and guitar before settling on bass, and it comes out in his playing. Far from being content merely to keep the beat, he was up and down the neck all night, putting the groove on and keeping every tune interesting. Stoltz was sometimes a one-man funk machine and, at other times, a hurler of lightning bolts a la Hendrix or Stevie Ray Vaughn. Batiste on drums contributed the driving, funky beat and a whole lot more, ensuring that the band sounded a lot bigger than just three guys. - Geoff Anderson


"P.B.S. - Porter Batiste Stoltz"

By Jason Gershuny
March 18, 2008

P.B.S. (Porter Batiste Stoltz) is finally getting the opportunity to cool their heels a bit after an extended West coast tour that took them to cities large and small. Along the way in Portland Oregon, Glide had the opportunity to sit down with George Porter Jr., Russell Batiste Jr., and Brian Stoltz to talk about the rigors and realities of life on the road, the inspirational process of creating music together, and George Porter Jr.’s obsession with the internet.

If you were going to describe to someone what PBS sounded like to someone who had never heard you, how would you describe your sound?

R.B. It is basically every type of music you can think of with a New Orleans flavor. I mean every type of music that you can think of…

J.G. Like adding a little Cajun spice.

R.B. Yeah…

I was wondering if you guys could describe what it was like the first time playing together?

G.P. Were still working on that. The fact is this is an experiment in development, and experiment in progress. We haven’t been together so long that we think that this is the shit…that this is it. There is a lot more out of us…to learn, to write better. All three of us come from totally different musical schools. We bring all of these different musical styles to the center of the table, and using the knowledge of music to make music.

Do you enjoy playing more in a free flowing improv groove or more within highly structured musical pieces?

R.B. There is not one song that we play the same way…never! There is not one song that we ever play the same arrangement the same way every time. It will never happen cause first of all, Jack Daniels effects me a different way every night. (Laughs)

G.P. We are definitely a song writing jam band. We have real songs, but we are a jamband in the true sense of the word…

I like to hear that because a lot of bands shrug off that title because they are worried about being pigeon holed by it...

B.S. We were a jamband years and years and years before anyone ever heard of that word.

Like injecting jazz into any genre of music

G.P. Exactly. There were jambands in New Orleans in the 1930’s.

How has the advancement of technology and specifically the music industry’s use of the internet changed the business?

B.S. (The internet) for us is everything. Without a major label behind us the only way to get the music out there is through those things.

G.P. The internet has the same pitfalls that cassettes had for vinyl you know…So if a guy got vinyl he could get a copy of it. Then everyone in the neighborhood would have a copy of what they like to listen to.

B.S. We’ve got the record on a million sites that sell downloads and that’s how you get it out there. People see it, get curious about it, check it out and hopefully buy it. Then hopefully they will tell someone else about it, before emailing it to their friends. Bands used to go on the road to sell records, now they give away records to get them to go to the show. People give away CDs like it is their calling cards.

Are there any other musicians out there that you guys want to have the opportunity to play with?

B.S. One of the things that we are trying to press is we are a musical power trio, that’s not missing any parts. This is an entity in itself. The three of us sing, the three of us play, the three of us write music, and we don’t need a horn. It has kind of eased up. A lot of different club owners tried to push other elements on us because they couldn’t get the idea that it was a three piece. But they are getting used to it now because we stood our ground.

I’m curious how the aftermath of hurricane Katrina has affected the music scene in New Orleans?

R.B. It doesn’t change. Everything is always the same. Less people doing it and less music. Still kids grow up in the streets with their horn...they still got brass bands and all that stuff; there is just less of them.

What would you say is the biggest difference between touring with a larger act like the Meters vs. a smaller crew here with P.B.S.?

G.P. Life on the road, there is no real difference between being a little bit comfortable staying at a five star hotel vs. a star hotel. Maybe riding a tour bus vs. the sprinter (is different)…I kind of like the sprinter with the high speed internet. I’m so freaked out about not being able to get online these days that people think I am losing my mind sometimes. We can stay in a hotel where the roaches don’t want to stay in the room and I am more concerned about where is the internet. They all look at me and say what is wrong with you. The truth of the matter is when you are on the road, no matter if you are in a big tour bus, or an airport or even day one, that shit is work. It don’t matter if you are eating at a five star restaurant or Popeye’s chicken.

B.S. It really doesn’t matter. To me it’s all the same as long as I’m not in bed sleeping with my wife i - Glide Magazine


Discography

Expanding the Funkin' Universe- 2005

Photos

Bio

Porter Batiste Stoltz
Their time has come at last. After spending years, even decades, providing some of the greatest backline support New Orleans music has heard, the brilliant sidemen George Porter Jr., Russell Batiste Jr., and Brian Stoltz, (Porter Batiste Stoltz) are ready for their close-up. “It’s now time to focus all of our efforts on this, right here, right now,” says Porter Jr. “This is where we want to be. We might be walking away from some decent projects but we believe in this and in each other.”

Everyone else who hears Porter Batiste Stoltz believes, too, which is why the prospect of a new album from the group is reason to get excited. There’s no denying the trio’s pedigree, and their chops are miles wide and oceans deep. Porter is the original bass player for the Meters, a group that virtually defined New Orleans rockin’ funk, while Batiste and Stoltz joined Porter in the latter day incarnation of that band, the Funky Meters.
“We all come from old school New Orleans,” says Stoltz. “I grew up listening to the Beatles and Hendrix, but we still have that deep New Orleans background.”

A few years ago, when Funky Meter Art Neville opted to go back to the band bearing his family’s name, Porter Batiste Stoltz saw opportunity, not disappointment. Rather than continue on with the measured but explosive Meter-like grooves, Porter Batiste Stoltz decided to explore a little, to tinker with the foundation of their funky sound.

The result of that tinkering was a debut album, the aptly titled Expanding the Funkin’ Universe (2005). “The stuff we do together can only happen with the three of us,” says Batiste. “We have a deep respect for the groove. We sound like Porter Batiste Stoltz and only Porter Batiste Stoltz, that’s what’s so special about this band.”

All the tracks on the new album begin with a great idea, and improve from there. “It’s more like a funk rock kind of thing with a strong pocket,” says Porter, “a bass line that connects with the drummer and allows for the rhythm stuff and the lead chords to do whatever.”

The rhythms are inimitable, as only first-call New Orleans players can lay down. But they’re also real songs. Stoltz, who has a songwriting background, adds greater dimension to the PBS collaborations, casting the melodies of classy pop and rock into the rawness of great R&B. “There’s a big difference in our approach,” says Stoltz. “We work very fast in Porter Batiste Stoltz, with the grooves coming first and finding topics to sing about later. There’s more intuition and less thinking, which makes it really fun.”
While their debut album offered funk, groove, fusion, rock, hyphenated style freakout, the new album, says Porter, promises to feature more focus and less wild-eyed indulgence. “We’ve taken a real step forward in the groove and we learned some things from the first record that’s made this next one really special.”
Batiste, accustomed to the more spontaneous approach in the studio, agrees: “To me it’s better because we’re more unified. The constructions on this album came from jams, right off the top of our heads. Now we’re talking grooves!” Stay tuned for information on the next album release by Porter Batiste Stoltz.

The three funky kings have worked up musical resumes that make even those in the Crescent City envious:

GEORGE PORTER JR
Few bass players in the history of modern New Orleans music are as storied as George Porter Jr. During the course of a career spanning four decades, Porter has not only made a deep impression with his work in the Meters, but he’s notched sessions with artists as diverse as Paul McCartney, Jimmy Buffett, David Byrne, Patti LaBelle, Robbie Robertson and Tori Amos. Early in his career, Porter worked with seminal New Orleans artists like Allen Toussaint, Earl King, Lee Dorsey, and Johnny Adams. Back in 1965, Porter joined on with the Meters, considered by many to be the ultimate fusion of rock, funk and R&B, and gained recognition as one of the scene’s elite bass players.
Porter’s rhythmic work in the Meters in lockstep with drummer Zigaboo Modeliste was epic. Those pockets, the long notes and fat holes, provided the cushion for Leo Nocentelli or Art Neville to play or sing over and created some of R&B history’s most memorable grooves.

Today, Porter features that epic bottom end in his latest collection of Porter Batiste Stoltz tunes. “It’s the ultimate jam band,” Porter says, “one that actually is more musical than just playing everything you know in every song. This band slaps people in the face until they see how good the stuff is!”

RUSSELL BATISTE JR
As a member of one of N’awlins legendary musical families, Russell Batiste Jr. knows his way around a sound stage. He’s played multiple instruments, and has been at the drum kit since the age of four. Even before that, Russell recalls watching his daddy, David Batiste (of the city’s seminal funk band David Batiste and the Gladiators), jam with an endless array of the