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Dee Dee Bridgewater and the New Orleans Jazz Orchestra

DEE DEE’S FEATHERS FEATURING DEE DEE BRIDGEWATER ADONIS ROSE & THE NEW ORLEANS JAZZ ORCHESTRA A STUNNING HOMAGE TO THE PEOPLE AND CULTURE OF NEW ORLEANS IN RECOGNITION AND HONOR OF THE 10TH ANNIVERSARY OF HURRICANE KATRINA “Dee Dee’s Feathers” is a journey through the history of New Orleans as told through song and the collaboration of Dee Dee Bridgewater Adonis Rose & The New Orleans Jazz Orchestra (NOJO). The album was recorded at New Orleans’ Esplanade Studios a studio in a reconverted historical church in the heart of the city that was badly damaged by Hurricane Katrina. “It was at the groundbreaking ceremony of the future site of the Jazz Market where I had the idea of a collaborative recording ” said Bridgewater. “I thought that NOJO and I needed a musical ‘calling card’ so to speak a product that epitomized the joys of our accumulative collaborations. When I shared the idea with them the seed was planted. After several emails song suggestions song keys picked out over the phone we found ourselves at Esplanade Studio exactly one month later. Band members had done the arrangements and over the course of three days we recorded filmed bonded laughed our way through the most extraordinary recording experience I’ve had. The music turned out so good with my dear friend Dr. John blessing us on a day’s notice Bill Summers’ magical percussive layers and a host of well- known NOLA characters. I knew NOJO had bathed me immersed me baptized me in the waters of the Mississippi and exposed me to the roots of New Orleans. For me this album is a celebration of life itself.” Although steeped in history Dee Dee’s Feathers is at the same time a modern exploration of the music and culture that makes New Orleans a city and place unlike any other. Traditional songs such as “Big Chief” (featuring guest artist Dr. John) “Saint James Infirmary” and “What A Wonderful World” – all songs indicative to and steeped in the culture of the Big Easy – co-mingle with new compositions such as “Congo Square” and “C’est Ici Que Je T’aime ” transporting the listener on a sensory voyage through the city whether dancing in a Second Line or frequenting a storied bordello in the heart of the French Quarter.
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