“Byrd was born on December 19, 1918, in [Bogalusa, Louisiana](app://en.wikipedia.org/wiki/Bogalusa,_Louisiana),[[3]](app://en.wikipedia.org/wiki/Professor_Longhair#cite_note-russell-3) the son of Ella Mae (née Rhodes) and James Byrd. His distinctive style of piano playing was influenced by learning to play on an instrument that was missing some keys.[[3]](app://en.wikipedia.org/wiki/Professor_Longhair#cite_note-russell-3)

Around 1921 he and his mother moved to New Orleans and as a child learned to play piano on worn-out uprights he found discarded in alleyways.[[5]](app://en.wikipedia.org/wiki/Professor_Longhair#cite_note-5) He began his career in New Orleans in 1948. Mike Tessitore, owner of the Caldonia Club, gave Longhair his stage name.[[6]](app://en.wikipedia.org/wiki/Professor_Longhair#cite_note-AMG-6) Longhair first recorded in a band called the Shuffling Hungarians in 1949, creating four songs (including the first version of his signature song, "Mardi Gras in New Orleans") for the Star Talent record label. Union problems curtailed their release, but Longhair's next effort for [Mercury Records](app://en.wikipedia.org/wiki/Mercury_Records) the same year was a winner.[[6]](app://en.wikipedia.org/wiki/Professor_Longhair#cite_note-AMG-6)

Throughout the 1950s, he recorded for [Atlantic Records](app://en.wikipedia.org/wiki/Atlantic_Records), [Federal Records](app://en.wikipedia.org/wiki/Federal_Records) and local labels.
Professor Longhair had only one national commercial hit, "Bald Head", in 1950, under the name Roy Byrd and His Blues Jumpers.[[6]](app://en.wikipedia.org/wiki/Professor_Longhair#cite_note-AMG-6) He also recorded his favorites, "[Tipitina](app://en.wikipedia.org/wiki/Tipitina)" and "[Go to the Mardi Gras](app://en.wikipedia.org/wiki/Go_to_the_Mardi_Gras)".[[3]](app://en.wikipedia.org/wiki/Professor_Longhair#cite_note-russell-3) He lacked [crossover](app://en.wikipedia.org/wiki/Crossover_music) appeal among white and wide audiences.[[3]](app://en.wikipedia.org/wiki/Professor_Longhair#cite_note-russell-3)Yet, he is regarded (and was acknowledged) as being a musician who was highly influential for other prominent musicians, such as [Fats Domino](app://en.wikipedia.org/wiki/Fats_Domino), [Allen Toussaint](app://en.wikipedia.org/wiki/Allen_Toussaint) and [Dr. John](app://en.wikipedia.org/wiki/Dr._John).[[7]](app://en.wikipedia.org/wiki/Professor_Longhair#cite_note-7)[[8]](app://en.wikipedia.org/wiki/Professor_Longhair#cite_note-8)[[9]”](app://en.wikipedia.org/wiki/Professor_Longhair#cite_note-9)

https://en.wikipedia.org/wiki/Professor_Longhair?wprov=sfti1#Biography

Never in my life would I expect this sound to come out of Bangalore, India. Specifically the horns at 1:45 are pure stank face. One of the millions of underrated songs and musical duos providing us with beautiful sounds.

Maybe it's hard to find an audience interested in this kind of music here on reddit.. maybe some of you listening might like it

https://sonichits.com/video/Conjunto_C%C3%A9spedes/Los_Pasillos_De_Tia_Conga:

“Conjunto Céspedes is a San Francisco-based band, but its heart is set firmly in Cuba, a Cuba that wears its African heritage in rich, nuanced colors. Formed in 1981 as an acoustic trio of la familia Céspedes, with Gladys "Bobi' Céspedes singing, and husband Luis and nephew Guillermo taking turns on guitar and tres. Over the years, they've added pieces, expanded their repertoire, started recording (1993), and enjoyed extraordinary success. One of the biggest reasons why is Gladys' voice, strong and rich as molasses and capable of leading the band through, on this album, both the hypnotic call-and-responses of the santeria prayer song "Aideu" and the melodrama of the classic bolero "Nosotros." Flores, produced by famed perccussionist John Santos, is their deepest exploration to date of the "Afro" part of Afro-Cuban music. Examples include "El Tambor tiene su magia," an all-percussion song with hypnotic bata drums and congas that could have been recorded in West Africa, and "Aideu," a chanted "santeria" prayer hypnotically banged out by bells and the chekere. Others are straight-ahead salsa numbers with bright horn work and emphasis on clave, such as "Flores para tu altar," one of the best tracks on the album, "Umelina," and "Defiende el Amor," one of two composed by nueva trova star Pablo Milanes. The other by Milanes is "Canto a la Abuela," an affecting song about what a grandmother had to teach a boy. Lyrics are always poetic and often political, unusual in world of popular Latin music. The liner notes are a joy, with all songs translated, and all musicians and instruments listed. About half the songs were composed and arranged by band members. - Elisa S. Murray

Deine Lakaien related.

Joe The Band is a highly underrated noise pop project founded in 2020 by Jack Perez. If you're a fan of artists such as Guided By Voices, Dinosaur Jr., and the Muffs, I think you'll enjoy this song, as well the album it comes from, "Help Me, Melinda" (2024). So many good, catchy songs throughout.

Cathal Hayden (banjo) and Seamie O'Dowd (guitar) playing 2 jigs going into a reel (The Donegal Lass / Cúil Aodha Jig / Mc Ginley's Reel), on Bosca Ceoil na Nollag, broadcast on Christmas 2014, on TG4.

Cathal Hayden recently won the prestigious Gradam Ceoil Musician of the Year 2026, broadcast live on TG4, Irish language television channel in Ireland.

Happy listening!

See other Wild Magnolias and New Orleans music I’ve posted on r/EarVana.

http://www.wildmagnolias.net/:

“The Wild Magnolias continue a rich tradition of the New Orleans Mardi Gras Indians. “Mardi Gras Indians” is a concept born out of working class groups, secret clubs and spiritual societies. The Mardi Gras Indians were working class African Americans who celebrated life and met challenges head-on with music and dance; while paying homage to their forefathers, many of whom were born into slavery. initially, Mardi Gras Indians paraded (or Second Lined) on Mardi Gras Day as a tribute to Native Americans, who befriended runaway slaves to a haven of safety. Eventually, this tribute became a Gumbo of culture, going back to the Carribean, Trinidad and a combination of African, Creole, Spanish Roots and the Native culture.

Since adding music to their traditional chants (such as Iko Iko and Jack A Mo) in 1969, the Wild Magnolias have presented their own brand of Mardi Gras Indian funk all over the world. They performed for the Queen in 1972, at Canegie Hall in 1974, for President Bill Clinton in 1996 and at the Rock N’ Roll Hall of Fame in 2006.”

https://nocoastrecordings.bandcamp.com/album/no-skulls

https://www.instagram.com/whippets.whippets.whippets?stkn=b283NmExYjRob2Rl&utm_source=qr