Bob French’s Original Tuxedo Jazz Band & Friends, The Legacy Lives On (Royal Tuxedo Records)

Last year’s critical success Livin the Legacy cemented what was already known to most in the Crescent City, that Bob French is the trad jazz king of New Orleans. This year’s release, The Legacy Lives On, will no doubt further this accolade.

Bob French, The Legacy Lives On, album coverCulled from the same marathon session that produced last year’s gem, these twelve cuts are anything but second-rate left-overs. Despite the unfortunate slipshod packaging of the new release, The Legacy Lives On equals, and at times surpasses its predecessor.

With a band consisting of his Donna’s Bar and Grill regulars and assorted guest all-stars, Bob French and friends churn through standard after standard giving each a fresh and exciting interpretation. There’s a sprinkling of traditional jazz numbers like “Bogalusa Strut” and “Tin Roof Blues” where Jack Maheu’s clarinet shines, but also some interesting popular tunes as well. Willie Nelson’s “Crazy” gets a makeover morphing the Grand Ole Opry into late night urban soul courtesy of George French’s molasses-smooth vocals.

Gorgeous singing distinguishes this album from other quality traditional jazz recordings. Looking down the list of guest vocalists is like viewing a sampling of the best voices in the city. Trumpeter and underrated crooner, Leon Kid Chocolate Brown, balances both humor and seductive vocals in the hilarious “Whoopin’ Blues (Gotta Big Fat Woman).

Tricia “Sista Teedy” Boutté is in fine form with a wistful “Do You Know What It Means To Miss New Orleans”, and Juanita Brooks’ sexy alto pleads for her lover to come home in the snappy “Bill Bailey,” but it is an ensemble piece that remains as the session’s highlight. Davell Crawford, John Boutté, Juanita Brooks, Sista Teedy, and George French, all join forces on the uplifting and swinging gospel tune, “Over In the Gloryland,” resulting in maybe the best single track from the entire two album-spanning session.

The album finishes off with, what else, but a second-line where raucous horns mix with jaunty piano poundings, a bizarre but somehow fitting rap, and a chorus demanding “It’s your last chance to jam, so get up!” No need to worry there.