2:10pm / April, 9th 2017View Map
Abita Beer Stage
If you want the real blues – and I’m not talkin about some long-haired hippy beatin’ on a National Resonator guitar or a mustachiod, Italian-suited slickster blowin’ on a chromatic harmonica – baby, you’d better call Little Freddie King, Normally only seen once a month at BJ’s Lounge located in the lowest bowels of the mighty Ninth Ward, where he shares floor space with a pool table and various carpet remnants, don’t think for a second that his band won’t be able to create the proper mood without their usual scrappy surroundings. The minute Freddie straps on his guitar and strikes up his gnarled chord and drummer “Wacko” Wade makes his presence known with a definative cymbal crash, this lean, mean, swampy aggregation of gut-bucket wild men transforms the poshest of venues into a back-of-town beer joint.
Born in McComb, Mississippi in 1940, Fread E. Martin grew up playing alongside his blues guitar-picking father (Jessie James Martin), then rode the rails to New Orleans during the early fifties where he crossed paths with itinerant South Louisiana blues man such as “Poka- Dot” Slim and “Boogie” Bill Webb whose unique country-cum-urban styles would influence his own. Honing his guitar chops at notorious joints like the Bucket of Blood (which he later immoralized in song), he jammed and gigged with Bo Diddley and John Lee Hooker, and also played bass for Freddy King during one of the guitarist’s stints in New Orleans. People began comparing the two musicians’ styles, hence Martin’s nome-de-plume. While well-vested in a variety of styles, nowadays Little Freddie sounds a lot more like his cousin Lightin’ Hopkins – albeit after a three day corn liquor bender! Nevertheless, the King sobriquet if fitting, as Freddie is undeniably the monarch of the Crescent City blues scene.