New And F**king Badass: Krasno/Moore's "Book Of Queens"

 

Long time readers know that I have been singing the praises of Stanton Moore for over twenty years. The first time I saw him behind the drums was at an in-store performance at the Louisiana Music Factory, showcasing the music from his 2001 release "Flyin' The Koop." It changed my life. Not just because it was music that seemed new to me, having only been to New Orleans twice at this point and still oblivious to that special mix of funk, jazz and soul that is rarely replicated in any other city, but as a drummer, because while most musicians strive to be better, once I saw Stanton play, I wanted to trade my kit in for a kazoo.

Since then, Stanton Moore has released some of my favorite music of all time. Whether with his trio, or with the avant-funk collective Garage A Trois with Charlie Hunter and Skerik, or with New Orleans' treasure Galactic, Moore's playing always, ALWAYS takes the performances to levels that I don't believe could be achieved with a different drummer.

Moore is not about flash, though he can be when the time is right. Stanton is about creating a groove, a pocket so deep, you'll need a miner's helmet to get out, and on his just released new record, "Book Of Queens," credited to the Krasno/Moore Project, he along with Soulive/Lettuce guitarist extraordinaire Eric Krasno pay tribute to some very special women with a set of unique interpretations of songs by Amy Winehouse, Nina Simone, Brittany Howard, Aretha Franklin, H.E.R, Billie Eilish and more on a session recorded at Levon Helm's studio. It is New Orleans funky, occasionally greasy, and at times stunningly beautiful.

Krasno's tone can sound like Jeff Beck or Duane Eddy, even Jimi if you get lost in the music and let it take you there. His playing is stellar throughout, but of course, I am listening harder to Stanton. He has never disappointed and on "Book Of Queens," he just might have outdid himself. I've always thought of Stanton Moore as New Orleans' version of John Bonham. He hits hard, rarely shows off, and he is easily identifiable. But I think that may sell Stanton short. Sometimes it is what he doesn't play, that extra second of space, that New Orleans-only drag and stutter on the snare that changes the whole damn vibe of the song. It's 2023, and I don't think there is a better or more versatile drummer than Stanton Moore. He is even recording a new record with doom-metal legends Corrosion Of Conformity, for Pete's sake.

Krasno/Moore get a little help on this project from Eric Finland, Corey Henry and Branford Marsalis and as of today, "Book Of Queens" is my favorite record of the year. Even if a few more extraordinary records get released, nothing will be better than the hesitation at the 1:14 mark of "Carried Away." It happens a few times and I screamed with pleasure each time. This is the very definition of bad ass.