Tom Henry, Toledo Blade

It’s a tall order for any person or group to fully capture the New Orleans feeling, vibe, and impact on the music industry, past and present.

But that hasn’t stopped many groups from trying.

The latest entry comes from far outside the Big Easy with this new release from Blue Moon Marquee, the core of which is a well-regarded duo from Western Canada’s British Columbia.

Bob Silvesti, BestOfWNY.com

Shining among the original tracks are the boozy and bluesy “Some Ol’ Day”, the swampy and funky country blues number “Trickster Coyote” and the blues moaner about being wildly in love “What I Wouldn’t Do”-

Graham Clarke - Blues Bytes, Phoenix Blues Society

The album opens with four of the five covers, beginning with a rollicking take on Memphis Minnie’s “Black Rat Swing,” highlighted by Colette’s vocal, Coogan on piano, and Abrams’ baritone sax break. Next is a lively reading of Leadbelly’s “Ain’t Goin’ Down” with the pair taking call and response vocals, and Bo Carter’s “Let’s Get Drunk Again,” where they share raucous lead vocals with stellar backing from the band on both tracks….

The Aquarian

‘previously struck paydirt with its ‘Scream, Holler & Howl’, now ups the ante on its terrific Crescent City tribute ‘New Orleans Sessions’…”

Greg Victor, Parcbench.live

"a mix of original and early 20th century, proves to be just right. The effect is spectacular." "Highly recommended if you wish today’s music lived up to how you’ve always heard it used to be" "Each note draws the listener in, closer to the music, closer to the stories, closer to the atmosphere of the world of the music, and, ultimately, to why we love good old fashioned jazz."

Patrick DALLONGEVILLE, Paris Moves

“Our friends have recruited local musicians for the occasion: pianist BC Coogan, saxophonist Danny Abrams and drummer Nicholas Selnick, who establish an omnipresent vintage ragtime groove, as evidenced by Leadbelly’s “Ain’t Going Down” that follows (for which our duo shares the vocal parts). We venture even further into the underworld with Bo Carter’s “Let’s Get Drunk”, driven by a lazily swaying rhythm, where Coogan’s thumping piano and baritone sax operate the pump….”

Tom Clarke, Making a Scene

"their voices create a beautiful stir amid such raw music making. In a word, they are perfect together. . . ‘Scream, Holler, & Howl’, was awarded a JUNO for Blues Album of the Year. They also swept the Maple Blues Awards, winning Album, Songwriter, Acoustic Act, and Entertainer of the Year. If the vibrant New Orleans Sessions doesn’t earn more of the same and then some, I’ll eat my voodoo top hat, peacock feather and all."

- Colin Campbell, Blues Matters, November 2024

“... the musicality is so good... so tight, you'd swear Fats Domino was in the next room taking notes... a feel good up-tempo release not to be missed. “

Bill Bentley, Bentley’s Bandstand, American Highways

"All the songs shimmy and shake, take it to the river and then make sure the songs boogie and woogie just right is a stone cold lesson in musical love…it’s righteous right down the middle and groovin’ right to the top”

Graham Harrison, Blues in the South, UK

“meanwhile the band with Coogan's piano and Abrams’ honking sax kick up a storm. 'Shake It and Break It' is the old Charlie Patton song, while 'Trickster Coyote' is an original with A.W.'s sandpaper vocals and down-home guitar and Big Jon's blues harp.”

“New Orleans is the quintessential music city above all others, especially for American styles of music, whether it be folk, blues jazz, rock n’ roll, rhythm of blues and even punk, metal and hardcore and all that stuff. For me, it really is the cradle of where it all went down. It’s seeping out of every window. It’s in the streets. It’s in the air. It’s undeniably thick with it down there. It’s just so inspiring.” - Jasmine Colette, Blue Moon Marquee