Pianist/singer/songwriter/producer Allen Toussaint has been a musical legend for more than 40 years but is currently at the peak of his popularity as a live performer based on his recent festival performances at Bonarroo and The New Orleans Jazz and Heritage Festival. His collaboration with Elvis Costello, The River In Reverse, is one of the most musically powerful post-Katrina statements to come out of New Orleans. Toussaint will bring a 8 piece band for his first Crawfish  Fest show.

Toussaint's enduring legacy is his work as one of America's greatest songwriters, penning such classics as "Southern Nights,"

"Mother-In-Law," "Working In A Coal Mine" and "Fortune Teller." After writing the instrumental hits "Java" and "Whipped Cream" in the early '60s Toussaint wrote and produced a treasure trove of timeless New Orleans hits for the city's greatest R&B singers, including Ernie K-Doe, Irma Thomas, Lee Dorsey and Aaron Neville. A few years later he recorded a series of top 10 instrumental hits with his house band The Meters.

One of Toussaint's most important roles came in adapting New Orleans R&B to the funk and dance music styles that became popular during the 1970s. In addition to working with The Meters and Dr. John, whose "Right Place, Wrong Time" was another huge hit, Toussaint produced LaBelle's Number One disco hit "Lady Marmalade" in 1975 and worked with major artists from The Band to Robert Palmer.

During the 1970s Toussaint also recorded under his own name, producing the album classics From a Whisper to a Scream and Southern Nights. When Glen Campbell covered "Southern Nights" in 1977 the song became a crossover Number One hit on the pop, country and adult contemporary charts.

The funky Meters continue the tradition of legendary funk coined by Art Neville, George Porter Jr. and company over 40 years ago. Keyboardist, vocalist and songwriter Art "Papa Funk" Neville was the architect of The Meters' sound and George Porter Jr. coined the style of New Orleans funk bass playing that is still the city's musical lingua franca today.

Powerhouse drummer David Russell Batiste Jr., from one of the city's greatest musical families, has carved out his own variation on original Meters drummer Zigaboo Modeliste's style.

The band's guitarist has always been one of the leading lights in New Orleans music, beginning with Leo Nocentelli, whose distinctive rhythm/lead style had people thinking there were two guitars playing at once. Former Neville Brothers guitarist Brian Stoltz brought a unique virtuoso guitar style to the group when he joined in 1994. When Stoltz left the band last year Art's son Ian brought a new generation of Nevilles into the mix with his expansive guitar playing.

Art Neville, one of the stars of New Orleans R&B since he cut "Mardi Gras Mambo" in 1954 with The Hawkettes while still in high school, put the original band together in 1967. The group quickly became New Orleans' answer to Booker T and the MGs, the preferred backing band on Allen Toussaint's productions and a hit instrumental group that recorded "Sophisticated Cissy," "Cissy Strut," "Ease Back" and "Look a Py Py" -- all top 10 R&B hits -- between '67 and '69.

During the 1970s The Meters recorded five albums on the Warner/Reprise label including the classic Fire On the Bayou and provided the backing band on a series of timeless recordings by The Wild Tchoupitoulas, Dr. John, Robert Palmer, Allen Toussaint and Paul McCartney and Wings.

The original band broke up in 1979 and Art Neville went on to form the Neville Brothers, but the group reunited with Batiste replacing Modeliste in 1989 and Stoltz replacing Nocentelli in 1994, at which point they officially became the funky Meters. This group has been at the forefront of every important evolution of the groove from 1950s and '60s R&B to the jam band aesthetic of the new millennium.

The Radiators are simply the greatest rock band in New Orleans history.

That fact is underscored by the honor paid to the band by the New Orleans Jazz and Heritage Festival, which annually asks the Radiators to close the ultimate celebration of Louisiana's music along with the Neville Brothers. 2008 marks the 30th anniversary of the Radiators, who own the distinction of being the only rock band to have recorded for a major label that's still touring with its original members after 30 years.

The truly great American rock bands are beyond styles and trends, and the Radiators fall squarely into that category. The band's music, an amalgam of influences ranging from Jelly Roll Morton to 1960s soul to country and western to modal jazz, twin-guitar histrionics and the undulating rhythms of New Orleans R&B, is a mysterious brew that has captivated audiences across the country.

Principal songwriter Ed Volker, the architect of the Radiator's identity, describes its sound as "fish head music," the product of living a lifetime in a city below sea level. The mind-bending musings of Volker's mystic vocals and keyboards are embellished by the high voltage guitar interchange between Dave Malone and Camile Baudoin and driven home by the funky rhythm section of bassist Reggie Scanlon and drummer Frank Bua.

The Radiators struck the kind of magic balance each player in the band had been looking for. Bua and Scanlan locked in immediately and have become an institution in a city noted for its rhythm sections. Malone and Baudoin arrived at a two-guitar sound that blended rhythm and lead parts, harmony playing and respect for the song and the improvisational elements that transcend it in equal measures. Volker and Malone complement each other as singers, trading off between Malone’s extroverted, big-voiced good nature and Volker’s swamp music invocations. Volker’s sinuous keyboard work stirs the pot in strange directions based on the Quixotic moods, William Blake visions and voodoo lore that informs his body of work.

The sound is the sum total of a lot of complex parts, not the least of which is the kind of aesthetic risk-taking that bands like the Grateful Dead championed. The Radiators have never abandoned that experimental attitude. After an association with Epic records into the 1990s that produced such classic New Orleans albums as "Law of the Fish" and "Zigzagging Through Ghostland" the band took a page from the Grateful Dead playbook and went directly to its fans for support, recording albums that were independently distributed and relying on mind-boggling live shows to spread the word on a person-to-person level.

Today, with a book that has expanded to more than 2,000 original songs and countless covers in service of an approach to performance that allows no two shows to be the same and no song to be played the same way twice, the Radiators have built an audience around the country that would walk on gilded splinters to see them. The Radiators deal with covers the way Louisiana traditional musicians deal with folk culture, appropriating whatever they deem fit into the mix and making it their own.

Bonerama, with its massed trombones on the front line, has developed one of the most distinctive New Sounds in New Orleans music over the last decade, a combination of traditional brass band, rock, jazz and R&B. Virtuoso trombonists Mark Mullins and Craig Klein were two of the city's most respected players when they founded Bonerama in 1998 to develop a new funk rock vista for the trombone. Mullins and Klein were well known for their work in the Harry Connick big band, but they needed an outlet for their desire to rock out and party down with a second line funk sound. Mullins and Klein fleshed out the concept with two more outstanding trombonists, Steve Suter and Rick Trolsen, as well as bass trombonist Brian O'Neill. They added a potent bottom line with the addition of the imaginative and dynamic sousaphone player Matt Perrine, some edge with guitarist Bert Cotton, and the propulsive groove laid down by various New Orleans drummers. In 2001, Bonerama released its debut album Live at the Old Point and began to play sell out performances from New York City to San Francisco. A performance at the New Orleans Jazz and Heritage Festival earned a rave review in Rolling Stone. In March of 2004 Bonerama recorded Live From New York with special guests including Galactic’s Stanton Moore on drums, and the legendary trombonist Fred Wesley of the JB Horns. The band overcame the death of Brian O'Neill to make a third live album, Bringing It Home, recorded at Tipitina's and featuring Bonerama-ized versions of Led Zeppelin and Beatles tunes alongside originals and a Thelonious Monk composition. The band made history when Mullins, Klein and Trolson made up the "Best Trombonist" category at this year's OffBeat awards, the first time all the nominees in a category were from the same group!

Tab Benoit's distinctive swamp rock guitar playing, superior songwriting and soulful vocals make him one of Louisiana's most appealing musical stylists. Benoit has been nominated for Grammy awards and last year won the Contemporary Blues Male Artist of the Year and B.B. King Entertainer of the Year Awards at the Blues Music Awards, formerly the W.C. Handy Awards.

Benoit developed his style playing regular gigs at Tabby's Blues Bar in Baton Rouge, where he learned from venerable Louisiana bluesman Tabby Thomas. Benoit, a native of Houma, Louisiana, grew up listening to the Cajun music popular in his hometown as well as rock & roll and blues.

Fans of Louisiana blues are in for a special treat when Little Freddie King makes a rare trip outside the state to perform at this year's Crawfish Fest. King was born in McComb Mississippi in 1940 and learned to play the blues guitar from his father Jessie James Martin. He moved to New Orleans in the 1950s, where he played frequently with Polka Dot Slim and Boogie Bill Webb and backed up national blues acts when they hit New Orleans. King built up a reputation as one of New Orleans' best blues guitarists by playing regularly at local clubs, but didn't make his official recording debut until 1971 on the obscure New Orleans label Ahura Mazda Records. It took more than a quarter of a century for his next record, Swamp Boogie, to be released on another local label, Orleans records. In 2000 King put out the breakthrough album Sing Sang Sung, a definitive stylistic statement that included a terrific song about one of the New Orleans bars he played at many times, "Bucket of Blood".

Sparta, New Jersey-based Railroad Earth combines the elements of old-timey string band folk music with a songwriting style inspired by Bob Dylan, The Band and the Grateful Dead. Taking its name from a Jack Kerouac poem, "October in the Railroad Earth," the band developed a happy, foot-patting sound that has drawn a huge fan base that calls itself Hobos after the denizens of boxcar-hopping itinerants who lived in "Hobo Jungles" by freight yards during the Great Depression. These fans travel around the country from gig to gig following Railroad Earth and are likely to be found in the Crawfishfest campground. The band hit the ground running in 2001 soon after former From Good Homes singer-songwriter and guitarist Todd Sheaffer got together for a jam session with violinist/vocalist Tim Carbone, mandolinist/vocalist John Skehan, multi-instrumentalist/vocalist Andy Goessling, drummer/vocalist Carey Harmon, and bassist Dave Von Dollen.

The group chemistry was magic, and three weeks later they recorded a five song demo that earned them a place on the Telluride Bluegrass Festival lineup and, coupled with another five songs, became their first album, The Black Bear Sessions, which includes the classics "Seven Story Mountain" and "Head." The group signed to Sugar Hill Records and released Bird in the House in 2002 and, after Johnny Grubb replaced Von Dollen on bass, The Good Life in 2004. That album included the fan favorites "Storms," Mourning Flies," and "Goat." In 2006 Railroad Earth released its most representative album, the double-disc live Elko, on SCI Fidelity Records. The group was in the studio earlier this year recorded a new album which should be released right around the time of Crawfishfest.

Trumansburg, a village of roughly 1,581 people northwest of Ithaca, New York and home base for Donna the Buffalo, may be the holy city of the New Millennium Folk movement. Donna the Buffalo epitomizes the open highway approach to musical sympatico that characterizes this new generation of songsters who wear musical styles like cherished second hand clothing. Co-frontpersons Jeb Puryear and Tara Nevins give DTB a multi-perspective songwriting mix that keeps listeners on their toes and offers hard-core fans ammunition to fight for one or the other. The band's jaunty sound is a sturdy folk rock base that finds its way into country, bluegrass, blues, reggae and cajun/Zydeco territory. Guitarist Puryear, who was raised in the bluegrass-loving Finger Lakes environs, knows how to strum his way into an audience's heart and has a solo album in addition to the band's half dozen albums. Nevins, a world class fiddler who's also obsessed with the accordion and Louisiana cajun and Zydeco culture, is producing a documentary on the late Creole fiddling legend Carlton Frank, whose great nephew Keith Frank is another artist on the Crawfishfest lineup. With three sets scheduled over the Crawfishfest weekend, DTB is sure to add a new krewe to its legion of followers, The Herd.

Keith Frank is one of the most exciting players on the Louisiana Zydeco scene, a hard driving accordionist who doubles on guitar and keyboards and mixes contemporary R&B and reggae elements into his highly danceable style. Like a lot of his new generation peers Frank borrows liberally from both the Zydeco and Cajun traditions to create a hybrid sound that appeals to contemporary audiences that are no longer segregated by color. Frank arrived a this sound scene after a lifetime spent learning a tradition that has been passed down through his family members from his father Preston Frank, who Keith started out playing drums with, dating back to his great-great-great grandfather Joseph Frank, who played fiddle in Soileau, Louisiana a century ago. One of Keith's strongest influences was his great uncle Carlton Frank, one of the last of the old style Creole fiddlers who passed away in 2005.

"Zydeco Sweetheart" Rosie Ledet is the leading lady of Zydeco music, fronting a great roots oriented band led by her husband Morris Ledet.

The sound of the band and Ledet's lively songwriting about events in the life of a Zydeco family band is strongly in the tradition of the late Zydeco patriarch Boozoo Chavis. Rosie sways to the rhythms of her accordion playing until reaching a frenzied pace; she's every inch a diva, as powerful a stage presence once she gets going as Tina Turner.

Ledet's songs resonate through the music of her stage persona when she sings "Little Rosie," "I Wanta Ride," "My Joy Box," "Roll It Over,"

"Cutie Pie," "I Love Louisiana" and her masterpiece of sultry sexuality, "I'm Gonna Take Care of Your Dog." Lanice Ledet, Rosie's father-in-law, plays scrub board and is the subject of her comical set piece "Pick Ip Up," a song about his discovery of Viagra.

Pianist Mitch Woods is well known for his outstanding interpretations of New Orleans piano styles. Woods is also famous for his barrelhouse blues playing especially after his legendary two-piano performances on the ocean-going "Club 88" with Pinetop Perkins. Woods grew up on the jump blues and boogie woogie piano styles of the late 1940s and early 1950s, blending the music of Louis Jordan, Roy Brown, Wynonie Harris, Amos Milburn and Roy Milton with classic New Orleans R&B to coin a hard driving sound he calls "rock-a-boogie." The Brooklyn, New York native studied under Archie Shepp before moving to San Francisco, where he put together the Rocket 88s to record a series of dynamic blues album for Blind Pig records -- Steady Date (1984), Mr. Boogie's Back in Town

(1988) Solid Gold Cadillac (1991), Shakin' the Shack (1998) and Jump For Joy. Woods paid tribute to his roots by putting together the spectacular 1998 release Keeper of the Flame, which featured blues and R&B giants John Lee Hooker, James Cotton, Johnnie Johnson, Earl King and Lee Allen. But Woods' greatest tribute record was still to come.

Lizzie Swan and Marlowe Bechmann are the Swingset Mamas, a duo that specializes in making music for children. Marlowe, a classically trained pianist, and Swan, a music therapist and rock musician, began writing songs for newborn babies in 1999 when both women became mothers. The songs on their debut album Swingset Mamas, which cover subjects like a baby’s first words and steps, as well as new family roles, found a larger audience than the duo expected. The duo wrote more songs that doubled as creative parenting tools, helping mothers deal with subjects like buckling kids into seatbelts or applying sunscreen lotion.

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