The Dirty Dozen Brass Band is arguably the most influential ensemble to emerge in New Orleans over the last 25 years. Its sway on the brass band scene has been staggering, spawning bands like the ReBirth, New Birth, Hot 8, Li’l Rascals, Soul Rebels and just about ever other young brass ensemble presently performing. - Offbeat Magazine Celebrating over 45 years since their founding in 1977, the GRAMMY Award-winning New Orleans-based Dirty Dozen Brass Band has taken the traditional foundation of brass band music and incorporated it into a blend of genres including Bebop Jazz, Funk and R&B/Soul. This unique sound, described by the band as a ‘musical gumbo,’ has allowed the Dirty Dozen to tour across 5 continents and more than 30 countries, record 12 studio albums and collaborate with a range of artists from Modest Mouse to Widespread Panic to Norah Jones. Forty five-plus years later, the Dirty Dozen Brass Band is a world famous music machine whose name is synonymous with genre-bending romps and high-octane performances. Roger Lewis - Baritone Sax/Vocals Gregory Davis - Trumpet/Vocals  Kirk Joseph - Sousaphone Trevarri Huff-Boone - Tenor Sax/Vocals Stephen Walker - Trombone/Vocals Julian Addison - Drums Takeshi Shimmura – Guitar THE HISTORY OF THE DIRTY DOZEN BRASS BAND In 1977, The Dirty Dozen Social Aid and Pleasure Club in New Orleans began showcasing a traditional Crescent City brass band. It was a joining of two proud, but antiquated, traditions at the time: social aid and pleasure clubs dated back over a century to a time when black southerners could rarely afford life insurance, and the clubs would provide proper funeral arrangements. Brass bands, early predecessors of jazz as we know it, would often follow the funeral procession playing somber dirges, then once the family of the deceased was out of earshot, burst into jubilant dance tunes as casual onlookers danced in the streets. By the late '70s, few of either existed. The Dirty Dozen Social Aid and Pleasure Club decided to assemble this group as a house band, and over the course of these early gigs, the seven-member ensemble adopted the venue's name: The Dirty Dozen Brass Band.

Aurora Nealand strives to live at the intersection of Lunatic and Librarian. She is a sound artist and multi-instrumentalist (saxophones, accordion, voice) based in New Orleans, LA .  She is deeply interested in the sonification of everyday objects and knowledge-generation through the stories and history that Sound (with a capital S) contains. Nealand is the leader of The Royal Roses, the non-traditional Traditional Jazz band, which draws its approach to collective improvisation’s lineage, spanning from the New Orleans Early Jazz traditions, to the AACM, and collage-sound art and musique concrete. Nealand's other musical projects include The Monocle Ensemble - her original music project and installation ensemble, redrawblak Trio, Instigation Orchestra, John Hollenbecks GEORGE, and the Danger Dangers. In 2019/2020 she debuted KindHumanKind- a 90 minute fully staged theatrical show at the Contemporary Arts Center New Orleans, based on her original music. She is co-creator of the City Songs Project (created originally for Knoxvilles Big Ears Festival), regularly works as a musical facilitator with Found Sound Nation -an organization which facilitates international musical collaboration, and she has been involved with the Walden School for Young Composers (as a teacher/performer) for 20 years. Nealand has toured as a featured artist to national & international festivals including Montreal Jazz Festival, Istanbul Jazz Festival, Big Ears Festival, Copenhagen Jazz Festival, MPB Jazz Festival (Natal, Brazil), Lincoln Center, The Kennedy Center, Summerstage NYC & The New Orleans Jazz & Heritage Festival.   She has worked with Pauline Oliveros, Jonathan Hart Makwaia, Preservation Hall Allstars, Bill Frisell, Tim Berne, James Singleton, David Torn, Arto Lindsey, Germaine Bazzle, John Boutte, Johnny Vidacovich and many more.  She is the co-founder of SONO (Sound Observatory New Orleans) which facilitates workshops of new music in the New Orleans region.  She has been awarded residencies at the New Orleans Contemporary Arts Center, the MacDowell Colony, and the Atlantic Center for the Arts. She particularly enjoys the sound of eggs frying in oil; so many layers there.