Alison Fensterstock

When Candi Staton first auditioned the drummer for Unstoppable, her 30th studio album, he had not, let's say, fully matured as an artist.

Across five albums of piano-driven rock and soul, Low Cut Connie has proven masterfully fluent in the foundational languages of Western pop, living at the crossroads where the church house meets the roadhouse, or where the Dew Drop Inn meets CBGB.

Growing up in the late 1950s and early '60s, Betty Cantor developed an early talent for tinkering. "I used to take things like radios, other little electronic devices if they didn't work, open them up, mess with them, put them back together and they worked," she remembers during a recent phone call. "I could fix watches that wouldn't work for anybody else." Her fascination with how things worked helped her breeze through the available math and science classes at her Martinez, Calif.

With the title of their 2017 release, Dirty Pictures (Part 1), Philly rockers Low Cut Connie had already telegraphed what was on the way.

"What a schmuck I would be if I didn't have a part two, right?," frontman Adam Weiner tells NPR.

In three-quarter profile, half-smiling at the camera over his elaborately tattooed shoulder, New Orleans trumpeter Irvin Mayfield, Jr. appeared on the cover of the April 2015 issue of the venerable Louisiana music monthly Offbeat.

This essay is one in a series celebrating deserving artists or albums not included on NPR Music's list of 150 Greatest Albums Made By Women.

Calling Fats Domino an architect of rock and roll almost sounds like faint praise. Indeed, the amiable country boy from the Lower Ninth Ward, with the help of bandleader impresario Dave Bartholomew and one of the world's truly legendary gangs of sidemen, dug the hole and laid the actual foundation.

In South Louisiana, a great deal of formalized effort goes into the preservation and celebration of the state's Francophone culture; food, music, other crafts and folkways, and particularly language.

At 46, Ben Jaffe is almost exactly the same age as Jazz Fest. Like a lot of New Orleans natives, he has memories of the annual event stretching back to childhood, though his experience is a little more rarefied than most. "That's where I got to sit on Fats Domino's lap and then hear him play," he says. "It's where I heard Allen Toussaint play for the first time as a child.

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