“I gather a lot of inspiration from all the piano players of New Orleans and always have their music along with my own songs in my repertoire. So it was natural to just play my favorites, like Rockin Pneumonia, Blue Monday, and my own tip of the hat to Fess- Mojo Mambo.”

Mitch Woods: A Night in New Orleans

MoMojo released the new solo 18-tracks album from five-time Blues Music Award nominee Mitch Woods, A Night in New Orleans, the undisputed King of Boogie Woogie piano, recorded live at the Crescent City’s Snug Harbor nightclub. Known for his electrifying performances with his band, Mitch takes a different path on this special recording – a milestone in his career - stripping everything down to the essentials: just Mitch, his piano and vocals. Recorded live at the legendary Snug Harbor Jazz Bistro during the 2026 New Orleans Jazz & Heritage Festival, A Night in New Orleans captures the magic, energy, and soul of an evening in The Big Easy. A mixture of his own originals and personal favorite boogie-woogie classics, Mitch delivers a performance on A Night in New Orleans with the passion and infectious spirit that has made him a favorite of audiences around the world. Mitch Woods has been performing for over 50 years and is dedicated to keeping a genre of blues alive and vital that has been sorely ignored: jump blues and boogie woogie (which he has coined “Rock-A-Boogie”).

(Mitch Woods / Photo by Jeff Fasano)

He has recorded with a host of his mentors and icons of the blues and R&B, including John Lee Hooker, James Cotton, The Fats Domino Band, Taj Mahal, Elvin Bishop, Charlie Musselwhite, Ruthie Foster and many more. “A Night in New Orleans is not a produced studio recording; it is a raw telling of a night on the town,” adds Mitch. “Just like the streets of the Big Easy, it’s got its potholes, cracks and boozy funk - and I hope you enjoy it as much as we did that wonderful night!” Close your eyes and you'll feel the warm New Orleans night air, hear the rhythm of the city, and experience the joy of live music at its finest. Pour yourself a tall one, settle in, and enjoy an unforgettable night with Mitch Woods.

Interview by Michael Limnios                         Archive: Mitch Woods, 2023 Interview

Special Thanks: Mitch Woods & Mark Pucci Media

Having earned the title "King of Boogie Woogie" mostly by performing with your band, how did it feel to step onto the stage of Snug Harbor with just you, your piano, and your vocals this time?

I like playing solo. I founded and play the Piano Bar or Mitch Woods Club 88 on the Legendary Rhythm & Blues Cruise which is a solo gig. So I am quite used to and good at playing on  my own.

You mention in the liner notes that the New Orleans crowd is one of the most receptive in the world. How did that vibrant live atmosphere shape your improvisations during the recording?

Having a great receptive crowd really makes  you play better. We feed off each other. So I really enjoyed having them sign and clap along with me.

You brought up legends like Allen Toussaint, Henry Butler, and Dr. John who have tickedled the ivories at that very club. Did you feel any creative pressure or responsibility when you sat down at the keys that night?

I always feel pressure to play 100% and playing at a legendary club like Snug Harbor makes  you play even better. I always feel the spirits of the great piano professors watching down on me and helping me along, especially in a place like New Orleans!

The album “A Night in New Orleans” blends your own originals with classic boogie-woogie favorites. What was your criteria for picking this specific repertoire to capture the soul of "The Big Easy”?

I gather a lot of inspiration from all the piano players of New Orleans and always have their music along with my own songs in my repertoire. So it was natural to just play my favorites, like Rockin Pneumonia, Blue Monday, and my own tip of the hat to Fess - Mojo Mambo.

“There are some young boogie players coming up, especially in Europe where they are carrying on the tradition. There is a great young New Orleans pianist, River Eckert who is 16 and killing’ it. People love boogie woogie when they hear it. They just don’t have the opportunity since it’s rarely played on radio these days. So live is important…“ (Photo: Mitch Woods & Fats Domino, New Orleans 1988)

You recalled your bowl of Gumbo Ya Ya and BBQ’d Shrimp at Mr. B’s before heading to Frenchmen Street. Do you feel that the local food and culture are an inseparable part of your musical inspiration?

Well I love to eat and New Orleans is a special food town. They have their mix of cultures that makes the best food. It’s one big gumbo. A little French, A little Cajun, a little Caribbean, and American. Food just like the music in New Orleans is inseparable.

This was recorded during the New Orleans Jazz & Heritage Festival season. What makes those specific days so electric for a blues artist, even on the days in between the festival weekends?

The Days or Daze between the Jazzfest are so much fun and filled with music. All the musicians who are touring are playing in town. The local musicians are highlighted at their favorite clubs. I was honored to be a part of that as well by playing Snug that week. I have played the Fest a bunch of times in the Blues Tent always a blast and big crowd.. This was more intimate. Big fun.

Without the horns and the driving rhythm section of your band, did you have to alter your technical approach to the piano to fill out the sound?

I use the audience as my horn and rhythm section. It works well with the budget (hah!)

With 5 Blues Music Award nominations under your belt, why do you consider this particular raw live album to be such a major milestone in your career?

I do. It is my first solo album of my long career. I now have 15 albums out. I did Friends Along the Way and Keeper of the Flame as duets with many of the Blues Greats, but this was just me front and center.

How do you see the future of traditional boogie-woogie piano today in 2026? Do you see a younger generation showing the same passion for this style?

There are some young boogie players coming up, especially in Europe where they are carrying on the tradition. There is a great young New Orleans pianist, River Eckert who is 16 and killing’ it. People love boogie woogie when they hear it. They just don’t have the opportunity since it’s rarely played on radio these days. So live is important…

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(Mitch Woods / Photo by Jeff Fasano)