Dr. John, Dizzy Gillespie, and Branford Marsalis. Later recordings saw them joined by a variety of special guests including Elvis Costello, DJ Logic, Norah Jones, and the man who started it all, Danny Barker. The group has also toured and recorded with jam band Widespread Panic, as well as spending almost all of 1995 as the opening act for The Black Crowes 'Amorica Or Bust' US Tour. In 1998, after a five-year hiatus from recording, the band switched labels to release Ears to the Wall on Mammoth Records. They followed it up in 1999 with Buck Jump which was produced by John Medeski of Medeski Martin & Wood. (Medeski also played Hammond B3 on the album.) Their next album, 2002's Medicated Magic, appeared on Ropeadope Records, as did their subsequent studio release, Funeral for a Friend, which appeared in 2004. Funeral for a Friend represents something of a return to the band's roots: it is a documentation of a New Orleans "funeral with music", the original environment of the brass band form. They appear on the 2005 benefit album A Celebration of New Orleans Music to Benefit MusiCares Hurricane Relief 2005, with the song "Mardi Gras In New Orleans". They were also featured on two tracks on Modest Mouse's album Good News for People Who Love Bad News: "Horn Intro" and "This Devil's Workday." On August 29, 2006, the Dozen released What's Going On, their version of the entire 1971 Marvin Gaye landmark disc What's Going On as a response to the devastation of Hurricane Katrina that struck New Orleans exactly one year earlier. The band appears in performance footage and bandleader Davis is interviewed on screen in the 2005 documentary film Make It Funky!, which presents a history of New Orleans music and its influence on rhythm and blues, rock and roll, funk and jazz. In the film, the band performs "My Feet Can't Fail Me Now" with guests Irvin Mayfield and Troy Andrews. Influence From the beginning, the music of the Dirty Dozen was a departure from the traditional New Orleans brass band sound, and as the band's popularity increased the distance between them and more traditional groups only grew. When Kirk and Charles Joseph left the band suddenly in 1991, citing the pressures of the group's demanding touring schedule, Davis was forced to replace Kirk Joseph not with another sousaphonist but with an electric bass player. Similarly,