Thomas W. Jacobsen (aka Thomas, Tom, or T. W.) was born, raised and educated in Minnesota. He eventually received a Ph. D. in classical archaeology from the University of Pennsylvania.
Until retirement, Jacobsen spent his career in higher education, including 26 years on the faculty of Indiana University (Bloomington). He devoted his scholarly efforts to the study of prehistoric archaeology in Greece and the Aegean Basin. To that end, he worked in Greece for some 35 years, including 25 years as director of the excavations at the important site of Franchthi Cave. He also served as general editor of the multi-volume series Excavations at Franchthi Cave, Greece, published by the Indiana University Press. During his time in Greece, he wrote the first article in English on jazz in Greece (1987).
Jacobsen has been devoted to jazz music since he was a clarinet- and saxophone-playing teenager. It was at that time that he was introduced to New Orleans jazz by listening to the broadcasts of the New Orleans Jazz Club over the powerful Crescent City radio station WWL.
Upon retirement, Jacobsen moved to New Orleans where he has lived for more than 20 years--during which time he has become deeply involved in the local music scene. He has published extensively on New Orleans jazz, having served as a columnist and New Orleans correspondent for the well-known traditional jazz and ragtime monthly The Mississippi Rag. He also served for more than a decade on the editorial staff and was a columnist and feature writer for The Clarinet magazine as well as contributing to a variety of other jazz periodicals. He is the author of Traditional New Orleans Jazz, Conversations with the Men Who Make the Music, LSU Press, 2011.
You will see that I editorialize/personalize here more than on other pages. See also the News (updated regularly) and Comings and Goings (updated as needed) pages, and, of course, the Works page keeps you abreast of some of my publications.
PLEASE NOTE: I have updated my contact address (see the top of the page) and encourage you to use it.
It's time to note some recent recordings that have crossed my desk. In this case, none have New Orleans connections. But they are of considerable interest nevertheless.
*The first was released late last year. It's called Chakra and features the amazing new big band of Ted Nash. The music is Nash's original compositions in a jazz version of traditional Indian "chakras." The recording showcases a number of outstanding soloists including Nash himself on alto sax and flute, Anat Cohen on clarinet and tenor sax, and trumpeter Tim Hagens, among others. I had the pleasure of hearing this band debut the music at Dizzy's in Lincoln Center last November.
*A more recent big band CD worthy of note is The L.A. Treasures Project by the Clayton-Hamilton Jazz Orchestra. This wonderful band led by bassist John Clayton and drummer Jeff Hamilton (who were students at Indiana University when I taught there) plays a series of standards and features (on 8 of the 13 tracks) the vocals of L. A. veterans Ernie Andrews and Barbara Morrison. It was recorded live in San Pedro, CA.
*I have always been a sucker for the vibraphone, so I listened with great interest to this brand new album by young vibraphonist Tyler Blanton. It's called Gotham and consists of a half dozen original compositions by Blanton. I have to say that, while Blanton can clearly play, his music left me rather cold. The one exception was the ballad on the closing track, "Breaking Through the Clouds." Tenor saxophonist Danny McCaslin, whom I have enjoyed in other contexts, redeemed himself from a mostly uninteresting performance with a sensitive rendering here.
*Another new CD of largely original compositions is pianist Ellen Rowe's Courage Music. Rowe is a fine jazz pianist who leads a quartet that includes saxophonist and clarinetist Andrew Bishop (who impressed me particularly on the latter instrument). The group is here joined by acclaimed trumpeter and flugelhornist Ingrid Jensen, who demonstrates why she is so highly regarded. And guest trombonist Paul Ferguson distinguishes himself on a lovely ballad, "Gentle Spirit."
*Again, more original compositions by a fine female pianist. Her name is Leslie Pintchik, and her CD is called In the Nature of Things. The album showcases Pintchik and her sextet featuring the horns of Ron Horton (trumpet, flugelhorn) and Steve Wilson (alto and soprano saxophones), plus a more than competent rhythm section. Some pleasing melodies here performed by a group of talented musicians. This was probably my favorite recording of this batch of CDs.
The French Quarter Festival comes to a close today. Apart from giving my talk at the NOIMC yesterday, I attended only parts of the first two days and did not go out to face the crowds today. The weather has been beautiful, the music varied and good, and the turnout probably record setting. But the FQF is not the relatively intimate affair that it once was. It now covers a large part of the French Quarter and attracts huge throngs, much like Jazz Fest. For me, it just ain't the same... See the photos page for some of the acts that I managed to catch.
One of the brightest young stars on the national jazz scene appeared at Tulane University this evening as part of a series honoring women in jazz put together by Tulane's jazz program director, Jesse McBride. That would be alto saxophonist Tia Fuller , who performed with Tulane jazz studies students in the university's Ratskellar club. Ms. Fuller has appeared with many of the leading national jazz groups including that of fellow female star Esperanza Spaulding. See photos page.
French Quarter Festival begins on Thursday, the 10th and will run through Sunday, the 13th. I will be giving a talk about my upcoming book at the New Orleans International Music Colloquium in conjunction with the Fest on Saturday, the 12th.
International Jazz Day Events in New Orleans to Honor Harold Battiste
The New Orleans chapter of the Jazz Journalists Association (JJA) is pleased to announce the following events to honor Harold Battiste, its recipient of a 2014 JJA Jazz Hero award, in conjunction with International Jazz Day on April 30, a day officially designated by the United Nations Educational, Scientific and Cultural Organization (UNESCO) in order to highlight jazz and its diplomatic role of uniting people in all corners of the globe.
JJA "Jazz Heroes" are activists, advocates, altruists, aiders and abettors of jazz who have had significant impact in their local communities. The "Jazz Hero" awards, made on the basis of nominations from community members, are presented in conjunction with the Jazz Journalists Association's annual Jazz Awards honoring significant achievements in jazz music and journalism. In 2013, the JJA recognized saxophonist and Louis Armstrong Summer Jazz Camp Artistic Director, Kidd Jordan, who headlines the camp’s first 20th anniversary concert series performance on May 1, 2014, at Café Istanbul (2372 St. Claude Ave.) at 9 p.m.
To learn more about the JJA Jazz Hero Award, visit www.jjajazzawards.org/p/2014-jazz-heroes.html. To learn more about International Jazz Day, visit jazzday.com.
International Jazz Day events in New Orleans to honor JJA Jazz Hero Award Recipient Harold Battiste:
1) Jesse McBride presents The Next Generation Tribute Performance in Honor of Harold Battiste
Louisiana Music Factory - 421 Frenchmen St.
Wednesday, April 30, 4:00p.m.
Pianist and bandleader Jesse McBride, the current director of the Next Generation band that Harold Battiste founded, will perform a set of Battiste compositions with the newest members of The Next Generation. (Free and open to the public.)
2) Harold Battiste Award Presentation, "Harold Battiste Day" Proclamation, and Concert Tribute featuring Jesse McBride presents The Next Generation
The Prime Example Jazz & Blues Club - 1909 N. Broad St.
Wednesday, April 30, 6:30 p.m.
The Jazz Journalists Association of New Orleans will present Harold Battiste with the 2014 Jazz Hero award, and a local city official will declare April 30 as Harold Battiste Day in New Orleans. A tribute concert will follow featuring Jesse McBride presents The Next Generation. (Free and open to the public.)
About Harold Battiste:
The New Orleans Jazz Journalists Association members have chosen to honor Harold Battiste, Jr. for his progressive, innovative and creative contributions to the jazz and R&B scene from the 1950s into the present – a music and cultural timeline of more than 60 years.
After developing a prolific and influential career as a producer, arranger, composer and saxophonist in both California and his native New Orleans, Battiste recognized a major hole in the music industry and, in 1961, founded All for One (AFO) Records, the nation’s first record label owned and operated by African-American musicians. AFO recorded the first wave of contemporary jazz artists in New Orleans, including clarinetist Alvin Batiste, drummers Ed Blackwell and James Black, jazz vocalist Germaine Bazzle, saxophonists Nat Perrilliat and Alvin “Red” Tyler, and pianist Ellis Marsalis. (The label and its concomitant foundation continue to support the efforts of today’s top African-American musicians, particularly those in New Orleans.)
In addition to his work in the jazz industry, Battiste launched the pop careers of Sam Cooke, Sonny & Cher, and Dr. John. He produced and arranged 10 gold records, including hits which defined several music eras, “I Got You, Babe” and “The Beat Goes On” (Sonny & Cher), “You Send Me” (Sam Cooke), “I Know [You Don’t Love Me No More]” (Barbara George) and “You Talk Too Much” (Joe Jones). Battiste also mentored Mac Rebennack, created the persona of “Dr. John, The Nite Tripper,” and produced Dr. John’s critically acclaimed album, Gris Gris. In the late ‘80s, Battiste partnered with Ellis Marsalis to build the renowned Jazz Studies program at the University of New Orleans. He developed an impressive flock of protégés, including many of today’s leading jazz musicians – Branford and Wynton Marsalis, Irvin Mayfield, Rex Gregory and Jesse McBride (bandleader of the Next Generation band, another Battiste vision).
Battiste was able to share aspects of his life story that had been overlooked for many years with the 2010 publication of Unfinished Blues: Memories of a New Orleans Music Man (co-authored with Karen Celestan and published by the Historic New Orleans Collection).
Harold Battiste, Jr. is a true Jazz Hero for his vision in the creation of AFO Records; his large body of work as a composer, arranger and musician, both within and extending beyond the jazz paradigm; and his ongoing commitment to music education in New Orleans. His devotion to the art of music and community has fostered a living legacy in the city of New Orleans through his jazz students and the creation of the Next Generation band.
*For more background on Mr. Battiste’s decade-spanning career and lasting impact on jazz, please check out John Swenson’s piece, “All For Harold,” in the April issue of OffBeat magazine:
Clarinetist Evan Christopher was interviewed this afternoon by Fred Kasten in the monthly "Talkin' Jazz" series at the Old Mint. (See photo page.) Christopher, who travels about six months a year, is probably the hottest clarinetist in town and, indeed, one of the hottest in the country these days. Among his always thoughtful comments was, "At this point in my career [he's now 45], I am not a jazz musician at all." Well, he could have fooled me! But, in this age of terming Dizzy and Bird examples of "classic jazz," maybe I understand. Labels can be misleading. Evan went on to emphasize, "I play New Orleans clarinet"--explaining that it is kind of an ethnic style something like the Greek or Turkish clarinetists. I would have liked to pursue the topic with him, but there was no opportunity for a question/answer session after the interview. In any case, if one listens to him, it is easy to see what he means by his reference to the New Orleans clarinet style. There are abundant allusions to the likes of legendary New Orleanians Sidney Bechet, Barney Bigard, Jimmie Noone, Albert Nicholas, etc. This is readily evident in his current CD, just out, Django a la Creole Live, the third in his series of Django a la Creole recordings. It is on the French" lejazzetal" label (LJCD 14) and a wonderful collection of works by Django, Jelly Roll, Ellington and others. But it is difficult for me to call the music anything but an excellent example of classic jazz.
Speaking of which, I would mention here another good recent CD (also recorded in Europe) by a group led by veteran New Orleans drummer, Trevor Richards. (The International Trio is a group that Christopher also recorded with some years ago.) In any case, I refer you to my brief review of the CD in the current (April) issue of Offbeat magazine. (See works page.)
Superb clarinetist Paquito D'Rivera is in town this weekend for a concert with the Louisiana Philharmonic Orchestra at the Mahalia Jackson Theatre tonight. Last night he gave a master class for clarinet students at Loyola University. The students performed individually and in groups and Paquito critiqued their playing. Needless to say, a number of local clarinetists were in the audience, e.g., Evan Christopher, Greg Agid, and Michael White. The evening concluded with the Cuban-born clarinetist and his pianist Alex Brown doing a Brazilian choro. They were then joined by White, Christopher and Agid in an improvisational blues. Splendid! It was a wonderful session of music. D'Rivera is not only a world-class clarinetist/composer (and alto saxophonist), but he is a fine human being with a zany sense of humor as well. See photos page.
My daughter and her family are visiting. They had hoped to catch Super Sunday yesterday, but it was called off because of the threat of rain. Nevertheless, with the help of friend Cherice Harrison Nelson, we were able to experience several Mardi Gras Indian activities over the weekend. On Saturday, we attended the funeral of Chief Derrick Magee at the Mt. Moriah Missionary Baptist Church in the Upper Ninth Ward. There was also a reception for the Guardians of the Flame at the McKenna Gallery that day. On Sunday, we visited for the first time the impressive new Donald Harrison Sr. Museum in the Upper Nine, where Cherice and her mother shared their thoughts about Mardi Gras Indian traditions. A wonderful experience for all of us. See photos page.
Wrapping up some old business here are a couple of CDs from last year (2013) that deserve attention:
The first one has been around for a while. It is the latest by the Preservation Hall Jazz Band and is entitled "That's It." As the liner notes and promotional materials emphasize, this recording represents a dramatic change of course for the PHJB. For one thing, apart from two "bonus tracks," the other 11 numbers are all original compositions by band members (mostly by leader Ben Jaffe) and all include vocals by most of the band. The presence of Ronnell Johnson on tuba gives several pieces a brass band feel, also something new for the band. Notable instrumental contributions come from ace trumpeter Mark Braud and veteran clarinetist Charlie Gabriel. There's much to like about this recording, and I am happy to recommend it.
Another worthy offering by a local band is the latest by Tuba Skinny , an outstanding young group (as I have indicated elsewhere in these pages). Called "Pyramid Strut," it is a collection of wonderful--but not often heard--tunes from the Classic Jazz era. The group has a real feel for the traditional blues, and that is most evident in the Bessie Smith-like voicings of vocalist Erika Lewis. She is heard to great advantage on most tracks. Instrumentally, I would draw attention to the cornet of Shaye Cohn and trombonist Barnabus Jones. For fans of Classic Jazz, this band deserves your serious attention.
The first Nickel-A-Dance session of the season got off to a most auspicious start this afternoon with a wonderful performance by Mitchell Player's Ella and Louis Tribute Band doing the music of Ella Fitzgerald and Louis Armstrong. The band consisted of Player on bass, along with Leon Brown (trumpet and vocals), Todd Duke (guitar), Leslie Martin (piano) and Gerald French (drums)--a fine group. But the highlight had to be the voice of U. K. native Eileina Dennis, now a New Orleans resident. She was outstanding and had the large crowd in the palm of her hand. She's clearly here to stay! See photos page.
The Louisiana Music Factory had its grand re-opening at 421 Frenchmen Street today. It is a sparkling new venue, and owner Barry Smith hosted a series of bands to celebrate the occasion. First on the agenda was the talented young group Tuba Skinny headed by the gifted multi-instrumentalist Shaye Cohn. (In case you haven't heard, Cohn is the daughter of guitarist Joe Cohn and granddaughter of the great saxophonist Al Cohn. Shaye moved to New Orleans from the East Coast shortly after Katrina and has been a prominent contributor to the local music scene ever since.) Cornetist Cohn was joined by Craig Flory on clarinet, Barnabus Jones (trombone), Greg Sherman (guitar, vocals), Todd Burdick (tuba), Robin Rapuzzi (washboard) and Erika Lewis (vocals and bass drum). I can only guess that the group's name is a spinoff of the late bassist Tuba Fats Lacen, but they are a collection of young professionals who have a truly authentic grasp of traditional jazz. See also photos page.
Yesterday morning, I joined a large gathering at the corner of Martin Luther King Blvd. and Oretha Castle Haley Blvd. in Central City to celebrate the groundbreaking of the New Orleans Jazz Market. The brainchild of Irvin Mayfield and Ron Markham of the New Orleans Jazz Orchestra (NOJO), along with the financial support of many others, the Market will be a community jazz center whose 14,000 square feet will be devoted to both performance and exhibition space.
In addition to Mayfield and Markham, the ceremony featured remarks by a host of local dignitaries and included the induction of pianist Ellis Marsalis and trumpeter Lionel Ferbos as the first members of the Market's Walk of Fame. Famed singer Dee Dee Bridgewater, honorary chairperson of the NOJO board, was also on hand. She, Marsalis and Mayfield concluded the program with a lovely rendition of "On the Sunny Side of the Street."
The grand opening is expected to be early next year. The site promises to be a major venue for the New Orleans jazz scene. (See photos page.)
Carnival is in full swing, with parades (and never-ending street repairs) clogging city thoroughfares and thus making circulation difficult --depending on where one lives in the city. (In my case, we live in Mid-City, near Bayou St. John.) Starting on Wednesday, the 26th, there will be multiple parades every day/night right through Mardi Gras on March 4. Yet daily live musical events don't cease for the season. It's just difficult to access them unless you live downtown.
So, how did you find "The Whole Gritty City"? It was sobering, to be sure, but maybe that group of youngsters will produce another Trombone Shorty or two. At the very least, their lives will be infinitely enriched by devoting themselves to music rather than the other less wholesome distractions available to them. God bless Derrick Tabb and school band instructors like Wilbert Rawlins for their dedication to the task. What do you think?
Something good to look forward to:
Saturday, February 15, 9pm Eastern and Pacific, 8pm Central and Mountain, CBS 48 Hours Presents “The Whole Gritty City”
It’s an unusual, amazing opportunity to bring to people across the country the voices of struggling, vibrant, aspiring kids, to show them the sights and sounds of New Orleans and to introduce them to the band directors who are true American heroes.
What could be more appropriate as the Carnival parades are about to start? For more, check out: firstname.lastname@example.org.
It is about time, once again, to note some of the better (but by no means all) CDs that have recently come across my desk. The first three were released last year, while the last two just came out last month. None of them, I hasten to add, are by New Orleans musicians. Yet all are worthy of your consideration.
*Rotem Sivan Trio, Enchanted Sun(Steeple Chase). Foreign-born guitarist Sivan now lives in New York City and has achieved quite a following since this debut recording. In addition to a couple of standards, the program here includes some interesting Asian sounds.
*Enrico Granafei, Alone (and) Together (CAP). If you dig jazz harmonica (and there have been some good ones over the years), you'll like this. Another musician from abroad who has settled in the States, Granafei has been well-received in this country. Here he is joined by several outstanding jazz artists, including trumpeter Wallace Roney, pianist Amina Figarova and guitarists Dave Stryker and Vic Juris. They perform a tasteful selection of standards and originals including Body and Soul, 'Round Midnight, Cherokee, and Giant Steps.
*Wayne Wallace Latin Jazz Quintet, Latin Jazz, Jazz Latin (Patois). Five-time Grammy nominee trombonist/composer Wallace is heard here with his quintet and special guests that include 17-year-old flutist Elena Pinderhughes. The program includes jazz standards as well as Latin favorites featuring percussionists Pete Escovedo and Michael Spiro. Wallace has recently been appointed professor of jazz at Indiana University's prestigious music school.
*Another Latin recording is Beautiful Love (Shrinktunes) featuring Brazilian guitarist and vocalist Paulinho Garcia. It is collection of jazz standards, works by Brazilian composers (including Jobim) and a Garcia original. This is easy listening.
*The last CD is Tribute (Miles High Records) featuring the fine New York tenor saxophonist Tim Hegarty. (The tribute is to Monk and host of tenor saxophone icons.) Hegarty is joined by a star-studded supporting cast including pianist Kenny Barron, vibraphonist Mark Sherman, bassist Rufus Reid, and Carl Allen on drums. They play nine jazz standards plus a Hegarty original. This is an excellent recording and my favorite among this batch of CDs.
I checked out an excellent master class by ace drummer Herlin Riley at the Old Mint this afternoon. The class was moderated by Matthew Schilling of the New Orleans Youth Sound Exchange for his students ranging in age from 11 to 18. (See photos page.)
Later in the evening I attended the first show of the Christian Scott Quartet at Snug Harbor. Scott, now 30, is a native New Orleanian (NOCCA grad) whom I vividly remember as an extremely talented teenager. He has been recording since he was 16. Since then, he went on to graduate from Berklee in Boston and sign a recording contract with Concord Records. He has become one of the hottest young trumpeters in the jazz world today.
Scott's current touring group consists of outstanding young musicians: pianist Lawrence Fields, bassist Kris Funn and drummer Corey Fonville (just 23). In addition, he had with him his wife, singer Isidora Mendez Scott (who did her version of the Gershwin classic "Summertime") and guitarist Cliff Castle, a newcomer to the group. The rest of the program consisted of original compositions by the trumpeter that reveal him as gifted composer as well as high energy soloist. Both the 8:00 and 10:oo pm sets were sold out, and the crowds loved him. He's another in the long line of marvelous trumpet players from our city. (See photos page.)
The Norwegian Seamen's Church on Prytania Street welcomed back an old friend for its monthly jazz service this morning. Trumpeter/vocalist Gregg Stafford and his quartet--Daniel Farrow, tenor sax; Detroit Brooks, banjo; Sidney Snow, bass--played a spirited program of traditional hymns that had the congregation clapping in time with the music. Stafford has been a longtime contributor to the music at the church, and a good friend of Norway as well. See photos page.
I witnessed an exciting musical performance last night before a full house at Snug Harbor. The featured group was the excellent Richard Johnson-Christian Winther Quartet. You may recall that I recently reviewed with pleasure the duo CD of Johnson and Winther (see below). The latter is very familiar to me and one of my local favorites. But this was my first opportunity to hear Johnson live, and I was duly impressed. First-class chops! As I said in my review, he and Winther interact very well, always aware of what the other is doing. And they were joined by a talented rhythm section composed of Stephen Gordon, drums, and Jason Weaver, bass. All in all, a wonderful combination, and the large crowd truly appreciated it. I look forward to their next CD together. (See photos page for pic of Johnson.)
The so-called "noise ordinance" followup meeting was held on January 27, as promised. (See below.) The highlight of the lengthy session in which both musicians and club owners took part, was probably the brief comments of Deacon John Moore, president of the local musicians' union. He opened his prepared remarks by saying, "Only with cooler heads and informed sources will we prevail." While he "resented" music being referred to as "noise," he admitted that "sometimes it gets so loud that you have to call it noise." Yet he put the blame on the clubs, whom he called "the real culprits." He said that the club owners are telling the bands to play louder. Accordingly, he suggested that more soundproofing is needed in the clubs, outdoor speakers need to be removed and speaker placement within the clubs needs to be reorganized to produce more the effect of surround sound. But he said his "primary" and "paramount" concern was the health of the musicians themselves. "I know musicians who can't hear," he said. That point was echoed by clarinetist Tim Laughlin later on, and I can testify that I have known many musicians with hearing impairment. We all know that the success of a band/combo is determined by each player listening to his fellow players. As Deacon John noted, the common law among musicians is "if you can't hear me, you're playing too loud." In short, the meeting was much more restrained than the earlier one. The council seems to have heard enough testimony, but its resolution to the issue has yet to be announced. Stay tuned.
To continue to follow the situation, turn to the website MaCCNO.com.
I had the distinct pleasure last night of hearing a wonderful concert billed as "The Kremlin Meets the Crescent City" at Lupin Memorial Hall, New Orleans Center for the Creative Arts (NOCCA). It featured the internationally acclaimed Igor Butman Jazz Orchestra from Moscow, Russia. They were paired with our own fine Uptown Jazz Orchestra led by trombonist/composer Delfeayo Marsalis. It was my first opportunity to hear the famed Russian tenor saxophonist, who has been called "maybe the greatest living jazz saxophonist" by none other than President Bill Clinton. He is clearly a world-class tenor player (he performed on alto and soprano as well), and his excellent band was a well-oiled machine that totally understands the meaning of jazz. Butman had with him an amazing multilingual female vocalist, Fantine (Pritoula), who also knows the meaning of swing. They are an outstanding musical organization.
On the New Orleans side of things, Delfeayo assembled a ensemble of some of the best young talent in the city. They proved to be a ferociously swinging group as well. Among the featured performers were pianist Ellis Marsalis, the father of the bandleader, and pianist/singer Davell Crawford.
The two bands alternated with one another in presenting five different numbers, concluding with a combined jam that rocked the house and had the audience on its feet.
The Russian aggregation ended their U. S. tour (by no means their first) with this performance in New Orleans. They also appeared at Snug Harbor on the 22nd and at a high school on the suburban North Shore on the 23rd.
Finally, I should mention the CD that skyrocketed Butman to international fame in 1997. It is called "Nostalgie," and I recommend it highly. It was recorded in New York City and includes several American musicians.
For more about Mr. Butman, check out his website www.igorbutman.com. (See the photos page.)
We are now back from Florida, and it is finally time to draw attention to a serious issue that has been brewing in this city for some time. It concerns public musical performances--characterized as "noise" by those with tin ears who oppose it--and it came to a head in late December with a somewhat clandestine move to get the City Council to approve an ordinance to curtail it.
The Council was to hold a hearing on the proposed "noise ordinance" at City Hall at noon on Friday, January 17. An hour before the scheduled meeting, a rally of hundreds of protesters (as many as 700 according to one report) was held in Duncan Plaza in front of City Hall. The rally included countless musicians as well as other sympathizers and had been organized by the Music and Culture Coalition of New Orleans (MaCCNO), a group that has concerned itself with many cultural issues of this kind.
As it turned out, the Council cancelled the proposed noon meeting. But that did not keep several hundred from the rally from entering the Council chamber and expressing their concern (to the one Council member, LaToya Cantrell, who was on hand). The group included many musicians, a few club owners and other interested persons. They learned that a new ordinance proposal will soon be made public, with another hearing scheduled for Monday, January 27. While I missed the first open meeting by being out of town, I fully intend to be at the next meeting.
At this point, we have no idea what will eventually come to pass. But it seems pretty clear that the situation has not been resolved by any means. (See Jan Ramsey's commentary in the Weekly Beat on line, January 22: "The noise issue was not ended by last week's rally. The fight is still on.")
In the meantime, you can follow the happenings on the Coalition's website: MaCCNO.com.
January 8, 2014
Warm wishes, indeed! The new year got off to a miserable start with a cold spell that blanketed most of the country, including even the "dear old southland"--with New Orleans experiencing two days of record sub-freezing weather. Things have begun to improve gradually, but my wife and I are taking no chances and will be traveling to Florida (to visit my son and his family) from January 14 to the 21st. Eat your hearts out, Yankees...
FYI. Just out from Duke University Press a new book, Roll With It, on the New Orleans brass band scene. Its author is Matt Sakakeeny, assistant professor of music at Tulane University. I look forward to checking it out.
As 2013 draws to a close, let me send to all of you out there in Webland my warmest wishes for the new year. May 2014 be all that you would like it to be. Peace.
The legendary jazz industry mogul and jazz maven George Buck was put to rest this weekend with a wake on Friday evening at the Charbonnet Funeral Parlor and a funeral mass at noon on the following day at St. Mary's Catholic Church. Buck will always be remembered as a generous patron of traditional New Orleans jazz and supporter of New Orleans jazz musicians. He would have been 86 on December 22.
Both events were attended by large throngs of relatives, friends and admirers. Rev. William Maestri and George's son, George S. Buck ("Beau"), gave moving recollections at the funeral service. The service was followed by a spirited second-line parade from the church to the Palm Court Jazz Café, where a repast was enjoyed by all. Our thoughts are with George's wife Nina and their family.
I have observed numerous jazz funerals since moving to this city more than two decades ago, but I have not been part of one that was more impressive and tasteful than this one.
It was as a New Orleans jazz funeral should be !
With Christmas just a week away, I thought I would share my favorite Christmas CDs. They are, in chronological order:
--Butch Thompson, Yulestride (Daring, 1994) Wonderful solo piano and one of my longtime favorites.
--Ellis Marsalis, A New Orleans Christmas Carol (ELM, 2011) Marsalis on piano with an excellent group that includes son Jason on percussion and vibes and Johnaye Kendrick, vocals.
--Doug Munro and La Pompe Attack, A Very Gypsy Christmas (GMR, 2011) Holiday favorites played in a swinging Django style and featuring Ken Peplowski on clarinet.
It's time to make note a few recordings that have recently come across my desk. All are 2013 releases:
--Clarence Johnson III, Watch Him Work. Johnson is one of the top contemporary saxophonists in New Orleans. In this recording, however, he's heard in a different stylistic groove: jazz fusion and what is often called "smooth" jazz. He plays mostly original compositions on both soprano and tenor saxophones.
--Rick Trolsen, Rick Trolsen's New Orleans Po'Boys. An outstanding trombonist, Trolsen is also heard here singing and playing piano on a half dozen of his original compositions, plus a number of traditional evergreens. This is Dixieland jazz at its best played by a group of guys who know what they're doing.
--Frank Wess, The Flute Mastery of Frank Wess. Wess is arguably one of the top jazz flutists of the 20th century. Here, the late New Orleans producer Gus Statiras has reissued a collection of 1981 recordings by the great flutist and his fine quintet. It includes several jazz standards as well as a couple of Wess originals.
--The Bill McBirnie Trio, Find Your Place. While there is no New Orleans connection here, the Canadian McBirnie is another wonderful flutist. Some lovely playing here in the interesting context of flute, Hammond B3 organ and drums. I enjoyed listening to it.
--Davy Mooney, Perrier Street. This fine CD showcases not only Mooney's fine guitar work but reveals his talents as a composer and arranger. Joined by a group of the city's top younger players, Mooney has produced my kind of music: lovely and at the same time featuring outstanding soloists. Davy is clearly a multi-talented artist, having published his first novel, Hometown Heroes earlier this year. For a picture of Mooney, see the photos page.
Copy-editing of book now complete, index and page proofs remain to be done. It looks like the title of the book will be The New Orleans Jazz Scene, 1970-2000: An Insider's Retrospective. It should be out sometime next year. I'll keep you advised.
The Palm Court Jazz Café hosted a memorial tribute for ace clarinetist Jack Maheu who passed away in August at the age of 83. Tim Laughlin served as emcee and had some nice words to say about his longtime relationship with Jack. Others who spoke in remembrance of Maheu were Tom McDermott, Deano Assunto, Jack's half brother from California Jim Hargraves and myself. Bruce O'Neill sang one of Maheu's novelty compositions, "There's Something in the Water." Music was provided by a band made up of Laughlin, clarinet; Eddie Bayard, trumpet; David Boeddinghaus, piano; Tim Paco, bass; and Herman Lebeaux, drums. A large crowd gathered for the occasion. (See photos page.
Starting the copy-editing process for the new book. Ugh.
The Palm Court Jazz Café opens once again after its annual summer hiatus. Clarinetist Tim Laughlin is scheduled to provide the music on opening night.
I have never done this here before, but I have heard so many good new recordings that I want to share a few of them in this column. All have been released this year, and all have made a most favorable impression upon me:
--Harold Battiste Presents: The Next Generation Big Band, AFO Foundation recording. If you like big band jazz, you'll love this one. It's an awesome assemblage of some of New Orleans' best young talent playing original music by Battiste (mostly), Ellis Marsalis and James Black--the old AFO crowd.
--Meschiya Lake and the Little Big Horns, Foolers' Gold, self-produced. Lake is one of the city's top female vocalists, who has begun to gain a formidable international reputation as well. This CD reveals her stylistic versatility, with some very nice instrumental accompaniment by her own fine band and several distinguished guest artists. See the pic of her and her band on the Photos page.
--Christian Winther and Richard D. Johnson, Two People, The Music of Billy Strayhorn, twopeopleproductions. Danish-born New Orleans resident Winther is perhaps my favorite all-around local reedman. He is here joined by pianist Johnson, a native of Pittsburgh (the home of legendary pianists Earl Hines and Errol Garner). Winther is heard on both tenor sax and clarinet. He and Johnson make a most symbiotic duo performing the wonderful music of the great Billy Strayhorn.
--Ken Peplowski, Maybe September, Capri Records. This is the latest by Peplowski, who is arguably the top jazz clarinetist in the country. He's also a fine tenor saxophonist, and he is heard in a quartet context on both instruments in this recording. Ken is the only non-New Orleanian in this group of CDs, but he has appeared here many times. My 2003 interview with Peplowski can found in the Archive page.
Just back from Baton Rouge today, where I learned that my current book is on schedule to be published by the Louisiana State University Press by fall, 2014. The (tentative) title is An Illustrated Survey of the New Orleans Jazz Scene from 1970 to the Present, Volume 1. (It is not a coffee table book.) I have already started working on volume 2.
The big news this month was, clearly, the celebration of the 102nd birthday of trumpeter/vocalist Lionel Ferbos. There was a splendid birthday party at the Palm Court Jazz Café that evening attended by a packed/SRO house. Lionel was in great shape and sat in with the house band as both instrumentalist and vocalist. He is truly unique! See Photos Page for a few pics of the event.
June 1, 2013
Today is the official first day of the 2013 Atlantic Hurricane Season, and Mayor Landrieu advises that it is time to get ready for it. It is expected to be an active season, hopefully not as serious as the worst in 2005 (which included Katrina and Rita and 24 other named storms) or even last year (the third worst, with 19). Indeed, four of the last five years have been in the top five in numbers of named hurricanes. (Given that, coupled with the dreadful May tornado activity in the Midwest, can anyone seriously doubt the evidence for climate change?) Yet Landrieu and other metropolitan area officials say that we are better prepared this year than ever before. Let's hope so. The hurricane season lasts through November with the worst usually taking place in August and September.
SORRY ABOUT THE HIATUS. I HAVE BEEN WORKING FEVERISHLY ON MY NEW BOOK(S), TENTATIVELY TITLED "MY YEARS IN THE CRESCENT CITY: AN ILLUSTRATED SURVEY OF THE NEW ORLEANS JAZZ SCENE FROM 1970 TO THE PRESENT." IT WILL APPEAR IN TWO VOLUMES: I (1970-2000) II (2000-PRESENT. VOLUME I IS PRESENTLY IN PRESS (LSU), AND I AM WORKING ON VOL. II. BE PATIENT. I'LL BE BACK SOON. IN THE MEANTIME, ALL THE BEST FROM THE BIG EASY.
By the way, check out the Photos page for pics from the BAYOU BOOGALOO, which took place at the south end of Bayou St. John in Mid-City on the weekend of May 17-19.
January 1, 2013
HAPPY NEW YEAR!!
I continue to spend most of my time working on my current book, which I hope to send to the press by the end of the first quarter of this year. It's a slow slog, however, what with preparing the photos (I expect to use many) and writing the text.
My wife and I will be leaving on January 15 for about a 10-day trip to Santo Domingo, D. R., the oldest city in the western hemisphere. It will be interesting historically and, I hope, musically. (The D. R. is the home of the popular merengue.)
It now looks as if my book tentatively called "New Orleans Jazz from 1970 to the Present" (LSU Press) will appear in two volumes rather than one. The first volume would be from 1970 to 2000, and the second would cover the remaining time. At this time I am close to completing a draft of Volume I. I expect it to be well illustrated with pictures from my personal collection. I will attempt to keep you updated on my progress. This will explain in large part why I have not kept up in recent weeks with my promise keep the site updated. I'll do better when I get the book off to the press.
I have been deeply involved over the last month in trying to analyze my collection of >10,000 jazz-related photographs, which I recently had scanned from the negatives. (I've not even begun to deal with the digital photos.) My final selection will be used for the two books I am currently working on for the LSU Press: 1) a history of New Orleans jazz from 1970 to the present and 2) a lighter/more personal
look (in photos) at the last quarter century of New Orleans jazz. I note this to explain, at least in part, why my entries at this site have been so sporadic.
For those of you who are so inclined, this is to advise you of a "Jazz for Obama 2012" concert to be held in NYC on Tuesday, October 9 at 7:30 pm. The performance will consist of a host of superlative jazz artists. For more, see www.jazzforobama2012.com.
Vote for NOMC&AF today!
We are so pleased to announce that The New Orleans Musicians' Clinic and Assistance Foundation (NOMC&AF) was nominated to take part in the Chase Community Giving campaign. Chase will be giving 196 chosen charities part of $5 Million in grants. To be one of the 196, we need YOUR help. Voting started September 6, 2012 and ends on September 19th, 2012.
There are several ways to vote:
1. If you bank with Chase you can log onto your account and vote.
2. If you do not have a Chase account, you can vote via Facebook. (Chase account holders can vote via Facebook as well as through their account.) If you share it with your friends on Facebook, you will even receive an extra vote!
3. You can vote only once for NOMC&AF (Chase account holders can give us two votes) so we need to get the word out to as many as possible!
To vote, we are listed as the New Orleans Musicians' Assistance Foundation.
Why should you vote?
Governor Bobby Jindal recently decided to decline Louisiana's participation in the Medicaid expansion per the ACA (Affordable Care Act) and divert Federal Medicaid funding to coastal restoration efforts. This decision will impact the NOMC by cutting its medicaid/GNOCHC funding by 15% and will result in an across-the-board cut in services given to NOMC&AF and its medical partners by the government.
Receiving funds from Chase will help alleviate a portion of this cut funding.
Help us keep the music ALIVE with a SIMPLE CLICK!
Breaking news! The New Orleans Traditional Jazz Camp has been so successful that it will have TWO camps starting in 2013: June 9-15 and July 28-August 4. Registration is now open. So, check their website (link at right) for details.
My wife and I sold our Uptown house in late July and moved to an apartment complex in Mid-City. Accordingly, much of July and early August was taken up with packing, moving and unpacking so my recent entries here have been sporadic. I did manage to catch some of the action, however--not least the sad passing of Lionel Batiste, the joyous 101st birthday celebration of Lionel Ferbos and the annual Satchmo SummerFest--among other things. See the photos page for a selection of pics during later July and early August. But the tedious unpacking still continues...
I had the good fortune of sitting in on clarinetist Joe Torregano's recording session at Word of Mouth recording studio in Old Algiers this afternoon. Torregano was joined by his brother Michael, the fine pianist; Tim Paco on bass (and sousaphone); Hurley Blanchard, drums; and, on one track, Anthony Bennett on bass drum. I expect to be doing the liner notes for the eventual CD, but more about all of that later. See Photos page for pics from the session.
I might add that Bennett's Original Royal Players Brass Band most recent CD is called "In their Footsteps." It's a combination of originals and trad standards played by a fine group of local musicians. I am happy to recommend it. It should be available at the Louisiana Music Factory (see thier link at the right).
I'm interested to see that Air France is sponsoring this year's Django Reinhardt NY Festival featuring "the young lions of gypsy jazz." The list of contributors includes the likes of the ubiquitous clarinetist Anat Cohen, but no one from New Orleans--not even Evan Christopher or his colleagues from France (surely Air France could have brought them over), Matt Rhody, Chris Kohl, Tony Green or the MANY other locals who are Django devotees. Just another example of the Big Apple's ethnocentricities and provincialism, in my opinion.
I had the pleasure of speaking to the students at the New Orleans Traditional Jazz Camp headed up by Banu Gibson, Leslie Cooper, and Nita Hemeter this morning. The title of my talk was "Whither Traditional Jazz? Some Thoughts about 'Exposing Traditional Jazz to a Larger Audience.'" I enjoyed meeting and talking with a number of the camp's adult "students," who come from all over the country and many of whom are gigging musicians themselves.
The 12th annual "Ladies in Red" Gala, sponsored by the Preservation Resource Center (a
worthy organization) will begin a 7 pm on this day. They annually honor local musicians
(again, a most worthy endeavor), and this year's honorees are: clarinetists Charley Gabriel and Tom Sancton, trumpeter Gregg Stafford, pianist/composer Allen Toussaint, and two fine clubs: the Palm Court Jazz Cafe and Sweet Lorraine's Jazz Cafe. The cost of tickets, however, will be prohibitive for all but the affluent (or pretenders). For details, however, check their website prcono.org.
As I continue my research for my new book for LSU Press, I came across the death notice of the great local pianist Ed Frank (1933-1997). As many fans of New Orleans jazz know, Frank was a talented arranger and pianist in both the trad and modern styles--in spite of the fact that his left arm had been partially paralyzed since he was in his twenties. That further reminded me of an interview I conducted with guitarist Steve Blailock in 2007 at the Ascona Festival in Switzerland, where Frank's memory was being celebrated. I have put that interview on the Works page here.
Wednesday, May 9
The official release of Leroy Jones and the New Orleans-Helsinki Connection's new CD, "Paradise on Earth," will take place at Café Istanbul (in New Orleans Healing Center), 2372 St Claude Ave, New Orleans, LA 70117. Featured on the album, in addition to Jones (trumpet) and his wife Katja Toivola (trombone), will be guitarist Todd Duke, pianist Paul Longstreth, bassist Nobu Ozaki, drummer Jerry Anderson and special guest vocalist Tricia Boutte (who now lives in Norway).
FYI department. I am presently working on two books, again to be published by the LSU Press. And I just received a Community Partnership Grant from the New Orleans Jazz and Heritage Foundation to help me do just that. Needless to say, I am extremely grateful for the NOJ&HF's generous support. The one book will be a history of N. O. jazz (trad and "mod") from 1970 to 2010, something of a sequel to Charlie Suhor's fine book which carried the story from the end of WWII to 1970. I would hope to have it finished by Christmas. The second one will be a picture book based on my personal collection of > 13,000 images that I have taken over the years. The grant will help me get them scanned, then printed according to LSU's publishing standards. It will attempt to cover all aspects of New Orleans jazz during my time as a resident here. It will be called, tentatively, "A Quarter Century of New Orleans Jazz." I won't start that until I've finished the first.
Just out is a new release by Evan Christopher. It is called Clarinet Road Volume III ("In Sidney's Footsteps") and is co-produced by the fine pianist Sandy Hinderlie (also Loyola University music faculty) on his STR Digital Records label (STR-1020). The recording was made in 2006, when Evan was in Paris as a guest of the French government. The clarinetist is surrounded by several familiar talents: Dave Blenkhorn, guitar; Sebastien Girardot, bass; Guillaume Nouaux, drums; and Julien Brunetaud, piano. A wonderful CD, as one might expect. (For more about the label, see www.STRdigital.com.)
Something to look forward to: A compilation CD of some of Tom McDermott's best to appear this summer on the Bananastand label out of Los Angeles. It is being put together by composer, arranger, producer and musician Van Dyke Parks of L.A. I'll help you look out for the recording's appearance.
My review of the new book about the great jazz musician and jazz educator David Baker, David Baker, A Legacy in Music, just appeared yesterday on the website of the Jazz Journalists
Association, www.jazzjournalists.org. (Click on the JJA News section, or see Works here.) Baker, who celebrated his 80th birthday last December, is professor of jazz studies in the Jacobs School of Music at Indiana University, Bloomington. It's a good book about a remarkable man.
The following from clarinetist Evan Christopher:
"This Sunday's Jazz Brunch at Clever Wine Bar [3700 Orleans Avenue, Mid-city] will feature local legends Steve Masakowski, James Singleton & Herman LeBeaux. Our menu by Mary Dixie of Lionheart Catering looks great and will give the brunch an overdue "woman's touch." Some special cocktails reflecting our early Spring and specials at Cork & Bottle will be featured as well. Also, to honor persistent requests to document these events, the show will be recorded by WWOZ for their new show, 'New Orleans, All the Way Live.'
Don't miss this one, there won't be another until well after Carnival. Hope to see you Sunday"
The Cultural Alliance of the Americas (CAOTA) presents "A Django Reinhardt Birthday Tribute" starting with a Live musical performance followed by a Movie Screening to take place at Fielding Gallery (formerly Studio 525) in downtown Covington, LA. (North Shore) The musicians who will be performing are Don Vappie(banjo, guitar), Raphael Bas (guitar) and Matt Rhody, violin. The program begins at 6:30 pm.
Clarinetist Tim Laughlin will be debuting on a steady Saturday night gig at the Windsor Court Hotel on January 14. He will be joined by ace pianist David Boeddinghaus, which should make for an exciting duo. I look forward to catching them soon. See Tim's website, www.timlaughlin.com, for details.
Media notes for January 2012: Jason Berry has a piece on the effect George Buck has had on the local music scene since moving to town more than 20 years ago (New Orleans magazine). Zachary Young writes in OffBeat about talented guitarist John Rankin of the Classic Jazz Trio, and Tom McDermott reviews my book in the same issue.
Pianist Butch Thompson's "Yulestride" CD has been my favorite Christmas album for many years. Just out is Ellis Marsalis's "A New Christmas Carol" CD, which is certainly worth a listen as well. He's ably abetted by son Jason on percussion and vibes. I am pleased to be able to recommend both recordings highly.
For those who are interested, today is the 100th anniversary of the birth of Stan Kenton. The Manhattan School of Music has announced two centennial concerts of Kenton music on January 27 and March 2. (See www.msmnyc.edu.) Jazz at Lincoln Center and the University of North Texas (where the Kenton Archive is located) have also announced concerts. Despite his successes and the wonderful musicians who worked for him, Kenton is far from universally admired. An example of that is the article by David Hajdu in the December 9 issue of The New Republic , where he writes, "Stan Kenton gave pretentiousnes a bad name."
I have been working very hard for the last couple of months on another book. My plan is to address jazz (both trad and "modern") in New Orleans from 1970 to the present, being something of a sequel to Charles Suhor's fine volume, Jazz in New Orleans, the Postwar Years through 1970, (2001). While I have many months of research remaining before starting to put fingers to the keyboard, the LSU Press has offered to publish it. But I have not yet signed a contract.
The latest news from George Buck's GHB Foundation and Jazzology is that there have been some changes. With George now well into his 80s, the Jazzology group's office is now under the management of Lars Edegran, assisted by Jamie Wight, who can still be reached by telephone at (504) 525-5000 or email (email@example.com). Their regular publication, JazzBeat, will now be published only once a year, but it will be complemented by a revived Jazzology Newsletter, the first issue of which just appeared in my mailbox. For more details about the new operation and becoming a member of the Collectors' Record Club, contact Lars or Jamie. Incidentally, George Buck will be celebrating his 83rd birthday (by my calculation) on the 20th of December. Needless to say, we wish him many, many more.
Note that I have added another item to the Works section. It is an interview that I conducted with Rev. Andrew Darby some years ago in connection with the story about Danny Barker and the Fairview Brass Band. It was not included in Chapter 6 of my book ("Danny's Boys Grow Up"), but it gives an additional perspective on Danny and the formation of the Fairview band.
Kermit Ruffins, well-known as a somewhat less than punctual night owl, is turning over a new leaf. After more than 20 years of his weekly late Thursday night gig at Vaughan's in Bywater, he announced to the Times-Picayune that he will be starting his gigs there "promptly at 7 p.m." effective December 1. "It's crazy to be lying in bed all day," he says, "just to play those late gigs." Well, that should be good news for oldtimers like myself.
The film, "The Girls in the Band," was premiered last month at the Vancouver, B. C. International Film Festival. Directed by Judy Chaikin, it explores and uncovers "the amazing and unheard stories of female jazz musicians and women in big jazz bands." Among those featured are Mary Lou Williams, Clora Bryant, Lil Hardin Armstrong, Melba Liston and many more (including some of the leading contemporary ladies in jazz). To view a clip from the film, see www.thegirlsintheband.com. It looks good.
The latest edition of The Jazz Archivist, the newsletter of the William Ransom Hogan Jazz Archive at Tulane University, has just appeared (Vol. XXIV, 2011). Among the several articles included in this issue are "Louis Armstrong and the Waifs' Home" (William D. Buckingham) and "Mapping a Historic Funeral and Second Line" (Keli Rylance) in addition to notes on Lorenzo Tio's birth document and reedman and club owner Sid Davilla. Please note, too, that the Archive has a new website: jazz.tulane.edu.
Clarinetist Evan Christopher embarks on a new Sunday brunch gig at the Clever Wine Bar from 11:30 am to 2:30 pm. As for the music, Evan writes, "This won't be a lazy trio lugubriously noodling in the background. I'll be hittin' hard with my friends James Singleton [bass],
Matt Lemmler [piano], and Herman LeBeaux [drums]." For more, check Evan's website www.ClarinetRoad.com.
Reedman Louis Ford and his New Orleans Flairs have a brand new CD on the market. It's called "Vintage Jazz" and features Ford, Al Bernard on bass and Phillip Washington, drums, on all tracks--plus a cast of thousands! There's also Steven Lands, trumpet; Ronell Johnson, trombone; Leslie Martin, piano, Wanda Rouzan and a choir on vocals and many, many more playing mostly a variety of trad standards. It is available at www.FordMusicProductions.com.
Pianist-composer Tom McDermott recently fell and fractured his left wrist. "The cast comes off tomorrow," he says. "I hope to be fully functional in two weeks. I've been doing gigs, with mostly one hand, hiring a bass to replace my left hand." (That's McDermott creativity!) He made his first visit to Cuba this summer, and you can read about the trip on his website, www.mcdermottmusic.com.
Have you heard about Resilience and Opportunity: Lessons from the U.S. Gulf Coast after Katrina and Rita? More than 20 local scholars have gathered data to document our collective learnings post-Katrina and pulled all of this knowledge together in a book. Published by Brookings Institution Press, Resilience and Opportunity appeared on book shelves on the sixth anniversary of Hurricane Katrina in late August. What's in the book? You can get a taste by watching a 3-minute video featuring some of the authors who contributed. Check it out at:www.gnocdc.org/TheNewOrleansIndexAtSix/ResilienceAndOpportunityVideo.html. This book is the product of the Greater New Orleans Community Data Center (GNOCDC), and I recommend it.
I just received a wonderful CD, Futuristic Rhythm (Stomp Off CD 1398), from Norwegian musician and musical scholar Steinar Saetre, who passed through NOLA on his way to the University of Michigan where he will be doing research this year. Saetre, a reed player, is joined by four fellow Norwegians on this recording by their "Louisiana Washboard Five", along with Brit pianist Keith Nichols and the fine German reedman, Matthias Seuffert. (See my interview of Seuffert in the April 2008 Mississippi Rag by clicking the link at the right of this column.) If you haven't heard it already, I highly recommend this CD. Bandleader Jim Dapogny, writing the album's liner notes, concludes, "Enjoying it just that much, I've wound up listening to this album more than I needed to just to cobble together these notes. And I used it--please don't tell the Copyright Police--as intermission music on a job too. Big mistake: You don't want the intermission music to be better than what's going on onstage."
New York City and Washington, DC were well-prepared, according to media accounts, for possible terrorist activities yesterday. Fortunately, those threats did not materialize. Nevertheless, I would like to share a 9/11/11 email message from a longtime New York resident, professor, author and trumpeter Krin Gabbard, whose most recent book is "Hotter Than That, The Trumpet, Jazz and American Culture." Krin was a student in one of my classes at Indiana University many years ago (his wife, Paula, is also an IU grad), and his message reads as follows:
"Dear Friends and Family,
Paula is in Queens today with a co-worker who is very ill. She went out there with another co-worker, Kitty. Ordinarily, when we go to Queens, we take the 1 train down the West Side of Manhattan to Times Square, where we change to the eastbound 7 train. Today, however, Kitty wanted nothing to do with the subway and especially not with Times Square. So, Paula agreed that they should go out to Queens in a taxi. Both Paula and I would have been fine with the subway today. You always put yourself a little bit at risk when you step onto one of those cars!
The weather today was cloudy and a bit on the cool side, entirely unlike the perfect late-summer weather we had on this date 10 years ago. So, I thought I’d take a stroll and run some errands. Walking up and down Broadway in the 80s and 90s, I felt that there were more people on the street than usual. I guess other people had the same idea I did. The people I saw on Broadway came in all shapes and sizes, but I saw several couples who fit a very familiar pattern--young women wearing lipstick, dangly earrings, and pretty dresses, inevitably in the company of young guys in tacky baseball caps and zhlubby T-shirts. Nothing has changed. You can throw a lot at New York, and it goes right on being the same city it has been for at least as long as Paula and I have been living here. (Paula does in fact wear lipstick, dangly earrings, and pretty dresses, but I dress like an old guy.)
Love to you all,
The September issue of OffBEAT magazine has a cover feature on popular vocalist Meschiya Lake. While she may have a somewhat unconventional background, she's one of the swingingest singers in this town right now, as I've noted before on this site. Her band, the Little Big Horns, also has some of the top young players in the city. I urge you to check her out. You might start with www.meschiyalake.com.
Another first-rate vocal talent in the city is Sasha Masakowski, whose latest recording--Wishes--is her second. (Her debut CD was called Musical Playground, which is also the name of her band on the current CD.) Wishes reveal's Sasha's versatility, with tunes ranging from trad standard "St. James Infirmary" to bossa nova and her own originals. On one of the latter, "Theme for Falling Leaves," she is joined by her father, ace guitarist Steve Masakowski, who is the head of the jazz studies program at UNO (from which she graduated two years ago). I recommend her highly.
Media reports that I have seen relating to the wide-spread destruction in the East caused by Hurricane/Tropical Storm Irene have set me to thinking, especially in view of the present observances in commemoration of Hurricane Katrina. Just a couple of my thoughts here: 1) It seems that most governors along the East Coast--Democrats and Republicans alike--are more than satisfied with the response they have received from FEMA and the Obama administration. How striking that is in comparison to our experience with “Brownie” and the Bush administration six years ago! FEMA and the present administration seem to have learned a great deal about preparedness from the Katrina debacle. Unfortunately, we were the losers. 2) More shocking, however, are the proposals by some conservative lawmakers that federal spending on emergencies such as these should be balanced by spending cuts elsewhere in the federal budget. Even if we were to adopt such proposals, can you imagine where those cuts would take place, and how long do you think it would take Congress to arrive at those decisions? How absurd!
Andrea Duplessis has worked tirelessly for the sake of jazz in New Orleans for many years. Apart from her legendary annual Mardi Gras block parties (always with live music), she has gained a reputation for locally representing the likes of the late, great trumpeter Doc Cheatham and pianist Henry Butler. For the last decade or more, she has been working closely with Brooklyn-based drummer Wade Barnes (both a fine musician and a man seriously committed to jazz education for young people).
Andrea brought Barnes and his band, Unit Structures, to town for a performance for local youngsters from the Roots of Music program at the Cabildo on August 4. In addition to the drummer, the group consisted of Bertha Hope, piano; Saadi Zain, bass; Yoshiki Miura, guitar; Bill Ware III, vibes, and Tulivu-Donna Cumberbatch, vocals. They offered an excellent program of straight ahead jazz, with an emphasis on illustrating the African Diaspora through music. They had the kids, all dressed in yellow T-shirts, in the palms of their hands. It was a great educational experience for them because, after the concert, they divided up into groups with the musicians for more detailed musical learning. Kudos to Barnes--and especially to Andrea--for putting it all together. For more, visit www.brooklyn4thearts.org. (See pics on the Photos page.)
It is with considerable sadness that I report that clarinetist Joe Torregano has had a relapse in his fight against cancer. He is being treated on a periodic basis at the well-known W. D. Anderson Cancer Center i
The opening welcome that had been in this location for some time must have become extremely tedious to see for those of you who are repeat offenders at the site. I will simply say that I am pleased with the visitations to the site, now well into the thousands and from all over the U.S. states and about 35 foreign countries on all continents populated by humans. Thanks for your support, and do continue to check us out. I will continue to update all the pages on a regular basis, but it is possible that the latest news may not always appear at the top of the page.
And forgive me. I will continue to make note of my book Traditional New Orleans Jazz... since it is officially just one year old (as of March, 2012). I am also very happy to report that all of the reviews so far have been positive. (In addition to the U. S., they come from media in Canada and a variety of European countries. At some point I may well list them for your information.) The book can be purchased from many sources, as well as directly from the LSU Press (see link to the right). It is also available from this website for $22.50 plus postage.