Perhaps no single entity has helped keep New Orleans jazz alive into the 21st Century more than Preservation Hall and the band its spawned.
Like many great ideas, Preservation Hall started out as a simple solution to an understandable need. In 1952, Larry Borenstein opened an art gallery in an 18-century building that to this day seems to have not changed over the years. It’s location, just off Bourbon Street (726 St. Peter) and its nightclubs, meant staying open late preventing Borenstein from pursuing his other passion: listening to jazz. So he took matters into his own hands.
Borenstein hauled an old piano into his gallery, bought some beer and invited musicians to play for him and his guests and gallery customers. To avoid conflict with the musician union, the sessions were called rehearsals.
In an article, written by Borenstein in the 60’s, he related how the session grew organically.
“The concerts took place regularly. Punch Miller, back from his long years on the road, brought a band to the Gallery Tuesday nights. Kid Thomas had a “rehearsal” every Thursday night. Sundays Noon Johnson often stopped by with his trio.
“Piano “professors” Stormy Weatherly (sic – Kid Stormy Weather), John Smith (I’m guessing this John Smith) and Isadore (sic – Isidore “Tuts”) Washington often dropped in as did busking guitarists, banjoists and harmonica virtuosos. Often impromptu sessions got underway just because Lemon Nash dropped in to say “hello” and just happened to have his ukelele with him.”
The informal venue allowed whites and African Americans to mingle at a time when the South still practiced, and enforced, apartheid. Police occasionally raided the jam sessions and hauled the musicians to jail.
“The bands frequently included white and Negro musicians and it was simpler to charge them with ‘disturbing the peace’ than with breaking down segregation barriers.”
The music experience continued to grow though. Eventually, Borenstein moved his gallery next door and in 1961 the venue was officially christened Preservation Hall–an appropriate name for a jazz lover sanctuary.
A couple years later, the Hall’s managers, Allen and Sandra Jaffe, organized a road tour for Preservation Hall regulars. The success of the the band’s concerts provided additional income for the musicians and helped maintain fan support outside of New Orleans. The band, in various iterations over the last 50 years, has continued to tour, perform and record, building a worldwide audience.
The Jaffe’s son, Ben took over leadership of the venue and band. A tuba player like his dad, Ben Jaffe has widened the band’s horizons through collaborations with other artists such as Blind Boys of Alabama, the Del McCoury Band, Keb’ Mo’, Dr. John and Tao Seeger. The band’s latest album, “That’s It,” features all original compositions.
Over 50 years after its forming, Preservation Hall entertains locals and tourists alike from it St. Peters Street location with three 45-minute shows every night. The band is drawn from a collective of musicians, many of whom are descendants of early New Orleans jazz musicians.
You can purchase tickets in advance that ensure a front or second row seat or you can pay $15 for general admission. The performances are acoustic and the venue is small. You might need to stand in line for a while but it will be worth the wait.
Tune in to my next show (listed to a recorded edited version) and you will hear what I’m talking about.
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