New Orleans is a homing beacon to musicians worldwide

If Taylor Smith was a moth, New Orleans would be the light.

And that light is shining bright for a lot of musicians, young and old, who have found their muse in New Orleans. The Roamin’ Jasmine‘s bandleader initially visited New Orleans as part of the ancient college ritual, Spring Break.

But fortunately, the music major managed to wander beyond the beer-chugging Bourbon Street scene to where the real magic happens. As a University of Miami senior, he had yet to find his musical niche in Florida so, as it has for generations before him, New Orleans proved to be both eye and ear opening.

Captivated by the scene, he and his roommate moved to New Orleans after graduation in 2010. He stayed for a year but then went looking for greener pastures, doing a couple of tours with bands and ending up in his hometown Boston.

“But I realized I wasn’t playing music that much. I came back to visit one time while I was living in Boston and thought why did I ever leave this. Every minute I was here, I was going to jam sessions, going to people’s houses and they’re having a campfire and playing tunes.  I even played on the streets a few times.”

Smith returned to New Orleans in 2012 and soon after formed The Roamin’ Jasmine which plays regularly in New Orleans and is currently doing a tour in Alaska. Smith’s experience is not unique.

Throughout the years, musicians have been finding their way to the birthplace of Louis Armstrong, Sidney Bechet, Fats Domino and The Meters. Jon Cleary, who has mastered a wide range of New Orleans piano styles, was raised in England but took a one-way trip to the city as a young musician.

In 1995, Japanese blues guitar sensation June Yamagishi abandoned an established career to immigrate to New Orleans — much to the benefit of the Wild Magnolias and Papa Grows Funk. Matt Perrine, whose sousaphone and bass anchor countless New Orleans recordings, migrated from California to the city in 1992. Others, like guitarist/songwriter Alex McMurray and the founding members of Galactic, were college students (Tulane and Loyola respectively) who decided to stick around after graduation. University of New Orleans jazz program also has contributed a number of new residents as well.

The magnetic force of New Orleans seems to have only gotten stronger since Hurricane Katrina. Last week, I attended a Rising Appalachia concert where the two sisters that fronted the band referred often to the enriching years they spent in New Orleans following Katrina.

In my last visit to New Orleans, every musician I talked with (and most are delighted to chat) was from some other place. Pianist Bart Ramsay (Zazou City) has lived in the city a long time but hails from Chicago.  Another pianist was from New Jersey.  A saxophone player was from the Midwest. Everyone had a story about how they came to New Orleans and found their bliss.

Josh Wilson, whose Seattle-based band Tubaluba is heavily influenced by the New Orleans brass sound, did a pilgrimage to New Orleans specifically to improve his New Orleans piano skills.  He connected with Jelly Roll Morton specialist Tom McDermott and seriously considered moving to the city permanently.

But its more than just the professional milieu that is attractive. The daily infusion of tourists and the large number of clubs and venues provide a wealth of employment opportunities for musicians — allowing them to lead a reasonably normal life. They can catch their child’s soccer game in the afternoon, play a gig in the evening and sleep in their own bed that night.

“I’ve never been to any city where I’ve met so many working-class musicians. New Orleans is really nurturing in that way; the quality of life is very good,” Kristin Diable told American Songwriter magazine. Diable, Americana singer/songwriter, is from Baton Rouge but for a time she tried her luck in New York City. “Within a year of being in New Orleans, I was making 10 times more money than I ever made in New York City.” The influx of new talent is not without its controversy. Some have argued that newcomers don’t take the time to learn the history, culture and style of New Orleans music.

The debate raises the question of what is New Orleans music. Is it jazz, R&B, bounce, funk, roots, hip hop Mardi Gras Indian? Or is it all of the above and more. The lesson and legacy of Congo Square is that the city’s musical storehouse relies on its continued ability to welcome and nurture different styles.

So I’ll keep playing music from New Orleans whether or not you might think its New Orleans music. For this Monday’s show, I’ll emphasize music by those who made a conscious decision to make New Orleans their home. Oh yea, and I’ll have a little more of my interview with the effervescent Taylor Smith. (Whoops. Left the interview on the wrong computer. I’ll include with podcast and air it next week.)