Host of Sweeney's Gumbo YaYa - a two-hour radio show featuring the music of New Orleans -- every Thursday starting at 10 a.m. (PST) on community radio station KAOS 89.3 FM Olympia, Washington -- www.kaosradio.org. Show also airs on Fridays, 7 p.m., KMRE, 102.3 FM, Bellingham.
As part of my ongoing education on New Orleans music, I’ve been reading about the use of the piano in New Orleans music. (Please note: I’m not a real musician but I operate a CD player at home)
While the piano wasn’t invented in New Orleans, several styles of piano playing are derived from the city’s musicians. So much so that “one can easily claim the piano as the prime choice of innovators in New Orleans music,” according to an article by Tom McDermott who innovates on the piano on a daily basis in New Orleans.
This versatile instrument combines melody and rhythm and makes it possible for every parlor or living room to become a concert hall.
As Jon Cleary, another fine keyboard purveyor of New Orleans music, said, the piano is “a hip little tool because it allows you to reproduce all the elements of what a band would do.”
What Jelly Roll Morton and others that followed did was translate the sounds of the New Orleans street bands to a piano, delivering their own interpretation to the customers of night clubs and sporting clubs and ultimately to a global audience.
The piano is so important to New Orleans music that a premiere annual event is Piano Night held around the time of the New Orleans Jazz and Heritage Festival. The host of this event, WWOZ, has created a compendium of videos that explore that New Orleans piano tradition.
Here’s Jon Cleary providing a quick run down of the various piano playing styles.
Occasionally, when someone learns about my New Orleans music show, they’ll ask me: “Have you seen. . .
And I know where they are going.
Yes! I have watched all 36 episodes of HBO’s Treme — some of them more than once including the commentary and music notes. The program is that good at portraying New Orleans.
The show ran from 2010 to 2013 and chronicled the lives of New Orleans residents upon their return to the city after Hurricane Katrina. And the show’s creators, producers and writers nailed it. The show is well regarded in New Orleans as having captured the unique and diverse culture and character of the city–both the good and the not so good.
Unfortunately, the show wasn’t sufficiently well regarded beyond the city (at least at the time) so no new episodes are being made. But if you’re reading this blog, you probably already understand the disconnect between being good and being popular. A theme that Treme also explores.
There’s lots of reasons to love this show, the main one for me is the music. There’s lot of New Orleans music in it. Literally hundreds of New Orleans-based musicians participated in its filming. Some of them even acted.
Yesterday, I pulled up the full cast listing of the show on IMDB and did a search for “self” and “selves” as in people and bands portraying themselves. I found over 250 listings. While some of the people playing themselves were politicians, chefs, writers, community activists and Mardi Gras Indian Chiefs, most of them were musicians.
Some are well known like Dr. John, Fats Domino, Trombone Shorty and Irma Thomas. Others are not but should be such as Aurora Nealand, John Boutte, Tom McDermott, and Kermit Ruffins.
Several of the fictional characters are musicians attempting to make a living. One is a journeyman trombonists, played by Wendell Pierce, struggling to find gigs so he can pay rent and child support. Two others busk on the street and are learning the New Orleans style of music.
Throughout the series, the viewer is treated to music venues such as Tipitina’s, House of Blues, Blue Nile, Spotted Cat, and Snug Harbor and the music you hear on the show is recorded in situ. What you see is truly what you hear
In many cases, the musicians simply perform, either in the background or as a part of the plot. In other cases though, they deliver lines from a script or, in the case of Dr. John, ad lib. It’s a wonderful blend of reality and fiction.
Cornell Williams, a bass player who in real life performs with Jon Cleary, portrays a member of a band formed by Wendell Pierce’s character and helps another character recover from drug addiction.
A more bizarre blending of real life and fiction is the character Davis McAlary, who often supplies the show’s comic relief and social commentary. McAlary is a musician and an on again, off again deejay at WWOZ, which is a real community radio station in New Orleans. His character was inspired by Davis Rogan who has released several albums of original songs and was a deejay for WWOZ. To really twist your brain, you will see in various Treme scenes the real Davis performing on piano backing up the fictional Davis. (Another character is patterned after Donald Harrison Jr. who is also seen regularly in the show.)
If you have a propensity to love New Orleans, its food, culture and music, watching Treme will deepen that love. If you know little about New Orleans but are interested, the show is a great place to start your education. Well, subscribing to this blog (upper right hand corner) and listening to my show won’t hurt either.
This is the first “festive” season for Sweeney’s Gumbo YaYa so our collection of holiday music from New Orleans that I can play on the show is a bit limited. But the Internet is a vast resource of holiday cheer. So for this post, I’m sharing some of my favorite New Orleans holiday videos.
I can’t think of a better way to start then the dulcet tone of Aaron Neville doing “The Christmas Song.”
Okay, time to crank it up, here’s Bonerama doing “Merry Christmas Baby.”
What do you want from Santa? If you’re Kermit, you’d like your hometown football team, despite their 6-8 record, in the Superbowl in a “Saints Christmas.”
A quarter century ago, Benny Grunch and the Bunch did the “12 Yats of Christmas,” a humorous reference to a unique New Jersey-style accent in New Orleans made famous by the novel Confederacy of Dunces (also see my take on New Orleans speak). Some of the New Orleans locales are no longer, but the visuals and song are still very funny.
Regardless of the season, its not New Orleans unless you can do a little buck jumping in a second line. Take it away TBC Brass Band:
Paul Sanchez captures a snoutful of holiday spirit with “I Got Drunk this Christmas.”
I love the way New Orleans music can swing and soothe at the same time. Here’s Funky Butt Brass Band doing “Christmas Time in New Orleans.”
I’ll close this post out with Troy Andrews, aka Trombone Shorty, doing “O Holy Night.” May your holiday season be bright and happy. Thank you for reading and listening. Cheers.
Last week, I did a summary of 2014 New Orleans releases. The list got so long, I needed a second round. I’m not organized enough to put them in any order so there’s no shame, as will be proven when you read below, in being included in this second installment.
By the way, this is music I play on Sweeney’s GumboYaYa. (And I’d be thankful if you subscribed – Upper Right Corner )
Tommy Malone – His third solo album since the Subdudes, Poor Boy, delivers 11 more smooth tunes with Malone’s unique blend of blues and folk. A talented guitarist and songwriter (he does only one cover), Malone has a voice that’s easy to make friends with.
Nicholas Payton – Numbers is what you make of it. You could call it chill music, but it’s far too engaging to allow your mind wander. I’ll get out of the way and repeat Payton’s description: “It’s a bed of sex wrapped in 500-thread count sonic sheets.” Get that?
Fo ‘Reel – Heavy Water bounced between our blues and soul shelf this year on the strength of Johnny Neel’s funky organ and C.P. Love’s vocals. The CD really takes off for me when bandleader Mark Domizio cuts loose with his guitar, particularly on Shake N Bake.
Dr. John – The Night Tripper left nothing to chance with this tribute to the immortal one, Ske-Dat-De-Dat: The Spirit of Satch. Terence Blanchard, James Andrews, Nicholas Payton (see above), and Wendell Brunious supply the chops with some welcome guest vocalists contributing a diverse array of interpretations of Louis Armstrong standards. You might not like every track but you won’t ask for your money back either.
The Roamin’ Jasmine – Another talented swing jazz band forged from the busking scene of New Orleans. In its self-titled album, this merry band of six musicians at times conjure up an exotic polyphonic sound, while staying true to the NOLA tradition of strong solos and swaggering vocals.
Davis Rogan – Davis Ex Machina is distinctly a New Orleans album–and not just because its performed with journeyman NOLA musicians. Mr. Rogan is no longer a school teacher struggling from performing at night and no longer the inspiration for a character of an HBO show. But he does continue to write songs that take you deeply into his hometown, while still connecting to timely broader messages. Case in point, “Big Treezy” appears to be a rant on the dilution of the”New Orleans” he loves yet ends as an allegory for immigration. Or maybe that’s just me reading too much between the lines. You tell me.
The Soul Rebels – No new CD this year BUT this kick-ass funk, R&B, hip-hop brass band has been offering a weekly track online for free throughout the fall, including three recorded this year–a cover of Michael Jackson’s “Off the Wall” (Week 5) , a mash up of its “Nothin But A Party”and Outkast’s “Spottieottiedopaliscious” (Week 6), and a never played again arrangement of Talib Kweli’s “I Try” (Week 7). Another reason not to want winter to begin.
Gal Holiday & The Honky Tonk Revue – Gal Holiday, the alter ego of singer Vanessa Niemann, fronts a genuine country dance hall band — part honky tonk, part redneck soul and solidly swing. They’re on my list to see live next time I’m in New Orleans, meanwhile I’ll keep enjoying Last to Leave, the band’s third CD.
Kelcy Mae – What do you call an album that wraps pop, country, and blues with solid arrangements, soulful lyrics and strong vocals? Before I started my New Orleans show, I was playing Half Light frequently on my open format morning show, without knowing she was a Louisiana native. crafting music from her home in New Orleans with the able assistance of Alex McMurray and Sam Cordts.
Benny Turner – Benny’s the real thing. He’s played guitar with his brother’s band, Freddy King and he was the band leader for Marva Wright for 20 years. With his third release, Journey, Turner plays and sings quintessential blues guaranteed to satisfy the music fan on your list.
Tuba Skinny – Owl Call Blues is a testament to this street band’s ability to find archival gems and make them fresh while also producing original music that sounds old-timey. They’ve toured the world but you can still catch them busking in the Quarter.
Gregory Good – Savage Lands offers original and traditional songs in a Woody Guthrie wanderlust style that places you at the campfire with Good singing and playing guitar as if he were still a roustabout in his home state North Dakota. Now in New Orleans, his new album joins Milo Records’ growing stable of Americana and traditional folk recordings.
Here’s my Holiday buying guide of 2014 releases for that special person in your life who digs music from New Orleans. Don’t know anyone like that? Yea, you do. (This is actually Part 1. I’ve added a Part 2.)
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The Revivalists – – This seven member contemporary rock group with a New Orleans flair has been exciting audiences since 2007. The City of Sound double disc wisely includes a live set so you can get a feel for the band in action.
Hurray for Riff Raff – Alynda Lee Segarra may be from New York but she found her passion and honed her talent on the streets of New Orleans. Small Town Heroes, the latest from this Americana songwriter puts a fresh spin on roots music.
New Orleans Suspect – Third release is the charm for this textbook gumbo yaya band that draws direct influences from the Meters, Nevilles, Dirty Dozen Brass Band and The Radiators. Destined to make my overall top 10 list for 2014, Ouroboros means the Suspects no longer need to be compared to their previous projects.
Glen David Andrews – He’s Troy Andrews cousin but don’t expect Trombone Shorty despite Glen’s awesome trombone work. Instead you’ll get a double shot of gospel and soul in Redemption, growled out by an unrepentant preacher who has no intention of ceasing his prowling of nightclubs. Thank goodness.
Jimmy Carpenter – This blues saxman with Walter Wolfman Washington’s band on his resume’ hits full stride on his second solo release, Walk Away. Carpenter offers up smooth, swingy blues with wonderful touches that make it clear where he calls home.
Ingrid Lucia – If you only know her wonderful version of “Zat You Santa Claus,” Living the Life is your opportunity to fall deeply in love with this voice, starting with her opening track, “Do You Remember Walter.” We didn’t get this album at KAOS but I’ve gradually been buying tracks, like “Put the Radio On,” since she released this album.
Royal Southern Brotherhood – Cyril Neville’s vocals complement this royal group of southern blues artists (Devon Allman, Yonrico Scott, Charlie Wooten and Mike Zito). Another entry for my top ten list, HeartSoulBlood magically fuses blues to soul and R&B. Speaking of magic, Magic Honey was Cyril’s solo release this year.
Lena Prima is living testament to writer Chris Rose’s posit that “New Orleans girls never live anywhere else and even if they do, they always come back.” Starting Something tracks the return of the prodigal daughter of Louis Prima to New Orleans. The more you listen, the more you’ll be delighted she came home.
Henry Butler – Brilliantly paired with New York trumpeter Steven Bernstein, Henry Butler demonstrates his virtuosity on piano while providing something for almost every Jazz taste on Viper’s Drag.
Louis Prima Jr. – Lena’s little brother demonstrates how to make swing and rock and roll relevant and hip in the 21st Century. With Blow, Louis Junior goes his own way without straying too far from his pop’s tree. He and his band are not NOLA based but the album provides more than a passing nod to the city where he first connected with music.
The Last Hombres – Odd Fellows Rest is a product of a band that has been rambling about for over a decade until the drummer settled down in New Orleans and invited the band to bunker down and find their collective muse. Combine the pedal steel of The New Riders of the Purple Sage with songwriting reminiscent of Tom Petty and throw in some tasteful Hot 8 Brass Band and you have a CD that gets better with every spin.
Flow Tribe – Self described as “bizarrely irresistable,” this funk rock band of six genuine NOLA hipsters (with birth certificates to prove it) give you a taste of what its like to see them live with five upbeat studio tracks on Alligator White. (See if you can catch their reference to what’s been described as the best dive bar in New Orleans.)
Rory Danger & the Danger Dangers The perfect gift for the historian/adventurer on your list, Age of Exploration is the first release of this New Orleans rockabilly group. This Shackleton-themed concept album is largely the product of hardworking reeds-woman Aurora Nealand. Another CD that hasn’t found its way to KAOS, I’ve only heard the two tracks I’ve purchased online but I want more.
The Iguanas – This year brought us, Juarez, the eighth album by a venerable New Orleans group that has been keeping dancers happy by blending Latin styles with New Orleans groove. If you have ever seen them live, say at Rock ‘N’ Bowl, you know what I’m talking about.
Billy Pierce and Friends – Fine slide blues made exceptional on Take Me Back to the Delta by his “friends,” notably Sonny Landreth, Jimmy Carpenter, Waylon Thibodeaux and the guys who put the Bone in Bonerama (Craig Klein, Mark Mullins and Greg Hicks). It’s not all New Orleans music but by the time you get to “Give Me A Dollar,” it won’t matter.
Marcia Ball – She may be from Texas but she has her NOLA residency card for reasons that are amply supplied by The Tattooed Lady and the Alligator Man. How does she do it?
Rebirth Brass Band – Erasing all doubt that they could top their grammy winning Rebirth of New Orleans album of 2012, these guys did that and more with Move Your Body. After 31 years of playing all night gigs and second lining, Rebirth is doing their most entertaining work. Want to loosen up a boring party, play the track HBNS. Oh yea! (A no brainer for my top 10)
In 1945 at the tender age of 19, Cosimo opened an appliance store with a partner in New Orleans, hoping to take advantage of the pent up demand for home conveniences and the many new households that were forming after the war. The store also sold records.
His partner suggested they make recordings for their customers. Cosimo, being the more technical of the two, took on the task of getting that business going. As a former Tulane chemistry major, he was your classic nerd. But having spent a few years working with his Dad’s jukebox business, repairing the equipment and swapping out 78 rpm records, he was a nerd with an ear for music.
The J&M Music Shop was at the right place at the right time on the corner of Dumaine and Rampart, sitting between the French Quarter and the Fauberg Treme’ neighborhood – a center of African-American and Creole culture and home to many New Orleans musicians.
After World War II, people were ready to have fun. And the music, particularly from a new generation of black New Orleans musicians raised on jazz, swing and big band music, was ready to make the party happen.
The studio’s success started with Roy Brown, who had just returned to New Orleans with his Gospel-trained voice and was performing at the famous Dew Drop Inn. It was in the back of the J&M in 1947 that Brown recorded the jump blues song, Good Rockin’ Tonight, a hit that can arguably be considered one of the first Rock and Roll songs. Just ask Elvis.
Things really took off when horn player and band leader Dave Bartholomew started using the studio for his work as a musician, arranger and talent scout for Imperial Records. Through Bartholomew, early R&B greats like Smiley Lewis, Frankie Ford and Tommy Ridgley would record at the studio. But the star who solidifies the studio’s listing as a Rock and Roll Hall of Fame landmark is Antoine “Fats” Domino. Through a good chunk of the 50’s, Domino, with able assistance from Bartholomew and Matassa, released a series of R&B hits, finally crossing over into the pop charts with “Ain’t That a Shame” in 1955. All of the Fats’ recordings as well as hundreds of other R&B and early rock and roll gems were recorded in that little studio.
By 1956, Matassa was no longer selling appliances and had moved his studio to larger digs on Governor Nicholls Street in the French Quarter. Like many successful studios, Matassa’s operation benefitted from a talented group of studio musicians, usually organized by Bartholomew but also by the emerging talent, Allen Toussaint. These musicians included Earl Palmer on drums, Alvin “Red” Tyler and Lee Allen on sax, Frank Fields on bass, Huey Smith on piano and a large rotating cast of others. The studio sound was so synonymous with success that labels, like Ace, Atlantic, Chess, Savoy, RCA Victor, Imperial and Specialty would send their artists to New Orleans to capture the magic.
One of the more legendary stories is how Richard Penniman found his mojo at the Dew Drop Inn during a recording break, which led to his breakout hit, Tutti Frutti backed up by the J&M musicians and recorded by Matassa. It’s almost wearying to list the musicians that recorded there, but I’ll add Mac Rebennak (before he became known as Dr. John), Art and Aaron Neville, Professor Longhair, Irma Thomas and Lee Dorsey to this amazing list.
Cosimo Matassa died in September (2014) at 88. He was generous with his time, so it’s easy to find interviews of him, including one of my favorites. He modestly takes little credit for the sounds he recorded. But he maintains that the limitations of the early technology were a benefit, requiring musicians to play a song all together from beginning to end, just like a live performance. His job, he would say, was to get out of the way and let them do their thing.
Obviously, there was more to it than that because all the musicians who worked with him loved this unassuming nerdy son of Sicilian immigrants. His elegance was in his simplicity. He took care of the technical part, creating an environment where craftsmanship and creativity could merge.
“To have a job where you can listen to music all day. Great way to make a living. Lot of great New Orleans musicians made me look good.”
Needless to say, I’ll be hammering my collection of Matassa recordings on my next show this Monday, 10 a.m. to noon, KAOS, 89.3 FM. Streaming at www.kaosradio.org.
Now that’s an oft taken journey given that song has been a jazz and blues standard since its first recording roughly 90 years ago. One website boasts 121 recorded versions and I’d wager the list is not comprehensive.
As a folk song, St. James Infirmary’s history goes back before the dawn of recording studios. But my history with it started as a teenager when my Dad would take me to see Sammy Duncan, a trumpeter in Atlanta whose band played St. James. It stands as the first song I ever successfully requested at a live music show.
For those unfamiliar, the song is about a man who, upon seeing his dead lover, contemplates his own mortality, including planning his own funeral and making sure he’s buried with a $20 gold piece on his watch chain. A heady story for a hormonal teenager with a coin collection.
The song is often associated with New Orleans perhaps because Louis Armstrong was one of the first to record it (December 1928) and because its often played by New Orleans musicians. However, there is no proven connection to New Orleans where there has never been a St. James Infirmary. In fact, its not clear where St. James Infirmary or Old Joe’s Bar (where the song finds the narrator of the story) are located.
The short story is the song is believed to have descended from an 18th Century Irish song “The Unfortunate Rake,” about a dying man who laments his life choices, including an affair where he acquired a venereal disease. It’s a cautionary tale of wasted youth– a theme carried out in songs and stories throughout the world. And according to Harwood, it is not the basis for St. James Infirmary–even though its the explanation you’ll find on Wikipedia.
For Harwood, the song is clearly a product of the “folk” tradition or more accurately, the minstrel tradition that was active at the time. His smoking gun is called “Gambler’s Blues,” first recorded in 1927 by Fess Williams and his Royal Flush Orchestra (cool name) and also printed in Carl Sandburg’s “American Songbag” from 1927. This song is very similar to the Armstrong version recorded a year later.
One of the more fascinating mysteries of the song is how the singer transitions from witnessing his dead lover to contemplating his own funeral. The phrase from the Armstrong version is: “Let her go, let her go, God bless her, wherever she may be. She can look this wide world all over, but she’ll never find a sweet man like me.”
The egotistical phrase was enough to garner a wonderful rant from Sarah Vowell who coincidentally seemed to have connected to the song at about the same age as I did. “The narrator of this song is curiously so stuck up that he feels sorry for his loved one, not because she won’t be doing any more breathing, but because she just lost the grace of his presence. It’s so petty. And so human.”
The phrase is not in Gambler’s Blues. According to Harwood, you have to dig back further to a 1909 songbook to find a nearly identical phrase. “She’s Gone, Let Her Go” is sung by a jilted lover which makes the snide comment a bit more appropriate. Afterall, its okay to be bitter when your true love just stomped on your heart, right?
So St. James, like many other songs with folk origins, is a cut-and-paste mashup, notes journalist Rob Walker, author of Letters from New Orleans and who describes himself as a St.James obsessive. “Instead of trying to reconcile two disparate piece of cultural material, somebody decided to simply juxtapose them, and let a new meaning, however unsettling or strange or ambiguous, to emerge.”
Though it was opportunistically copywritten by Irving Mills, under the pseudonym Joe Primrose, the song really belongs to musicians and music lovers and should continue to evolve and change–as the many recordings since have demonstrated. I like the fact the song can be interpreted so many different ways. I’ll be playing a few on my next show.
To get you warmed up, here’s James Booker’s version and a New Orleans-created and inspired animation using an upbeat remix of a Preservation Hall Jazz Band version. Lots of inside jokes in the animation, including James Booker (with the star patch on his eye) and Morgus and his crew consoling the bereaved lover at Charity (instead of St. James) Hospital.
Like players preparing for the big game, Bob and I were ready to boogie to Rebirth Brass Band last night. Even though we long ago qualified for our AARP memberships, we decided to pass on the 7 p.m. show and go for the late show at the Tractor Tavern in Seattle, even if it meant driving back to Olympia in the wee hours of the morning.
We had made a point to take naps in the afternoon and I had a taken the rare step of drinking a cup of caffeinated coffee. What we hadn’t counted on was an early winter storm in Bend Oregon where the band had played the night before.
As we stared dumbfounded at the notice on the door saying the show was cancelled, we couldn’t help but wonder why we bothered. Sometimes misfires happen. Some times you have to put up with long lines and waits, uncomfortable seats and too much cold or heat or other types of discomfort. But we do it because live music is worth it.
So last night was a bit of a bust. We ended up catching a few numbers by a jazz duo with the radio unfriendly name of Suffering Fuckhead at the Sea Monster in Wallingford. They were okay but it wasn’t what we were looking for and we ended up getting home right at midnight, about two or three hours sooner than expected.
So since I’m a bit ragged from spending long hours enjoying the Olympia Film Festival and a bit bummed about last night’s letdown, I’m going to finish this week’s blog with a few photos and one video of when the effort was worth it. And Monday’s Gumbo YaYa show will include an hour of danceable brass band music. . .because I deserve it.
The video below is a short excerpt of Rebirth playing at their home base, Maple Leaf Bar, a couple years back. Sorry for the poor video and sound quality but you get the idea.
Professor Longhair may have memorialized the corner of Rampart and Dumaine in “Mardi Gras in New Orleans” but his memory and spirit live on at a different street corner, Napoleon and Tchoupitoulas, in a music venue that bears the name of another of his classics, “Tipitina.”
Tipitina’s, on the other hand, is a great example of how cool stuff can happen out of love for music and doing the right thing. Just as Preservation Hall is dedicated to keeping New Orleans jazz alive, Tipitina’s was conceived with the notion of honoring the city’s early R&B and Rock ‘n Roll legacy.
When the venue opened in 1977, it’s goal was to provide a public performance space for aging and almost forgotten R&B and Blues artists like Fess (Henry Roeland Byrd), Jessie Hill, Snooks Eaglin, Earl King and others. Tips was born from an act of love by a group of investors who collectively and affectionately became known as the “fabulous fo’teen.”
The venue also provided a platform for other local musicians, such as the Radiators, Little Queenie and the Percolators, the Dirty Dozen Brass Band, the Continental Drifters and the Neville Brothers.
Tipitina’s in those earlier years was quite a bit different than it is today. Music author Jay Mazza described a summer show this way: “Sometimes it was so humid in the place that the clouds of smoke seemed to be seeded with water. The smoke hung low in the room. Both bands and patrons alike were soaked to the bone within minutes. A trick learned early on was to bring extra shirts for changing between sets. . . Still everyone loved the place . . there always has been an amazing vibe associated with Tipitina’s.”
While the venue provided many great musical moments in the late 70s and early 80s, it struggled financially and eventually shuttered for about a year and a half. When it reopened in 1986, a major renovation made it far more attractive for musicians and their patrons. The warehouse-like building was opened up, creating a balcony level with higher ceilings, better circulation, improved bathrooms, and air conditioning.
This is a nice example of how some key changes could make an Olympia venue more attractive.
Tipitina’s also kicked up their bookings, continuing to stage local artists but adding national and international acts to the mix, building a worldwide reputation.
To get an idea of the artists who have performed at Tipitina’s, check out its index of musicians, some of whom are honored with additional recognition on the sidewalk outside: the New Orleans Walk of Fame.
Another cool feature of Tipitina’s is its Foundation. It’s not every place where you can rock out to amazing music, with the understanding that profits go to support the very music scene you’re enjoying. The Foundation purchases instruments for Louisiana schools, provides ongoing youth music workshops, offers an after school jazz and digital recording program under the artistic direction of Donald Harrison, Jr. and provides a a statewide network of workforce development and job skills training centers for musicians, filmmakers and other media professionals.
And you never know what you’ll find at Tips. An Olympia friend told me about how she and her partner on a NOLA visit wandered into the uptown bar on a late Sunday afternoon, ordered a beer and found themselves drawn into a Cajun Fais Do Do.
So next trip to NOLA, put Tips on your list. Until then, you can catch many of the musicians who perform there on Sweeney’s Gumbo YaYa, every Monday from 10 a.m. to noon on your community radio station, KAOS.
Sorry if you missed my interview of Rebirth Brass Band founder and sousaphone player Phil Frazier on the November 3 Gumbo YaYa show. Rebirth comes out to the Northwest next week, playing in Seattle on November 13 and Portland on November 14. Also, WWOZ is doing its pledge drive this week. Here’s why its important to support community radio.
Live music has the potential to freeze time for me–particularly cool new music. Keep in mind, it doesn’t have to be unique to anyone else. Just to me.
So when I stumbled into the Jazz Tent at my first New Orleans Jazz and Heritage Fest in 2006, I was oblivious that brass bands had undergone a major makeover. I was a couple decades behind the times. Having grown up around Dixieland jazz and watching brass bands at Mardis Gras in the 60’s, I wasn’t expecting the addition of funk, rock and R&B that the New Orleans Nightcrawlers were throwing at me from the stage. The music was unexpected, danceable and down right entertaining. I can pretty much trace my radio show and this blog to that moment in the jazz tent.
Returning home with their live album hot in my hand, I started learning more about this music which seems to have one toe in tradition and the rest of its toes in hip hop, bepop, funk, and rock.
When I got back to New Orleans later in the year, I made a point to catch Rebirth Brass Band at their home base, the Maple Leaf — which for this brass band band fan is the equivalent of a devout Catholic getting to meet the Pope in the Vatican.
I wish I could tell you first hand how this music has transformed over the years. But I wasn’t there. I can tell you that an important part of it was keeping the brass band tradition alive. Mentors like Danny Barker who formed the Fairview Baptist Marching Band were key. From that youth band, a new generation of musicians, schooled in the tradition, but open to other styles, rose up the ranks.
What do I like about this music? Just about everything.
But I’ll use Rebirth’s “What Goes Around Comes Around” from their grammy-winning CD as an example. Vincent Broussard on tenor sax applies a simple but catchy melody. Then the drummers kick in, keeping a beat but also playing around the beat in a totally engaging way. Founding band member Phil Frazier enters with the bass line on sousaphone while the other horns add depth. Broussard then takes the melody to new territory on another solo before the harmonizing horns kick in with a full breath rendition of the original melody, and I feel it right in my chest, a total uplift. There’s a give and take between the sax and the horns with the trumpet and trombone doing their own solo turns before a sort of controlled chaos breaks loose. At around the 4:20 mark, with about minute left, the band members begin to sing or sort of chant: “What goes around comes around in its time. We’re going to dance around, smoke a bong and get on down.”
Okay, so its party music. Music that definitely works best performed live, with a favorite libation nearby and some room to boogie. In fact, brass bands are designed to move, to march in parades, lead second lines and get people dancing wherever they are.
A couple of years ago, while waiting in line to eat lunch at Casamento’s, I got into a discussion with the guy ahead of me about The Soul Rebels who had just put out “Unlock Your Mind” that year. He was quite insistent that the only way to hear a New Orleans brass band is at their home base, which for the Rebels is Les Bon Temps Roule‘on Thursday nights. Given that the guy talking was David Simon, creator of Treme who has filmed a number of brass bands including the Rebels in action, I took it as sound advice. And its true. While I’ve always enjoyed catching Rebirth wherever I can (the band plays the Tractor in Ballard on November 13), I’ve had the best times with them at the Maple Leaf.
Here’s some simple tips for catching a brass band in New Orleans. Do what Simon says, catch them on their home turf if possible. Or catch them leading a second line parade (schedule). If you catch them at a club, be ready to stay up late cause if you’re lucky, the show will start by 11 p.m. Be prepared for a crowd and know that many bars still allow indoor smoking. Finally, if you’re worried about your ears, bring some ear plugs. You’ll still be able to hear them well.
You can also hear them well on Sweeney’s Gumbo YaYa, every Monday from 10 a.m. to noon on KAOS, 89.3 FM Olympia