Champion Jack Dupree and Sam Williams couldn’t be more different in their style of music but they hold a common ground as dear to them as it is to my show: New Orleans. And I feature knock out JazzFest performances by both of them in this week’s show. Go ahead get it started.
Big Sam of Big Sam’s Funky Nation kicked off his 2010 New Orleans Jazz and Heritage Festival performance with a nearly 12-minute song he titled “Play Them Funky Horns” a mash up of songs that even includes a few bars of “Liza Jane.” It’s a nice preview for his upcoming performance in Portland (Mississippi Studios) and Seattle (Tractor Tavern) next week. That song kicks off the first full set on this show and will get you moving — guaranteed.
Twenty festivals previously, in 1990, Champion Jack Dupree sat on the stage — his first return to New Orleans in over 30 years of living in Europe — with a master of ceremonies Allen Toussaint — whose job was to interview the long-missed expatriate — one of the few remaining original barrelhouse piano maestros. During a soulful number called “Bring Me Flowers While I’m Living,” Dupree is joined by a Toussaint who lays in on the high side of the keys some pretty flourishes.
The duo continue through that song and into a boogie woogie number that ended with Dupree (80 plus years old at that time) getting up demonstrating is own boogie woogie moves that included some incredible abdominal exertions. The performances has been available in video online for years and this year the Smithsonian Folkways included the performance in its five-disk retrospective in honor of the 50th annual JazzFest. You’ll find that song in the second hour of the show.
In between, the show features performances by Jon Cleary, Shamarr Allen, Preservation Hall Jazz Band, Dwayne Dopsie, Frog and Henry, Leyla McCalla, Dana Abbott, Galactic and The Crooked Vines (just to name a few).
I also celebrate Little Joe Gaines 100th birthday anniversary by playing his two solo numbers by Mercury, including “Snuff Dipper.”
This week’s show gives a gentle nod to my Irish heritage but I don’t go overboard. Well, unless you count the two raucous sea shanties. Go ahead and get it started while I explain.
As I’ve said before, New Orleans needs little reason to put on a party. But given that St. Patrick’s Day appears to be our equivalent of Irish-American heritage day, the city has a lot to party about. You’ll find the parades and block parties are centered around a neighborhood in New Orleans along the Mississippi River called the Irish Channel. And while the large influx of Irish families in the first half of the 19th century fanned out throughout the city, many did seem to settle in this Garden District neighborhood since it wasn’t very far from where they go off the boat from Ireland.
My experience with the Irish Channel was as a kid when I gigged as an altar boy for an itinerant priest who would do mass for convents and shut ins. One day, he got a prime time slot, doing mass at St. Alphonsus Church (now a cultural center) in the heart of the Irish Channel. I lived just a few miles away but it may as well been a world away in 1966. All the other neighborhood altar boys, hanging out in the altar boy locker room, sounded like Bobby Kennedy. That’s New Orleans for you.
Well, back to the show, I don’t spend too much time on the Irish theme. I don’t have a lot of music that fits frankly. And I’m not a big fan of the whole St. Patrick’s Day celebration — which you’ll get a taste of when you hear the show. Instead, I treat you to Louis Jordan’s 1949 classic “Saturday Night Fish Fry” and carry on that early R&B vibe with Chubby Newsome and Percy Mayfield
Later, I take a dive into the brand new Smithsonian Folkways recording celebrating 50 years of the New Orleans Jazz and Heritage Festival. Yes, this year is the 50th anniversary. I play a track with Snooks Eaglin getting excited about the huge crowd he had and we rock to a live version of “Back On Dumaine” when Anders Osborne’s heart ache over the end of his marriage was fresh. I also play from the new release by Herlin Riley, singing a jazzy version of “Wang Dang Doodle.”
Lots of other great stuff in between. Give it a listen. And “Erin Go Bragh.”
Hello. Today’s show marked three full years of airing a show about New Orleans music in a town over 2200 miles away from the Crescent City. My thanks to community radio station KAOS and its listeners and supporters for letting me do this show.
The show kicks off with Theryl “Houseman” Declouet with his infamous introduction regarding the third world status of New Orleans at a Galactic concert and flows quickly into Shamarr Allen’s “Party All Night.” Al Hirt takes a turn and so does patron saint of this website and the show, Ernie K-Doe, with his classic “A Certain Girl.” Who is she? Can’t tell ya. I have reggae and hornpipes, jazz and blues and an amazing live airing of the Radiator’s 7 Devils from the 2006 New Orleans Jazz and Heritage Festival. It was that concert that cinched the deal for me that I would be coming back to New Orleans as often as I could.
Here’s the edited show from today (September 7, 2017) marking three years. Thank you for listening.
The 2015 New Orleans Jazz & Heritage Festival kicked off today at the fairgrounds with 11 music stages and goes full tilt until 7 p.m. Jazz Fest carries on through Sunday before taking a three day break, then picking up for four more days starting Thursday, April 30. Here’s the lineup.
This year, I decided to go to the earlier French Quarter Festival and while I have no regrets, I can’t help but wish I was still in town for Jazz Fest–particularly as I listen to the WWOZ broadcast from the festival grounds.
Perhaps the most intriguing artist for Thursday is Lágbájá, a Nigerian afrobeat musician known as the “masked one” who has been outspoken in his country’s politics. He takes the Congo Square stage during the afternoon. Headliners for today are Keith Urban, Wilco and Jimmy Cliff. Saturday and Sunday features The Who, John Legend, Tony Bennett & Lady Gaga and Jimmy Buffett. But those are just the headliners, there are many gems in the schedule and I encourage you to stream WWOZ during the festival to get a sense of the fun and flavor of Jazz Fest.
On another note, the long awaited recording of the 2011 Mother’s Day performance of
Jello Biafra (think Dead Kennedys ) with Bill Davis (Dash Rip Rock), Fred Le Blanc (Cowboy Mouth) and the horn section from Egg Yolk Jubilee at the 12 Bar has been released. Perhaps you’ve seen the video of Biafra goofing with Ooh Poo Pah Doo. Now there is a marginally better audio version available on Alternative Tentacles and I’ll play a couple of cuts on Monday’s show.
Finally, having just completed our spring membership drive, I want to thank those of you who have supported community radio, either KAOS, WWOZ or your own community radio. Membership drives are hard on everyone but a necessary chore to ensure that we can demonstrate listener support to other funders. If you haven’t had a chance to be a member of community radio, I invite you to be a KAOS member.
I originally posted this in 2015 but have updated it so the links are still good and the information is relatively ageless.
It’s never too late to make plans for Jazz Fest. If you accept this mission, you will join the millions of satisfied music lovers worldwide who have made this pilgrimage during the 50+ year history of the New Orleans Jazz and Heritage Festival.
To help you move from idle curiosity into action, here are a handful of things you should know about the New Orleans Jazz Fest. (Also, here’s a later post as to why you might consider visiting New Orleans when it is not JazzFest.)
1. It’s more than Jazz. The festival combines world-class and national acts with some of the best regional music of all types. There are stages for blues, gospel, zydeco and cajun, world, kids stuff and, of course jazz. On the rest of the stages you’ll see funk, hip hop, Mardi Gras Indian, rock, folk, latin, pop, brass bands, oh heck, . . look at the lineup. Not to mention, you’ll have access to Second Line parade demonstrations, excellent food and local crafts.
2. Last weekend in April and first weekend in May. That’s always the formula. This means that the 2020 festival starts Thursday, April 23 and runs through Sunday May 3, with three-days to recuperate in the middle (no festival shows Monday – Wednesday). Go for the day or the whole fest.
3. Tickets are easy to get at the gate. You can procrastinate and/or be spontaneous. They will have a ticket waiting for you (unless they book the Rolling Stones again). It’s highly unlikely the festival will sell out. It takes a lot of bodies to fill the Fair Grounds Race Course. Day passes are $75 and sold with efficiency at the entry points. You can buy in at advance if you want. But after Ticketmaster takes its pound of flesh, you save less than a price of beer per ticket. Or you can buy a brass pass and go all seven days.
4. Hotels can be expensive but plentiful; cheaper further out. It’s over $300 a night to stay downtown/French Quarter. Cheaper further out. If you have a car, Slidell, Metairie or some other suburb is an affordable option. But not as fun as being in close. Since I like embedding in a neighborhood, I use AirBnB. Yes, almost everyone charges more during Jazz Fest.
5. The best shows are not always the “big” shows. The New Orleans Jazz & Heritage folks always assemble an intriguing top of ticket with big acts such as Elton John, The Who, Stevie Wonder, Tony Bennett, Paul Simon and other big touring acts you can see just about anywhere. I understand if you have to see one of these. However, if you skew your viewing portfolio toward local legends and masters, particularly those who rarely perform together these days, you will reap even bigger dividends.
Each year, the festival attracts New Orleans centric acts that you might otherwise be able to catch. Try to catch acts that form just for this event (such as musical tributes) or come back together again (the Radiators, Meters)
Lagniappe – At some point, you must get your ass in the Economy Hall Tent and shake it. (Second Line Umbrella optional). Nuff said.
There are lots of other resources for the details, starting with Jazz Fest site. To hear some of the music that you would hear at Jazz Fest, be sure to tune in on Thursdays. Also, join me on my journey, learning about the New Orleans music scene by subscribing (upper right side of this page)
So below are three items: Jazzfest lineup, great new music at KAOS and a heads up on my Monday interview.
New Orleans Jazz and Heritage Festival has announced its 2015 line up. As usual, the music is far from limited to jazz and offers some unique shows and musician pairings. I’ll provide more depth in a later post. Right now, you need to know the festival is seven days stretched over 10, starting Friday April 24 and ending Sunday, May 3. Be sure to check the line up by day if you’re planning a trip.
While there’s some interesting headliners (e.g. Elton John and The Who), I recommend some of the harder to see local acts like: a reunion of the Radiators; Henry Butler recreating his 2014 album with Steve Bernstein and the Hot 9; a hip hop pairing of Juvenile and Mannie Fresh; Ivan Neville and Dumpstaphunk playing with his uncle, Art Neville; The Dirty Dozen Band; George Porter Jr. & the Runnin’ Pardners, and, best of all, The Meters with all four founding members–worth the price of admission right there.
New Music in the KAOS Studio – I’m loving the music we’re getting in the studio from
New Orleans artists. Since writing about the 2014 releases (Part 1 and Part 2), we’ve received two CDs from Lynn Drury, including her latest one “Come To My House.” I’m afraid I have a serious music crush on this earthy singer, guitarist, and songwriter. Check out “I Know You Want Me, Baby” and you’ll know what I mean.
If you’re worried traditional New Orleans jazz is dying out, look no further than the Shotgun Jazz Band. It’s fourth album Yearning, carries you to Frenchmen Street with a solid mix of standards and less heard wonders.
Tubaluba – Seattle’s answer to New Orleans brass bands – Josh Wilson, who plays the bass drum and keyboards for Seattle’s Tubaluba, will be on the phone with me during Sweeney’s Gumbo YaYa this Monday (just after 11 a.m.). I caught Tubaluba at the 2013 Seattle Honkfest. The band members are clearly fans of New Orleans brass band music. Wilson even has a WWOZ sticker on his bass drum. The interview will highlight the band’s upcoming performance in Olympia at Rhythm & Rye on January 24.
That’s your heads up and preview for my next show. Join me, won’t you?
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