June Columns
Jazz in the Heartland | TJEN Corner | View from Canada |
Continued: New Orleans Notes
The final day (Sunday) featured the annual appearance of Eddie Bayard's New Orleans Classic Jazz Orchestra: Bayard, cornet; Tom Fischer, clarinet; Trolsen, trombone; John Parker, banjo; Steve Pistorius, piano; Matt Perrine, sousaphone; and Kenny Hall, drums. A highlight of the day for me was the performance by Evan Christopher's new quartet, Django a la Creole. Europeans David Blenkhorn (London), guitar; Dave Kelbie (London), guitar; and Sebastien Girardot (Paris) make up the group along with Christopher. The group seems to have been inspired by Barney Bigard's interactions with Django Reinhardt in the 1930s, and their aim is to fuse gypsy swing with the New Orleans Creole style. (The band has a brand new CD out; more about that at another time.) For this performance, they added Michael Skinkus on percussion and Seva Venet on slide steel guitar.
Among the many attendant activities during FQF was the dedication of a statue of popular entertainer, pianist and longtime supporter of the festival Ronnie Kole in Music Legends Park, 311 Bourbon Street. Kole joins Pete Fountain, Al Hirt and Fats Domino in being so honored. Next year singer Irma Thomas will receive a similar honor, to be followed by Allen Toussaint in 2010.
The Williams Research Center of The Historic New Orleans Collection, 410 Chartres Street, hosted its ninth annual Bill Russell Lecture on April 11. This year's speaker was William Howland Kenney, professor emeritus of history and American Studies at Kent State University (Ohio). Kenney is the author of several important books on jazz, the most recent of which is Jazz on the River (University of Chicago Press, 2005). His illustrated lecture focused on "riverboat jazz," with special attention given to the Streckfus (steamboat) Line. A fine clarinetist as well, Kenney supplemented his talk with music examples, accompanied by banjoist Frankie Lynn.
The annual New Orleans International Music Colloquium was held at the Jazz Park's Visitors' Center on April 11-12. This year's theme was "Storyville: Myth, Reality and Music." Highlights of the colloquium included presentations by a dozen participants of their original research on the history, architecture and music of The District and other New Orleans red-light districts.
One other public lecture during this period was that by State Historian Dr. Charles Chamberlain (also a participant in the NOIMC) at the Cabildo (Jackson Square) on April 18. The topic: "Sharing the Stage: Interracial Jazz and Civil Rights in New Orleans, 1946-1970." Chamberlain noted that interracial jazz performances often took place as a form of protest to segregation among some musicians and promoters. This led to the passing of a state law in 1956 (Revised Statute 4:451) prohibiting "inter-racial entertainments." The lecturer noted that, despite the new law, white and black musicians still found ways to share the stage. Chamberlain is presently working on a book about jazz in the South, especially Louisiana.
Odds and Ends
Fritzel's Pub, one of the few trad jazz venues left on Bourbon Street, has been sold. As of press time, the future of live traditional jazz at that location was up in the air. Stay tuned.
The April issue of New Orleans magazine contained its 18th annual list (with brief bios) of the city's jazz all-stars. Honored this year in the trad category were drummer Joe Lastie Jr.; vocalist Big Al Carson; cornetist Connie Jones; clarinetist Tommy Sancton; trombonist Glen David Andrews; and pianist John Royen. The "contemporary" list included pianist Jesse McBride; bassist Dewey Sampson; trumpeter Efrem Towns; saxophonist Eliot "Stackman" Collier; vocalist Stephanie Jordan; and drummer Geoff Clapp. As always in this city, it is not easy to pigeonhole musicians into strict stylistic categories.
Trumpeter Clive Wilson recently announced the appearance of his attractive new website: www.clivewilsonmusic.com. Check it out.
Pianist/arranger David Boeddinghaus headed back to Paris on May 8 to take over the musical direction of the popular Opera Comique show Looking for Josephine (Josephine Baker) in its new home at the Casino de Paris where Baker performed in the 1930s. According to Banu Gibson, the show is being adapted slightly for a tourist audience. Gibson will be leaving with Boeddinghaus to replace banjoist/guitarist Katie Cavera for three months, and reedman Otis Bazoon will be rejoining the group as well. The Baker show band is made up largely of New Orleanians. In addition to those three, there are drummer James Alsanders and bassist Tom Saunders.
Saxophonist and bandleader Al Belletto, who lost everything in Katrina and has been living in Dallas since then, was to have returned to lead his big band at FQF. Unfortunately, illness prevented him from making the trip. Pianist John Mahoney took over the leadership of the band for that performance. Our thoughts and prayers are with Belletto and his family.
Gunnar Gotas, Norwegian trombonist and leader of Oslo's Magnolia Jazz Band, was in town in mid-April. He performed with Topsy Chapman and her vocal trio, Solid Harmony, in a concert at the Norwegian Seamen's Church on April 15. Chapman has recorded with the Magnolia Jazz Band. Finally, a wonderful tribute celebrating the centennial of Lionel Hampton's birth took place on the weekend of April 19-20. More about that elsewhere in the RAG, however.
In the meantime, stay in touch. It's always good to hear from readers. twj@tulane.edu
June 2008 issue | © 2008 The Mississippi Rag
P.O. Box 19068, Minneapolis, MN 55419.