New Orleans Brass Bands S/D

Wish I coulda been in New Orleans this weekend for Jazzfest; or in Seattle for this EMP Pop Conference presentation:

Matt Sakakeeny is an ethnomusicologist, journalist, and musician in New Orleans, and an Assistant Professor of Music at Tulane University. His book Roll With It: Brass Bands in the Streets of New Orleans was published by Duke University Press in 2013. Matt has also contributed to Wax Poetics, Oxford American, and NPR’s All Things Considered, and is the guitarist and bandleader for Los Po-Boy-Citos.

ABSTRACT
“The New Orleans Brass Band and Old Technologies of Mobility”
The New Orleans brass band is the ensemble responsible for mobilizing the local cultural traditions of the jazz funeral and the second line parade. As these processions move through the city streets, their pace is determined by the tempos set by the drummers, and the ecstatic dancing of the participants that make up the “second line” is propelled by the syncopated rhythms and improvised melodies of the musicians. These ensembles are entirely acoustic, and the processions they perform in can be connected to West African burial rituals that predate slavery, but the instruments themselves were once cutting-edge technologies. Marching drums, sousaphones, and other wind and percussion instruments were specifically designed to mobilize crowds, and most originated in military bands and developed through technological advances in metallurgy, woodwork, and synthetics via industrial design and automated labor. As products of Ottoman, European, and American innovation, these instruments were appropriated by black musicians whose presence in the New World was, of course, a product of their ancestors' forced mobilization from Africa. As an inherently mobile ensemble, the brass band has facilitated the movement of black New Orleanians through public spaces where lynchings, race riots, segregation, and gentrification have all taken place. The many vectors of mobilization that intersect with the brass band ensemble problematize contemporary equations of mobility solely with “new” media. We have always been mobile.

Saw praise for Matt's presentation on twitter

nice

Golden Star Hunters Big Chief Larry Bannock passed away on April 30, just three days after performing at Jazz Fest 2014.

funeral is Saturday for this Mardi Gras Indian, according to Offbeat

unflattering closeups on public television: http://video.wpt.org/video/2365220219/

From Offbeat Mag email:

the brass band—the Young Fellaz Brass Band—that seemed to have caused a lot of problems with some of the local businesses, has proclaimed that the band is interested in being part of the street and that it will stop playing around 10 p.m. or 10:30 p.m. They’ve also promised not to play as loudly as they have been. Sam Jackson, the leader of the Young Fellaz, has made a sincere attempt to meet and talk to the other business owners on the street to assure them that the band is making an effort to be a part of the Frenchmen Street community of businesses.

The animosity towards the band from some of the businesses on the street seems to have been ameliorated somewhat. I think this is great news. Talking to each other and trying to get along with your neighbors is key to making Frenchmen Street a great destination for music and culture. It’s starting to happen. It just takes time and patience.

They’ve also promised not to play as loudly as they have been

good to hear in general, but trust me, this is a promise that no brass band can keep.

More from Offbeat editor Ramsey:

I personally like the idea of letting the brass bands play in the flea market of the French Market. as t he vendors there go home every evening, and the area is vacant, lighted, and covered. Adding some food trucks in that area could create a destination attraction. Of course, this idea needs development and support by the city, the French Market Corporation and the bands themselves.

It would add another night-time entertainment area if there could be some traffic flow from Frenchmen to that area of the flea market if there was music and some food there. Another obstacle is the presence of the Old U.S. Mint. Let’s face it: it’s poorly lit, and pretty forbidding (even during the day). It’s almost a “blockade” between Frenchmen Street and a “Brass Band Alley.” The Old Mint needs to be made a lot friendlier. How about adding some lighting on its Decatur Street and Barracks Street sides in the evening? How about adding some signage on the corner of Decatur and Esplanade as well as on the Barracks Street side?

The Old Mint has great programming during the day (the National Jazz Historical Park has regular programs about New Orleans music); there also events occasionally in the evening. Why are they not capitalizing more on this contribution to the musical offerings in this area? Why couldn’t the Old Mint also get involved in developing a place for brass band to play at night?

http://blogs.artinfo.com/blunotes/2014/05/in-and-around-jazzfest-fair-grounds-for-new-orleans-culture-and-what-that-means/

Larry Blumenfeld re the ongoing battles re sound decibel regulations, changing New Orleans neighborhoods and more:

Back at City Hall, the outlook for policy reforms remained cloudy at best once the city council deadlocked, 3-3, thus balking at a proposed ordinance revision.
The revisions would have dictated new methods of measurement and acceptable decibel levels for sound along a particularly loud section of the French Quarter’s Bourbon Street (based on an exhaustive study by acoustician David Woolworth, whose Oxford, Miss.-based firm was hired by the city council).

Saw Glen David Andrews perform in Rhode Island Friday night and while I enjoyed the show immensely, I’m curious: Is he considered more of a draw for tourists or is he a favorite of NOLA locals, too? We basically heard the greatest hits of New Orleans — “Basin Street Blues,” “St. James Infirmary,” even “Saints.” Wondering if he dumbs down the set list while touring? Dynamic performer, though. Opening the show was the Funky Dawgz Brass Band from UConn, which played a great set of original material.

Jordan might be able to say more, but Glen used to play on the street a bunch and got arrested once for violating rules on second lining, so I'd say he is a favorite of both locals and others. He also has always been more into some traditional songs than other brass band players are (though he probably also thinks that when he's on the road that is what folks want to hear). He's never been as funky/hip-hop oriented as some. I saw him many years ago with the Treme Brass band on tour in DC doing the songs you mentioned,plus years later with a band at another DC club, and I've seen him do them onstage in New Orleans at Jazzfest and clubs as well.

well, on the one hand he's a legend, basically brass band royalty (same family as trombone shorty, derrick tabb, many others), best singer to come out of the brass band scene, great trombone player, been playing in New Birth and other bands for years. and he wrote this classic:

https://www.youtube.com/watch?v=T9pd8VWyibA

on the other hand, his solo shows can be a little...much? can definitely feel pandering, and then he'll do things like play his 'rock star' tune for 20 min and crowd surf.

http://www.nola.com/music/index.ssf/2014/07/lionel_ferbos_the_longest-tenu_1.html

RIP Lionel Ferbos at 103

Trumpeter Lionel Ferbos, who enjoyed a late-in-life celebrity as the oldest active jazz musician in New Orleans, died early Saturday, July 19. He celebrated his 103rd birthday two nights earlier, on July 17, at a party at the Palm Court Jazz Café, a favorite venue of his.

Mr. Ferbos was the personification of quiet dedication to craft. Even some residents of his 7th Ward neighborhood, he once said, didn't realize he was a musician — they knew him as a master tinsmith who had taken over his father's sheet metal business. That occupation sustained him and his family for decades.

But he always nurtured a musical career on the side.

"He proved that the greatness of the city of New Orleans is that ordinary people can be extraordinary on a daily basis," said trumpeter and New Orleans Jazz Orchestra founder Irvin Mayfield. "Everyone has an opportunity to be something special. The culture gives us the opportunity. He was an example of that."

His life in music spanned the Roosevelt administration to the Obama administration, the Great Depression to the Internet era. Louis Armstrong was only 10 years his senior, but Mr. Ferbos outlived Armstrong by more than 40 years.

Last time I was was in NO, in 2008, I made it point to see not only his Jazzfest set, but also went to see him at Palm Court, figuring it would probably be my last time, if not his. RIP.

http://www.offbeat.com/2014/07/22/music-man-jim-russell-dies/

http://www.offbeat.com/2014/07/23/jamal-batiste-drums-his-way-into-james-brown-biopic-get-on-up/?utm_source=WB+07+24+14+&utm_campaign=WB+07+24+14&utm_medium=email

New Orleans drummer Jamal Baptiste is playing (the still alive) drummer for James Brown, Jabo Starks in the new James Brown movie

Batiste

http://www.nola.com/music/index.ssf/2014/07/idris_muhammad_legendary_new_o.html

Idris Muhammad, whose drumming crossed over several musical styles including funk, jazz, and rhythm and blues, died Tuesday (July 29).

Williams said that Muhammad got his first national touring gig with Sam Cooke before moving on to Jerry Butler, Curtis Mayfield and beyond.

"He was eclectic in terms of his playing," Williams said. "He mixed the New Orleans sound, that sound of the street music, with jazz music and rock 'n' roll, and had all that intertwined," Williams explained. "He tuned his drum to get the sound from the New Orleans street bands, the marching bands, and he'd get that kind of sound that would come from New Orleans. That's why he was so sought after.

"He had the syncopation of New Orleans."

The news devastated the WWOZ-FM staff, who had gotten to know Muhammad personally and through his music. After learning of the news, Wednesday's (July 30) "Morning Set" jazz show featured plenty of Muhammad's work.

http://www.waxpoetics.com/features/articles/idris-muhammad-interview

More on his New Orleans drumming roots here

x-post-- that WWOZ dj in the Muhammad obit shoulda included Earl Palmer in his list of legendary New Orleans drummers (even if some of his impact was from after he moved from the Crescent City to L.A.)

http://nicholaspayton.wordpress.com/2014/07/08/masters-of-funky-new-orleans-drumming-vol-1/

Jordan posted this on the 2014 jazz thread

starting to upload some brass band classics to youtube just because they're not on there:

https://www.youtube.com/watch?v=GQELLw2A_nw

i thought some of these records were more or less out of print, but it looks like there are digital versions now on Amazon/iTunes/etc, which is good.

http://musicatthemint.org/keeping-time/

Some nice photos (online) from way back and from recently in this exhibit--Keeping Time: Extraordinary Images from Louisiana’s Musical Past at the Old U.S. Mint,

this thread is a roller coaster man. every time it gets updated it's either someone dying or some crazy amazing youtube.

also thx for the heads up, just bought d-boy on amazon mp3

nice. i'll bet i've listened to 'd-boy' more than any other record ever, and it never gets old.

for awhile i thought about doing some kind of oral history on it, talking to everyone involved while they're still around, but i just don't have the time for that sort of thing right now.

i would read that.

did anyone ever get around to that matt sakakeeny book? i like the idea but sometimes new orleans music people writing about new orleans music are can get http://ia.media-imdb.com/images/M/MV5BMTI4NTc1NDg4NV5BMl5BanBnXkFtZTcwMjU4OTQyMQ@@._V1_SY317_CR4,0,214,317_AL_.jpg

pretend that image is the poster for _in too deep_ starring omar epps and ll cool j

lol. haven't read it, curious though.

I haven't read it yet either, but have been impressed with Sakakeeny writing I have seen

This just popped into my email:

It’s brass bands galore at our seventh annual Tremé Creole Gumbo Festival, taking place Nov. 8-9 in New Orleans’ Louis Armstrong Park. The Soul Rebels, the Stooges, the Hot 8, To Be Continued, the Pinettes, the Brass-A-Holics and the Tremé brass bands all will be there. So will New Orleans jazz/funk trumpet phenom Shamarr Allen. We’ll also present winners of our third annual Class Got Brass student brass band competition. And don’t forget the gumbo. Ten great local restaurants will showcase their interpretations of New Orleans’ signature dish. Plus, we’ll host our second annual Vegan Gumbo Competition. Don't miss a special performance by the Louisiana Philharmonic Orchestra's new brass band (play that funky music, classical dudes!). All that plus a huge arts market and special activities for the kids. Admission is free.

Louisiana Philharmonic Orchestra's new brass band (play that funky music, classical dudes!)

this should be hilarious

Just got around to listening to Rebirth Brass Band's 2014 album Move Your Body. Sounds good. Various guests are on it--James and Troy Andrews and a woman vocialist whose name I have sadly forgotten

http://www.offbeat.com/news/danny-barker-guitar-banjo-festival-kicks-off-across-new-orleans/?utm_source=WB+01+15+15&utm_campaign=WB+01+15+15&utm_medium=email

Another festival (and yes brass bands are kinda involved)

JazzFest lineup got announced too. Elton John and the Who with the Stooges Brass band together! OK, not really.

I don't dislike Elton or The Who, and have seen both perform, but the prospect of seeing them at Jazzfest would hold zero appeal for me. Thanks but no thanks: Pitbull, John Legend, Ed Sheeran.

But digging down the lineup: Sturgill Simpson, Vintage Trouble, Jimmie Vaughan, Taj Mahal... I could still have an excellent time. But not going, again.

I am with you on all that (seen Elton, the Who etc.), although seeing Springsteen there was exciting. I haven't studied the list, but one can't go wrong seeing brass bands and John Boutte and Irma Thomas (all of whom I guess are playing at some point)

Ponderosa Stomp is back this year, after a hiatus. Would like to go to that.

http://www.nola.com/music/index.ssf/2015/01/bo_dollis_longtime_big_chief_o.html

Theodore Emile "Bo" Dollis, the longtime Big Chief of the Wild Magnolias Mardi Gras Indians, died at his home in New Orleans on Jan. 20, 2015, his son confirmed. He was 71.

Born Jan. 14, 1944, Dollis first exercised his powerful voice in church. Though his family was reluctant to allow him to join the Indian gangs that paraded in their Central City neighborhood due to their reputation for violence, he sewed a suit in secrecy and masked for the first time with the Golden Arrows Mardi Gras Indians as a young teen. Soon after he joined the Wild Magnolias as Flag Boy and, by 1964, had risen to Big Chief.

Like the late Big Chief Tootie Montana, who was a mentor to him, Bo Dollis was one of a new generation of Mardi Gras Indians that turned away from violence, focusing instead on a contest of costuming and "prettiness." He was among the first to bring the culture and sound of the Indian culture to national prominence, recording the first commercial album of Mardi Gras Indian music, the single "Handa Wanda," in 1970 – the same year that he and Monk Boudreaux of the Golden Eagles Mardi Gras Indians appeared at the first New Orleans Jazz and Heritage Festival. In 1974, along with his wife Laurita Dollis, keyboardist Willie Tee, Snooks Eagilin, percussionist Uganda Roberts and saxophonist Earl Turbinton, Dollis recorded the groundbreaking album "The Wild Magnolias," melding Indian chants with sizzling funk. Over the years, the Wild Magnolias would perform around the world.

In recent years, troubled by failing health, Dollis stepped down to the role of council chief of the Wild Magnolias, his son Gerard "Bo Jr." taking on the role of Big Chief and leader of the performing Wild Magnolias. In 2011, Bo Dollis received the National Endowment for the Arts' National Heritage Fellowship.

Check back with nola.com/music for more details on this breaking story. Funeral arrangements are incomplete.

http://www.nola.com/music/index.ssf/2015/01/celebrating_big_chief_bo_dolli.html

I've been expecting this for quite a while, but damn. Wild Magnolias in the tiny upstairs room of Funky Butt on Rampart is definitely in my top musical experiences ever.

No BS Brass Band are really doing well for themselves, huh? not my thing at all, but they're tighter than most brass bands that have a drum kit, and at least they're doing their own thing and not attempting any New Orleans tunes.

Was curious about them, as I keep seeing the name around, but have never listened to 'em.

In New Orleans brass band news, Smithsonian Folkways has a new comp out with recent recordings from Liberty Brass, Treme, and Hot 8 (and more?)

http://www.folkways.si.edu/new-orleans-brass-bands/jazz-african-american/music/album/smithsonian

interesting. new recordings too, very trad-heavy, of course. doesn't sound super exciting from the clips, but still, cool.

i'm doing a clinic for a high school brass band this Sunday and i'm very much looking forward to it. mostly i want to give a context and get them excited about checking out the New Orleans bands.

oh and my band is in Chicago tonight at tomorrow, at the Green Mill.

FYI that Smithsonian site features a free download of Treme Brass Band playing “The Sheik of Araby.”

going to be in New Orleans the weekend of April 10th to play a gig and catch a second line. Digdown is playing at the Blue Nile that Friday.

French Quarter Fest going on then I think

yep. there are supposed to be thunderstorms all weekend. :( at least our show w/the Stooges is indoors, of course, i just hope the second line goes off.

Not a brass band question, but ...
I was streaming WWOZ's broadcast of the French Quarter Fest yesterday when Rory Danger & the Danger Dangers were playing what sounded like mostly covers. The female singer, who was screeching loudly and out of tune for the entire set, had me scratching my head. It was one of the worst things I've ever heard. I couldn't understand how they got the gig (never mind the radio spot) yet the crowd seemed to like them. What was I missing?

Aurora Nealand is her name, I guess, and apparently she has somewhat of a following in New Orleans. Maybe her vocal chords were just having a bad day.

She was on the Treme tv show it seems:

http://www.inside-treme-blog.com/home/2013/12/9/getting-to-know-aurora-nealand-and-her-alter-ego-rory-danger.html

I listened to her set with The Royal Roses last year, it was okay. That's trad jazz though, I haven't heard her rocking out. I do think some of those 'OZ broadcasts are miked weirdly sometimes, with the vocals too far forward.