New Orleans Brass Bands S/D

yo jordan could you post the tracklist for the brass band mix you sent me awhile back?

????

haha, i have no idea what it was! every time i make one of those i usually throw some different tunes together and don't keep the playlist. sorry deej.

i'm sure i could identify any track in particular if you gave me a hint, though.

ha i just wanted to rip them to my pod ... :( i'll just label them "brass band 1" "brass band 2" i guess

at least in most of the songs they say the name of the song and the name of the band at some point!

RIP. He regrouped after Katrina and then this...

http://blog.nola.com/lagniappe/2008/02/preservation_halls_john_brunio.html

Preservation Hall's trumpet player John Brunious dead at 67

Posted by Keith Spera February 13, 2008 6:30PM
By Keith Spera
Music writer

Trumpeter John Brunious, the Preservation Hall Jazz Band's leader and senior
member, died Tuesday in Orlando, Fla., after suffering an apparent heart
attack. He was 67.

Mr. Brunious joined Preservation Hall around 1987, after substituting for
longtime trumpeter Percy Humphrey. With his shock of white hair and the
traditional white shirt and black pants of old-school New Orleans jazz
bands, Mr. Brunious tutored rapt tourists on jazz funerals, second-lines and
dirges before launching into "Just a Closer Walk With Thee."

But he was not a strict traditionalist. He learned traditional jazz as a
child from his father, John Brunious Sr., then focused on bebop and rhythm &
blues as a young man.

In recent years, Preservation Hall creative director Ben Jaffe has steered
the Preservation Hall Jazz Band in fresh directions. After initial
skepticism, Mr. Brunious was generally game for innovation.

The band appeared at the rock-centric Voodoo Music Experience and Bonnaroo
Music Festival. "The only place we haven't been is outer space," Mr.
Brunious once said. "And they might be working on that."

He and Jaffe consulted on set lists and new ventures. Mr. Brunious did not
mind sharing the stage with Clint Maedgen, the spiky-haired leader of the
Bingo! performance troupe whom Jaffe recruited as a Preservation Hall guest
singer.

"Once he realized Clint had chops and had respect for the music, John took
Clint under his wing," Jaffe said. "John and Clint would spend hours
together going over lyrics and melodies. It was like going to school for
Clint."

The band's, and thus Mr. Brunious', repertoire expanded to include such
non-traditional fare as The Kinks' "Complicated Life." In Preservation
Hall's 2006 video for "Complicated Life," Mr. Brunious orders a cup of
coffee to kick off a surreal ramble through the French Quarter.

"Because we're getting more new people in our audience, they can relate to
the old-time traditional jazz as well as 'Complicated Life,' " Mr. Brunious
said in 2006. "Because the music is always evolving, it's good to have new
songs in the band."

Mr. Brunious' trumpet and voice are featured on many latter day Preservation
Hall recordings. He sings lead on "Last Chance to Dance," the final song on
the CD that accompanied the Hall's 2007 limited edition box set, "Made In
New Orleans."

Mr. Brunious grew up in the 7th Ward. His father arranged songs for the
likes of Count Basie. At St. Augustine High School, Mr. Brunious performed
the difficult "Flight of the Bumblebee" for his junior recital.

A combat tour of Vietnam with the army interrupted his musical life. Back in
New Orleans, he contributed to recording sessions at studios owned by Cosimo
Matassa and Allen Toussaint. He played bebop alongside Ellis Marsalis and
drummer James Black at Lu and Charlie's, the Rampart Street nightspot at the
epicenter of New Orleans' fledgling modern jazz community.

Those experiences would inform his contributions to Preservation Hall.

"John represented that link between the old and the new," Jaffe said. "He
got me thinking about the evolution of New Orleans music. It all came from
the same place. It all became New Orleans jazz in the end."

Mr. Brunious endured the wrath of Hurricane Katrina and the botched response
to its aftermath. As the storm approached, he hunkered down in his
first-floor apartment on Elysian Fields Avenue in Gentilly. After the levees
broke, he plunged into the rising floodwaters to save, ironically enough,
his boat. He hoped to secure the boat and its new motor before they floated
away.

As the water reached his 8-foot ceiling, Mr. Brunious escaped to a second
floor apartment. Eventually, a passing boat rescued him. He joined thousands
of storm victims at the Ernest N. Morial Convention Center.

For five days, he survived on minimal food and water, and slept outside on a
chair. Finally, officials put him on a bus bound for Conway, Ark.

Jaffe located Mr. Brunious via the Red Cross and arranged to fly him to New
York. He received treatment for burns on his face and shoulders; a doctor
surmised he contacted acid from a car battery in the floodwaters.

Mr. Brunious was unable to perform at Preservation Hall's first post-Katrina
concert in New York because of a severe cough, another byproduct of polluted
floodwaters. But on Sept. 20, 2005, he joined the band at Radio City Music
Hall for a triumphant set at the "Big Apple to the Big Easy" benefit.

"The spirit of the music is so forceful that it makes you want to play it,"
Mr. Brunious later recalled. "When we finally got to play together,
everything was OK."

Mr. Brunious lost all six of his trumpets in his flooded apartment. After a
show in New Hampshire, a music teacher gave him a used trumpet. In May 2006,
the Tipitina's Foundation presented Mr. Brunious with a new silver-plated
Conn trumpet.

He settled in Orlando with his wife and stepdaughter, yet continued to tour
with Preservation Hall. Dental work forced him to sit out the band's
national anthem performance prior to the BCS Championship Game in January.

Jaffe said that, for the foreseeable future, Preservation Hall will fill the
void left by Mr. Brunious' passing with a rotating cast of trumpeters.
"We've faced this in the past," Jaffe said. "We'll continue on with what
we've always done. The next generation comes in."

In 1958, Mr. Brunious' father recorded an album for Atlantic Records with
the Young Tuxedo Brass Band in the yard of the family's 7th Ward home. In
April, Jaffe planned to recreate that recording session, with Mr. Brunious
playing his father's parts. Jaffe intends to go on with the project.

"Now it will be a memorial to John," he said.

A memorial service for Mr. Brunious is planned for Feb. 23 at Preservation
Hall, to be followed by a second-line.

He's on that Blind Boys album. I have him on this old Paul Barbarin record, although I wonder if that's him or his dad? And his son (?) Wendell is a killin' trumpet player.

Hey, the Dirty Dozen are on TNT right now backing up the introduction of the NBA players who are taking part in the skills, 3 point shooting and dunk competition as part of the NBA basketball allstar weekend in New Orleans.

Christian Scott's trumpet rendition of the national anthem was nice. I wonder who'll be doing it tomorrow before the game.

Sunday, February 17: For the 57th Annual NBA All-Star Game, Harry Connick, Jr. and Branford Marsalis has collaborated on the performance lineup. Connick is the musical director for the halftime show, featuring four original compositions performed by four pairs of pianists including Dr. John, Allen Toussaint, Davell Crawford, Art Neville, Ivan Neville, Jonathan Batiste, Ellis Marsalis, and Connick Jr. and his Big Band. Marsalis is the musical director for the All-Star Player introductions, featuring compositions by Marsalis performed by the Rebirth Brass Band. Trumpeter Kermit Ruffins and Trombone Shorty introduces the Western and Eastern Conference All-Star teams. Marsalis directs the U.S. national anthem performed by Stephanie Jordan and guitarist Jonathan Dubose. Deborah Cox performs the Canadian anthem.[14]

it is like mardi gras downtown this weekend

featuring compositions by Marsalis performed by the Rebirth Brass Band

this will probably be a little weird

so this is only on cable, huh? crap.

I wonder who that white guy guitarist trying to sing like a Neville brother was?

I didn't realize who Stephanie Jordan is---

Like other Katrina victims, Jordan is still rebounding from her losses," I had eight feet of water in my house, and lost everything - pianos, sheet music, my entire wardrobe, a singer's wardrobe." Shortly thereafter, she and her brother Marlon embark during the fall of 2005 as 'Jazz Ambassadors' on a European Tour sponsored by the U.S. Department of State and Jazz at Lincoln Center to thank the people of Europe for their support of New Orleans and the Gulf Region following Hurricane Katrina.

Jordan is the fifth performer to emerge from a family of New Orleans bred musicians. As the daughter of saxophonist Edward "Kidd" Jordan, Stephanie's musical roots run deep. Her siblings include flutist Kent, trumpeter Marlon, and violinist Rachel Jordan. from nola.com

by David Gladow Saturday February 16, 2008,

TNT cable tonight--Dwight Howard dunking and brass blowing

Kermit Ruffins & Trombone Shorty and Rebirth looked and sounded sharp playing in the background as the players were being introduced. They had this faux French Quarter backdrop with folks dressed up for Mardi Gras and dancing around...

i went over to a friend's house to watch. that was pretty tight, esp. when they gave trombone shorty some time to blow over 'do whatcha wanna'. kinda weird to see all those dudes in suits on national tv!

i guess they didn't air the rebirth halftime performance? that sucks.

Were they supposed to be on at the half also in addition to the pianos duets thing?

think i'm interviewing Glen David Andrews tomorrow morning.

He can be real friendly or real cranky. I like his Louis Armstrong like vocals as well as his horn playing. As you may know, he's part of a talented extended music family. Good luck

Hey, thanks for warning me about the possibility of a cranky subject. I've been listening to his music recently; lots of it sounds joyful. He's performing in a local parade, so I was going to talk to him about NO parades, particularly in a post-Katrina NO.

But I don't know how he'll feel about Katrina questions...I'm sure every post-Katrina interview has revolved around the aftermath. I just hope he's not sick of discussing it. If he sounds annoyed, I'll switch subjects, I guess.

2 minutes

Hope it went well.

oh, i misread what adam posted, i thought rebirth was supposed to be on during halftime too but i guess not.

longest 2 minute wait ever!

what happened?

Did he blow it off...

still blowing it off, pr guy feels bad, still waiting, etc.

i've never met the guy but one hears hilarious and disturbing stories. good luck w/ the interview.

He was nice and friendly to me at Jazzfest a few years back, but then didn't want to really talk a year later up here in DC. He had to be bleeped on that NPR piece I mentioned upthread, and somewhere I saw a posting from I think a former landlord of his badmouthing him.

I hung around with him a bit during his brief stay in Houston. We had some interesting times.

free agents album is out

I guess I will just have to pay Louisiana Music factory prices unless it is also available elsewhere for cheaper (or via paid download)

nice rebirth second line vid: http://www.youtube.com/watch?v=gLBsaStyGaw

Hot 8 are over in Dublin tonight, Glasgow tomorrow, and Edinburgh the night after that (28th through March 1st) and they just did a bunch of dates in France and England!

Well Glen David Andrews did speak to Offbeat, if not to ILXer Tapestore. There's an interview in the latest issue, not sure if it's available online at their website or elsewhere. The ever-opinionated Andrews while stating he likes Hot 8, badmouths without naming names the younger more hip-hop influenced brass bands, while talking about how important it is to know you brass band music history, and how he now plays at Preservation Hall. Gotta run, I'll mention more later.

The Glenn D. Andrews Interview by John Swenson in Offbeat is online:
http://offbeat.com/artman/publish/article_2941.shtml

Here's part of it:

A lot of the older people have been sidelined since Katrina. You didn’t have to drown to be kept from being able to do what you were doing before. It seems like a big part of the social infrastructure that kept the traditional brass bands going is just gone.
They ran them off. I used to talk to [Olympia’s] Doc Watson all my days. I would just call him and talk to him; he ain’t here to do that anymore. There’s no Tuba Fats left in the Sixth Ward. Tuba Fats taught everybody and not just about the music. He took us to London every year to play, and he took us to Amsterdam.
I talk to Irvin Mayfield a lot. He says, “They know what you’re trying to do. They don’t like people that speak out.” You go against the grain, they stay away from you. Everything’s a clique. That’s why the city’s in the trouble it’s in.

(Q)With so many of the older keepers of the flame out of commission or out of the city, it falls on younger guys like you not only symbolize the new blood in the brass band sound, but now you’ve got to uphold the old tradition, too.

(A)When I saw the Olympia Brass Band for the first time I was like six, seven years old. I knew I wanted to be a part of that. I knew when I saw James (Andrews) at the World’s Fair I knew I was going to be playing with him. I grew up with it in the Treme, it was all around me. Ironing Board Sam. James Black lived around the corner. I grew up with the Olympia, the Pinstripe band all my life, and I realize that’s my niche. I love to sing the old tunes. Every Sunday when I get on the stand at Preservation Hall, I get a chill.

What’s your ideal repertoire for playing there?
I always try to play some Bunk Johnson, some Punch Miller, some Red Allen.

At places like Fritzel’s they play traditional jazz like classical music, note for note reproductions.
I’ve only seen one black musician play there in the 27 years of my life and that was Gregg Stafford. The best place you’re going to get down there [on Bourbon Street] is the Maison Bourbon; Jamil Sharif is there to commemorate the traditional music. That’s the thing about the tradition. You’ve got to know “Sunny Side of the Street” before you can know “Gimme a Dime.” You’ve got to know the tradition. And that’s what’s happening with these new brass bands. It’s the same thing with these Indian chiefs. Everybody wants to be the Big Chief now. There’s like 23 chiefs now; nobody wants to start off being the Spyboy.

So you see your role now, at 27 years old, as an older guy passing along the tradition?
People don’t respect the tradition. The young people don’t seem to respect much. If I’m playing at the Rock ’n’ Bowl, everybody wears suits and ties. Suits and ties. At Preservation Hall, if you don’t come out there with a coat and tie, you can go home. You could be the tuba player, somebody I need. If you don’t come with a suit and tie, you can go home. Tuba Fats told me that’s the way you run a band. You’ve got to pay them, make sure everybody’s looking good and professional and sounding good. Otherwise it’s going to fall on you.

You were also part of the brass band new wave with the Rascals and New Birth.
I did the song “Gimme a Dime, I only got 8” with New Birth. But that ain’t what I want to do. I’m through with that. The new shit dishes the old folks.

So you put that aside.
It’s violence. It’s not music. It’s one chord over the same groove over and over. No offense to the Hot 8. My brother Derek started that band. No offense to the Soul Rebels. I like all those people as people. I don’t want to listen to that. “That’s the street thing,” they say. “I’m trying to do something new.” How the hell are you going to do that if you don’t know where it came from? Do you know “Palm Court Strut?” Do you know who Danny Barker was? You need to find out about some of these things. You need to go by George Buck and get you a couple of them records.

What do you think the future is for brass band music?
There’s not enough cooperation among the younger brass band players. All the white players stick together. All these so-called retro jazz bands, I don’t hear anything I like down on Frenchmen Street outside of Snug Harbor except if it’s John Boutte. It’s sad.

If you’re going to play the traditional music do it the right way. The Storyville Stompers. They’re doing traditional music the right way. Rebirth works so hard and travels up and down that road, so they’re going to survive. Them and the Dozen are all right. Not all the individuals in those bands are all right financially, but those bands are all right as far as work. But I’ve got to worry about myself.

Start w/ Dirty Dozen Brass Band, then maybe that SoulJazz comp of New Orleans funk. Lot of cross over I think. So far as current bands are concerned, not sure since the city barely exists anymore. Early Dr. John is worth checking too.

so rong

U-haul, try reading the thread and you will get ideas on the current status of things.

So far as current bands are concerned, not sure since the city barely exists anymore.

fuck you

btw i bought my ticket for april 25th, playing at donna's that night and at ray's boom boom room (w/bob fr3nch) on april 28th.

I wanna go and stick around for Ponderosa Stomp

I'm psyched about the Trombone Shorty / Lazy 6 double bill at SXSW Thursday night, especially after reading that interview with G.D. All I've ever seen him play is the street stuff.

And the Ponderosa Stomp folks are doing a bill at SxSW also

The official Ponderosa site says in two places that the show is happening on March 14, 2007. Oops.

Went last year at SXSW and it was a really good show; don't know if I will make it this time around because of its location. Once you head down to the Continental you are kind of there for the whole night.

http://www.youtube.com/watch?v=ppv21Wzb_2s

stooges second line vid. is that big sam on trombone?

2008. Another year in which family and work is keeping me from the French Quarter Fest, Jazz & Heritage Fest, and the Ponderosa Stomp. Oh well.

thought y'all would be discussing this: the kid who killed dinerral shavers gets off scot free. ah, this broken ass city.