A look back to 2018 and ahead to 2019

By Geraldine Wyckoff
Contributing Writer

Naturally, not all of the local artists who released fine albums in 2018 were recognized with a Grammy nomination. Many deserve praise and notably their work embraces a sense of timelessness that remains the essence of New Orleans. Good music, like any good art, lasts beyond the excitement of first discovery. Here are some recordings that fit that bill:

Jon Cleary — Dyna-Mite (FHQ Records). The British-born pianist, vocalist and composer loves New Orleans and you can tell. He’s put some of the city’s street beat in the title cut that is spiced by licks inspired by Professor Longhair. The guitar of Leo Nocentelli adds the funk he helped originate with the Meters. Cleary beefs up a lot of cuts with a full horn section added to the core with strengths on the scene including drummer/vocalist Jamison Ross, percussionist AJ Hall, bassist Calvin Turner, keyboardist Nigel Hall and more.

Terence Blanchard – Live (Blue Note). Trumpeter and composer Terence Blanchard continues the conversation on violence between law enforcement and African-American citizens that he addressed musically and philosophically on his 2015 Grammy-nominated album Breathless. This time out, Blanchard, along with his E-Collective, made his point by performing live at three locations – Minnesota, Cleveland and Dallas – where engagements between police and the citizenry led to the death of unarmed innocents. The lovely, simple yet moving single notes from the guitar and Blanchard’s lyrical blowing on “Unchanged” seem to communicate a feeling of lament and ask the question, “Why?”

Dr. Michael White — Tricentennial Rag (Basin Street Records). Through his decades of study and performing, the clarinetist boasts such a deep understanding of and empathy for New Orleans traditional jazz that he’s able to express the timelessness of the music through his original compositions. Humor is all important in true New Orleans classic jazz and drummer Herman Lebeaux continually remembers that with a little unexpected touch of the cymbal or a drum roll at the end of a tune. White’s brilliant compositions played by talented, in-the-know musicians combine to make the album a history lesson and traditional jazz party all rolled into one.

Nolatet – No Revenge Necessary (Royal Potato Family). The four hugely talented and very individualistic musicians, who would become Nolatet, include New Orleans own James Singleton, drummer Johnny Vidacovich and vibest/percussionist Mike Dillon plus pianist Brian Haas. This is a follow up to their stunning debut release, Dogs, and, as expected, is full of challenging yet fun original material. The fiery album moves circularly from quietude to explosiveness during these master musicians’ exploration of sound and rhythms. In the words of Vidacovich, the music of Nolatet is “a circus and a Christmas tree with a lot of lights.”

Jason Marsalis and the 21st Century Trad Band — Melody Reimagined: Book 1 (Basin Street Records). Melodies suggest melodies that often lead to either new or familiar paths. On vibes and as a composer, Jason Marsalis uses this reality utilizing primarily jazz tunes as jumping off points for his original creations. In doing so, he respectfully pays homage to the material’s creators and extends the longevity of melodies by giving them a fresh twist. Marsalis wisely looks back while simultaneously looking forward on this intriguing album.

Walter “Wolfman” Washington – My Future Is My Past (ANTi-Records). The guitarist and vocalist steps in a slightly different, quieter direction on this release on which his voice is often backed simply by his guitar or in a trio setting with the more jazz-oriented pianist David Torkanowsky, and bassist James Singleton. The killer of the album is Wolfman’s duo with vocalist Irma Thomas on “Even Now,” a song most associated with the late great vocalist Johnny Adams with whom Washington long enjoyed an inspiring collaboration.

Jamison Ross – All For One (Concord Jazz). The much anticipated follow-up to drummer and vocalist Ross’ Grammy-nominated, self-titled definitely didn’t disappoint as it features his soulful vocal prowess and compositional integrity on a disc of many flavors. He goes directly to the source on Allen Toussaint’s “A Mellow Good Time” that the late, great vocalist Lee Dorsey hit with back in 1966. Ross’ drums got that funk and he continues to show his appreciation for his adopted hometown by turning to another New Orleans master, keyboardist/vocalist/composer Wilson “Willie Tee” Turbinton for the title track, “All For One.”

Looking Ahead – It’s Carnival Time

The tradition of celebrating 12th Night has been increasing jumped started by the Phorty Phunny Phellows’ St. Charles Avenue streetcar ride and taken up by revelers jumping onboard the newer, shiny red N. Rampart/St. Claude Avenue cars.

Down river, the always innovative and eager to party Bywater neighborhood was not willing to be left out of the start of the season’s festivities. The Bywater Bakery, located at 3624 Dauphine St. in the 9th Ward held its grand opening on 12th Night in 2017 and continues the tradition of celebrating the date on Sunday, January 6 with an all-day musical affair. King cakes will naturally be the star of the day with savory varieties also making an appearance on the menu. The line-up of performers is also impressive at the free event that begins at 10 a.m. with Washboard Chaz. Pianist Tom McDermott takes the stage next with a mysterious “special guest” arriving at 1 p.m. No party during Mardi Gras season is complete without an appearance by the always smiling Al “Carnival Time” Johnson who comes on at 2 p.m. followed by a Super Group Jam with guitarist/vocalist Deacon John, drummer Herlin Riley, trombonist Corey Henry and vocalist J’Wan Boudreaux. As Lee Dorsey would sing, “Holy cow… no joke.” The music with promised visits by Mardi Gras Indians and Baby Dolls continues until 5 p.m.

This article originally published in the December 31, 2018 print edition of The Louisiana Weekly newspaper.