Appreciating the spectrum and musicality of artists

2nd June 2011   ·   0 Comments

By Geraldine Wyckoff
The Louisiana Weekly Contributing Writer

In 1919, legendary composer Irving Berlin wrote these words: “A pretty girl is like a melody that haunts you night and day.” The reverse also rings true.

A person can find themselves humming a tune that boasts a strong melody after just one hearing. It’s often the core to what elevates a song into hit or classic status. Most people have found themselves with a tune, even a lame tune, stuck in their head all day simply on the strength of its memorable melody.

Two very diverse albums, the ReBirth Brass Band’s ReBirth of New Orleans and native son, saxophonist Branford Marsalis and pianist Joey Calderazzo’s Songs of Mirth and Melancholy find their verve and beauty by embracing melody.

In a “name that band” game, few would recognize that it’s the ReBirth blowing on the 1930 chestnut, “Exactly Like You” that opens the group’s latest CD that has now spent several weeks on Billboard magazine’s Jazz Chart. The guys, who are best known for funkin’ it up, even approach this ultimately memorable, time-tested song, in a pretty straight-up, classic style.

Saxophonist Vincent Brous­sard’s very hip contribution to the album, What Goes Around Comes Around, bursts with that certain melodic style to which a second line crowd instantly relates. The sophisticated sway of the tune injected by a slight Latin tinge lifts to yet another level when, as a group, the ReBirth starts singing, “What goes around…” and then begins laughing.

On this album, the pen gets han­ded around between the members quite often with tuba man/leader Phil Frazier and trumpeter Glen Andrews taking it up on the well-arranged instrumental “I Like It Like That.” It is a clean machine of a song that rolls with great execution and tonality from all the musicians. Trombonist Stafford Agee wrote “The Dilemma,” one of those songs that can contribute to a more calming effect on a frenzied crowd. The percussion section gets in on the songwriting action with snare man Derrick Tabb’s “Do It Again,” a declaration to the world that the Saints will be back. Look for this one to kick in at the start of the football season. Bass drummer and ReBirth co-leader Keith Frazier’s “Why Your Feet Hurt” is classic, full-on ReBirth fare.

It’s always appreciated when next generation artists bow to a vet and the ReBirth do just that by reprising the great Dave Bartholomew’s La­tin-flavored “Shrimp & Gumbo.” Ditto for a band that nods to a younger musician. Here Troy “Trombone Shorty” Andrews’ already popular “AP Touro” receives great treatment from the ReBirth that funks hard with great maturity and team spirit.

ReBirth of New Orleans stands as one of the very best CDs from a band, which is now celebrating 28 years, that’s enjoyed so many solid and memorable releases.

Melody finds a welcoming home in any style of music because it lives there among the notes. Saxophonist Branford Marsalis in a duo with pianist Joey Calde­razzo, who has been a member of Marsalis’ band since 1998 following the untimely death of the great Kenny Kirkland, allows it to bloom on center stage on Songs of Mirth and Melancholy. The album immediately states its theme on Calderazzo’s light-hearted, foot-tapping number, “One Way.” The pianist gives the song an almost ragtime feel with Marsalis seconding that emotion with his whimsical slurs. Both of the extraordinary musicians celebrate “mirth.”

The “melancholy” of Marsalis’ “The Bard Lachrymose,” feels much like a classical piece one might hear in a magnificently ap­pointed parlor. As he does on all but three of the nine tunes here, Marsalis turns to his soprano saxophone. It is a gentle instrument in this setting and its call is echoed by Calderazzo’s piano.

“Endymion,” also from Marsalis’ pen, captures a similar, old-world sense with Marsalis’ soprano seemingly taking the place of a violin. It becomes more adventurous, however, and moves into more modern eras when Calde­razzo becomes more aggressive. The saxophonist picks up that spirit and the always-underlying jazz improvisations become more pronounced. Yes, we are in the 21st century listening to great jazz artists. The duo signs off in a blues mode.

Following a short, Brahms interlude that reinforces the classical atmosphere, comes Calderazzo’s beautiful “Hope,” heard previously in the quartet setting on the saxophonist’s CD Braggtown. Musically, “Hope” turns to quiet passion, builds up and like a feather floats down to a cloud of fulfillment.

“Precious,” a tune that sounds immediately familiar though it’s brand new, makes a suitable neighbor on the album. Marsalis, who wrote the tune, utilizes his tenor saxophone making it, somehow even more his own.

The disc ends with Marsalis and Calderazzo on their most recognizable ground — totally modern, forward-thinking jazz. “Bri’s Dance” leaps in joyous ecstasy, as longtime friends move twirling around and within each others’ realms returning to the merriment of mirth.

Granted, for these two albums — ReBirth of New Orleans and Songs of Mirth and Melancholy — to appeal to the same audience, to live on the same shelf, might be a long shot. Yet, their ode to melody, musicality, passion and sincerity make them relatives in the world of great music.

This story originally published in the May 30, 2011 print edition of The Louisiana Weekly newspaper.