Armstrong’s ‘Jazz in the Park’ and the Blues of Woods

2nd April 2012   ·   0 Comments

By Geraldine Wyckoff
Contributing Writer

Kipori Woods – Blues Gone Wild

Following an unexpected hiatus from the New Orleans music scene following Katrina and life’s ups and downs, Kipori Woods recently jumped back to pick up where he left off. The talented guitarist and vocalist, recognized by many as “Baby Wolf” for his association with fellow guitarist Walter “Wolfman Washington, has been enjoying mixing it up with a variety of musicians and has just put out his latest album, Blues Gone Wild on the Louisiana Red Hot Records label. He celebrates the release at Tipitina’s on Friday, April 6, in a group with such notables as bassist Chris Severin and drummer Stanton Moore. Incidentally, his name, Kipori, means wild in Swahili.

Woods, 40, found his first musical inspiration from his legendary grandfather, bassist Lloyd “Luscious” Lambert, who often spoke of the gifted Guitar Slim of “The Things That I Used to Do” fame. Woods took what in New Orleans is often a familiar route. He began playing music in church with such famous names in the gospel world as the Zion Harmonizers and the Rocks of Harmony. His studies at the University of New Orleans with guitar masters Steve Masakowski and Hank Mackie plus working under trom­bonist/educator Maynard Chatters at Dillard University seemed to point his career into the jazz field. For many years, one could find Woods sitting up front checking out the superb jazz guitar work of Mark Whitfield at spots like North Broad Street’s Jazz Showcase.

It was hearing Washington one night at Snug Harbor when Woods says he realized, “That was it.” Keyboard and vocal genius, Davell Crawford, also influenced his jump from the gospel to the secular world of music. Woods eventually formed his own band, Kipori Funk.

As heard on Blues Gone Wild and Woods’ live performances, his musical background in gospel and jazz are married to his blues. “The feeling of gospel and the blues are similar; it’s not about being technical, it’s about a certain power,” Woods explains. “New Orleans blues has more jazz playing,” he adds comparing it to particularly to the Chicago style. “I like a couple of more licks in my blues.”

The album opens with two classic covers, the swinging “Meet Me with Your Black Drawers On,” with some additional, rather blue, lyrics provided by Woods’ pen. Woods says that for years people have been wanting him to record the song and it has often proved to be a highlight of his regular Wednesday night appearances at Irvin Mayfield’s Jazz Playhouse. The second cut pays tribute to the great songwriter and guitarist Earl King, with Woods’ spirit giving “Ya Mama” (originally titled “Mama and Papa”) just the right flavor.

The rest of the album features Woods’ compositional skills with occasional contributions from co-writer, San Franciscan bassist Roy Pope. The other musicians featured on the CD are drummer Tony Seruntine and organist David Trantolo, who as a organ repairman, is know as the Organ Doctor.

The cleanliness of Woods’ approach to the guitar, his jazz orientation, is realized on his own “Play My Axe.” He is always musical; never self-indulgent. Vocally, his early years singing in a gospel choir and background in gospel groups is in evidence in his tonal sensitivity.

Kipori Woods is back and on the scene hitting the stages and, as always, checking out other guitar players as a member of the audience. Blues Gone Wild stands as his big hello.

Armstrong Park Awakens

After too many years of dormancy and under use, Armstrong Park has begun to awaken with events like last month’s very successful Congo Square World Rhythms Festival and the staging of “The Lion King” at the Mahalia Jackson Theater. The non-profit organization, People United for Armstrong Park (PUFAP) wants to make sure the vibrancy of the park continues and reflects the culture and people of the surrounding Tremé neighborhood. Its first public project is a Thursday afternoon concert series, Jazz in the Park, that begins on April 5 with a native of the Tremé, trumpeter/vocalist James Andrews headlining. The free show begins at 5 p.m. with opening acts Juice and Roarshark.

“We are trying to boost the Park as the hub of the surrounding neighborhood and nurturing it as an environment for the arts,” says the organization’s co-founder Benjamin Harwood. “The Tremé has endowed the city with a great wealth of culture and music.”

The concerts, which are sponsored by NOLA Brewing Company, small local businesses and individuals, run through May 10 with off-days during French Quarter and Jazz Fest. Trombonist/vocalist Glen David Andrews headlines on April 19 with the Craig Elementary School Band starting the show followed by soulman Michael Baptiste. Longtime Tremé denizen and advocate, trumpeter/vocalist Kermit Ruffins brings his swing on April 26 with the funky keyboardist David Batiste & Sons opening the show. Armed with his saxophone, jazzman Big Chief Donald Harrison Jr. gets top billing on May 10 with Kyndra Joi and Robin Barnes taking the stage first.

Harwood considers this series, which will be staged in the cement walkway between the Municipal Auditorium and Louis Armstrong’s statue, as the PUFAP’s first step in showcasing Armstrong Park as a good place to visit. One of the organization’s long-term goals is to see the still yet-to-be renovated Municipal Auditorium refurbished and utilized. The building still holds so many great memories – performers like Jackie Wilson and James Brown plus great jazz bands played there—for those in the Tremé and people all over the city.

Wednesday at the Square Brasses Up

The Dirty Dozen Brass Band, which is so often on the road, heads home to perform at this week’s edition of Wednesday at the Square concert series on April 4 at Lafayette Square. (Incidentally, Kipori Woods traveled with the Dozen for a year-and-a-half during his time away from New Orleans.) The free weekly shows, which begin at 5 p.m., have been extended by a half an hour and now end at 8 p.m. The New Orleans funk/rock group Gravy kicks off the show.

This article was originally published in the April 2, 2012 print edition of The Louisiana Weekly newspaper