In concert with Jazz Fest, musicians release new music
16th April 2012 · 0 Comments
By Geraldine Wyckoff
Contributing Writer
To take advantage of the influx of music fans and the national press, many New Orleans musicians release their latest CDs around Jazz Fest time. With so much going on, it seemed wise to take a listen to some of the albums to hit the shelves (and internet) by those artists who can also be heard out at the Fairgrounds.
Dirty Dozen Brass Band
Twenty Dozen
Savoy Jazz
The Dirty Dozen, now celebrating its 35th anniversary, immediately gets into a fine, almost reggae-oriented groove on Twenty Dozen’s opener, “Tomorrow.” Because of the tune’s sway and memorable melody it could prove to be the disc’s most popular number. In the old Dick Clark rating system, give it a 10 for being great to dance to and a 10 for being ultimately catchy. Written by pros trumpeter Efrem Townes, sousaphonist Kirk Joseph and guitarist Jake Eckert, the song goes another step with the great precision by the horns, the exuberance of the group shouting, “Tomorrow,” and some super soloing.
In keeping with the Caribbean flavor, the Dozen brings a Latin tinge to “Best of All,” another composition with numerous members in on the action. Kirk Joseph’s eclectic slurs on the big horn stand out as a plus on the cut and Kevin Harris, one of its writers, gets room to show off his tenor saxophone skills.
The group reinvents Michael Jackson’s number, “Don’t Stop the Music,” particularly in replacing the electronic pulse of the song with full-out Latin rhythms. It gets rages as Roger Lewis’ baritone takes it to jazz’s outer edges with some high-pitched screaming. The repertoire returns to original material and funk-goes-wild for the next couple of tunes.
Here’s the twist. After the explosive, inventive and exploratory vibe of the first seven tunes, the entire demeanor of Twenty Dozen changes. The group turns to traditional material such as “Paul Barbarin’s Second Line,” “E-Flat Blues” and even “When the Saints Go Marching In” performed pretty much straight-up. It’s a puzzler. However, in this day and age with so many people downloading individual songs rather than buying complete albums, the abrupt switch of style probably doesn’t make as much difference as it might have in the past. The Dirty Dozen plays the Jazz Fest at 3:45 p.m. on Thursday, May 3.
John Boutte
All About Everything
Vocalist extraordinaire John Boutte is known for his minimalistic back-up at his Saturday night gigs at d.b.a. – often just his regular accompanist, guitarist Todd Duke and a horn. On his new release, All About Everything, he loads it up with an array of musical friends invited to the session with Jon Cleary making numerous appearances on B-3 organ and piano. Now, that’s a match made in heaven.
In a style reminiscent of the great Sam Cooke, Boutte takes it soft and slow on the opening cut, “These Blue Days,” written by the album’s producer Blake Leyh who comes in on guitar. The tune, on which Boutte handles the electric keyboards himself, suits the singer as it offers plenty of space to allow his voice to soar.
Choice of material is ultimately important for an artist of Boutte’s unique approach. He does well in opting for the Al Green hit, “Take Me to the River,” that includes a horn section complete with sousaphonist Kirk Joseph. It’s appreciated too that New Orleans gets a bow by the inclusion of Fats Domino and Dave Bartholomew’s chestnut, the lilting “No, No” and Dave and his son Don Bartholomew’s “The Grass Is Greener” with James and Troy Andrews on trumpet and trombone respectively.
The album grows quieter for a lovely version of Billy Strayhorn’s classic, “Lush Life.” David Torkanowsky provides the appropriately lush piano and alto saxophone giant Donald Harrison adds his magic touch.
Boutte’s art is that he sings everything with such great conviction. A stunner that illustrates Boutte’s passion is Leonard Cohen’s “Hallelujah,” a lyrically secular song about romance, it is given full gospel treatment complete with a choir. In great voice, Boutte builds the song to an emotional, goose-pimple raising high. All About Everything will be released on Tuesday, April 17. John Boutte performs at Jazz Fest at 2:45 on Saturday, May 5.
The Stephanie Jordan Big Band
Yesterday When I Was Young
A Tribute to Lena Horne
Vocalist Stephanie Jordan fronts an ensemble of all-star New Orleans jazz musicians for her tribute to the great Lena Horne. The combination of this amount of talent performing classic Horne material results in some beautiful, swinging music. Credit also goes to pianist Mike Esneault for his fine arrangements that boast some particularly punctuating horn parts as heard on “The Good Life.”
In a wonderfully clear voice, Jordan brings her own personality to Horne’s songbook and the vocalist’s jazz chops are always in evidence. The album kicks off with the sound of the big band era with the 12-piece orchestra driving hard and individuals adding some creative interjections underneath Jordan’s vocals. Offering a good contrast, the mood shifts on Yesterday When I Was Young, on which just a trio with Esneault, bassist Chris Severin and drummer Troy Davis is utilized to start the song. Jordan emotionally lives this number displaying the gutsy, powerful side of her vocal abilities. She’s also adept with her phrasing of lyrics, the use of space, and the lilting of a word as can be particularly heard on her rendition of “Stormy Weather.”
Jordan’s family is well-represented with her father Kidd Jordan, brothers trumpeter Marlon and flautist Kent and uncle trombonist Maynard Chatters all onboard. Yesterday When I Was Young stands as a true tribute to Horne in its sincerity and musicality. The Stephanie Jordan Big Band performs at Jazz Fest at 4:05 on Friday, April 27.
This article was originally published in the April 16, 2012 print edition of The Louisiana Weekly newspaper
