New Orleans musical traditions continue and evolve

21st May 2018   ·   0 Comments

By Geraldine Wyckoff
Contributing Writer

Dr. White Michael
Tricentennial Rag
(Basin Street Records)

Is that song old or is it new? That is a question that one might ask on first listening to Dr. Michael White’s latest release Tricentennial Rag. 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. Yes, the opening cut, “Frenchmen Street Strut,” stylistically sounds like it could have originated decades ago yet it is actually newly penned by White, a contemporary musician with more than one foot in the past. Throughout the album, the leader utilizes a variation of artists from different generations and on this cut and others trombonist David L. Harris, 30, lets his knowledge of the classic style and presence be known.

White takes a more upfront role on “Blues on the Bayou,” with his superb low and then higher end clarinet work backed gently by the banjo of Detroit Brooks. It has a light-hearted, floating along feel that speaks of another era. 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, as heard on this tune, a drum roll at the end.

One of the album’s highlights is the title cut, “Tricentennial Rag,” which, as its name suggests, could best be described as a modern-day ragtime tune that embraces elements of contemporary melodic structures set in the rhythmic form expressed in early jazz music. More importantly, it’s just a damn happy song that’s begging to be danced to.

Striking too is the lovely, “Loneliness” that places White in a trio setting with just the guitar of Alexander R. Belhaj and the bass of Mark Brooks. White’s poignant phrasing and tone on his instrument relates the emptiness wrought by separation from a loved one or even humanity itself. One high note from the clarinet seems to make the subject snap back a bit and regain a more optimistic attitude.

The melancholy mood takes a complete about face when Leon “Kid Chocolate” Brown steps to the microphone to sing the upbeat love song, “What I Wouldn’t Do for You.” His voice is immediately recognizable as he delivers White’s clever, smile-inducing lyrics like “maybe I’d even give up beer.” Here Brown’s trumpet gets to stand by side with White’s doodling clarinet.

Though on this recording, White seems to spend more time on the frontline trading bars with trombonist Harris as on the appropriately-named “Sassy Creole Woman,” he does turn to his longtime musical partner, trumpeter Gregg Stafford. His unique, gritty vocals bring a sense of place to “On Mardi Gras Day,” with the street sound emphasized by the sousaphone of Dimitri Smith.

The album ends with its only non-original cut, “When the Saints Go Marching In.” White, who begins it ever so slowly, plays it like a hymn, which of course, it is. Then Stafford, sounding like an elderly musician from decades ago, brings it around to the celebratory song we know. White swings it, reflecting more modern times.

White’s brilliant composing played by talented, in-the-know musicians combine to make Tricentennial Rag a history lesson and traditional jazz party all rolled into one.

Cha Waa
Spyboy
(UPT Music)

The Mardi Gras Indian heritage meets the brass band tradition on Cha Wa’s new release Spyboy. The group Cha Wa takes its name from the phrase used by Black Indian gangs as a warning: “We’re comin’ for ya!” The band, which has changed membership since its formation, is now led by vocalist/composer J’Wan Boudreaux, the grandson of the Golden Eagles’ Big Chief Monk Boudreaux and drummer/percussionist/composer Joe Gelini. The marriage between Indians and brass is a natural one and brings a level of sophistication to both elements as heard on the album’s opening cut, “Cha Wa.” The sousaphone of Clifton “Spug” Smith gets things going with the keyboards of guest artist Nigel Hall taking it from the streets to the stage.

Solid horn arrangements provide a platform from which J’Wan can tell his story of past Carnivals that remain core to throughout the Indian Nation. J’Wan, who holds the position of spyboy with Chief Monk’s gang, proves himself proficient in Indian chants, the spoken word form and singing. He shows his abilities as the lead vocalist on Bob Marley’s social conscious triumph, “Soul Rebels.” The Black Indians, the reggae world and the entire African diaspora share a history of persecution and the use of music as a vehicle for protest. J’Wan’s grandfather, Chief Monk, is also a huge Bob Marley fan, so the young spyboy is keeping up with that tradition as well.

There are quite a few originals on Spyboy primarily penned by the J’Wan and Gelini and are often (purposefully) derivative of traditional Indian classics. That’s not atypical as gangs have always passed down cultural material and made them their own. Cha Wa keeps the fun going on well-chosen covers such as the street favorite “Hey, Baby” that include a strong trombone solo played by trombonist Joe Maize who second line regulars will recognize as a member of the TBaC Brass Band. Other Black Indians/brass brands represented in Cha Wa’s membership are the Golden Comanche and Black Feathers and the Big Six Brass Band.

A very special moment on the album comes with the arrival of special guest Big Chief Monk Boudreaux on “Visible Means of Support,” on which he tells the tale of when he was a teenager and was sent to jail for not having proof of employment even though he had worked since the time he was 14. The cop’s words, “If you don’t pay the fine, you must do the crime,” echo through the tune while his grandson’s voice joins chorus. The two alternate singing lead on the sacred prayer “Indian Red.” These cuts stand as the first time of recording together.

“When he was a little boy, J’Wan always told me, ‘Grandpa, I want to be just like you.’” Monk remembers. “And he is just like me but he doesn’t know it yet.”

This article originally published in the May 21, 2018 print edition of The Louisiana Weekly newspaper.