New Orleans trumpeters reign supreme

1st December 2014   ·   0 Comments

By Geraldine Wyckoff
Contributing Writer

Terence Blanchard’s hometown of New Orleans will get a sneak peek at the music to be featured on the multi-Grammy winning trumpeter’s yet-to-be recorded album with his latest group, the E-Collective. All of the musicians in the band – Cuba-born, pianist/keyboardist Fabian Almazan, who, at 30, has been at Blanchard’s side since 2007, this city’s own, bassist Donald Ramsey, guitarist Charles Altura and Chicago native, drummer Oscar Seaton – arrive in New Orleans to perform at Snug Harbor on Thursday, December 4. The ultimate goal is to head into a local studio to lay down the tracks for the disc that, like his last release, will be on the acclaimed, Blue Note label. Already anticipating its arrival sometime in the late spring, the SF Jazz Center, where Blanchard is the 2014-2015 Resident Artistic Director, is promoting the April 10th record release party at its Miner Auditorium.

A taste of Blanchard’s E-Collective performing live at the Blue Note in Milano, Italy and elsewhere can be viewed on YouTube. The electric element is somewhat of a departure for the trumpeter though considering his exploratory nature, it doesn’t come as much of a surprise. It will be exciting to experience Blanchard in this setting and an opportunity to check out drummer Seaton who really rips it up on the video.

The new project marks the trumpeter’s 21st album, coming just a year after his brilliant 2013 release Magnetic. As a renowned instrumentalist, composer, film scorer and educator, Terence Blanchard, 52, has never been one to let the music rest. He has continually challenged himself throughout his almost 35-year professional career. Can’t wait to hear where he’s going now.

Irvin Mayfield Celebrates Christmas on Bourbon Street with A New Orleans Creole Christmas

It must have felt a little odd to play and thus record classic Yuletide songs like “Have Yourself a Merry Little Christ­mas” and “It Came Upon a Midnight Clear” at Irvin Mayfield’s Jazz Playhouse last August. However, the disc, released on New Orleans own Basin Street Records, came out right on time for the holiday season. The Grammy award-winning trumpeter and the New Orleans Playhouse Revue, a condensed version of Mayfield’s noted orchestra, didn’t seem to let the month – or the undoubtedly hot temperatures — swelter their spirits.

The drums of Adonis Rose set the second line rhythm to open a, well, only in New Orleans version of “O Tannenbaum – O Christmas Tree.” Performed traditionally, it has always seemed rather a solemn song but not in the hands of this crew. Reedman Derek Douget employs his soprano saxophone much like a clarinetist would, weaving its tone between the brightness of Mayfield’s trumpet and the growls of Vincent Gardner’s trombone.

Even on some of the most beloved and sacred Christmas songs, expect the unexpected from Mayfield. While reverently respecting its place in the hearts of the Christian community, the trumpeter gives “Silent Night” an emotional freshness by muting his horn. Ronald Markham, an often overlooked member of Mayfield’s team, accompanies beautifully and simply on piano with Douget picking up the tenor to add further depth. The whole tune is accomplished with a dirge-like rhythm.

New Orleans rhythms play a major role throughout the album. The syncopated piano on “Winter Wonderland,” a duet with Markham and Mayfield, screams New Orleans. The duo setting offers a lot of freedom to the musicians allowing them both to explore the melody and wander around its theme as they dance through the streets of the city.

Mayfield takes a more traditional approach to “The Christmas Song” with John Chin taking over on piano. Adding another, wonderful tonality is the baritone of Jason Marshall who pairs well with Douget’s lyrical tenor. It could be said that the way this tune is interpreted represents New Orleans modern jazz. It remembers the past and looks to the future. “Have Yourself a Merry Little Christmas” shares a similar quality of being of today and expressing the modernism that keeps the music moving forward. Thoughtful and progressive-thinking improvisation is the key and the saxophonists and trumpeter provide all that’s required.

“Christmas Time Is Here,” a tune that, surprisingly if one is unaware of its origins, was written for the 1965 TV special “A Charlie Brown’s Christmas,” sways with mellow beauty. It offers the disc’s only vocals with some very soulful and jazz-inspired singing by Michael Watson, who is also known as a talented trombonist. Mayfield’s trumpet, both muted and played straight-up, also becomes a voice on this comparatively new holiday classic.

Many people have their favorite Christmas music except, perhaps, those who sneer and bah-humbug all such sentiments. The late, great “Tan Canary,” Johnny Adams put out a great album in 1974, Christmas in New Orleans. It included a super version of “This Christmas” and an emotionally stirring rendition of “Oh Little Town of Bethlehem.” As far as singles go, nothing can beat the Godfather of Soul, James Brown’s “Santa Claus Go Straight to the Ghetto” or Charles Brown’s Yuletide soul classic, “Merry Christmas Baby.”

Irvin Mayfield’s A New Orleans Creole Christmas adds another flavor to the season’s musical menu as it second lines, swings, syncopates and celebrates the holiday. The music is so satisfying that if it wasn’t for the dominant Christmas theme, it would be listenable all year long. So there’s no excuse for being subjected to drab, elevator music this, or any, year.

This article originally published in the December 1, 2014 print edition of The Louisiana Weekly newspaper.