The New Orleans community shows its love come rain or come shine

5th August 2019   ·   0 Comments

By Geraldine Wyckoff
Contributing Writer

Folk artist Ashton Ramsey once declared when it came to social aid and pleasure club parades, “rain is no excuse.” That credo certainly applied to those in attendance for Art “Pappa Funk” Neville’s memorial and second line held on Tuesday, August 30, 2019. The sky was crying as people celebrated the brilliantly funky keyboardist, vocalist and founding member of the ultimately influential bands, the Meters and the Neville Brothers, who died on July 22, 2019.

The beauty of the day was how so many diverse elements of New Orleans’ uniquely close community came together to remember Art and comfort each other on his passing. Though it was a sad occasion, a lot of joy and smiles were shared in the rooms at the Rhodes Funeral Home.

Naturally, many of Art’s relatives were in attendance including his wife Lorraine and children, Arthel, Ian and Amelia and musical siblings, Aaron and Cyril Neville and their wives as well as others scattered among the crowd such as his nephew, fellow keyboardist and vocalist Ivan Neville. The New Orleans funk and rhythm and blues nation was represented though the arms of the community stretched even wider with zydeco bandleaders Rockin’ Dopsie Jr. and Grammy-winning Terrance Simien showing their support and expressing the influence that Art and the Nevilles had on their music, repertoires and lives.

The clubs and festivals where Art played regularly – Tipitina’s, Jimmy’s, Jazz Fest – were also represented by the presence of talent buyer Sonny Schneidau, club owner Jimmy Anselmo and producer Quint Davis, respectively. Of course, the media – journalists, photographers, video camera people, radio personalities – were out in force as well people with cell phones hoping to be allowed a shot of stars like Irma Thomas.

Folks chatted just outside of the doors of the funeral home under the canopy where they were protected from what went from downpours to rain to showers. Mardi Gras Indians, who are usually not fond of such weather, arrived chanting and beating tambourines and drums. Notably, members of the Wild Tchoupitoulas, a gang founded by the Neville’s uncle, George “Big Chief Jolly” Landry were among the group of Black Indians in attendance. Significantly, the “Wild Tchoupitoulas” was the name of the first album on which the Neville brothers performed together on the urging of their Uncle Jolly.

Then as people exited Rhodes, a brass band kicked in leading the crowd onto Washington Avenue though not without jumping over or splashing through a rather large puddle. Troy “Trombone Shorty” Andrews led the band and, in a way, represented downtown New Orleans and the close ties between the Neville and the Andrews families. The second line, complete with the Million Dollar Baby Dolls and umbrellas bopping, was nonetheless a heartfelt tribute to one of our own, Art Neville.

Jon Batiste
Anatomy of Angels – Live at the Village Vanguard
(Verve)

As the leader of the house band, Stay Human, on “Late Night with Stephen Colbert” pianist, vocalist and composer Jon Batiste is usually surrounded by horns and other instruments as he offers beautifully expressed clips of tunes from a wide range of genres. On Anatomy of Angels, Batiste is totally front and center in this setting where his piano reigns supreme. Recorded live at New York’s prestigious Village Vanguard, listeners and those in the obviously appreciative audience have the opportunity to hear another side of the pianist’s talents on a mix of original works and jazz standards. He brings the same vitality, imagination and a certain playfulness to the performance though he applies those deeply rooted elements of his personality and talents to a straight-up jazz program.

The album opens with “Creative,” one of three songs emanating from his pen. The melodically-based tune immediately starts swinging pushed by Stay Human bassist Phil Kuehn and drummer Joe Saylor. It then takes off at the insistence of Batiste’s repeated phrasing and elaborations. It’s short and oh so sweet.

Batiste is alone at the piano on another original, the blues-based “Dusk Train to Doha.” His right hand trills scream of his New Orleans home and his approach to his vast musical knowledge.

“This is a song by my musical idol, Thelonious Monk called “Round Midnight,” announces Batiste to those lucky folks in the Vanguard that night.

A bit of fantasy prevails at the start of Batiste’s title cut, “Anatomy of Angels,” created by the pianist fluttering of the keyboard’s high notes. The horns are back to stir things up again riding powerfully to the outer reaches atop Batiste’s imperative piano and the drive of the rhythm section that includes percussionist Louis Cato.

of Angels excels in its outstanding musicality and continual diversity that are the heartbeats of the hugely talented Jon Batiste.

This article originally published in the August 5, 2019 print edition of The Louisiana Weekly newspaper.