The weekend jumps with Brass Bands and Afrobeat
11th February 2019 · 0 Comments
By Geraldine Wyckoff
Contributing Writer
The theme of this year’s always satirical and often, well, sexually suggestive Krewe du Vieux parade, which rolls on Saturday, February 16, is “City of Yes, Yes, Oh God Yes,” in reference to our new and first female Mayor LaToya Cantrell’s slogan, #CityofYes. That means that many of the parade’s 17 floats will aim their humorous or critical jabs at her.
In this year of the no-call fiasco, Cantrell might get it easy as the National Football League and Roger Goodell in particular will certainly be major targets. Though the parade’s theme was chosen prior to the un-flagged head butt and pass interference by the Ram’s corner back that cost our beloved and deserving Saints the win, the clever members of Krewe du Vieux will certainly find a way to seriously get their digs in.
One thing that makes the Krewe du Vieux parade standout among all others in the city – and the world for that matter – is that it boasts so many brass bands. There’s no waiting around for music to fill the air during a parade that boasts 17 brassy ensembles of all shapes and styles blowin’ down the street.
The pre-parade music starts at the krewe’s den with the Kinfolk Brass Band entertaining those preparing for the festive procession – members, brass band musicians and just those party-eager people stopping by.
The amount and variety of brass bands participating in the parade reflect the vitality of New Orleans brass band community. Familiar names abound like the Young Pin Stripe, which takes a place of esteem accompanying the Title Float at the front of the procession. It, as its name implies, stands as the next-generation of the Original Pin Stripe Brass Band that first hit the streets in 1977.
Compared to the many young groups that have emerged on the scene, the All For One Brass Band, formed in 2003, is a veteran ensemble known widely both at social aid and pleasure club parades and at Krewe du Vieux. This year it is considered the Royal Band as it plays for King of the Krewe du Vieux, the wonderful guitarist and vocalist Walter “Wolfman” Washington who will be riding high – and undoubtedly smiling – on the Royalty Float.
Some of the bands gaining great recognition on the streets like the Big 6 and Da Truth brass bands join with young guys just starting out at the parade and old favs such as the mighty TBC (To Be Continued) and the heart and soul of the brass community, the Treme Brass Band led by bass drummer Benny Jones.
The parade begins at 6:30 p.m. at the corner of Chartres and Marigny streets, heads down Chartres and turns left on Franklin Avenue. It turns left on Royal Street, up Royal to Frenchmen Street and right on Decatur Street. It boogies up Decatur into the French Quarter and turns right on Dumaine St. and right again on Chartres St. to Barracks St. The parade then turns left on Barracks to Royal St. and turns left and proceeds up Royal and turns left Toulouse Street.
The party, which is by admission, continues starting at 10 p.m. at the Krewe du Vieux Doo, 517 Toulouse St. (the former Ralph & Kacoo’s) where King Walter “Wolfman” Washington headlines with special guest drummer Herlin Riley.
New Orleans Meets Africa
At the recent editions of the free concert series held at the Jazz & Heritage Foundation, the focus has primarily been on fine New Orleans artists rather than nationally known, out-of-town musicians or bands. That emphasis continues this Friday, February 15 with two local bands with a decidedly African names and rhythms. Each ensemble, Kumasi and the Fufu All-Stars will perform one set during the 8 to 11:30 p.m. performance.
Kumasi takes its flavor from the hugely influential Fela Kuti, a multi-instrumental pioneer of the Afrobeat style and human rights activist. The 13-piece band performs many of his tunes as well as original material composed and played with West African concepts. The orchestra, complete with horns, displays its own New Orleans roots when jazz enters the scene.
The Fufu All-Stars, deliver “West African highlife by way of New Orleans” made evident by a sousaphone within the horn section. In other words, Fufu connects Ghana, where the style originated, to the Crescent City.
Africa’s presence is heard in so much of New Orleans music as it lives in the call and passion of its rhythm and more. Kumasi and the Fufu All-Stars celebrate African music as well its link to this city.
This article originally published in the February 11, 2019 print edition of The Louisiana Weekly newspaper.
