This article, adapted by the author, appears in Chapter 5 of Traditional New Orleans Jazz, Conversations with the Men Who Make the Music
by Thomas W. Jacobsen (LSU Press, 2011). Irvin Mayfield: Boy Wonder
Sometimes people live long enough to fulfill the promise of their youth, and sometimes they don't. Some individuals eventually achieve their youthful dreams of success, but many certainly do not. Such is life.
The following conversation, recorded on March 23, 1996, demonstrates that trumpeter, bandleader, composer, educator, entrepreneur and civic leader Irvin Mayfield, then just 18, had a game plan for his life that is now coming to fruition. In fact, one could arguably make the case that, at the relatively tender age of 32, he has already achieved his boyhood goals. It is likely, however, that Mayfield himself would strongly disagree. For him, there is much more to be done.
This interview was conducted in the upstairs bedroom of his childhood home onsignificantlyMusic Street in the Gentilly neighborhood of New Orleans, at the very beginning of his musical career and well before he was able to support himself by his music. Yet it reveals most of the personal traits that still characterize him today: intelligence, impatient ambition, perfectionism, leadership skills, sense of humor andnot leasthis self-confidence and sometimes controversial behavior. It also shows his loyalty and devotion to his friends, family, mentors and home townnot to mention his father specifically, a onetime army drill sergeant who lost his life in the flooding of Hurricane Katrina.
Mayfield's accomplishments to date are little short of overwhelming. He first came to my attention as a precocious teenage performer with the traditional Algiers Brass Band. Since then, he has gone on to found the award-winning combo Los Hombres Calientes and the 2010 Grammy-winning New Orleans Jazz Orchestra, as well as leading his own quintet. His commissioned compositions include "The Half-Past Autumn Suite;" "Strange Fruit;" "All the Saints;" and his upcoming "The Art of Passion." The latter will be performed with the distinguished Minnesota Orchestra, for which he was recently appointed artistic director for jazz.
Mayfield's devotion to his home town is reflected by his membership on numerous boards in the city, including serving as chairman of the board of the New Orleans Public Library. In 2003 Mayfield was appointed to the post of cultural ambassador for the city of New Orleans and the state of Louisiana. And, as of this writing, he just announced that he would not run for mayor in the 2010 elections despite considerable public support for his candidacy.
For one who left college after three semesters at the University of New Orleans, he was recently appointed professor and artistic director of New Orleans Jazz at UNO.
In the spring of 2009, he opened a posh new jazz club in the Royal Sonesta Hotel in the French Quarter, Irvin Mayfield's Playhouse, where he proudly announces, "jazz is back on Bourbon Street." [In 2011 he opened a second club in the J. W. Marriott Hotel on Canal Street.]
In late March, 2010, President Obama appointed Mayfield to the National Council on the Arts, the advisory body to the National Endowment of the Arts. His list of accomplishments goes on and on. The portion of the interview that follows deals with Mayfield's high school training at the well-known New New Orleans Center for the Creative Arts [NOCCA] and something of the impact it had on him.Thomas Jacobsen:
Then you went on to NOCCA?Irvin Mayfield:
Oh yeah... God... Playing with Algiers, I learned a lot of traditional stuff and learned a lot of things from ear. But getting into NOCCA was a cultural shock. Man, I can't describe to you the effect of going to NOCCA.TJ:
How old were you when you started there?IM:
Fourteen. I was in ninth grade. It's actually supposed to be a three-year program, but they let me in in ninth. I knew Jason Marsalis
from nursery school. When I got to NOCCA, these cats were serious! These cats were diligent! There are three levels at NOCCA. There is the extremely high level. Nicholas Payton
was in third level, and Adonis Rose
was his drummer. There were some really heavy hitters, man. I'm in level one with Jason Marsalis. I was used to dealing with basic forms of music, which traditional is. It's a basic form of jazz. I thought I was great, man, because I was the youngest guy playing all this traditional stuff. My ego was big, man. But it was a serious culture shock, man. [The late] Clyde Kerr totally changed my life. I got all my piano skills from Clyde Kerr. He could play the piano just as well as he could play the trumpet. I had never heard the piano played like that. And then I had to learn theory! And I had to learn about Brahms and Bach and Beethoven and Chopin and Tchaikowsky and Mahler and Stravinsky and... I made a 30 on my first test. That was a rough trial.