It is difficult, if not impossible, to destroy a culture. Hurricane Katrina tried to do so in New Orleans, but New Orleans is proving too strong to be taken down by the flooding that soaked eighty percent of the city when the poorly built federal levees failed. While hundreds of the city's musicians lost their instruments and music collections, many of those same musicians returned within a few weeks to open up venues such as Rock n' Bowl, Preservation Hall, and Donna's. Street musicians returned and played for the recovery workers as they cleared out the old refrigerators, cars, and home debris that littered the city. And while it took over a year for tourists to return in significant numbers to the city, they have done so and the French Quarter is again active and quite clean, thanks to a new sanitation contract that calls for "Disney-like" cleaning services.. And I am pleased to report that the jazz scene is as active as ever in New Orleans.
In most cities, jazz is a destinationclubs in various parts of the city that one must intentionally seek out to listen to the music they long to hear. In New Orleans, jazz is its soundtrack. It would be impossible to walk through the French Quarter and not hear jazz flowing from a street musician or a club. All of the city's children grow up hearing this musical form flowing through its streets. Some schools even begin their day with its students singing classic New Orleans tunes such as "Iko Iko" or "Little Liza Jane." Young musicians learn by playing with older musicians on front porches in neighborhoods throughout the city. Katrina was only a temporary setback for jazz in New Orleans.
It is difficult to separate the venue from the musicians in New Orleans. There are numerous places where great jazz is heard, and each venue lends its personality to the music being played. Preservation Hall, Donna's, Fritzel's, The Palm Court, Maison Bourbon, Snug Harbor, dba, The Spotted Cat, and Ray's Boom Boom Room are all within a short walk of each other. Vaughn's, Tippitinas, Rock 'n Bowl, The Maple Leaf, Sweet Loraine's, and Bullet's are all a short drive from the French Quarter. Each has music seven nights a week playing traditional jazz, New Orleans funk, or Zydeco, and all are drawing sizable crowds of locals and tourists.
The musicians in New Orleans continue to be first rate. Ben Jaffe still draws great traditional bands to Preservation Halla venue his parents founded in 1962. Many of the groups playing there are third and fourth generation musicians including the Paulin Brothers. Music director and bassist Brad Truby has drawn great talent to Fritzel's on Bourbon Street including clarinetists Tim Laughlin and Tom Fischer, pianists John Royen, Steve Pastorius, and Richard Scott, coronetist Connie Jones, and singer Banu Gibson. Donna and Charlie Sims host brass bands nightly that often include drummers Herlin Riley and Shannon Powell. Tuesday nights at the Maple Leaf are reserved for the funk brass of the Rebirth Brass Band while Thursdays at Vaughn's features trumpeter and local personality Kermit Ruffins, who also opened his own club, Sydney's Saloon, just outside the French Quarter. Rock 'n Bowl's John Blancher has found a winning combination of bowling, music, and dancing that includes a Wednesday swing night, Thursday Zydeco, and Friday New Orleans jazz lineup. And Tippitinas continues to feature the best of the new sounds of New Orleans. Snug Harbor brings Ellis Marsalis to the club most Fridays while its neighbors, The Spotted Cat and dba, feature old jazz and swing played by groups like The New Orleans Jazz Vipers and The Palmetto Bug Stompers.
There is no lack of places to go to find great music. And interestingly, new clubs are opening up. Chickie Wah Wah on Canal Boulevard is quickly becoming a hot spot with good music in a funky atmosphere. While only two jazz clubs remain on Bourbon Street, a new club was opened at the Royal Sonesta Hotel by the talented and very busy trumpeter Irvin Mayfield. Mayfield's Jazz Playhouse will feature acts that range from jazz to burlesque and cabaret in a venue that he hopes will allow its patrons to connect with the music and its makers.