"The Crescent City" is New Orleans' nickname primarily for one reason: its shape. Starting in the French Quarter, the city's bounds expanded along the curve of the Mississippi River, giving the city a shape that is essentially that of a toenail. This is mentioned only because this expansion didn't stop there. Indeed, groups like the Jambalaya Brass Band are perfect examples of just how far-reaching the cultural influence of New Orleans remains. They look like a legitimate New Orleans brass band, and more importantly they sound like one, but don't be fooled; these guys aren't from the "Big Easy," they're from the "Big Apple."
The band, led by tenor saxophonist Ric Frank, sports a hefty load of fun-loving funk on What You Lookin' At, their debut recording. Not that these guys are amateurs by any means. Originally created in 1998 for a centennial celebration of the Brooklyn Conservatory of Music, the band started out playing covers by like- minded New Orleans brass bands including the Dirty Dozen, Rebirth and New Birth. It seems they learned well, because Jambalaya could stand side-by-side with most any New Orleans brass band in terms of sheer exuberance and energy. The album is a party from start to finish.
Things kick off with the aptly titled "Voodoo Queen" (dedicated to Marie Laveau, "the ultimate New Orleans voodoo queen"), a romp of a track complete with slinking tuba line, eerie, elongated trumpet lines and intersecting sax bumps and screams. The sound is at once tight, full of call-and-response and simultaneous theme statements, and loose and elastic. While the tuba holds down the fort, the percussion relaxes and gets a little busier, paving the way towards an increasingly energetic solo by alto saxophonist Joe Hrbek.
Three covers are present on the albumtwo by friends the Dirty Dozen Brass Band, and one by Booker T. and the MGsbut you could hardly tell given the strength of Frank's originals. The Dirty Dozen's "Blackbird Special" is perhaps the strongest of these, if only due to the inherent strength of the track itself, but Jambalaya brings the same raw energy to it as they do to all of the tracks. In fact, much of the group's strongest playing is present on the originals, where they seem more comfortable and thus more willing to really stretch out.
With its shouted intro, Latin-tinged theme and persistently heavy tuba work, the title track is one that makes a solid attempt at bringing what must be a great live show into the home. Indeed, much of the album exhibits that same unpretentious vibe, and the group surely seems to want nothing more than for its listeners to have a blast. Well they need not be disappointed, because with their debut recording they've done it.
Track Listing: Voodoo Queen; Jambalaya Brass; Alligator Ball; Hip Hug-Her; Blackbird
Special; Salsa 2nd Line; Do It Fluid; Bayou Mama; What You Lookin'
At?; On the Funky Side.
I was first exposed to jazz circa 1973, when I met a fellow who ran Kappy's Record Store over near 10th Ave., on 42nd St. in NYC. We really clicked and when I told him I played piano and went to Music & Art HS, and had just started at City College of NY as a music major, he asked if I liked jazz...I said yes but I didn't know much about it, but that I did have sheet music for many popular 1920's through 1940's tunes by noted composers (Porter; Gershwins; Irving Berlin; Rodgers & Hammerstein/Hart; Jerome Kern; Lerner & Loewe; etc.) that my mother had sung beautifully starting in the 1940's including tons of famous show tunes, and I played many of those songs already
I was first exposed to jazz circa 1973, when I met a fellow who ran Kappy's Record Store over near 10th Ave., on 42nd St. in NYC. We really clicked and when I told him I played piano and went to Music & Art HS, and had just started at City College of NY as a music major, he asked if I liked jazz...I said yes but I didn't know much about it, but that I did have sheet music for many popular 1920's through 1940's tunes by noted composers (Porter; Gershwins; Irving Berlin; Rodgers & Hammerstein/Hart; Jerome Kern; Lerner & Loewe; etc.) that my mother had sung beautifully starting in the 1940's including tons of famous show tunes, and I played many of those songs already. SOOOO... he started me off LP's by Oscar Peterson, Art Tatum, Bud Powell, Errol Garner, Bill Evans, Monty Alexander, Charlie Byrd, and Dave Brubeck... does it get any better than that? ...No, it doesn't. I was hooked!!
I met and had a master class with the late music giant John Lewis, leader of the Modern Jazz Quartet! This was at CCNY in 1977. I was blessed! It was an incredible class... how could it have been anything else?!?!
The first jazz record I bought was...I bought numerous records from my friend at the record store, as mentioned above. He introduced me to nothing but music giants/legends! I think The Dave Brubeck Quartet, Greatest Hits, was actually the first one.
My advice to new listeners... study first--understand the rudiments--solfeggio, keys, scales, and basic chords. Read a book or take a class that includes the study of chord progressions, especially in jazz. It should ideally be a piano class so you can play multiple notes together. Have a good EAR or else it's not really worth it in my view...to become a musician, a good EAR for music is about as fundamental as breathing! Learn to read chord charts--i.e., lead sheets - wherein you play various voicings of the chords--major, minor, dominant 7th (alterations of these, you can learn over time - the basic chords are most important for starters), plus the melody, on the piano or keyboard. If you have to read the exact notes, then it's not the same as actually internalizing it & getting it all into your head. If you can do this, I think you're ready not only for listening to jazz, but understanding many concepts of it! Of course...anyone can listen to jazz... but I think it's so good to also have a grasp of it.