Dirty Dozen Brass Band What’s Going On

Dirty Dozen Brass Band
What’s Going On
Shout Factory

Like others from their home city of New Orleans, the members of The Dirty Dozen Brass Band have been greatly affected by the aftermath of Hurricane Katrina. They recorded this new album with some friends which reinterprets the classic Marvin Gaye album on a recording that is very relevant in light of the catastrophic events of last year in which the band members, like so many, lost their homes, and so much more.

More than their homes, they were distressed about the loss of their communities and personal treasures; photo albums and mementos of their travels were all destroyed. “I’m not talking about clothes and shoes and material things, but family albums,” says Roger Lewis. “I have a 7-year old daughter. I had pictures of myself as a child, but I can’t share them with her because they were destroyed. All she’s really going to know is her dad as a 64-year-old man.”

The album opens with Chuck D rapping on the title track with a justified bitterness as the Dozen provides a sobering backing with Revert Andrews contributing a strong trombone solo. This is followed by a Betty Lavette take on "What’s Happening Brother" as she sings “Are things really getting better like the newspaper says ... I just don’t understand what’s going on in this land ... will the Tigers win the pennant, do they stand a chance ...” with the tenor sax reaching to the higher registers behind her. "Flyin’ High (In The Friendly Sky)," is taken at a medium tempo with a rather nice rendering of it before the tempo picks up as the members chant “Help Me Somebody,” with some nice spirited playing as the tune rides out. Some nice trumpet leads "Save the Children" which also includes some nice sax work including Roger Lewis’ baritone, and original member Kirk Joseph provides a foundation on the sousaphone and Jamie Mclean’s guitar brings African flavoring and rhythm. Ivan Neville guests on God Is Love, as Joseph and Lewis add the deep bottom behind his vocal as the brass punctuate the lyrics. G. Love raps the lyrics "Mercy Mercy Me (The Ecology)" with the Dozen providing a sharp funk groove before they get another groove going on "Right On," as Revert Andrews takes the lead on trombone prior to Kevin Harris’ tenor sax. The last instrumental, "Holy Holy," is rendered almost as a funeral dirge before they conclude with Guru rapping on "Inner City Blues (Make Me Wanna Holler)," concluding a very thoughtful and moving recording.

A portion of the proceeds from this CD will be donated to the Tiptina’s Foundation, benefiting the musical community of New Orleans.

I am not sure if I received from Shout Factory or a publicist. This review originally appeared in the October 2006 Jazz & Blues Report (Issue 287). I made a couple minor corrections. Here the Dirty Dozen performs "What's Going On."

 

Leroy Jones' Fond Memories of the Fairview & Hurricane Band

One of the pleasures for this writer at this year’s French Quarter Festival was to see and hear Leroy Jones and the Original Hurricane Brass Band. What was notable was they played more of a traditional Brass Band repertoire and what was notable was their clean intonation as well as the performance eschewed the funky style of most contemporary New Orleans Brass Band. But to hear a band that handles some of the traditional repertoire in the manner of the legendary bands like the Inward, Eureka, Olympia, Excelsior and Doc Paulin’s Band was a true delight, not to mention Jones own playing along with the others including trombonist Freddie Lonzo.

Back in 2005 Jones issued on his own label New Orleans Brass Band Music: Memories of the Fairview & Hurricane Band. In his notes he mentions his fond memories of the Fairview and Hurricane Brass bands. The former was under the leadership of Reverend Andrew Darby, pastor of the Fairview Baptist Church as well as church member and New Orleans legend, Danny Barker. Later the Hurricane Band came into existence and some of its members would form the Dirty Dozen Brass Band. Anyway, Jones put together this recording to evoke the older bands with a fresh twist and flavor. He did the arrangements on familiar numbers and assembled a band that included Calvin Klein on trombone, Alonzo Bowens on tenor saxophone and clarinet; Ron Espino on sousaphone; Kerry ‘Fat Man’ Hunter on snare drum and Cayetano “Tanio’ Hingle on bass drum. On one selection, Jones wife, Katja Toivola handles the trombone solo.

This is a delightful recording which exhibits the same swinging grooves and clean, but spirited ensembles and solos that were exhibited at the festival. Most of the performances will be familiar from the opening Lily of the Valley, the slow drag tempo used for Just a Little Walk With You, the peppy Lord, Lord, Lord, Muskrat Ramble, and South Rampart Street Parade. They standard out with the relaxation in the performances and the lack of frenzy. Dixieland favorites like When the Saints Go Marching In and Back Home In Indiana, also share these virtues as the two drummers set forth the rhythm and then the band kicks in. Furthermore, all three horns are excellent soloists. I was most familiar with Jones playing on a variety of sources but Bowens saxophone also constantly impressed while Espino also proves his capabilities on the cumbersome sousaphone on Indiana.

This is available from the Louisiana Music factory, www.louisianamusicfactory.com. Leroy Jones own website is http://www.satchmo.com/leroyjones/main.html.

I purchased this CD. Here is part of their French Quarter Festival performance.

More French Quarter Festival Images

Gypsy Jazz Guitarist Tony Green

Here is another installment of images from this year’s French Quarter Festival.

Couple of swing dancers at Tony Green and Gypsy Jazz 

Zazou City bringing interesting musical sounds

Hot 8 Brass Band

Some soul and blues from Brother Tyrone

Tuba Player From the Orleans Brass Band

One of my favorite New Orleans pianists, Tom McDermott who was playing with Tim Laughlin

Heritage Blues Orchestra Is Still Rising

At the last Pocono Blues Festival, one of the acts was Bill Sims Jr. and his daughter Chaney doing a variety of material rooted in deep acoustic blues, spirituals and field hollers. Sims was a marvelous guitarist and vocalist and his daughter sang marvelously as well. It was to my delight that a new recording by a new group, Heritage Blues Orchestra, And Still I Rise (Raisin’ Music) featured them along with Junior Mack in a collection of blues, hollers and spirituals that bring a sophistication to them while preserving the rawness of the source material. This album by “H.B.O.” is produced by Larry Skoller, also includes the harmonica of Vincent Bucher (Matthew Skoller on one track), the drums and percussion of Kenny ‘Beedy Eyes’ Smith, and a horn section led by Bruno Wilhelm that provides fresh settings for some of these songs.

As Smith emphatically laying down the rhythm, Bucher wails on harmonica, and Mack and Sims lay down a delta-flavored guitar accompaniment, Mack delivers a strong vocal on Son House’s Clarksdale Moan, with horns added during the performance. Chaney takes a vocal on C-Line Woman with Mack and Sims providing a response as Kenny Smith provides the second-line rhythms and Clark Gayton provides a bass line on his sousaphone/tuba. I believe it is Mack that handles the vocal on Big Legged Woman, with the horn section adding musical coloring.

The horns are more prominent as is Bucher’s energetic harmonica on a hot shuffle rendition of Catfish Blues, with Bill Sims strongly delivering the lyrics with some interesting interplay between harmonica and the horns. The interplay between the vocals and horns marks Leadbelly’s Go Down Hannah, with a lovely vocal on this dirge by Chaney Sims. I believe it is Junior Mack that plays the driving slide guitar behind the three-part harmonies on the spiritual Get Right Church, as Smith emphatically lays down the groove.

The remainder of this release is equally stirring and moving. The playing by Sims, Mack, Bucher and Smith is terrific throughout. Smith’s ability to play in very contrasting and different rhythmic styles is noteworthy. The horns certainly are interesting, add rhythmic punch to these recordings even if not always seamlessly integrated into the performances. The horns stand out during In the Morning, and the closing Hard Times. The latter traditional blues is transformed into a three-movement performance, opening with a stirring vocal by Chaney that hints at Skip James, followed by a mournful horn interlude, and concluding with Junior Mack taking a vocal chorus to kick off a brief funky jam that fades out during Wilhelm’s fervent tenor sax solo.

The foundation of the Heritage Blues Orchestra are the voices of Junior Mack, Bill Sims, Jr., and Chaney Sims who bring such a range of moods and emotions in the marvelous vocals here. This trio could do a recording without instrumental accompaniment and be as compelling as they are here. And I Shall Rise is an compelling, contemporary exploration of African-American musical roots.

This is scheduled for release on February 28. I received a review copy from a publicist. And here is a promotional bit for this release.

With The Original Pin Stripe Brass Band Plenty Of Chances To Dance

The resurgence of Brass Bands in New Orleans starting with bands like the Dirty Dozens led to the emergence of many such groups by the mid-nineties. One bar, the recently closed Donna’s, featured Brass Bands every night for many years. Many recordings have taken place, ranging from bands that were more traditionally oriented to others that infused street music and rap in their repertoire. A number of recordings also have documented these groups over the past few decades. One of my favorites from the 1990s was one by the Original Pin Stripe Brass Band that appeared on Orleans Records and is still available (check out www.louisianamusicfactory.com that has Your Last Chance To Dance and the bands more recent recording, I Wanna Go Back To New Orleans, in stock). The following review appeared in the September 1995 Jazz & Blues Report (issue 204).

Few types of music can be as invigorating as that played by a New Orleans Brass Band. The recent resurgence in such bands may be illustrated by such groups as the Dirty Dozen or Rebirth. Part of this revival of the brass bands is The Original Pin Stripe Brass Band who have an exhilarating album available (on Orleans Records) titled Your Last Chance to Dance.


Like other bands in the vein they mix parade tunes and hymns with blues and jazz classics. Opening is an exuberant hymn, Lord, Lord, Lord, “You’ve been so good to me,” they declare as the irresistible second line groove kicks off. The funk continues on Dave ‘Fat Man’ Williams’ I Ate Up the Apple Tree, With leader Herbert A, Margavey, taking lead vocal while punching out the groove on snare drum and others responded with a group vocal response before a bit of New Orleans polyphony in the instrumental portion. Rhythm & Blues classics like Higher and Higher and It’s So Hard to Say Goodbye are transformed with second line grooves, while other songs include spirited treatment of the legendary Paul Barbarin’s The Second Line.


Bands like this help keep the brass band tradition very much alive, and the album illustrates the observation of Jerry Brock in his liner notes that units like Pin Stripe may be traditional but are anything but stagnant. A wonderful collection of joyous music that will enliven any event.

I do not remember whether I purchased this CD or obtained a review copy.

Trombone Shorty's Backatown Keeps Groove Going

Trombone Shorty and Orleans Avenue at 2009 Duke Ellington (now DC) Jazz Festival

Since emerging nationally as a member of Lenny Kravitz’s Band, and his appearance on a nationally televised Hurricane Katrina, Troy ‘Trombone Shorty’ Andrews has emerged as a favorite band on touring and festival circuits with his blend of funk, Brass Band riffs and some hip-hop & soul seasonings. He is a member of a musical family as his older brother James was a founder of the New Birth Brass band and recorded a brassy al;bum that was produced by Allen Toussaint. Another brother, trumpeter James helped mentor him and Troy’s grandfather was the late Jessie Hill who had a major hit with the New Orleans R&B classic “Ooh Poo Pah Doo.” 

Busy beyond his years, Troy has recorded a CD with his brother, and a previous CD with his band Orleans Avenue along with plenty of studio work. Now he has a new release, “Backatown” (Verve Forecast), that seems destined to increase his fan base even more. Also there are recordings available of his New Orleans Jazz & Heritage Festival sets (from 2004 and 2006-2008) that can be found at JazzFestLive.com.

The title of this album refers to the area of New Orleans that includes Tremé, the historic neighborhood where so many great musicians came from and which was devastated by Hurricane Katrina. Produced by Galactic’s Ben Ellman, Troy’s band, Orleans Avenue (Mike Ballard on bass, Pete Murano on guitar, Joey Peebles on drums, Dwayne Williams on percussion and Dan Oestreicher on baritone sax) is the core behind him with special guests that include Allen Toussaint, Kravitz, Marc Broussard and Charles Smith (Orleans Avenue’s original drummer playing synth bass). Troy wrote all except one of the 14 numbers on this.

The tune is set with the opening “ Hurricane Katrina,” with its hip hop rhythm mixed with a funked up brass band sound, followed by Allen Toussaint’s “On Your Way Down,” where the legendary pianist plays as Troy delivers the message the folks you see on the way up are the ones you will pass on the way down. After another funked up instrumental, Kravitz joins on guitar and backing vocal on “Something Beautiful,” as he asks “Can You Show Me Something Beautiful,” which is quite catchy. The title track opens with some dark sounding synth bass from Smith before Troy enters with some buzzing trombone with some ripping baritone from Oestreicher as the horns weave around each other. Broussard adds a vocal to “Right to Complain,” wLith a message about all make a complain but no one wants to do anything. The instrumental “Neph,” has an mesmerizing cowbell-ish groove before Troy on trumpet conjures up a strong spanish tinge with stirring interludes of his trumpet soaring over the percussion. “Suburbia,” opens with some metal-ish guitar before Troy adds some trombone and trumpet playing that suggest a call to arms. The groove of “In the 6th,” with the baritone helping set the funk riff, sounds like a homage to the Dirty Dozen and other modern New Orleans Brass Bands that his music is rooted in. “Where Y’At,” is a composition that originated in some onstage jamming with “new ideas coalescing out of improvised sections of existing pieces.” Troy credits Marvin Gaye as inspiration for the ballad “Fallin’.”

Anyone who has seen Trombone Shorty and Orleans Avenue know how electric the performances can be. A studio recording can only go so far in capturing this aspect of his music, but “Backatown,” is a recording that undoubtedly will increase his growing visibility (his appearances on the HBO series “Tremé,” also contribute to this) and certainly please his many fans.

This review also appeared in the July, 2010 Jazz & Blues Report (issue 327) at page 15 although I have added a few bits like the reference to the availability of his Jazz Fest sets. It should be readily available.

For purposes of FTC regulations, I received a review copy from a publicist for the label.

Trombone Shorty and Orleans Avenue

Coming to the Pocono Blues Festival on Sunday, June 27, with two sets, one outside and one inside. Here is an excerpt of my review from their Duke Ellington Jazz Festival performance on June 14.

"Troy ”Trombone Shorty” Andrews is a double threat on trombone and trumpet and comes from a musical family. Brother James had stints with the Tréme Brass Band and was original leader of the New Birth Brass Band besides recording “Satchmo of the Ghetto for Allen Toussaint’s NYNO label. Troy, who had broad experience in his hometown, came to notice in one of the Katrina benefit television broadcast. His own band Orleans Avenue is one of several groups that take the modern brass band as inspiration for a riveting mix of traditional jazz, funk, and soul with a touch of hip hop. He opened up with a brass band favorite that his brother James has recorded, ”I Want My Money Back,” with guitarist Pete Murano using an effective hard rock riff while saxophonist Trixie wailed. Introducing “Rats and Roaches Around My Home,,” Andrews alluded to DC’s Go Go Beat while Big D added some interesting accents on congas. A nice change of pace was the rendition of “It’s a Wonderful World,” just be Andrews and guitarist Murano. The set closed with his own take on “The Saints” which opens with a modern trumpet styled reading of the theme before they funked it up with Shorty walking into the crowd and then the band members all switched instruments as guitarist Murano ended up on sax and Shorty on drums. What a rousing set of music that just tore things up and really got the crowd up and dancing."