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."

 

Soul Brass Band Levels

Soul Brass Band
Levels
Self-Produced

According to a story in Offbeat Magazine, the origins of the Soul Brass Band go back to when CeeLo Green was shooting a video in New Orleans for his song "Music To My Soul." Drummer Derrick Freeman of Kermit Ruffins' Barbecue Swingers was asked to be a consultant and then asked to form a Brass Band. Given the word soul was central to the video's theme, Freeman used the name Soul Brass Band for the project and the producers provided traditional Brass Band uniforms for those in the shoot that Freeman kept.

After shooting a video with New Orleans Pelicans star Anthony Davis, Freeman was receiving requests for the Soul Brass Band. He formed an All Star ensemble snare drummer "Freeman, bass drummer Aron Lambert, trumpeter Leon “Kid Chocolate” Brown, trombonists Michael Watson and Terrance Taplin, saxophonist James Martin, guitarist Danny Abel and tuba player Steve Glenn." After checking with the Soul Rebels, they started performing with the first performance was opening for Red Baraat at Tipitina's and subsequently toured and played Festivals in Europe and more.

The music ranges from traditional Brass Band numbers to funky soul and pop covers over a wide variety of material. The recording opens with what sounds like static radio music before it segues into Soul Brass at full force on the driving swing of "Open Your Eyes," with its hints of Latin along Ivan Neville's vocal. Michael Watson takes a terrific trombone solo followed by Khris Royal's searing alto sax, the horn arrangement supporting the vocal is wonderful and the groove is irresistible. The title track has a groove that hints at "Funky Nassau," as Freeman shouts out the vocal of life being about levels as the horns help punctuate the vocal. Ricio Fruge takes a scorching trumpet solo before Martin's earthy tenor sax, with the percussion percolating while Doyle Cooper's sousaphone providing the anchor. There is more of a Caribbean groove on "How Far We Come," with Sean C adding his soulful vocal to Freeman's gravelly one. Corey Henry adds his muscular trombone to the funk. Sean C. also is present on "Circles" which also features Freeman's funk band Smoker's World, a the mix of rap and soulful singing.

There is plenty of soul on the spirited revival of "Ease On Down The Road" from The Wiz with an outstanding vocal by Erica Falls, and noteworthy solos from Mark Levron on trumpet and Danny Abel on guitar. The closing number goes back to a more traditional jazz vein with a rendition of Leroy Jones' "Rendezvous," with Kevin Louis high note trumpet featured before Terence Taplin's rambunctious trombone solo. While there is only a little over a half hour of music, the Soul Brass Band has plenty of spirit along and funk to go with its Brass Band foundation to produce a recording that should have folks at least tapping their fingers. If you can sit still through this album, you need to have your pulse checked.

I received a review download from a publicist. Here is a video of Soul Brass Band during a recent instore performance at New Orleans' Louisiana Music Factory.

 

Cyril Neville's worldly blues.

The following review appeared originally in Jazz & Blues Number 315 (April 2009) and downloadable from www.jazz-blues.com.

The youngest member of the Neville Brothers, Cyril Neville, like his brothers has long engaged in a variety of projects including exploring reggae and other world musics, and revisiting some Crescent City classics along with adding his voice and conscience to the Neville Brothers. M.C. Records is bringing out his latest disc, “Brand New Blues,” which has a most definite blues focus.

Producer Brian J. plays most of the music here but most tracks are supplemented by such artists as older brother Art, his nephews Ivan and Ian, guitarist Tab Benoit, harmonica whiz Johnny Sansone and washboard from Waylon Thibodeaux. There are some originals but also some intriguing covers like Jimmy Reed’s “I Found Joy,” that opens the album with its simple groove (Art Neville’s cheesy organ fits in so well) with a vocal that suggests a hint of Taj Mahal. It is followed by the title track, where he sings about having all types of blues, from the hole in shows to broken hearted blues, but when he thought he had seen it all, she walked in his life with the brand new blues, spending his money as if no tomorrow, with Ivan Neville on Hammond B3 while Tab Benoit adds guitar fills and a solo after which the lyric takes a slightly topical twist. “Shake Your Gumbo,” is a funky, dance oriented number as he encourages his woman to shake her gumbo all night long.

With Art Neville returning on organ, Cyril does a marvelous version of “I’ll Take Care of You,” modeled on Bobby Bland’s classic recording. He can really lay down a blues ballad. “Cream Them Beans,” with washboard and Johnny Sansone’s harp, is a lively ditty with a hot creole groove. “Cheatin and Lyin,” has a sparse percussion heavy backing as Cyril wonders how some people sleep at night “as something so wrong can be seen as right” with “cheating and lying from the White Horse on down,” makes Cyril want to beat those scoundrels down and it makes him sad. “Mean Boss Groove,” with Ivan on organ and Tab on guitar, has a protest lyric about a bad boss and credit card bills piling up with a haunting, accompaniment evocative of some of John Lee Hooker’s brooding slow blues. “Blue Blue Water,” is another lesser known Jimmy Reed number with Sansone returning on harp, with Brian J on acoustic guitar and Andy Cotton adding bass on this unplugged number. After a heavy dose of blues, a gospel-tinged number “Don’t Move My Mountain.”

The album closes with a highly expressive, blues-infused rendition of Bob Marley’s “Slave Driver.” Many of Cyril Neville’s recordings have had limited distribution. Hopefully, M.C. Records will be able to get his music out to wider circulation as he has a voice that is well worth hearing on its own, just like with his brothers.

For purposes of FTC regulations, the review copy was sent to me by the record label.