Early warning signals indicated that there may be a bumpy road ahead in Anthony Magro’s biography on New Orleans trumpeter Terence Blanchard, Contemporary Cat – Terence Blanchard with Special Guests.
Following a preface peppered with poor grammar and punctuation plus misspellings, including the mind-boggling Chef Mentour Hiway [sic], the author blew his cool with some downright misinformation. In discussing the 1984 release by the band co-led by Blanchard and saxophonist Donald Harrison, New York Second Line, Magro defined second line thus: “Second line is an alternative term for Dixieland, music categorized as part of New Orleans tradition.” Granted, numerous definitions of the term second line prevail. It can be used as an adjective, i.e. a second line parade, a noun, i.e. going to a second line, and verb, i.e. he second lined all day. But an “alternative form of Dixieland” is not among them. Considering all the New Orleans artists the author interviewed for the book, he had ample opportunities to get a handle on the term. Statements like this makes one wary of other information the author may offer and produces a mighty groan.
Luckily, the majority of the book is made up of straight-on interviews with Blanchard, his family, educators and those who’ve worked with the trumpeter throughout his career as jazz musician and in the film industry. Magro’s voice is rarely heard as he primarily functions as an interviewer, transcriber and coordinator. The slew of articulate and often outspoken subjects such as Blanchard, Harrison, the musical Marsalis clan, director Spike Lee, actor Denzel Washingtonand a wealth of musicians such as bassists Christian McBride and David Pulphus and drummer Troy Davis keep the book in the groove.
A successful element of the volume is how the interviews are mixed and matched. On a given topic, be it a particular period of Blanchard’s prolific career or more general discussions concerning jazz’s viability and the factor of race, responses appear as if the interviewees were all sitting in a room together. For instance, when the theme turns to the controversial break-up of the Blanchard/Harrison group, statements from the trumpeter and saxophonist are interspersed with thoughts from band members: pianist Cyrus Chestnut, drummer Carl Allenand bassist Rodney Whitaker. By employing this technique, the reader is offered differing points of view minus possible misconstrued interpretations. “Surprised?” Chestnut is quoted, on demise of the ensemble. “I didn’t know what was going on.” After some elaboration, Allen follows saying, “I think the band had to split.”
Hearing from such an array of those closest and most influential to Blanchard offers insight to his development as a musician and his ultimate success. The text is set up chronologically, so from his mother, the reader learns about Blanchard’s early years as a quiet child with a love of music and strong work ethic. Teachers like Roger Dickerson, who early on realized Blanchard’s talent, return later in the book to comment on his present accomplishments. It’s the trumpeter who tells of how much performing with drummer Art Blakey’s Jazz Messengers meant to him as a person and subsequently as a bandleader. Others who played in various configurations of the legendary group also offer their remembrances. Much time is spent on the agonizing period when Blanchard was forced to completely change his embouchure (lip position on the horn), forcing him off the bandstand for over a year and threatening his career. Relevant is the trumpeter’s mighty ascent.
Many of interviews in the last chapter, “Central Focus,” read like testimonials to Blanchard’s talents. While deserved, they don’t offer further information or insight. Other “groaning” moments occur when the author steps back into the picture to make statements that could be viewed as contradictory to quoted statements by those he interviewed. For instance, in the opening chapter, “The Birth of a Jazzman,” Magro declares, “…New Orleans did not produce a major jazz artist after Louis Armstrong followed the music to Chicago in 1922.” The void he so briefly describes, dismisses decades of influential and brilliant artists. As Dickerson later states, “Because of certain elements here—the culture, community and energy—New Orleans has turned out musicians for centuries. The city is kind of a channel for that.”
Contemporary Catwas published by Scarecrow Press as part of its “Studies in Jazz” series under the auspices of Rutgers’ Institute of Jazz Studies. Considering the pedigree, it’s disappointing that such sloppy work slid by the editors. The voices of the players, however, prevail on the page as they do on the stage.
SIGNS OF AUTUMN
While events like Essence Festival and Satchmo SummerFest spiked the spirit of summer in New Orleans, the fall season offers the return of seasonal programs and a burst of activity. For one, the popular Sandbar series returns to the University of New Orleans with the October 8 opener also acting as the debut of the UNO Louis Armstrong Quintet. The group with trumpeter Matt Leder, saxophonist Derrick Douget, guitarist David Mooney, bassist Peter Harris, and drummer Troy Hall was specifically assembled to bring jazz to area schools as stated by a grant procured from the Louis Armstrong Foundation. The program is also sponsored by Jazz @ Lincoln Center with a curriculum inspired by Wynton Marsalis’ “Jazz for Young People.” Contrary to what might be perceived by its name, this band isn’t going to rehash the past. Instead, the emphasis is on composing and performing original music. “We’re trying to make it kind of a hip thing in style,” says the ensemble’s musical coordinator, UNO educator and superior pianist Doug Bickel. He describes the band members as all “cutting edge graduate students.” This month the Sandbar series also boasts guitar virtuoso Gene Bertoncini arriving on October 15, Brazilian saxophonist/flautist David Ganc on October 22 and reedman Victor Goines on October 29.
Each fall, proclamations that October is “Jazz Awareness Month” in New Orleans used to abound. In observance, the now-defunct Louisiana Jazz Federation once presented a myriad of performances all over town. Thanks to a handful of the faithful and some appreciated commercial supporters the remnants of those activities live on in the Sunday evening Nickel-A-Dance performances at Café Brasil. Starting at 4 p.m., these get-togethers are the epitome of all-age shows with toddlers swinging alongside the grandfolks. The series, which accents traditional jazz, kicks off with the popular group Ronnie Magri’s New Orleans Jazz Band (of Shim Sham fame) on October 5. Banjoist Les Muscutt’s Ramblers are up next (Oct. 12) with the all-star group, Henry Butler and the Steamin’ Syncopators, killin’ on Oct. 19. Trumpet veteran and crooner Lionel Ferbos leads the Palm Court Jazz Band to close the series on October 26. Bring the kids, the parents, the nieces and nephews, nanna and papa as it’s all free.
The debut performance of trumpeter Irvin Mayfield’s original composition Strange Fruit will be presented at the Dillard University Lawless Memorial Chapel on October 17 and will be repeated Sunday, October 19.The nine-movement work showcases performances by the New Orleans Jazz Orchestra and the Dillard University Choir plus a narration. These performances are free of charge.
“You know they didn’t give me a minute when we first came here and now we’ve been here 10 years,” exclaims Donna’s Bar & Grill co-proprietor Charlie Simms of the upcoming 10th anniversary of the Rampart Street Club. Naturally, Simms will be rattling those pots and pans for the October 15 celebration and wife and club namesake, Donna, who teaches and studies in Florida will be back in town for the occasion. Drummer Bob French & Friends will take the bandstand undoubtedly joined by an array of musicians who’ve performed at the nightspot during the last decade. Congratulations Donna and Charlie and thanks for the good times.
This month’s second line parade schedule (subject to change): Family Ties and Outlaws, October 5, Original Prince of Wales, Oct. 12, Popular Ladies, Oct. 26.