Author Archives: Jan V. Ramsey

November 22nd 2011

Thanks For All

We’ll be heading to the vast cultural wasteland—but a shopper’s and politician’s paradise—of Baton Rouge on Turkey Day to spend time with my siblings, their families and my mother.

I’m the appointed “macaroni and cheese” maker. It’s my favorite holiday food, next to the turkey and sweet potatoes, and I make it like my mama made it, with lots of shredded Colby and sharp cheddar cheese, canned evaporated milk (it’s a must for it to turn out right), butter and eggs. That’s pretty much the recipe, except for the macaroni, and seasonings of course. No white or cheese sauce in my macaroni! Anathema!

The musical family of New Orleans (Photo, thanks to: moblog.net)

Thanksgiving isn’t really about food, though, to me. It’s one of the few times I get to socialize with my brothers and sisters throughout the year. Although my two sisters live in Baton Rouge and Lacombe, we’re too busy to see each other very much, unfortunately. My sisters, my mother and I share the same (evil) sense of humor, and whenever there’s a family gathering, at least one of us will get literally hysterical laughing over something really stupid. But that’s the way my family is, and I love them for it. It’s not to say that my brothers (I have five) don’t share in the family humor, but geez, they’re guys and there’s just something about women’s ability to talk intimately that allows us to let loose and be really silly, lay open our snarky streaks, and just plain cackle. So I really look forward to our holidays.

My daughter won’t be with us this year—she’s in Arkansas, visiting her dad and my granddaughter—and she’ll be sorely missed, as she’s pretty much the youngest of my mama’s daughters: she’s only a few years younger than my youngest sister, my mother helped raise her, and she’s got the same goofy sense of humor.

Families are really wonderful things, aren’t they? I am lucky to be a member of a large family and have a lot of people I can share common memories with, old memories and new. I’m privileged to be able to call the OffBeat staff my family as well; we are all very close, as the staff of a small magazine needs to be. I’m even more blessed to be able to call the members of the New Orleans music community my friends and extended family, and I’m thankful and thrilled to be able to call many of them my friends.

New Orleans musicians will do just about anything for each other. Yeah, they bicker and fight and bitch sometimes, but don’t all families? But when someone is sick, when someone needs help, I’ve seen this community come together time and time again to help their own. In fact, I’ve never quite experienced anything like it in my life and I am lucky and blessed to be considered part of this family.

So my thanks this year is for the support that we all give to each other, and the invisible ties that keep us together as a community. It’s a beautiful thing, and something to be incredibly grateful for.

May you and yours experience the communion that exists in our New Orleans musical family in your family. Happy Thanksgiving, y’all!

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November 16th 2011

Voting and Anarchy

Maybe anarchy is the way to go.

I heard this morning—and it’s all over the news—that our Congress’s approval rating has dropped to nine percent. Nine percent. That’s down from 13 percent in August, according to Gallup poll.

So what is this thing called democracy? Is it still working for America?

The polls indicate otherwise. The people we’ve elected aren’t doing their jobs, according to 91 percent of  the country.

I’m no political pundit, for sure, but there’s really something wrong with this picture, and these poll numbers reveal that either we’re so apathetic that we don’t care who gets elected to represent our interests, or the people we’ve elected don’t give a damn about what their constituents want.

My radical-leaning husband wants to abolish the House of Representatives because he thinks they do nothing. Personally, I’d rather abolish the practice of allowing campaign contributions, make lobbying illegal, prohibit politicians from using their office to get inside information to make personal profits, and cut off privileges that give congressmen lifelong pensions and medical benefits. My political rant for the day.

Relating to musical politics, we’re about to begin the months-long process of determining who will be the recipients of OffBeat’s Best of The Beat Awards, and hopefully, our process is more democratic than what’s currently taking place in the nation’s capitol.

Anders Osborne at the 2009 OffBeat Best of The Beat Awards. Photo by Kyle Petrozza.

For some weeks now, we’ve solicited information from musicians and music businesses (our music community) asking them to update or add their contact information into our Louisiana Music Directory database online. In a few days from now, we will be soliciting nominees from the music community using this database, so if your business or band isn’t in it, you won’t be able to participate in the process of nominations. So add yourself in, or make sure your information is correct, because it’s the only way you can be sure you can nominate.

Once we receive nominations from the music community, we calculate the top nominees, and skim the cream—the top nominations—for the public to vote for the musician, band, or recording they think is the best of 2011. Please note: we’re not looking for favorite bands or records. We’re seeking to honor the folks who have really outshone their peers in musical achievement for this year. Once musicians, bands and recordings have been nominated, both musicians and fans can vote on the outcome and the award recipients.

We honor the musicians and bands at our annual event, the Best of The Beat Awards, that’s scheduled for Friday, January 27, 2012 at Generations Hall (get a list of previous winners here plus photos from the 2010 music awards show as well as photos from 2010 music business awards). We not only honor our Lifetime Achievement Award winners at that event (names will be released later this month), and also at another, earlier event on January 25, that’s only open to the music community. We also present our awards to the music business community at the earlier event. These are the people behind the scenes: attorneys, sound engineers, recording studios, instrument retailers, festivals, etc.

Tickets for the January 27 event will go on sale on December 5 at a discounted price, so keep your eye on the Weekly Beat and our Facebook page for more information.

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November 9th 2011

An Unusual Lunch for a Good Cause

The New Orleans Mission launched its “Pathway to Restoration” campaign at an unusual lunch today. First, the lunch was held on the stage at the Orpheum Theater, and it was prepared and served by staff and clients at the Mission. We ate the same meal that a homeless client might receive (baked chicken, rice pilaf, fresh carrots, iced tea and home-made cake muffins).

The Orpheum, sans seats.

The Orpheum has been out of commission and basically abandoned since Katrina. The basement under the seats and stage was so full of water they called it the “seal tank.” The theater is in the throes of renovation, and it has a long road ahead. The basement has been drained, the old ruined seats have been removed, and the theater is drying out.

I was amazed to see that the intricate ceiling in the lobby still looks great, but the inside of the theater is another story entirely. I cannot imagine what it will cost to restore the beautiful design work and the interior of the theater itself. Local entrepreneur and tax credit guru Morris Kahn and his partners are working with the owners to restore the building. Curiosity on the state of the Orpheum led me (and others, I suspect), to attend the lunch.

I support the New Orleans Mission. We pass it on Oretha Castle Haley Boulevard every day on our way to and from the office. The Mission will take in anyone off the street as long as they are not “falling down, throwing up” drunk.” It not only provides meals, showers, beds, and medical and spiritual guidance, it also provides case management services intended to help the Mission clients find full-time employment and permanent housing. There’s also a rehab program for men struggling with addiction who want to change their lives.

The ceiling of the Orpheum, lacking paint and gilding, but still beautiful.

Before Katrina, there were about 6,000 homeless in New Orleans; after Katrina, the number surged to 12,000. It’s now estimated at about 19,000. Sadly, 100 percent of these individuals live below the poverty level; 88 percent have addiction issues and 75 percent have mental illness. Over 60 percent of the Mission’s clients are from Louisiana, and 42 percent are employed full-time. About 80 percent are men; 12 percent women, and 8 percent are single women with children or are families.

Since Katrina, the New Orleans Mission has repaired its building, remodeled its Women’s Center, completed construction of a Volunteer Center, added day room services (AA meetings, shoes and clothing distribution, legal aide, employment support and training, health care services and more every Monday through Friday), and amazingly, paid off all debt while at the same time expanding its operations for the homeless.

The Mission promotes itself as a “one-stop shop” for providing all services in one location.

Click on the photo...

What these people do and the way they manage their resources is simply amazing. They are the largest homeless service provider in the city, and they provide more services for more people with less staff than any other similar institution.

The Mission needs donations and volunteers. Anyone—you or me, our family members, our friends—could become homeless at some time in their lives. There but for good fortune, go you and I. It’s been said that you can judge a city by how it treats its less fortunate. It’s up to you to help the New Orleans Mission with a donation of money, goods or your time. All donations are 100 percent tax-deductible. Helping the New Orleans Mission will help you feel good, I promise.

For more information,  go to NewOrleansMission.org or call (504) 523-2116.

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November 2nd 2011

Rotten, Really Rotten Apples

You know that old idiom, “A rotten apple spoils the barrel”?

We had a taste of that on Halloween night when two morons on Bourbon Street and Canal Street decided to take their personal fights to the street using guns. In the process, two people were shot dead, and eight others were injured. This happened in the French Quarter among crowds of people partying at the height of one of the city’s most popular destination events, Halloween. From published reports, there were “hundreds” of NOPD in the area when these incidents occurred. Obviously, the police presence didn’t inhibit these knuckleheads from carrying—and using—weapons in a crowd of tourists and locals trying to enjoy the evening in the Quarter.

Rotten ApplesIs this the fault of the police force, then? Could the NOPD have prevented this tragedy, which could prove to be a significant blow to the city’s national reputation as a tourism destination? The national media certainly picked up on it in a hurry.

Frankly, I don’t think the NOPD could have done much, if anything, to know in advance that this would happen. They’re used to seeing these thugs in the Quarter on a regular basis.

Mayor Mitch Landrieu and Police Chief Ronal Serpas promised they would apprehend the perps, but as we know in New Orleans, there’s little likelihood of that happening. Landrieu also claimed that this was a function of the violence that’s embedded in our culture. I do agree with that, and also contend that this could happen in any city where there’s a poor population that has lost too many of its young males to drugs, crappy education, poor parenting, easy access to handguns and exposure to violence in the media.

We all realize that something has to be done, but what? More police? Admittedly, that is a possible solution for inhibiting gun violence, unless you mix in a lot of alcohol and disregard for human life. Let’s face it, knuckleheads—especially drunk or drugged ones—solve their personal issues with guns rather than fistfights or arguments, or a discussion of the matter. They aren’t thinking about a cop who might be standing a block away in a massive crowd of people.

Obviously the solution to the problem also lies in catching and punishing the thugs. In New Orleans, we’re notorious for letting the bad guys back onto the streets. The judicial system also sucks.

It seems to be an almost overwhelming problem.

It’s been suggested that the police do random searches of people on the street who they think might be troublemakers. I can’t imagine that this would work. How would you feel if you were an innocent 25-year-old black male who’d be stopped and searched because your profile was the same as the thug? The ACLU would be all over that tactic.

As longtime readers of my columns know, I’m totally against the availability of handguns. While they’re supposedly used for self-protection, many more of them are stolen from their owners and sold on the streets to the idiots who operate like New Orleans is the wild, wild west. Many, many more are killed and injured by handguns bought by criminals either legally or on the black market.

These idiots are ruining our city. They are the rotten apples that are spoiling it for the rest of us. It’s going to take a long time to cure this problem with education, role models, and proper parenting. It could take a generation, and probably more, assuming that we can start right now by beefing up the NOPD, cleaning up our our judicial system, and educating and parenting our kids properly.

So what can we do now to ensure that our city is safe, especially in tourist areas?

Increase the police force. Train them better.

Set up random checkpoints in the French Quarter and high crime areas at night, every night, that includes metal detectors. If you want to go party in the Quarter or on Frenchmen Street, then you need to relinquish your right to carry a concealed handgun. There’s such a thing as the common good, and the city needs to man up with a policy that can keep us all safe from these knuckleheads.

We have accepted the fact that we want to promote non-stop partying with alcohol thrown in a city that has a lot of poor young people in a country that tolerates violence and drug crime. So we need to be prepared for a new reality. This isn’t your mama’s time when you could walk down the street and not have to worry about getting popped by a random bullet. We have to do something radical. Fast.

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October 26th 2011

Being a Tourist and Being a Survivor

Sometimes I forget how lucky I am. I get to live in New Orleans and moreover, my place of work is on Frenchmen Street, just a street away from the Vieux Carré, the French Market and all the interesting sights, sounds and aromas of the Quarter.

There’s certainly nothing wrong with playing tourist in your own hometown once in a while, and lucky for me, I get to do just that several times a week. I really do love meandering through the French Quarter, mingling with the people who don’t see the city with my local (somewhat jaded) eyes. This morning, in glorious weather, I had to walk to a meeting at Jax Brewery. As I tooled through the Quarter I caught whiffs of crab boil and simmering seafood, cooking pralines, coffee and beignets, and fresh fruit in the French Market. (For all you cynics, there was no garbage or rancid beer smell on my route through the Quarter!). I also had the pleasure of enjoying the daily music from local bands playing at the Market Café and the Gazebo on my way both to and from the meeting. Makes you realize how lucky we are to live here and to be able to experience the sensual pleasures of New Orleans every single day. God, we’re so lucky to be able to live here!

It’s also great to be part of a community that has picked itself up from the depths of hell post-Katrina and is working to recover from one of the worst catastrophes in this country. Overall, we’ll always have at least a vestige of PTSD, and it amazes me when I learn stories of people who’ve come back from the bottom and are strong enough to not only stay alive, but to prosper.

One of those people is Chef Matt Murphy. A former chef at the Ritz-Carlton, Murphy endured a near-death experience when he contracted a very rare infection called necrotizing fasciitis in his leg after accidentally tripping over one of his daughter’s toys at home. He ignored the minor injury at first, but by the time he decided to go to the hospital two days later, he was almost dead. He was rushed into surgery then put into a medical coma for six weeks to allow his body to heal. During that time he had 16 surgeries and he needed three medical resuscitations.  Pretty difficult stuff for a man who is a professional chef, with a wife and five little kids to support.

Murphy, originally from Ireland, fought his way back to recovery. The Ritz-Carlton gig came to an end, and now Chef Murphy—fully recovered—is the chef de cuisine and proprietor of The Irish House at 1432 St. Charles Avenue (corner Melpomene), the former site of Taqueros Coyoacan.

The Irish House

Joseph and I and our friend Vidar had the pleasure of eating dinner at The Irish House last night. I knew the place had been transformed into a “pub,” but had no idea what to expect. Taqueros was a wide-open space with an open kitchen. The Irish House renovation has enclosed the kitchen, included a shop in the back of the house for Irish-made goods and a performance space, and extended the bar. The feel now is dark and cozy, and tables are separated into booths and smaller conversational areas. Our hostess, Aine (pronounced On-ya) O’Doherty, from Donegal in Northern Ireland, is a singer-songwriter who also performs at The Irish House. The restaurant now has regular Irish music to complement its pub atmosphere.

We were distracted from ordering our dinner by trying to decide what to drink—there are so many beers available on the menu. There’s Guinness on tap, along with a selection of other Irish, international and domestic brews. A total of 76 beers and ales grace the pub’s beer menu.

I had no idea what to expect of the food. The place is in our ‘hood, and we’d been to Taqueros numerous times when it was open, so we thought we’d try it. We didn’t get a chance to sample the entire menu, but we’ll certainly be back because every entrée was delicious; real comfort food. For an appetizer, we shared a truly sinful truffled chicken tart made with wild mushrooms, smoked gouda, cilantro and puff pastry. Delicious! I had the hard cider-braised pork cheeks with apple potato scamp (read buttery mashed potatoes with apple), which was out of this world. The meat was perfectly cooked and literally melted in your mouth, and had a delicious au jus gravy that was perfect. Joseph had flavorful beef medallions, cooked just medium rare, with astoundingly good cheddar gratin, bacon-green pea puree and peppercorn sauce. Once again, a big winner. Our friend enjoyed seared salmon filet with colcannon (a buttery seasoned mix of potatoes and cabbage), cherry tomatoes and beurre blanc sauce. Our friend Vidar, being Norwegian, knows his salmon, and he pronounced it superb. We were way too full for dessert, but I noticed a table nearby having a piece of cake that made my mouth water just to look at it.

The Irish House is open for breakfast, brunch, lunch and dinner, and also has a pretty interesting menu of bar food that includes burgers, bangers and mash, fish and chips, oysters and wings, and is available from 3 p.m. to close.

Opening a seven-day-a-week restaurant that serves food from 7 a.m. until 10 p.m. (they’re closed only from 3 p.m. to 5 p.m.) is a pretty ambitious undertaking for anyone in the restaurant business. But if anybody can do it and make it a success, Chef Matt Murphy—not only a super kitchen talent, but a physical survivor and fighter—can make it happen. He’s well on his way.

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October 19th 2011

Rant: Politicians = Dumb? Constituents = Dumber!

With the bombast and screaming that’s been going on in the Republican candidate debates, the “Occupy Wall Street” demonstrations throughout the country, and, more locally, the name-calling and mud-slinging that’s part of the upcoming elections in Louisiana, it’s time to consider more important things.

I’ve seen a candidate telling me he’s pro-gun, pro-life and pro-traditional marriage while scraping horse shit and mud off his boot (“the only dirt he’s going to sling in this campaign”). I’ve seen a candidate for Lieutenant Governor telling us he’s going to keep out all those nasty, dirty immigrants (while showing a group of Hispanics smirking about “getting Louisiana jobs”). I’ve seen candidates for judgeships attacking each other viciously. What is wrong with this picture?

Call me a real idealist, but running for public service and serving the public should be a privilege.

Yeah, I know it's misspelled. That's the point...duh.

What’s really annoying and really scary is that this political advertising works. I’m against advertising for public office. There are just too many ignorant people who refuse to take the time to research candidates and their platforms. They vote for the person whose advertising stimulates name recognition or who pushes the right emotional buttons. That’s not the democratic process.

People, this sort of campaigning demonstrates the demise of democracy (government for and of the people) and the rise of demagoguery. Think about it. There are too many of us who don’t have a clue what political jobs entail, what skills are needed, and how to ask candidates for straightforward solutions to the many problems that face us as constituents.  I certainly hope that getting younger people involved in the “99 Percent” battle does some good. But until the majority of Americans get off their butts and refuse elect the bozos who’ve led Americans and Louisianians down these paths, there’s not much hope for our lot to improve.

Okay, so that was my political rant for today!

One of OffBeat’s staff members sent me a Gallup poll that I found quite interesting—knowing where I stand on legalization of marijuana (if you haven’t read my blog for long: I’m for legalization). I thought this poll was interesting  because it shows who exactly is for legalization and who is not.

Post some comments, please. I’m looking forward to reading them.

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October 5th 2011

My Maui Jazz Travelogue

They say you need a vacation to re-charge your batteries. We had the chance to go to Maui, Hawaii last week, and I must say, my batteries have certainly been refreshed, and I’m really glad to be back in New Orleans.

Ka'apalani Beach Hotel.

The beach view towards the "Black Rock" at the Ka'apalani Beach Hotel.

You absolutely cannot beat the paradise that is Hawaii for its weather and its scenic beauty. It’s mind-boggling. The temperature in late September averaged about 75 degrees, with low humidity, sunny skies and a beautiful breeze that blew constantly. Our hotel, the Ka’apalani Beach Hotel, is considered a resort, but it was a very Hawaii-centric place to be. All the staff are Hawaiians, and there are many cultural photos and artifacts all over the hotel. The back side of the hotel faced the Pacific Ocean beach and the air was perfumed by pikake and plumeria blossoms. The entire reception area is open to the outside. No air conditioning needed.

There were other “name” resorts on the same beach; there was a beautiful Sheraton immediately next to our hotel, and we went to investigate. The pool was nicer, but the landscaping and the hotel were sterile compared to the Ka’apalani Beach, which is a much homier place to stay and gave us a feel of being in the “real” Hawaii.

The Grand Wailea

The Grand Wailea

We were there to attend the first annual Maui Jazz and Blues Festival that was produced by old friend Kenneth Burgmaier, whom I met at Jazz Fest many years ago. Two New Orleans musicians were part of the bill: Delfeayo Marsalis and Brian Stoltz, both of whom stayed and performed at the Grand Wailea Resort, where the main festival took place on Saturday, September 24. The Grand Wailea was about an hour’s drive from our hotel on a scenic highway along the beach, and was as different as can be from the Ka’apalani Beach. Our hotel was great and comfortable, but the Grand Wailea knocked my socks off in terms of luxury. Frankly, I’ve never seen a more beautiful hotel. It was gorgeous, slick, and had landscaping that was beyond gorgeous.

Brian Stoltz at the Maui Jazz & Blues Fest

The music was performed at a small stage overlooking the Grand Wailea’s Molokini Garden, set with tables draped with white linen tablecloths, with burgers and hot dogs going for $14 each from booths at the back of the property. Drinks were expensive. Oh, but the sunset on the beach!!

So this was not the “jazz fest” we’re used to back home in terms of comfort levels (fabulous) and food and beverage (expensive and not softshell crab po-boy level). Parking was a crowded affair and the hotel was overwhelmed as they used their valet system. I was told that they expected about 500 attendees and over 1,500 people showed up (tickets were $20 for music that started at 4 p.m. and ended close to 10 p.m.).

Tom Scott

Tom Scott

It must be really expensive to import musicians from the mainland to Hawaii; consequently on this first venture, many of the performers were local: Brother Noland, ukelele jazz player Brittni Paiva, SLAM, Zenshin Daiko and the Kalama Intermediate School Ukulele Jazz Cats. There were really only five “outsiders”: Delfeayo, Brian, saxophonist and Grammy winner Tom Scott, sax player Javon Jackson, trumpeter Skip Martin (of Kool & the Gang and the Dazz Band) and the legendary Les McCann, who celebrated his 76th birthday at the event. The main backup band was David Choy and SLAM. We had heard them earlier at a festival venue on Thursday evening, and again on Friday with Tom Scott and Skip Martin with Delfeayo sitting in).

The SLAM musicians were tight and accomplished, but were in a smooth jazz time warp, which isn’t what I expected. They did good sets, and an admirable job of backing up other musicians.  But like I said, I’m glad to be back in New Orleans, since my idea of jazz is quite a bit broader that what I experienced in Maui. I cannot imagine how excited the Maui crowd would be if the bill included acts like Donald Harrison, Astral Project, Rebirth, Trombone Shorty, or even the Dukes of Dixieland. Terence Blanchard does have a gig in Maui in October—wish he had been included in the line-up. The New Orleans musicians and Tom Scott added the spice to the line-up. Delfeayo’s set wowed the crowd, especially his solo performance of “What A Wonderful World.” Both Marsalis and Stoltz were lauded as headliners in the local papers and websites.

This first-year event was an outstanding success, and hopefully Burgmaier will continue to grow the entertainment line-up. A weekend in Maui, along with great music, and the discounted rates offered by the Grand Wailea make this event one to look forward to next year.

Besides the fantastic surroundings, I found Hawaii really interesting, culturally. I had been there before, about 15 years ago, but this time I really thought more about how ancient their culture is, and how the beauty of their surroundings influences the culture. When you’re not bogged down by 95 degrees and 90 percent humidity, or 40 degrees in the winter, you’ve got a whole different outlook on nature. The stability of the weather and the place’s relative seclusion from the rest of the world has got to have a major impact on your culture.

Hawaiians, it seemed to me, are much more connected spiritually to nature. It influences everything that they do. They are gentle, go-with-the-flow people, with a palpable connection to the beauty that surrounds them. I found their culture fascinating, but of course, had little time to delve more deeply into Hawaiian culture. I’d love to do some more research and read more, which I intend to do.

I felt that Hawaii and New Orleans actually had a lot in common—a deep-rooted traditional culture that needs work to stay alive and strong in the face of exploitation and “takeover” by foreigners. Strange, I know, but I got a real sense of the similarities between New Orleans and Hawaiian culture.

Here’s an example of the Hawaiian connection to nature: we stopped on the side of the road on a drive to the northern part of Maui, which is very mountainous, to answer the “call of nature” in a secluded area. Joseph saw an amazing memorial tucked back onto a cliff that had been placed there years ago. This blew me away, and it apparently did someone else who happened on it as well.

It’s just an example of the spiritual connections between Hawaiians and their surroundings.

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September 21st 2011

All on a Monday in New Orleans…

I thought you would enjoy this piece written by Gaynielle “Queen G” Neville about how music flows from generation to generation, from the death of a treasured New Orleans musical icon, to the birth of a new New Orleans superstar…

 

The sunrise was spectacularly beautiful on Monday, September 12, 2011.

This particular day marked events that were iconic in the history of cultural preservation, once again proving that New Orleans is one of the most diverse and unique places there is. It’s one of the cities that will forever be identified as a place that most music lovers are blessed to experience. All the glamour and significance of this glorious day, as well as the fascinating ambiance of it, are here in my own words.

Funerals are one aspect of life where no one truly knows what will happen. When you see a close relative or friend pass, the somberness of a funeral puts you in a hesitant state after seeing bereaved families grieve over their precious loved ones.

But that wasn’t the case in the funeral procession of a true great legend and bandleader whose life was celebrated at Corpus Christi Church on St. Bernard Avenue.

Wardell Quezergue was a musical genius who brought a whole new musical edge to just about every artist and every song he touched. Most artists who were blessed to include Wardell in their musical endeavors, dubbed him as such. His masterful arrangements, honestly labeled him the father and pioneer of horn, string and musical arranging and producing.

The funeral procession for Wardell, courtesy of BoneramaMusic.com and Stacey Morigeau.

The funeral procession for Wardell, courtesy of BoneramaMusic.com and Stacey Morigeau.

Corpus Christi Church was packed even during the viewing of the remains. Wardell’s  adult children greeted fellow mourners as they walked through the door. Friends and peers came to pay homage, pay their last respects, and to say good-bye to New Orleans’ own musical conductor and arranger, “The Creole Beethoven.” All who were there reminisced about the great moments in music that he arranged, and remembered him through their own experiences. Wardell was forever taking what one may call an average sound up to a massive musical arrangement that made history. His is a name that’s etched in stone—this father of horn and string arrangements had abilities that took our music to another plain entirely.

The testimonies at the event were so moving, as students of Dr. Quezergue and fellow musicians got up to give their praise and honor to this great man. A main highlight was “Deacon” John Moore, who gave a tearful eulogy and a splendid rendition of Sam Cooke’s “Any Day Now.” Then, one by one, artists and musicians walked to the podium to pay their full homage to one of the greatest arrangers born in the city of New Orleans.

The funeral was never slow-moving and when the services came to a close you could hear the jazz musicians who were lined up outside of the church revving to serenade Wardell Quezergue in one last hurrah before bringing the remains to their final place of rest.

The sons and elders of music royalty, jazz and music greats, from James “12″ Andrews, Kermit Ruffins, Mark Mullins, Craig Klein and the Dirty Dozen’s horn section were in the number of artists who proudly gave their last blare of their instrument in the highest regard and acknowledgement of the King of the strings, New Orleans own, the Creole Beethoven.

Four hours later, when the sun was setting, there was another historical event at Tipitina’s Uptown. The club was packed on the early evening of Monday, September 12, 2011, with the highlight of the evening was about to go down, featuring a certain star quality in the air: Trombone Shorty was going to be streamed live on Liveset. The big production and excitement was the debut of the brand new second release of his anticipated CD For True on Verve Records.

Ivan Neville’s Dumpstaphunk opened for the extravaganza and graciously held it down as the opening act. This was also the debut of their new female drummer Nikki Glaspie in New Orleans. It was the first time I have witnessed her playing with Dumpstaphunk, and she brought a certain modish appeal to their huge sound and placed them in the super-group status for eternity. Every song was tightly performed and it was clearly obvious why this group travels all over the country. The option to place them before Trombone Shorty was truly an ingenious move that will be discussed around water coolers on the next working day and days to come for sure.

The music spirit of the night was definitely upon us. It was 9:30 and the people in the club were hyped, awaiting Troy “Trombone Shorty” Andrews to grace the stage along with his young but veteran band mates, Orleans Avenue. Shorty opened his show with an instrumental composition that had the crowd ecstatic that they were a part of a night that was surely an historical moment, with the crowd singing along with a yelp of “Hey” as Shorty sang a call and answer riff. Troy Andrews’ immediate family and friends were there to happily support New Orleans’ favorite son, as the cameras rolled. There were also a host of guest performers who appeared on Shorty’s CD. New Orleans was out in abundance that night, including our esteemed mayor, Mitch Landrieu. A host of musicians and guests were there to see and be a part of this remarkable young man’s night: a young superstar who has grown into one of the best well-rounded musicians the city has to offer. The night was amazing and as a native of New Orleans, it was an honor to celebrate the release of Troy “Trombone” Shorty’s, new record and witness the rise of his career.

Monday, September 12, 2011, represented a major significance for the people of New Orleans. This city has been through the ups and downs from Hurricane Katrina to the Gulf Oil spill, but just like our diversity in music and culture, our city represents greatness. New Orleans is one of the best survivor cities ever created.

There is nowhere else you can go and witness a musical icon’s funeral and second line to the brass section of some of the finest musicians the world, but also celebrate the genius of an up-and-coming generation of quality musicians who continue to bring a wonderful uniqueness and charm to the heart and soul of New Orleans music. And it was all on a Monday in New Orleans.

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September 14th 2011

Holism Needed

As long as I’ve been involved in business in New Orleans, I’ve been subjected to turf wars. You’d think that was a pretty normal situation in business. You’re always trying to suck some of your competitor’s market share away. It’s the nature of the beast.

But what I’ve also seen is this same mentality in groups dedicated to the arts, specifically music, which to me is a really dumb way to create an industry or to promote a brand.

Music is a potentially huge brand for New Orleans. It’s never taken the steps to create and to promote the New Orleans music brand.  If we approached our music resources holistically, we could use them to literally create and promote and brand that not only visitors, but locals, would respond to, enthusiastically. Other cities have done this: Austin, Memphis, Clarksdale, Mississippi, Seattle, Cleveland. Why not New Orleans?

The Rock & Soul Museum in Memphis

The Rock & Soul Museum in Memphis

We shouldn’t have Dixieland jazz versus traditional jazz. Or one festival competing against another for sponsors. There’s certainly no room for racism in music. Music is all one color.

We need to coordinate our efforts under one umbrella that recognizes that our music is not only the basis of our cultural economy; it’s also a tool to create jobs (not just for musicians) and to increase the city’s visibility worldwide.

Right now, there are many resources and organizations that exist that have music as their focus and foundation: the New Orleans Jazz & Heritage Foundation, Festival and Archives; the French Quarter Festival; Voodoo Experience; Ponderosa Stomp; the Backstreet Cultural Museum; the Tulane Jazz Archives, the Louisiana State Museum’s Jazz Museum; WWOZ; the Preservation Resource Center’s Ladies in Red program (which helps focus attention on musicians’ historic homes); the National Jazz Historical Park; the Mardi Gras Indians and social aid and pleasure clubs; the jazz and music studies programs at the University of New Orleans, Loyola University, Dillard, Tulane, Delgado Community College and other local institutions; NOCCA; local music clubs and venues; the Treme neighborhood; Congo Square; jazz tours and historic sites. I could go on and on.

Yet, when a visitor comes to New Orleans and wants to dig into the history of why New Orleans is considered a good music town, there’s really no place to experience all of it. There’s no holistic approach to our music scene or our music community. There’s no one place that celebrates and informs our residents as well as visitors, gives them a taste of the tremendous history of our music and musicians, our traditions, our festivals, historic places, resources. In other words, there’s just not a holistic approach to New Orleans music. This museum/visitor center would be centered around music and where to find all aspects of it in New Orleans.  We need this, desperately.

New Orleans needs such a place, which is the main reason I’ve been advocating that we create a music museum on Canal Street that’s highly accessible to visitors and easily accessed by locals. The interest is  there; the funding isn’t—of course—but I’m a huge believer in dreaming big. Devise the plan, and the money and visitors will come.

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September 7th 2011

Honoring Wardell Quezergue

One of the many privileges I’ve been able to enjoy as the publisher of OffBeat is the ability to honor the many beautiful spirits who have created the music that’s become the basis of my life’s work.  Before she died, Antoinette K-Doe said to me many times that “it was much better to send flowers to a person when they were above ground.” Such it was with the great Wardell Quezergue, who passed away Monday evening at the age of 81.

OffBeat honored Mr. Quezergue with the magazine’s “Lifetime Achievement Award” in music at our Best of the Beat Awards in January 2008.  We produced a video that honored him, as well as a tribute to him at the awards show that was historic. Following the awards, the Ponderosa Stomp honored him at a Lincoln Center tribute event, and Loyola University presented him with an honorary doctorate degree. The man was just so deserving of accolades.

It was very sweet to see how much Mr. Quezergue not only appreciated the attention and the award, but it was also pretty amazing to see in what high regard local musicians held him. He was a man that a lot of casual music listeners didn’t know, because he was behind the scenes, not in the band. He was a composer, arranger, bandleader, producer and educator did so much more than arranging and composing so many New Orleans R&B hits and standards: “Groove Me,” ” Mr. Big Stuff,”  ”Iko, Iko” and many, many more.

His list of musical accomplishments are many, but what was also so wonderful about Wardell was his sense of humor, his kindness, and the inspiration he provided for countless musicians and just about everyone who knew him. He taught music at St. Mary’s Academy, and encouraged many a local kid to pursue a career in music. Mr. Quezergue had lost his eyesight as a result of diabetes over 10 years ago, but amazingly, continued to work as an arranger with the help of his son Brian (one of 14 children he had with his Japanese-born wife of 60 years, Yoshi, whom he met while stationed in Japan).

Mr. Quezergue was beloved by all who met him, and he will be missed  terribly by the New Orleans and world music community. A great one has left us.

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