hot music, hot-button issues -- hot 8 brass band

Through my months on end in New Orleans during the past two years, few have inspired me on and off the bandstand and especially in the streets like the members of the Hot 8 Brass Band. In a city pushing hard to move forward yet ever-pulled by its powerful past, hit hard by tragedy yet soothed by transcendent charms, no band better embodies these complicated tensions, nor the simple power of African rhythms, modern black music, and the second-line parade.

I'm in New York now, where the Hot 8 will swing through and, in the space of four days, play Joe's Pub (11/24) and the Lincoln Center tree-lighting (11/26), and, along with me, present a workshop/discussion for students at Harlem's Urban Assembly School for the Performing Arts (11/27).

Here's what I had to say about the band in this week's Village Voice:

The white sneaker on the left foot of Bennie Pete, tuba player and leader of the Hot 8 Brass Band, carries an inscription: "Brooklyn in Da House." Spike Lee scrawled it, less an autograph than a thank-you note for the band's indelible presence in his HBO documentary When the Levees Broke.

A four-hour film about a city in ruins isn't the typical vehicle to national exposure for a deserving band. Nor are prime-time crime shows and CNN disaster reports. But many Americans first experienced the gritty glory of this New Orleans band when, following the late 2006 murder of its snare drummer Dinerral Shavers, the Hot 8's story got major play during an episode of CBS's 48 Hours Mystery. And yes, these were the same guys who, weeks after Katrina, were caught by CNN anchorwoman Rusty Dornin in uplifting performance at a Baton Rouge evacuee shelter.

The danger and dislocation you've heard about in the streets of New Orleans is real. Yet so is the devastating beauty you don't hear about as much. The former is a crucible in which the Hot 8 has been forged; the latter, a transcendent truth to which it contributes mightily.

For the full piece, click here.

November 21, 2007 10:22 AM | | Comments (0)


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Evan Christopher Django à la Créole (Lejazzetal) 

Clarinetist Evan Christopher, a California native, moved to New Orleans in 1994. In his frequent duets with Tom McDermott, and as a standout member of trumpeter Irvin Mayfield's New Orleans Jazz Orchestra, his erudite and personalized approach to traditional jazz commands attention.

Dr. Michael White Blue Crescent (Basin Street) 

Long before the floods that devastated his city, clarinetist Michael White wrestled with the challenge of preserving New Orleans traditional jazz without embalming it. He sought to write tunes built on time-honored local forms that spoke to the here-and-now. But Dr. White struggled to compose anything at all during the past three years--until late 2007, when original music began pouring forth.

Dee Dee Bridgewater
Red Earth: A Malian Journey (DDB Records/Emarcy/Universal) Despite her place in the top rank of American jazz vocalists and her crossover success, Dee Dee Bridgewater has often felt displaced. "I'm always trying to fit in somewhere," she once told me. This new disc, which finds Ms. Bridgewater and her band in collaboration with a cast of Malian musicians and singers, is no further pose:
David Murray Black Saint Quartet featuring Cassandra Wilson Sacred Ground (Justin Time) 
Long among the strongest, most adventurous reedmen in jazz,
Joe Zawinul Brown Street (Heads Up) 
The list of great Viennese composers must include Zawinul--same for the honor roll of jazz innovators.
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This page contains a single entry by ListenGood published on November 21, 2007 10:22 AM.

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