Lars Hoel

33 posts
Producer, Music Inside Out with Gwen Thompkins

#EDayLive

For more than three decades, Friday night was Ellis Marsalis night at Snug Harbor Jazz Bistro in New Orleans.

Tonight, in a way, it still is.

In December, 2019, the 85 year old jazz patriarch announced he was stepping away from his weekly commitment, calling it “exhausting.” But Marsalis still planned to appear at the club a couple times a month as a “special guest.”

Ellis Marsalis died on April 1st, 2020 and now Snug Harbor is honoring his memory with a virtual Friday night concert series, starting tonight at 8:00 pm, CDT.

The players include saxophonist Derek Douget, bassist Jason Stewart and trumpeter Ashlin Parker, along with percussionist Jason Marsalis. They’ll all be performing from their respective homes, streaming on the Snug Harbor Facebook page.

Here’s the band to explain:

If, like some of us, you missed the opportunity to hear Ellis Marsalis at Snug … now’s your chance to make up for it by helping some local musicians honor his memory. And don’t forget the virtual tip jar.

What’s on Meschiya’s Playlist?

This week we’re reconnecting with New Orleans chanteuse Meschiya Lake after a seven year hiatus. Much has happened in that interim, to say the least. She’s a new mother. And she’s got a new album; a collaboration with Danish saxophonist Søren Siegumfeldt.

Of course, like all musicians in New Orleans and elsewhere, Meschiya Lake is idle due to the global pandemic.

So what’s she been listening to?

In my daily rotation learning on guitar is a song called, “Blackbird,” by an Irish artist named Lisa O’Neill, but also is “Dumb Blonde,” by Dolly Parton! Two complete ends of the spectrum. One is like, [sings] really beautiful and minor key and then there is Dolly talking about “you may think I’m a dumb blonde.”

Naturally we wanted to take a closer listen to these two songs. Here’s “Blackbird”:

And here’s the inimitable Dolly Parton, suffering through an intro by the forgettable Bobby Lord on his TV show in 1967:

Five Albums We Love

Tough times call for time-tested music. Here are five albums we’ve listened to over and over again throughout the years — on vinyl, compact disc, streaming … some even on cassette!

We’re not saying these are the best in whatever musical category they happen to occupy. Nor do we claim each album’s the best offering from that particular artist. “Best” is not a debate we want to get into.

What each album offers is good company. A musical sanctuary for those who just need to make the rest of the world disappear for about 40 minutes or so.

1. Dr. John, Gumbo

Five albums we love

Hard to believe this recording’s almost fifty years old! The songs on Gumbo are so different from the pop and jazz of the early 70s they might as well have landed from outer space. They had — and have — an infectious, driving, carefree yet wistful quality that’s a defining characteristic of New Orleans music. And co-produced by Harold Battiste, how could they not?

While Gumbo is available online and on CD it’s worth seeking out a vinyl copy (either the 1972 Atco original or the 1986 Alligator re-issue) in order to read Dr. John’s liner notes, strangely missing from the other formats.

2. Fats Domino, Greatest Hits: Walking To New Orleans

Five albums we love

They’re all here: “Blueberry Hill” … “I’m Walkin'” … “Blue Monday” … the songs you need to get you through these hard times. Bonus activity: put “Ain’t That A Shame” on repeat, pick up a saxophone and pretend you’re Herb Hardesty.

3. King Curtis & Champion Jack Dupree, Blues at Montreux

Five albums we love

Recorded live at the Montreux Jazz Festival, Montreux, Switzerland on June 17, 1971, but it could’ve been a decade earlier at the Drop on LaSalle. Everybody’s having so much fun here. On “Junker’s Blues” Jack plays fast and loose with the 12-bar format, dropping a measure here and adding one there as the band struggles to keep up. “When it comes to bars,” he says, “the only ones I know about are those you drink in and those in prison cells. I don’t count bars, I play by feeling.”

4. Aaron Neville, My True Story

Five albums we love

Produced by Don Was and Keith Richards, with Richards on guitar, this album of doo-wop standards may seem as far removed from New Orleans as you can get. But oh, that voice. That soul, that wellspring of controlled emotion. “These songs helped to mold me into who I am,” says Aaron Neville. “They’re all dear to my heart, and they rode with me, in my bones, through all these years.”

We could listen all day long.

5. Allen Toussaint, American Tunes

Five albums we love

I’m not sure, but I’m almost positive, that all music came from New Orleans.

Ernie K-Doe, 1979 

We referenced this on a recent blog post featuring Paul Simon’s timely video, “American Tune Til Further Notice.” Now it’s time to play the record in its entirety. While you’re listening you may want to read an insightful revue by another virtuoso New Orleans pianist, Tom McDermott. A fitting testimonial to an astonishing career. Thanks, Mr. Toussaint, for helping us get though this period of isolation and loss with your unyielding optimism and matchless grace.

New Orleans Jazz Patriarch Ellis Marsalis 1934-2020

Ellis Marsalis“Ellis Marsalis” by gamelaner is licensed under CC BY-NC-SA 2.0

Ellis Marsalis, Jr. has died at the age of 85. His legacy as a performer, teacher and patriarch of one of the great musical families in jazz is immeasurable. Marsalis was a mentor to a Who’s Who of jazz luminaries: Terence Blanchard, Donald Harrison Jr., Harry Connick Jr., Nicholas Payton, Kent Jordan, Marlon Jordan, Victor Goines, and Jon Batiste. Four of his sons have become jazz notables in their own right: Wynton, Branford, Delfeayo and Jason Marsalis.

We have an interview with Marsalis and it’s ready for broadcast and streaming right now. Navigate to the Listen menu and scroll to find Ellis Marsalis Jr.

MIO host Gwen Thompkins talked about Ellis Marsalis with NPR’s Rachel Martin for Morning Edition:

Though mentored many famous names in jazz,, Marsalis saw himself more as a facilitator than an educator:

EM: “…if you can facilitate the student through the material that you use to teach and recommend – ’cause a lot of stuff you recommend are things that you may not have on the spot if we are talking about music. You can tell a student, “Look, what you need to do, you need to go listen to standards.” Now, here is somebody who has been spending all their time trying to play like John Coltrane, so you say, “Hey man, that is okay, but you need to go and check out Sonny Rollins.” Become more like a facilitator.”

Paul, George, Maurice and Oscar

It’s Paul Whiteman‘s birthday today, and this obscure fact sent us down a virtual rabbit hole of free association…

Once hailed as “The King of Jazz,” Paul Whiteman (1890-1967) had one of the most popular dance bands of the 1920s and 30s in this country. And it was big — at a time when most orchestras topped out at six to ten players, Whiteman’s sometimes boasted as many as 35, including strings. In 1922 he managed 28 bands on the East Coast, earning him over a million dollars. (Fifteen million today, adjusted for inflation.) Not bad for a viola player from Denver.

Today, if Paul Whiteman is remembered at all, it’s for introducing the world to George Gershwin’s Rhapsody in Blue.

Rhapsody in Blue — which Whiteman commissioned — premiered at an afternoon concert on Tuesday, February 12, 1924 in New York City’s Aeolian Hall. Whiteman called his concert “An Experiment in Modern Music.” Rhapsody was second to last on a long and tendentious program. According to Wikipedia, many important and influential musicians of the time were present, including Sergei RachmaninoffIgor StravinskyFritz KreislerLeopold StokowskiJohn Philip Sousa, and Willie “the Lion” Smith. Gershwin himself was the soloist.

In 1984 the late conductor Maurice Peress set out to recreate the entire concert in a recording with pianists Ivan Davis (Rhapsody soloist) and Dick Hyman. It’s a treat to hear the work in its original jazz band orchestration with banjo and saxophones. It’s also worth seeking out the physical CD for the excellent liner notes by Peress.

So many recordings of Rhapsody have been made over the years, but our favorite will always be the one featuring the pianist, celebrity and professional hypochondriac Oscar Levant. A music critic once asked him if Gershwin’s music would still be around in a hundred years. Levant famously replied, “If George is around, it will.”

Sadly, no videos seem to exist of Levant playing Rhapsody. But there is a memorable scene in “An American In Paris” featuring that other Gershwin masterpiece, Concerto in F … and a lot of Oscars:

About that “King of Jazz” title? Some critics have called Whiteman’s ornately orchestrated music “pseudo-jazz,” lacking the improvisational and emotional depth of true jazz. But in his autobiography, Duke Ellington declared, “Paul Whiteman was known as the King of Jazz, and no one as yet has come near carrying that title with more certainty and dignity.”

Well, if the Duke said so, that’s all right with us.

Happy Birthday, Carol Kaye

In the words of Dr. John, “Carol Kaye is a sweetheart and a kick-a– guitar player as well as a kick-a– bass player!”

You may not recognize the name but you’ve heard her on literally thousands of recordings, TV themes and movie scores. A member of L.A.’s legendary Wrecking Crew, Carol Kaye stood out in that group of virtuoso studio musicians as one of its very few women.

From CarolKaye.com:

Carol Kaye circa 1955

“Carol Kaye was born [Ed. note: March 24th, 1935] in Everett, Washington to musician parents, Clyde and Dot Smith, both professionals. She has played and taught guitar professionally since 1949, played bebop jazz guitar in dozens of nightclubs around Los Angeles … accidentally got into studio work late 1957 with the Sam Cooke recordings.

“In 1963 when a Fender bassist didn’t show up for a record date at Capitol Records, she picked up the Fender bass (as it was called then) and augmented her busy schedule playing bass and grew quickly to be the number one call with record companies, movie and TV people, commercials and industrial films.”

So Much Music

The list of Carol Kaye’s credits on electric bass is truly mind-boggling: The Beach Boys … Phil Spector … Quincy Jones … Frank Sinatra (and Nancy Sinatra) … Ray Charles … Sonny and Cher … Diana Ross and the Temptations … as well as New Orleans own Soul Queen, Irma Thomas. And Mahalia Jackson. By her count, over 10,000!

As Taj Mahal said to Carol when they both appeared at Seattle’s Museum of Pop Culture, “Carol Kaye, you are the best!

Here’s a 2013 interview with Carol Kaye by the Snapshots Music & Arts Foundation: