Drummer Alvin Fielder Dies at 83
A founding member of the AACM, he helped push jazz’s rhythmic limits for six decades
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Alvin Fielder in performance at the 2018 New Orleans Jazz & Heritage Festival
(photo by Mark Robbins)
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By Michael J. West
JAZZTIMES (1/1/19) - Alvin Fielder, an acclaimed free-jazz drummer and educator who was a founding member of the Association for the Advancement of Creative Musicians (AACM) and also maintained a career as a pharmacist, died Jan. 5 at a hospital in Jackson, Miss. He was 83.
His death was confirmed by bassist William Parker, who was at Fielder’s bedside shortly before his passing. The cause of death was complications from congestive heart failure and pneumonia, including a stroke that Fielder suffered that same morning.
An alumnus of Sun Ra’s Arkestra in the late 1950s, Fielder appeared in 1966 on Roscoe Mitchell’s Sound, generally regarded as the first document of the AACM. From the late ’70s onward he primarily worked within the New Orleans creative jazz scene, and predominantly in ensembles (usually styled the Improvisational Arts Trio or Quartet) with himself, saxophonist Kidd Jordan, and pianist Joel Futterman as the core. He also worked frequently with trumpeter Dennis Gonzalez.
Despite his niche in the experimental side of jazz, “I didn’t think of it as [avant-garde],” Fielder told journalist Ted Panken. “I knew that I heard something different being played, but I just thought of it as an extension of bebop. …I like to think of it as playing looser, stretching rhythms, stretching the time, stretching the pulse.”
Alvin L. Fielder, Jr., was born Nov. 23, 1935 in Meridian, Miss. His father, Alvin Sr., was a pharmacist who had also played the cornet; his mother was a violinist and pianist. The younger Alvin studied piano as a small child, but gave up music until he was about 12, when he was inspired by hearing Max Roach’s drumming on Charlie Parker’s “Koko.” He joined his high-school marching band, but didn’t receive a formal lesson until he was a student (only 15 years old) at Xavier University in New Orleans, at which time his teacher was drummer Ed Blackwell.
Following his father’s career path, Fielder transferred to Texas Southern University in Houston to complete his undergraduate pharmacology degree, while studying with local drummers and performing at night. He then moved north to complete his master’s degree at the University of Illinois at Chicago.
It was in that city that he met Sun Ra, working with his Arkestra in 1959 and 1960 but staying behind when the Arkestra moved to New York. He worked the scene on Chicago’s South Side, where encounters with pianist Richard Abrams and drummer Beaver Harris encouraged him to loosen his approach to time. It cost him work with bebop players, but gave him entrée into the experimental community that soon became the AACM, with Fielder as a charter member.
Fielder recorded Sound with the Roscoe Mitchell Sextet—making him effectively, if not officially, the founding drummer of the Art Ensemble of Chicago. He then established a trio with saxophonist Fred Anderson and bassist/cellist Lester Lashley, working weekly while also holding down part-time work as a pharmacist. In 1969, however, Fielder returned to Mississippi to help out with family business—including the purchase of several drug stores—and to become a political activist. In 1971, he and promoter John Reese founded the Black Arts Music Society, under the auspices of which they were able to bring musicians from the AACM and elsewhere to perform in Mississippi.
In 1975, at the recommendation of saxophonist Clifford Jordan, Fielder met and played with New Orleans saxophonist Kidd Jordan; the chemistry was so strong that Fielder and bassist London Branch began making the three-hour drive to New Orleans every week to play with him, soon forming a band that in 1981 became the Improvisational Arts band. (Its size and membership was in constant flux, but its name was the Improvisational Arts Trio, Quartet, Quintet, or Sextet, depending on its personnel.) The group performed at every New Orleans Jazz and Heritage Festival from 1975 to 2008.
Fielder’s circle expanded in the 1990s to include Gonzalez and Futterman, the latter of whom became the third member of a longstanding trio with Fielder and Jordan. Fielder also helped in 1995 to found the Louis “Satchmo” Armstrong Summer Jazz Camp in New Orleans, where he was one of four members of the drumming faculty.
“Younger students often ask me, ‘Is there a formula?’ There is no formula,” he told Panken of his educational approach. “I think that in order to play this music, you’ve got to have a working knowledge of bebop and a working knowledge of swing—of all music—and be able to incorporate all of it.”
Fielder was predeceased by a brother, William Butler Fielder, a trumpeter and professor of jazz studies at Rutgers University. He is survived by his wife, Carol; a daughter, Alison Fielder Porter, of Houston, Texas; two sons from a previous marriage, Alvin III and George, both of Chicago; and two grandchildren, Avery and Christopher Porter, of Houston.
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The Leroy Jones Story documentary film wins Louisiana Endowment for the Humanities Award
A Man And His Trumpet: The Leroy Jones Story
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NEW ORLEANS (1/10/19) - The Louisiana Endowment for Humanities announced yesterday that
A Man And His Trumpet: The Leroy Jones Story
will be the recipient of the Louisiana Endowment for the Humanities Award For Documentary Film for 2019. The film was directed, shot, and edited by San Francisco filmmaker Cameron Washington over a three year period in New Orleans and the surrounding areas.
The awards will be presented in Lafayette, Louisiana on April 4, 2019. Director Cameron Washington, and documentary subject
Leroy Jones
will be in attendance at the awards ceremony.
The film follows the life journey of the famed trumpeter and legend as he comes up in the projects of the 7th Ward in New Orleans. By the time he was 12 years old, Leroy's talent was apparent and his devotion to both his city and his craft has never wavered. He leads the brass band revival of the 70's in NOLA leading to the creation of the Fairview Baptist Church Band, and the Hurricane Brass Band. Along the musical journey, Leroy's trumpet sound catches the ear of Harry Connick Jr., launching him from hometown virtuoso to world renowned phenomenon as he plays alongside Connick, Jr. as his solo trumpeter for 25 years.
Watch Leroy's life story unfold more than a decade post-Katrina as he balances a complex life in New Orleans while being one of the most in demand trumpeters in the world. Filmed entirely in New Orleans and edited in San Francisco, this documentary celebrates the culture, history and music of New Orleans.
Directed by Bay Area filmmaker and musician Cameron Washington - the film features interviews with Leroy Jones, Harry Connick Jr., Terence Blanchard, Katja Toivola, Herlin Riley and Gregg Stafford.
Cameron Washington is a writer, director and producer and filmmaker based in San Francisco, California and heads the production company Russian Hill Projects.
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A Man And His Trumpet: The Leroy Jones Story - Official Movie Trailer
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A Man And His Trumpet: The Leroy Jones Story - Film Festivals and Awards:
"Best Documentary Feature Film" Capital City Black Film Festival
'Louisiana Endowment for the Humanities Award for Documentary Film 2019" - Winner
Film Festivals 2018
San Francisco Black Film Festival
Martha's Vineyard Film And Music Festival
Capital City Black Film Festival
Charlotte Film Festival
Baltimore International Black Film Festival
New Orleans Film Festival
Orlando Film Festival
Culver City Film Festival
Film Festivals 2019
Sonoma International Film Festival
Fort Myers International Film Festival
Black Bear Film Festival
For more information on the film contact Director Cameron Washington:
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About Louisiana Endowment for the Humanities
The Louisiana Endowment for the Humanities is a non-profit organization dedicated to providing educational opportunities to all residents of the state. Guided by the vision that everyone can realize their full potential through the humanities, LEH partners with communities, institutions, and individuals to provide grant-supported outreach programs, literacy initiatives for all ages, publications, film and radio documentaries, museum exhibitions, public lectures, library projects,
64 Parishes
magazine, and other diverse public humanities programming. For more information, visit
www.leh.org.
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Henry Turner, Jr., “That’s My Saints” Single Release Available at Suprememusic2000.com
The blues/funk song with zydeco overtones is a tribute to the
New Orleans Saints Football Team
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BATON ROUGE (1/9/19) - Henry Turner, Jr., “That’s My Saints” new single release is now available for download at
www.suprememusic2000.com
. The song is a tribute to the New Orleans Saints football team. The former Super Bowl 2009 (XLIV) winners are once again in the running for the National Football League’s grand prize after clinching the NFC’s Southern Conference Division Championship. The songs’ sound is based on early New Orleans blues and funk music with zydeco overtones. The single is currently garnering airplay on various radio and television stations in Louisiana.
Henry Turner, Jr. is well known for developing a syncopated style of music that has come to be called Louisiana reggae, blues, soul and funk. He and his band, & Flavor, have released numerous CD’s and singles. He was awarded a Certificate of Recognition as an Honorary Louisiana Ambassador by Lt. Billy Nungesser on January 7, 2019 for his efforts in mentoring new musical talent and writing the “Baton Rouge Theme Song. Additional accolades include receiving an Ambassador Award at the 2018 Slim Harpo Music Awards and being named an official Music Ambassador by the Louisiana Office of Tourism in 2014 for a concert performance in southern California.
“I was in the studio working on some new material and I got a call from a friend of mine, Eric Cager,” comments Henry Turner, Jr. “We started talking about the Saints winning season and I casually said that’s my team. As he lives in New Orleans he countered with that’s my saints! So…the game was on and it took about a week to finish the song, just in time for the upcoming playoff game against the current Super Bowl Champions the Philadelphia Eagles,” he concludes.
Suprememusic 2000 is owned and operated by Charles “Chuck” Harrison. With over forty years in the music industry he has worked as a promoter, radio announcer, record label executive, artist manager and producer. Harrison continues, “Henry called me while he was in the studio. We’ve been friends for almost thirty years. I listened to the recording along with my wife who immediately stated…that’s a hit.” Harrison adds, “I expect this song to last as long as the New Orleans Saints are in New Orleans.”
“That’s My Saints” was written and produced by Henry Turner, Jr., with lead vocals, guitar, bass and drums by Turner. Maestro on keyboard and accordion, and horns by Joey Decker. It was recorded at Hit City Digital Records, re-mixed and mastered by Joey Decker at Disk Productions. CD Image and graphics are by Christopher Turner. Download cost is $.50. For more information about Henry Turner, Jr. & Flavor please log on to
www.henryturnerjr.com
.
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Apply to be a vendor at the 2019 ESSENCE Festival®
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VENDOR & EXHIBITOR APPLICATIONS AVAILABLE NOW!
Showcase your products to thousands of attendees at the 2019 ESSENCE Festival®.
2019 will be bigger than ever before with multiple venues plus new opportunities in the EATS, Marketplace, and Community categories.
See the full range of opportunities & apply now!
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Unlock your Beauty Carnival experience!
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BEAUTY CARNIVAL RELAUNCHED!
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The
ESSENCE
® Beauty Carnival™ Tour makes its 2nd stop at the 2019
ESSENCE
Festival®. See live demos with
ESSENCE
's favorite MUAs & gurus and shop top hair, make-up, and skin care brands.
Upgrade your ticket for VIP access to the Beauty Bungalow, complete with pampering stations, lite bites & sips, a FREE tote filled with must-have products and more!
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2019 ESSENCE Beauty Carnival: 6 New Experiences You Won't Want To Miss As We Celebrate All Things Black Beauty
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From a pop-up Black beauty museum, to a new podcast celebrating all things Black beauty, we've got plenty in store. Tickets on sale now!
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By Rachaell Davis, ESSENCE
January 2, 2019 - This year, we’re taking our love for all things Black beauty on the road with our first-ever ESSENCE Beauty Carnival tour, stopping in a total of three cities.
From a pop-up Black beauty museum, to a new podcast dedicated to all things Black beauty, we’ve got a ton of magic in store.
Scroll through for a look at a few new things you can expect to see at the ESSENCE Beauty Carnival tour in 2019 and then be sure to grab your tickets HERE to join us. Talent announcements and additional details coming soon!
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A Pop-Up Museum Of Black Beauty
Get ready to celebrate everything amazing about the past, present and future of Black beauty with our first-ever integrated Black beauty pop-up museum. At each of our three-city Beauty Carnival your stops, each pop-up will highlight a different aspect of Black beauty, its origins and its evolution. First up, we'll be taking you on a journey through the history of iconic Black hairstyles and hair trends at our NYC stop.
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A Red Carpet Photo Moment
What's a celebration of Black beauty without the perfect photo op? You'll have a chance to strut your stuff and pose for the cameras as we bring you a red carpet photo moment to remember at all three Beauty Carnival tour stops.
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A Live Taping Of Our New Podcast, 'The Color Files,' Celebrating All Things Black Beauty
Hosted by ESSENCE Beauty Director Julee Wilson, be there for live tapings of our new podcast, The Color Files, dedicated to celebrating, discussing and highlighting all things Black beauty. Lookout for The Color Files podcast at all three Beauty Carnival tour stops!
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Ambush Makeovers
Our glam squads will be on the lookout at all three Beauty Carnival tour stops to help a few lucky recipients take their looks to the next level with our ambush makeovers.
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Curated Food Experiences
While you feed your need for all things Black beauty, quench your thirst and satisfy your taste buds with curated food experiences at our New York and New Orleans Beauty Carnival events.
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New VIP Experiences
A VIP ticket purchase will grant you access to complimentary refreshments, pampering stations, a limited-edition tote filled with must-have products and more. VIP experiences available at all three Beauty Carnival tour stops.
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Beauty Carnival is a one-of-a-kind
three-stop destination event for makeup superfans, hair chameleons and every woman in between.
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It’s Mardi Gras in CT with Dirty Dozen Brass Band, Cha Wa and Joe Lastie’s New Orleans Sound at The Ridgefield Playhouse on February 27th
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Written by Ridgefield Playhouse
RIDGEFIELD, CT - Three bands direct from New Orleans – Dirty Dozen Brass Band, Cha Wa and Joe Lastie’s New Orleans Sound -- are bringing Mardi Gras to the Ridgefield Playhouse on Wednesday, February 27th at 7:30pm! For more than 40 years, the internationally renowned, New Orleans-based Dirty Dozen Brass Band has taken the traditional foundation of brass band music and incorporated it into a blend of Bebop Jazz, Funk and R&B/Soul. In addition to their genre-bending romps and high-octane performances, they are known for collaborations with Modest Mouse, Widespread Panic, Norah Jones and others! New Orleans brass band-meets-Mardi Gras Indian outfit, Cha Wa radiates the fiery energy of the best features of the city’s street culture. Preservation Hall Jazz Band hall-of-famer, Joe Lastie brings his drumming, along with a full band direct from NOLA for a night of traditional jazz, brass-band songs and gospel. The night is complete with Mardi Gras beads at the door and Hurricanes at the bar! This show is part of Moffly Media Evenings of Art Wine & Jazz. Media partner for this event is WPKN, The Real Alternative.
In 1977, The Dirty Dozen Social and Pleasure Club in New Orleans began showcasing a traditional Crescent City brass band. It was a joining of two proud, but antiquated, traditions at the time: social and pleasure clubs dated back over a century to a time when black southerners could rarely afford life insurance, and the clubs would provide proper funeral arrangements. Brass bands, early predecessors of jazz as we know it, would often follow the funeral procession playing somber dirges, then once the family of the deceased was out of earshot, burst into jubilant dance tunes as casual onlookers danced in the streets. By the late '70s, few of either existed. The Dirty Dozen Social and Pleasure Club decided to assemble this group as a house band, and over the course of these early gigs, the seven-member ensemble adopted the venue's name: The Dirty Dozen Brass Band. Their unique sound, described by the band as a ‘musical gumbo,’ has allowed the Dirty Dozen to tour across 5 continents and more than 30 countries, record 12 studio albums and collaborate with a range of artists. The Dirty Dozen Brass Band is Roger Lewis - Baritone Sax/Vocals; Kevin Harris - Tenor Sax/Vocals; Gregory Davis - Trumpet/Vocals; Kirk Joseph – Sousaphone; TJ Norris – Trombone; Julian Addison - Drums/Vocals; and Takeshi Shimmura – Guitar.
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From the funk-laced beats and bass-heavy sousaphone blasts that kick off their album Spyboy to the gritty warmth of singer J’Wan Boudreaux’s voice, Cha Wa radiates the fiery energy of the best features of the city’s street culture. Spyboy was produced by Galactic’s Ben Ellman and features special guests Big Chief Monk Boudreaux (The Wild Magnolias, HBO’s “Treme”), Nigel Hall (Lettuce, Nth Power), and Danica Hart.
Joe Lastie has traveled the world with the Preservation Hall Jazz Band but still finds time for his own projects, including a recent stint with the Treme Brass Band and New Orleans Homegrown. And in 2015, he recorded the original single “New Orleans In Me,” written to commemorate the tenth anniversary of Hurricane Katrina.
For tickets ($39.50) call or visit the box office, 203-438-5795 or go online at
ridgefieldplayhouse.org
. The Ridgefield Playhouse is a non-profit performing arts center located at 80 East Ridge, parallel to Main Street, Ridgefield, CT.
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The New Orleans Jazz Museum presents Drumsville!: Evolution of the New Orleans Beat
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New Exhibition at the Jazz Museum Celebrating the Development of the Drum Set and Evolution of Drumming Traditions in New Orleans is
Now Open Available for Viewing
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Image: Warren "Baby" Dodds, by Duncan Schiedt. 1978
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The New Orleans Jazz Museum will debut a new exhibition,
Drumsville!: Evolution of the New Orleans Beat
. Launched on November 8, 2018, the exhibit celebrates both the New Orleans Tricentennial and International Drum Month, along with the development of the drum kit in New Orleans and the ongoing evolution of rich local drumming traditions.
"We have such an incredible collection of drum kits from some of the most talented and influential New Orleans drummers," said Greg Lambousy, New Orleans Jazz Museum Director. "One of the most significant is Baby Dodds' white-pearl Ludwig kit. We acquired the drums in 2000 and are excited to display them along with the kits of other New Orleans rhythmic trailblazers."
Drumming reaches back to the eighteenth-century foundations of New Orleans-in terms of both the Africans who performed throughout the region, eventually organizing drum circles in Congo Square, and the European marching bands of the colonial militias, operas, concerts, and balls. Drumming plays a central role in the evolution of African American and local music traditions. Brass bands, which included multiple percussionists performing on bass and snare drums and cymbals, have flourished in the city throughout the eighteenth and nineteenth centuries to today.
A crucial transition in the development of the drum kit was the development of the bass drum pedal, which enabled a single drummer to simultaneously perform on multiple drums and cymbals. One of the earliest bass pedals was used by New Orleans drummer Edward "Dee Dee" Chandler. The only extant photograph of Chandler, dated 1896, shows his rudimentary bass pedal in the lower left corner of a band portrait.
"Drumsville! The Evolution of the New Orleans Beat coincides perfectly with the city's Tricentennial," added Robert H. Cataliotti, Music Critic and Guest Curator of Drumsville! "The exhibit traces the essential and innovative role that drumming has played from the Sunday gathering of people of African descent in nineteenth century Congo Square to today's thriving music scene. New Orleans drummers were central to the development of the drum set, and the beats they created and continue to create are definitive in jazz - traditional to modern, R&B, rock 'n roll and funk."
In 1909, The Ludwig Company patented a bass drum pedal, and that, along with the invention of a snare drum stand, launched the development of the drum kit, perfectly in sync with the blossoming of jazz. New Orleans drummers were at the forefront in defining what it means to play this new, distinctively American, instrument.
Probably the most renowned aspect of New Orleans rhythmic legacy is the "second line" rhythm that emerged from brass band parades. New Orleans drummers adapted this distinct rhythm to many musical contexts, including brass bands, traditional and modern jazz, rhythm and blues, rock and roll, and funk. The second line tradition continues to this day in the Crescent City.
"New Orleans is a Beat town, whether it's the backbeat, front beat, second line, drop 4, triggerman, or stanky funk," said David Kunian, New Orleans Jazz Museum Music Curator. "This exhibit demonstrates how that evolved from Congo Square and First Peoples to whatever you are hearing tonight on Oak Street, N. White Street, or St. Claude Avenue. You can see the first run of bass pedals, Baby Dodds' drum set, and many other examples that make it as easy to see as the metal on your cymbals: In New Orleans, drums are Queen!"
Drumsville! will begin with the legacy of Congo Square, including traditional African percussion instruments from the Southern University at New Orleans African Art Collection, and move through the brass band tradition to the introduction of the bass drum pedal and development of the drum kit and the extensive legacy of drummers to emerge in New Orleans over the past century.
Drawing upon the Jazz Museum's large and unique archive of historic instruments, drum kits and equipment will be featured from such New Orleans legends as Papa Jack Laine, Baby Dodds, Paul Barbarin, Louis Barbarin, Cie Frazier, Ray Bauduc, CoCoMo Joe Barthlemy, Earl Palmer, Idris Muhammad, and James Black. In addition, contemporary New Orleans drum masters Johnny Vidacovich, Herlin Riley, Shannon Powell, and Stanton Moore will generously equipment from their personal collections.
Drumsville! will also examine related traditions of improvised percussion instruments and the tambourine, and conclude with the next generation of drummers, testifying to the vibrancy of the city's drumming tradition.
Drumsville! will be on display through January 31, 2019.
Daily admission to the Jazz Museum is $6.00 for adults; $5.00 for students with I.D., senior citizens (65+) and members of the military. School groups meeting required criteria and children 6 and under are admitted free. Located at 400 Esplanade Avenue, New Orleans, Louisiana 70116 with an additional entrance at 401 Barracks Street, the Museum resides at the intersection of Esplanade and Decatur Streets in the French Quarter of New Orleans. The New Orleans Jazz Museum is a Louisiana State Museum. Founded in 1906, Louisiana State Museum is a system of National Historic Landmarks and architecturally significant structures housing a half-million artifacts that showcase the state's history and culture. For more information, please call 504-568-2566 or visit
www.nolajazzmuseum.org
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Jazz Pilates with Stephanie Jordan
New Orleans Jazz Museum at the Old U.S. Mint
Every Other Tuesday @ 4:00 PM - Inside The Jazz Collection Exhibit Room
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"Jazz Pilates with Stephanie Jordan"
New Orleans Jazz Museum at the Old U.S. Mint
400 Esplanade Ave New Orleans, LA 70116
Tuesday, January 22, 2019
Renowned jazz vocalist Stephanie Jordan created Jazz Pilates which is set to the recorded music of major jazz composers like John Coltrane, Kidd Jordan, and Kent Jordan. Stephanie Jordan developed her Jazz Pilates technique after receiving her certification from Wise Body Pilates. Jazz Pilates integrates traditional Pilates and dance movements with jazz to enhance the mind-body-spirit connection. It is a muscle lengthening and strengthening program designed to improve balance and transform the body so that it functions at optimal capacity.
Jordan believes that the whole fitness movement is too focused on "Buy a membership, join a spa, purchase this equipment and you'll be beautiful." Jazz Pilates participants are able to use what they were born with-their bodies. The New Orleans Jazz Museum at the Old US Mint provides the perfect venue to allow French Market District/ New Orleans Jazz National Historical Park visitors to create movements that is beneficial to both physical and mental health-in a mere 45 - minutes to an hour. Participants are introduced to the works of major jazz composers and performers while developing a lifelong physical fitness and emotional wellness through arts and fitness integration.
With all of the distractions in the world, the human body naturally retains the basic urge to create movement, to physically "get a lot of stuff out." Jazz Pilates is designed to improve balance and transform the body so patrons may function at optimal capacity while working, playing, or just living life to the fullest.
Please bring your own fitness mat and arrive at least 10 minutes before class begins.
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"Jazz Pilates with Stephanie Jordan"
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The New Orleans Jazz Museum celebrates jazz in the city where it was born.
Please Visit Us Today!
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Through dynamic interactive exhibits, multigenerational educational programming, research facilities and engaging musical performances, the music New Orleans made famous is explored in all its forms.
Housed in the historic Old U.S. Mint, strategically located at the intersection of the French Quarter and the Frenchmen Street live music corridor, the New Orleans Jazz Museum is in the heart of the city's vibrant music scene.
Through partnerships with local, national and international educational institutions, the New Orleans Jazz Museum promotes the global understanding of jazz as one of the most innovative, historically pivotal musical art forms in world history.
Jazz Collection
The New Orleans Jazz Museum's collection is the largest and most comprehensive of its kind in the world.
The Jazz Collection chronicles the music and careers of the men and women who created, enhanced and continue in the tradition of New Orleans jazz at the local, national and international levels. It consists of instruments, pictorial sheet music, photographs, records, tapes, manuscripts and other items ranging from Louis Armstrong's first coronet to a 1917 disc of the first jazz recording ever made. It includes the world's largest collection of instruments owned and played by important figures in jazz- trumpets, cornets, trombones, clarinets and saxophones played by jazz greats such as Bix Beiderbecke, Edward "Kid" Ory, George Lewis, Sidney Bechet and Dizzy Gillespie.
Other artifacts in the Jazz Collection include some 12,000 photographs from the early days of jazz; recordings in a wide variety of formats, including over 4,000 78 rpm records that date from 1905 to the mid-1950s, several thousand 12-inch LPs and 45 rpm records, approximately 1,400 reel-to-reel tapes; posters, paintings and prints; hundreds of examples of sheet music from late 19th-century ragtime to popular songs of the 1940s and 1950s - many of them first editions that became jazz standards; several hundred rolls of film featuring concert and nightclub footage, funerals, parades, and festivals; hundred of pieces of relevant ephemera; and architectural fragments from important jazz venues...
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Old U.S. Mint New Orleans
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NEW ORLEANS JAZZ MUSEUM
400 Esplanade Avenue
New Orleans, LA 70116
(504)-568-6993
HOURS
Tuesday - Sunday: 10AM - 4:30PM
Monday: Closed
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Stephanie Jordan
"Lady Jazz!"
"Every so often a new voice stands up and proclaims itself, but few do so
with such supreme depth and understated soul."
- Ted Panken, Jazz at Lincoln Center Playbill
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Jazz Vocalist Stephanie Jordan is a proud user of Audix Microphones!
Available for Bookings:
Vincent Sylvain
504-232-3499
Vincent@SylvainSolutions.com
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