Kidd Jordan Live Tribute Album To Be Released May 22
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APRIL 30, 2020 by: OFFBEAT STAFF
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On November 1, 2019, the New Orleans Jazz Museum hosted “Honoring the Kidd,” a tribute concert to
saxophonist and educator
Kidd Jordan. A nine-track album comprised of performances recorded that night will be released on May 22.
Edited and mastered by multiple Grammy-winning engineer David Farrell,
SEVENTH SUN
features Jordan himself, plus Roger Lewis, Don Paul, Carl Leblanc, Herlin Riley, Kent Jordan, Kirk Joseph, Stephanie Jordan, Marlon Jordan and Michael Torregano Jr. That lineup represents not only musicians taught by Jordan, but also three of his own children.
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Proceeds from sale of SEVENTH SUN, which will arrive in four-fold Digipak format, will benefit the Louis Armstrong Summer Jazz Camp, the Kidd Jordan Institute of Jazz and Modern Music, Sticking Up For Children and the musicians who performed at “Honoring the Kidd.”
In addition to the CD release, folks will have the opportunity to purchase a $10 accompanying booklet (or $8 if purchased along with the CD or double-LP).
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A Tribute to Alvin Fielder, Live at Vision Festival XXIV
by Edward "Kidd" Jordan, Joel Futterman, William Parker,
Hamid Drake
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By Chad Fowler
Pianist Joel Futterman and saxophonist Kidd Jordan salute a fallen comrade on
Tribute to
Alvin Fielder
(left), an energized and eclectic free improvisation. Joined by bassist William Parker and drummer Hamid Drake, their performance was recorded live at the Brooklyn club Roulette during the 2019 Vision Festival in New York. It includes 45 minutes of continuous—and continuously shifting—music.
Futterman and Jordan were longtime friends and collaborators of Fielder, an explorative drummer and founding member of the Association for the Advancement of Creative Musicians (AACM) who passed away in January of 2019. Parker previously worked with the trio on Jordan’s 1999 New Orleans Festival Suite. With Drake taking the kit, the musicians ably evoke Fielder’s loose, omnivorous approach to rhythm and time and run the gamut of the jazz lineage. From New Orleans tradition to bop to free form,
Tribute to Alvin Fielder
also pays tribute to the music Fielder loved.
Although the quartet’s improvisation consistently changes shape and approach, it doesn’t easily break down into sections. The twists and turns are organic, each idea a logical extension of the preceding one. Hard-driving paroxysm evolves into earthy spiritual jazz, evolves into inquisitive solo bass. Time compresses, expands, and vanishes all together. Within those developments, however, are moments of complete spontaneity, whether in Futterman’s quote of Thelonious Monk’s “Crepuscule with Nellie” ten minutes into the proceedings, or Jordan and Parker’s ghostly moans in the closing moments.
Still, there are constants in the music. They lie in Parker and Drake’s simmering rhythmic lines—which for all their varying forms and directions, never relent even for an instant—and in the raw intensity of the performance. Fielder’s friends and fellow artists grieve his loss, yet also summon the powers of their imaginations to create sublime, in-the-moment music. Which is surely the best possible eulogy. Sad though his physical departure (as his onetime employer Sun Ra would say) may be,
Tribute to Alvin Fielder
makes clear that the creative spirits that inspired and animated the drummer’s 83 years not only live on but thrive. Indeed, they show no sign of fading anytime soon.
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Pre-order Now!
A Tribute to Alvin Fielder
When drummer, educator and historian
Alvin Fielder
passed away at the end of 2018, the world lost a musician as unassuming as his knowledge was inclusive. On June 12, 2019, Joel Futterman and Kidd Jordan, Fielder’s long-time musical associates, were joined by bassist William Parker and drummer Hamid Drake as the Vision Festival paid tribute to the master drummer. Like the man, the music made in his honor was exploratory and introspective. As you’ll hear, the 45-minute set is as diverse as it is unified, each phrase leading with spontaneous inexorability to the next, resolving only for the next to emerge with seamless precision.
The quartet comes out swinging, Jordan in his highest register, Futterman covering the others with multi-hued polyphrases rife with overtone and rich with timbre, Parker and Drake surrounding and eschewing but never thwarted by the deep pulse fostering their momentum. From that life-affirming multigestural moment, each detail has a profound impact on the whole, demonstrating the music’s various allegiances. Jordan’s march-time exhortations at 0:39 conjure the music’s New Orleans origins, while his quotation of “Nature Boy” from 5:15 on exemplifies the modality that returns throughout the set. The change of dynamics and harmony at 8:30 had been anticipated minutes before as Futterman, Parker and Drake crested vast waves of tone and timbre. All prefigures the chamber-music partnerships just over halfway through the set, Parker, Drake and Futterman engaging pointillism and sonority in constant dynamic and energy flux.
Temporality and genre become meaningless, whether because of Drake and Parker entering and exiting their ubiquitous groove mode or because of the group drones that finally usher out this magnificent composition in moment-to-moment mystical occurrence, exuding exuberance and the transcendent joy of interwoven creation far beyond the limits of chronological time. May this meeting of minds allow you to journey as they did.
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Digital Album
Streaming + Download
Pre-order of A Tribute to Alvin Fielder, Live at Vision Festival XXIV. You get 1 track now (streaming via the free Bandcamp app and also available as a high-quality download in MP3, FLAC and more), plus the complete album the moment it’s released.
Compact disc
Compact Disc (CD) + Digital Album
Beautifully designed 8 panel layout with liner notes and photos of the group + Alvin Fielder.
Includes digital pre-order of A Tribute to Alvin Fielder, Live at Vision Festival XXIV. You get 1 track now (streaming via the free Bandcamp app and also available as a high-quality download in MP3, FLAC and more), plus the complete album the moment it’s released.
shipping out on or around June 19, 2020
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releases June 19, 2020
Edward "Kidd" Jordan - Tenor Saxophone
Joel Futterman - Piano
William Parker - Contrabass
Hamid Drake - Drums & Percussion
Michael Wilderman - Photography
Chad Anderson - Design
Marc Medwin - Liner notes
Bart Galloway, Chad Anderson, Dylan Karges, Jason Greene - Cover art license
all rights reserved
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World loses New Orleans musical patriarch Ellis Marsalis Jr. to coronavirus
by Jason Berry
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Ellis Marsalis Jr. performing in the Ellis Marsalis Trio at Dixon Hall, Tulane University School of Arts,
New Orleans, Oct. 21, 2010 (Wikimedia Commons/Tulane Public Relations)
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APRIL 18, 2020 - The news on April 1 that Ellis Marsalis Jr., 85, had died of COVID-19-related pneumonia opened a river of national tributes for New Orleans' premier jazz pianist, professor and the patriarch of a musical family with remarkable aesthetic reach.
Government shutdown orders prohibited the pageantry of a jazz funeral, the second line of street dancers parading to brass band melodies. Churches were closed, parading banned. Orleans Parish, which includes the city, ranked in the top 10 U.S. counties for per capita deaths from the coronavirus. Along Rampart Street's grassy median opposite St. Jude shrine at Our Lady of Guadalupe church, people with rosary beads stood apart, murmuring prayers to the saint for hopeless cases.
Marsalis had begun teaching in the 1960s at Xavier University, the nation's only historically black Roman Catholic college, founded in 1925 by St. Katharine Drexel. Stirred by the city's gloom,
Xavier President C. Reynold Verret
, a chemist by training, wrote a poem, "Tolling the Bell," published here with permission:
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Last night, Ellis Marsalis went away,
Piano keys tug at their locks and rend their robes,
And each in their seclusion weeps so silently.
No second line,
No coming home of acolytes,
The many musician daughters and sons,
Emissaries of the old man to many places,
To share the gift.
None may return
To ring the bell,
To celebrate,
To mourn.
In the emptiness of St. Peter's Square
A lonely Pope stood before God
And called me from afar, 9
That I too may join with him in prayer,
Make my return, give thanks
As thanks we must.
In solitude, we remember.
In cells of marble or
made of simpler things,
We weep.
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Ellis Marsalis carried the spiritual imagination of the city in his music. Pianists, however, have no role in burial parades — the work of marching brass bands. When
Dolores
, his wife and soulmate of more than 57 years died in 2017, Ellis stood outside Mater Dolorosa Catholic Church as his musician sons — Branford, Wynton, Delfeayo, Jason — raised their horns in
tribute
to their mother with a large brass band assemblage playing "I'll Fly Away."
All six sons had grown up going to the church. As Ellis' life ended, the brothers faced the task of burial under emergency conditions.
The sons gather
On March 12, the jazz drummer Jason Marsalis, up in Manhattan for a marquee gig at Carnegie Hall, learned that American Symphony Orchestra had canceled its concert honoring Duke Ellington. The city of cities was shutting down.
Standing well above 6 feet, Jason, 43, is a percussionist with a natural touch for melody. His wife, Kaya, and their three daughters were sequestering in New Orleans; he caught the first flight home.
His brother, Wynton, 58, the vaunted trumpeter, composer and director of Jazz at Lincoln Center, scrambled to finish work, but as he got word of his father's crisis, the shutdown prevented him from flying out.
"Believe me, it hurt Wynton not to be here," Jason told NCR.
In an age saturated by dysfunctional family themes, Ellis and Dolores enjoyed a long marriage, revolving around her faith and his music in raising their sons. Family dynamics pervade the Marsalis' recordings, and in times as bleak as these, showcase the best of the human experiment.
Ellis was moving slowly, using a walker, when he announced his retirement in December from the long-running Saturday night sets at Snug Harbor, the Frenchmen Street jazz club where tourists booked seats long in advance. Working with a trio or quartet, Marsalis' ranging right-hand improvisations glided across zones of melody with an elegance to match his artistry. "Gracious" and "soft-spoken" apply, but Ellis had a streak of the provocateur, treating conversations, like jazz, as improvisation, as if to say: "Here's my take; what's your counter-melody?"
On learning of his dad's fragile state, Branford, 59, the oldest son, a saxophone star who has acted in Spike Lee movies, set out for New Orleans from his home in Durham, North Carolina, while Ellis III, 56, a photographer and poet, drove down from his base in Baltimore.
Delfeayo, 54, a trombonist, producer and leader of the Uptown Jazz Orchestra, lives in New Orleans, like Jason.
The sixth brother, Mboya Kenyatta Marsalis, 49, is autistic; he lived with his father, with support from a schedule of caregivers, in the house on Hickory Street where all of the siblings grew up.
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Top left: Branford Marsalis playing at the Lotos Jazz Festival in Bielsko-Biala, Poland, March 21, 2019 (Wikimedia Commons/Dorota Koperska Photography); Top right: Wynton Marsalis playing at the Seventh Annual Jazz Festival in the Oskar Schindler Performing Arts Center, West Orange, New Jersey, Sept. 13, 2009 (Wikimedia Commons/Eric Delmar); Bottom left: Delfeayo Marsalis playing on the WWOZ Jazz Stage with the Uptown Jazz Orchestra at the New Orleans Jazz and Heritage Festival, May 2, 2010 (Wikimedia Commons/Derek Bridges); Bottom right: Jason Marsalis playing in Aarhus, Denmark, 2009 (Wikimedia Commons/Hreinn Gudlaugsson)
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Father-and-sons careers
In a reversal of sons following fabled fathers into the glow, Ellis achieved celebrity as Wynton's career soared.
Columbia Records' 1982 "
Wynton Marsalis
" (with Branford on tenor or soprano saxophone cuts) gave the jazz world a huge shot of adrenaline. Wynton, 19, had left The Juilliard School to tour with Art Blakey's Jazz Messengers before his break-out record. The shimmering melodies and lyrical trumpet thrilled critics for its reach back to a polished ensemble sound and swing echoes in the trumpeter's roaming poetics. The first cut was called "Father Time."
Wynton soon won Grammys in jazz and classical music: He began recording with Ellis. Wynton's presence, in suit and tie, tracked Ellis' formality, an image other young jazzmen began to replicate, cutting away from the jeans, fatigues and dashikis of an aging avant-garde.
Ellis went on to 19 recordings as a headliner and four collaborations on Wynton's more than 100 recordings. The father shared billing on five of Branford's 30 albums, three on Delfeayo's eight recordings, and three with Jason.
"Ellis' sons have appeared on more than 500 recordings, when you include their role as featured artists for other headliners," explains George Ingmire, a sound engineer, archivist and online radio host at
GeorgeIngmire.com
.
Ellis grounded the four musical brothers in jazz-as-canon, a tradition risen from spirituals and work songs to early blues and New Orleans jazz, dance music with warm melodies, evolving into the swing era of the Ellington and Count Basie big bands, unto the bebop jazz of Dizzy Gillespie and Thelonious Monk that influenced Ellis, starting out. Wynton's Jazz at Lincoln Center programs embraced the canon for continuing show and concerts.
Ellis was a founding teacher at New Orleans Center of the Creative Arts, a high school launched in the 1970s with competitive auditions for students, hundreds of whom have gone on to careers in music, writing, theatre, film and the fine arts. Marsalis often said that he taught students, not music. In 1990, he accepted an endowed chair at University of New Orleans for its new jazz studies program. He taught there 12 years. Between NOCCA and UNO, Ellis had a major hand in the molding of a legion of jazz artists, among them Harry Connick Jr., Terence Blanchard, Nicholas Payton, Donald Harrison Jr.
In 2011, the National Endowment for the Arts gave its prestigious Jazz Master Award to Wynton, Ellis, Branford, Delfeayo and Jason, the only family to be so honored.
A son's 'North Star'
"I like the idea of the Socratic circle," Ellis once told me, referencing the dialectic that drives a sitting group: questions spur answers, new questions fuel more answers in synthesis like a turning wheel. "I got that at Loyola," he said. In 1974 he earned a Master of Music Education degree at the local Jesuit university when the boys were young. He liked issuing ideas for response, "provided you bring knowledge to the circle."
Late last month, the circle began closing. Ellis caught the fever and was diagnosed with COVID-19. On March 28 an EMT took him to Ochsner Medical Center.
From New York, Wynton called him, and as he would write in a
post
a few days later, told him to be careful, it wasn't time for him to pass away: "Man, I don't determine the time," Ellis replied stoically. "A lot of people are losing loved ones. Yours will be no more painful or significant than anybody else's."
As a boy in the 1970s, Wynton went with his daddy to gigs, as he writes earlier in the post, where a few people sat "in unglamorous places, and there, in the passing years, I learned what it meant to believe in the substance of a fundamental idea whose only verification was your belief.
I only ever wanted to do better things to impress him. He was my North Star and the only opinion that really deep down mattered to me was his because I grew up seeing how much he struggled and sacrificed to represent and teach vital human values that floated far above the stifling segregation and prejudice that defined his youth but, strangely enough, also imbued his art with an even more pungent and biting accuracy. … he really didn't complain about stuff. No matter how bad it was.
The Marsalis home on Hickory Street, an easy walk from the Uptown streetcar stop on South Carrollton Avenue, has a yard with a statue of the Madonna their mother installed when the boys were young.
Born in 1937, Dolores Mary Ferdinand came from a Creole family and held deep loyalty to Sisters of the Holy Family nuns who taught her as a girl. She took the boys to
Mater Dolorosa
on South Carrollton Avenue. Ellis went sometimes, more often slept late.
He had grown up attending St. James African Methodist Episcopal Church, across town in the Tremé neighborhood, a church whose history stretched back before the Civil War when police invaded services that welcomed the enslaved.
Eugenia Adams, a friend of his and a retired nurse who attended St. James, told NCR: "Like Ellis, I went to Catholicism. My mother was Catholic. He became a Catholic because of Dolores — in order to marry her."
Born Nov. 14, 1934, Ellis Marsalis Jr. played clarinet and saxophone at Booker T. Washington High School before settling on piano. His father ran Marsalis Mansion, a motel and nightclub in a black enclave of Jefferson Parish, the near suburb. Motel guests, barred by segregation laws from staying in the downtown hotels, included the Rev. Martin Luther King Jr., Thurgood Marshall, the first African American justice of the Supreme Court, and singers Ray Charles and Etta James.
After graduation from Dillard University and a stint in the Marines, Marsalis met Dolores Ferdinand at a Dinah Washington concert; they married Dec. 31, 1959.
Their sons absorbed an emphasis on reading beyond school work, and music shaped by practice, practice, practice. The backlash to civil rights protests stirred Dolores to
tell
Wynton, "Child, every year that passes, I understand just how profound slavery was."
With four sons barely six years into marriage, Dolores managed things on a tight budget. Ellis played gigs to bolster his salary as Xavier University's bandleader and a music history instructor. Home life had its rocky moments. As a teenager with an Afro haircut, Wynton once recoiled from another spaghetti dinner, only to feel the plate dumped upon him. As the pasta seeped down, his mom said: "Every king must have his crown."
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Ellis Marsalis Jr., left, shakes hands with Scott Cowen, Tulane University president July 1998-June 2014, at the school's commencement exercises May 19, 2007. Marsalis was awarded an honorary doctorate degree from the school that year. He has several others from other institutions of higher learning. (Wikimedia Commons/Tulane Public Relations)
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'Go ask your daddy'
Branford recalled his upbringing in a 1990
interview
on "Mister Rogers' Neighborhood," saying: "We have a certain outlook on how we're supposed to carry ourselves in the world and [how] we should see other people and treat other people that I think really has a profound effect on what we play musically."
Delfeayo, just above Mboya in the sibling line, was inspired by his brother to found the
Uptown Music Theater
for children. When he bought a house near St. Charles Avenue, Delfeayo put a black Madonna in the yard and a statue to St. Bernadette. "It was a way of honoring my mother," he told NCR.
"My mother had a vision of family and is responsible in many ways for my dad's legacy. Her father left when she was born; she wanted to get married, and worked to stay married. She grew up with mother and aunts, and ended up with six boys. She was an early feminist, serious about women's rights and wasn't gonna take no mess."
Delores raised her sons to be kind, but tough, says Delfeayo, the lone sibling who still attends Mass. "Black folks of her generation didn't have certain opportunities, especially women with men. She made sure we had a relationship with our father. He worked long hours — at school teaching from 9 to 3 — then the 7-to-10 p.m. Hyatt Regency gig. 'Go ask your daddy' helped us strengthen our bond with him. Everything I wrote, whether a term paper or liner notes, I showed him. He had a good sense of grammar, language and helped me shape the form of what I was writing."
In 2017, the brothers were together for Dolores' final days. She died at home, age 80, of pancreatic cancer. All six gave a champagne toast to her in the yard.
Branford, Wynton and Delfeayo joined the brass band that ushered Dolores' coffin out of Mater Dolorosa, playing "Amazing Grace" as a dirge and "I'll Fly Away" before the parade of second liners.
As his father lay in the hospital, Ellis III stayed on Hickory Street with Mboya. Branford stayed at a hotel. The brothers, save for Mboya and Wynton, unable to leave New York, managed to visit the hospital individually to see Ellis. By April 1, they knew time was running short; At 6:30 p.m., Jason said, "I'm going now."
"I'll see you later," the old man replied.
A short while later, Jason was at Hickory Street when the hospital called. Gently, he told Mboya, "Dad passed away." Mboya's head tilted down.
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The Times-Picayune | The New Orleans Advocate gave substantial
coverage
to Marsalis' passing, and as national media tributes poured in, WWOZ, the community radio station played long segments of his music.
Dr. Michael White, the clarinetist and composer who holds an endowed chair at Xavier University, took a break at home from teaching online, the jazz history course he took as a 1970s' undergraduate with Ellis, the canon now expanded.
"The funeral is way of paying tribute and honor, but you adjust to real conditions," White reflected. "I sat in my study, alone, and played a song for Ellis, 'Just A Closer Walk With Thee.' You hope on some level spiritually that he hears it and feels it. Jazz is about improvisation and adjusting to conditions Even though these conditions are hard and unusual, it still doesn't stop the spirit in the music."
Mount Olivet Cemetery allowed 10 people, wearing face masks and gloves. Jason, Delfeayo, Branford and Ellis III watched the coffin go down, aside Dolores's plot. Jason said a few words. Ellis III read lines of Scripture.
"A year ago," says Jason, "my wife asked Dad what he wanted for a funeral, and he said it didn't matter because he wasn't going to be there. The funeral was sad, but fitting."
Delfeayo: "He did not want a priest. He may have believed in a higher power but not the religious process. He was pragmatic and a realist; he did not want great fanfare, but he understood people would have wanted that. The pandemic changed everything. In a surreal way, knowing that he had the kind of funeral he'd have wanted makes it feel better."
Mboya's care drew the brothers into a discussion that Delfeayo resolved. He saw what Ellis had done and knew what Dolores would want. Mboya would move into his home with his wife and daughter, the house with the statues in the yard.
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Sweet Lorraine's Jazz Club Feed the Musicians
FREE Fried Fish Plates
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NEW ORLEANS - In order to provide a helping hand to the community of Musicians affected by the COVID-19 Pandemic and the restrictions placed on live performance venues, Sweet Lorraine's Jazz Club will be providing FREE Fried Fish Plates to musicians while supplies last.
Sweet Lorraine's Jazz Club understands the difficult time for musicians due to the cancellation of hundreds of gigs across the city and the financial impact it has and may present.
Plates will be available every Friday permitting from 3pm to 5pm and will be pick up only.
Please understand that this is for musicians ONLY
.
Location:
Sweet Lorraine's Jazz Club
1931 St Claude Ave
New Orleans ,LA 70116
504-945-9654 (for questions)
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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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NEW ORLEANS JAZZ MUSEUM
Old U.S. Mint New Orleans
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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