May 20, 2008. Posted by Joshua Jackson.
I was pleasantly surprised that this interview actually happened, but I know
all to well that persistence pays off in the long run. I say this because Al
Foster is famously dodgy about giving interviews to press. Probably because
everyone in the world wants to know about Al's relationship with Miles Davis.
Sure, he played with Miles for more than a decade, and was a dear friend, even
during Davis' self-imposed exile from the music scene in the late 1970s. Get
beyond that, and you realize that Al Foster has had an extraordinary musical
life. In this interview, Foster talks about growing up in Harlem, where he met
many of the legendary jazz musicians who shaped his career. And Miles too.
But did you know that Al Foster raised four daughters as a single father? One
more reason this guy deserves a medal. At the end of it all, you start to realize
why so many people regard Al Foster as one of the great messengers of our music.
The Al Foster Quartet plays the Village Vanguard this week. You can hear them
live on WBGO, tomorrow night at 9. I'll be your host. Stay tuned.
© 2008 WBGO
May 15, 2008. Posted by Joshua Jackson.
I wrote a Song of the Day feature for NPR. Brian Blade and the Fellowship
Band recently released Season of Changes, and I've been playing one song
over and over and over. And over. It's called "Return of the Prodigal Son."
Read about it, and listen to it here. Brian Blade and the Fellowship Band
are playing a week at the Village Vanguard starting June 17th. We will be
broadcasting the 9pm set on Wednesday, June 18th. Live. Stay tuned.
© 2008 WBGO
April 23, 2008. Posted by Joshua Jackson.
Meet Paul Barbarin, one of the most important people in the history of New Orleans music, and the "how" we call jazz.
The Barbarin family constitutes one of the original lines of Creole musicians who were present at the creation of a new music. Paul's father, Isidore, played the alto horn in The Onward Brass Band, one of the early traditional brass bands in the city.
Before I moved to New York, I used to work at WWOZ in New Orleans. I started as a volunteer, operating the board for a woman named Betty Rankin. Every Saturday morning, while most people my age had hangovers from Friday night, I was in a tiny peach-colored building in Louis Armstrong Park, playing LPs, cassettes, and the occasional CD for a lady who wanted no business with those details. She spent her ninety minutes as "Big Mama," the host of "The Moldy Fig Jam." I was 22, and this was the most amazing radio I had ever heard in my life. She told stories about every jazz musician in the city who had ever picked up an instrument with the purpose of playing traditional New Orleans jazz.
As it happened, Big Mama was an associate curator of the Hogan Jazz Archive. She handled the extensive oral history of New Orleans' music, and she knew both the collection as well as the musicians' whose lives she had helped to document. On any given Saturday, she talked about Paul Barbarin as if he were in the studio with us. It was the beginning of my post-college, real world education. On one such occasion, it was the first time I had ever heard his song, "Bourbon Street Parade." She told her audience about the street parades, how Barbarin kept that tradition alive. In the 1960s, he revived the Onward Brass Band, the name of the group that his father played a part. In fact, Paul Barbarin died in a parade, leading the band. [While I'm no fan of death, that's a great way to shuffle off this mortal coil.]
Years later, on the cusp of 2002, I was the field producer for NPR's Toast of the Nation. We're at the Village Vanguard, with Michael White and The Original Liberty Jazz Band. Hear them play "Bourbon Street Parade" from that evening.
When I hear this song, I remember how I got this far into jazz. Because I live with music.
PS Watch the video of Paul Barbarin's funeral. The musicians are playing "Just a Closer Walk With Thee."
Watching that is knowing why New Orleans matters. Onward.
© 2008 WBGO