King Cake: “Yeah, there’s an app for that!” Friday, Dec 30 2011

The tradition of serving King Cake as part of the New Orleans carnival season dates back to the 18^th Century. The baked confection, which contains a trinket (often a plastic baby) or dried bean, has been decorated with purple, green, and gold sugar or icing since those colors became a part of Mardi Gras in the 19th Century. It is proper fare anytime from Epiphany (January 6th) through Mardi Gras. And you’d think the tradition could just rest with that, but you would be wrong.

King Cake from Haydel's, Super Bowl Sunday, February 2010.

For years, former New Orleans residents could have a King Cake shipped anywhere from a number of New Orleans area bakeries. The packages usually contain the cake, Mardi Gras beads and trinkets, and perhaps even a music cd. Most of those bakeries have websites where you can order your little piece of Carnival and increasingly, you can find Haydel’s,   various Randazzo bakeries, and others on Facebook.

Randazzo’s Camellia City Bakery has taken taken the King Cake tradition and social media to the next level. This year the bakery has launched an interactive King Cake app — King Me! So, if you feel the need to order a customized King Cake using your smartphone or tablet, you’re in business!

Yes, a new tradition for Carnival!

Leave a Response »

 

When the Arrest of a Young Boy on New Year’s Eve Changed Music History Wednesday, Dec 28 2011

Nearly one hundred years ago, a seemingly minor event took place on the streets of New Orleans. A twelve year-old African-American boy was arrested by police for firing his stepfather’s revolver to celebrate New Years. This is still a common practice in New Orleans, despite the fact that falling bullets can injure or even kill people on the street.

However, in 1913, being black in Jim Crow New Orleans did not leave the young boy much leeway; the authorities removed him from his family and sent him to the New Orleans Home for Colored Waifs. There, it was expected, he would receive the right kind of discipline and training to enable him to reenter society.

The young boy spent several years at the home. As part of his rehabilitation, he received lessons in playing the cornet from Professor Peter Davis who frequently worked at the home at the request of the headmaster. The youngster had been taught to play the horn by ear, but he was in need of more formal training. Davis saw a spark in the the young miscreant, helped refine his playing, and eventually made him the band leader at the home. The young man began to attract attention for his horn playing; the notice would give spark to a noteworthy career.

The boy was released from the Waif’s Home when he was fourteen. Although he was technically returned to his family, he was guided by the musicians who played the local dance halls and brothels. He played in brass band parades and learned from the likes of Bunk Johnson, Buddy Petit, Kid Ory, and Joe “King” Oliver. Eventually, he signed on with Fate Marable’s band, which performed on riverboats up and down the Mississippi River. He referred to this period as his university, as he learned to play from written arrangements.

In 1919, Joe Oliver decided to move to Chicago and resigned from Kid Ory’s band; the young man replaced him and also became second trumpet for the Tuxedo Brass Band. In a couple of years, Joe Oliver, the mentor, summoned the young cornet player to Chicago.

Beginning in Chicago, Louis Armstrong, the young waif, the cornet player, would become the most recognized face of jazz music. In due time, his forceful playing and vocal stylings would change popular American music forever.

And quite possibly, it all stemmed from a young boy firing his stepfather’s gun on New Year’s Eve.

Leave a Response »

 

“A New Orleans Christmas Carol” Monday, Dec 12 2011

This is a very special post, as it allows me to combine two things that I care a great deal about: New Orleans and Christmas music. And clearly, the two are not mutually exclusive. While most would picture traditional jazz, modern jazz, and cajun/zydeco, holiday music reflects the broader spectrum of New Orleans. And while space and propriety might limit this post, there’s plenty of holiday music out there for your enjoyment.

This year’s favorite comes from Ellis Marsalis, the dean of New Orleans jazz. On his updated album, “A New Orleans Christmas Carol,” Marsalis uses his piano to take us on an extensive tour of the season’s music. If you’re looking for a funky beat or New Orleans brass bands this is not your ticket. However, if you like straight-forward, heart-felt jazz, you’ll find a home here.

The playlist includes Vince Guaraldi’s “Christmas Time is Here.” It remains true to the original, but with the added interplay between Marsalis’ piano and his youngest son,  Jason, on vibraphone. And if that classic soundtrack to “A Charlie Brown Christmas” strikes your fancy, then there is a lot here that you’ll find appealing. It is truly hard to pick favorites, but other highlights include Leroy Anderson’s “Sleigh Ride” with Jason Marsalis on drums, a straight-up jazz trio take on “We Three Kings,” and a wonderful celebration of Ellis Marsalis’ piano mastery on Mel Torme’s “The Christmas Song.”

Besides Ellis and Jason Marsalis, musicians include: Bill Huntington and Paul Harris on bass; Roman Skakun on vibraphone; and Johnaye Kendrick and Cynthia Liggins Thomas with vocals on “Christmas Joy” and “A Child is Born,” respectively.

This collection might not have the commercial success of a lot of the seasonal dreck that’s out there, but it has quickly risen to the top of the playlist in our household.

Leave a Response »