1. Just Like That
2. Panama
3. Blue Roof Blues
4. Bye-Ya
5. Way Way Back
6. Door Number 4
7. Just Like This
8. Weary Blues
9. Why
10. Hindustan
11. Just Like This, Just Like That
Jon-Erik Kellso – trumpet
Evan Christopher – Clarinet
Matt Munisteri – Guitar, banjo, vocals
Danton Boller – Bass
Marion Felder - Drums
New Orleans has understandably
been in the news a lot recently, with the
devastation caused by Hurricane Katrina. Yet
it seems that the city has virtually been
forgotten by US officialdom, which has tried
to close its eyes to the city’s plight. On
the other hand, jazz musicians and fans have
done their best to help New Orleans. Aware
of the city’s importance in the history of
jazz, devotees have raised funds and held
events to remind people that New Orleans deserves
assistance and regeneration.
This album, subtitled "A
Love Letter to New Orleans", is Jon-Erik Kellso’s
tribute to the city which could be described
as the cradle of classic jazz. New Orleans
was the birthplace of numerous influential
musicians, most notably Louis Armstrong. Louis’s
influence is clear in the title-track, a heartfelt
eleven-minute blues which ends with a wail
of sadness. Like four other tracks on the
CD, this is a composition by Kellso which
somehow captures everything that is good about
the New Orleans tradition. Jon-Erik says in
the sleeve-notes "Blue Roof Blues is
my homage to New Orleans and all those affected
by the horrible hurricane season of 2005 –
from those with blue tarps patching their
roofs to those who ended up with no roof or
no home at all". By contrast, Weary Blues
exemplifies the cheerful, optimistic voice
of the blues. It includes a cheeky banjo solo;
a hot solo by Kellso using an attractively
burred tone; a mellow clarinet solo; and a
delightfully old-fashioned feature for 21-year-old
drummer Marion Felder.
The spirit of New Orleans
is also present in the habanera rhythm of
Panama and the marching-style drums
which introduce Bye-Ya. The latter
was written by Thelonious Monk but it might
have come direct from the levees of New Orleans.
Way Way Back is a Duke Ellington composition
and Kellso’s "talking" trumpet echoes the
sound of such Ducal trumpeters as Bubber Miley
and Cootie Williams. Evan Christopher’s clarinet
also evokes the New Orleans style of Barney
Bigard.
The clarinettist and trumpeter
work seamlessly together – producing collective
improvisation without the presence of a trombone.
The sleeve-note says that Jon-Erik plays the
trumpet but I suspect he’s on cornet for at
least some tracks. In fact Kellso seldom over-reaches
himself, maintaining a generally mellow tone
and playing throughout with moderation and
good taste. Matt Munisteri adds to the acoustic
feel of the album with his unelectrified guitar
and banjo.
A touch of the Orient is
introduced with the lively Hindustan,
which keeps listeners alert by changing key
upwards for every chorus. The CD closes with
tracks 1 and 7 superimposed ingeniously on
top of one another.
Do you know what it means
to miss New Orleans? It’s all in this album.
Tony Augarde
CD Reviews
Arbors Jazz ARCD 19346
