For several days now, everyone in the greater New Orleans area has been dealing with the smoke from the marsh fire way out in New Orleans East. Several things are working against us here -- one, it has been a drier than normal August; it seems like it's hardly rained at all since July (when it rained nearly every day). Two, the wind, whether influenced by Hurricane Irene or not, has been out of the northeast or east. And three, there's been a so-called "cold front" (don't you believe it) that has been pressing down on the city.
Thus, even though the brush fires (sparked, it is said, by lightning deep in the marsh) are far into the undeveloped area of New Orleans East, the smoke is being pushed over the whole city. In fact, Big Man and I went shopping on Monday out near Elmwood, which you might call New Orleans West, and the smoke was as dense and thick as if there were fires in Metairie. A parishioner of mine who went out on Tuesday morning to get her newspaper in her Uptown neighborhood (far to the south and west of the fires), at first thought one of her neighbors on Magazine Street might be burning, til she realized what it was.
Yesterday, it was so pervasive that I got a headache from working inside the church building. Several of my parishioners are coping with aggravated allergies, coughing and hacking. The local news media are full of stories urging all those respiratory ailments, the elderly and the very young to stay indoors for the duration. And the mayor called out the Air National Guard to water-bomb the fires, since downtown New Orleans had the visibility of like a foot in front of your face.
It's a little better today. We're all hoping for a big rainstorm, which they're predicting for this weekend. Keep your fingers crossed!
Wednesday, August 31, 2011
Kermit vs. Irwin
Last week Irvin Mayfield's Jazz Playhouse at the Royal Sonesta Hotel on Bourbon Street hosted a series of trumpet challenges to benefit local charities. The one to raise money for UNITY, the local umbrella organization for the homeless, was held on Wednesday evening. I promoted the event within the two congregations I serve, and Big Man and I made plans to attend, along with my sister L and her husband B.
We found free parking (with Big Man in the car, natch) only a few blocks away, though in the heat and humidity even just from Chartres to Bourbon seemed like a hike. We arrived in the lobby of the Sonesta at or near the time that had been advertised as when the doors would open, but of course everything was late. This is the kind of thing that used to drive Big Man absolutely nuts about New Orleans. (Once on his very first visit to the city, we waited more than an hour past the stated start time at Irma Thomas's old club in the pre-Katrina days. What really got to him was how nobody at the club seemed especially exercised about being so late.) My brother-in-law kept asking, 'Didn't they SAY they'd be open by now?" Well, yes, B, they did, but it doesn't mean anything.
About a half-hour past the "doors open" time, the doors did actually open. I asked the young man at the door about the seating policy, and he told me it was first-come, first-served for the available seating behind the reserved-only section in the very front that was for the folks who had paid $350 for the VIP tickets. I gave him my ticket and scooted past him to snag seats at the back corner banquette that faced the stage. The four of us ensconced ourselves there quite comfortably. As I've said before, I'm too old to stand the *the whole time* for a musical event.
We ordered drinks and B and L ordered from the surprisingly extensive and inexpensive (for the venue) menu (who knew?). L got the alligator sliders with thin onion rings and B got the bananas foster cheesecake. They shared these goodies with Big Man and I, and we all gave 'em a big thumbs-up.
Well, we're sitting there and sitting there and of course the show doesn't start at 8 pm. The place is really filling up, which is a good thing for UNITY, but it is tiresome waiting and not knowing when things will begin. (For those of you reading this, this is not meant to be representative of everything that goes on at Irvin Mayfield's Jazz Playhouse -- for all I know, they start strictly on time every single evening except for this one night. I don't really know, this was my first time there.)
Around 8:30 pm, Irvin and his band came out and they played a good set. If there were folks who thought it was simply going to be a trumpet battle, with Irvin and Kermit duking it out at the same time on the stage, then those folks were disappointed. Irvin and his combo did what seemed like a full set, with fast numbers and some ballads and some fine playing by Irvin, and also with Irvin doing some vocals. He seemed very relaxed and comfortable, which it seems he has gained over time, since there were certainly times in years past when he seemed technically great but very stiff and uncomfortable interacting with audiences.
Somewhere close to hour into Irvin's set, we saw from our vantage point near the door Kermit arriving, so obviously he hadn't been there earlier. Irvin called Troy Andrews, better known as Trombone Shorty, to the stage, and Shorty blew soulfully for a tune or two. Then Irvin came back on, and the set ended without Kermit taking the stage, and Irvin announcing there would be a break before Kermit came on. That just about did it for L and B, who are not late-night people, and who had thought they'd be seeing both trumpeters on-stage together from the git-go. (Plus, they said they would have enjoyed it more if Irvin had just blew and not sung. I enjoyed Irvin's vocals myself. Different strokes...) So they started calling for the check and asking me directions back to their car. (Geez, you go out the door of the Sonesta, turn left, take the first left, and go 2 blocks to Chartres and there you are. How hard is that?)
Big Man excused himself and came back a few minutes later from the Men's Room with a full report -- he had run into Kermit in there, and had asked him if he was still playing a Jupiter. (Jupiter was a company that used to make student horns almost exclusively, but had recently been manufacturing professional models. We had seen Kermit playing one in the recent past.) Kermit told Big Man someone had stolen his Jupiter, and that he had just gotten this new trumpet -- which he held out to Big Man to look at. To Big Man's utter amazement, it was a Harrelson trumpet. This is a super custom-made horn, with extra-heavy brackets and supposedly "ergonomic" finger rings. Damn things cost a veritable fortune, though not as much as a Monette (which custom brand both Irvin and Trombone Shorty usually play). Big Man said that Kermit was acting like he didn't know what he had, but who knows? Maybe he was just putting on a show for the trumpet groupie in the men's room. In any case, Kermit told Big Man he'd had it for all of like a half-hour, and had just had about 5 minutes worth of practice on it.
As a side light, just as a weird coincidence, Big Man ran into Tom Harrelson in the French Quarter during the Louis Armstrong Trumpet Fest, who told him he was delivering a trumpet to "some guy." Could it be??
If completely true, then Kermit's performance in the next few minutes was astounding. He blew that thing like he had had it for years, and put on a great show. The fact is, as any true New Orleans trumpet buff knows, in any trumpet contest between them, Irvin is going to be the better technical player, with triple-tonguing and trills and so on and so forth, and Kermit is going to be -- by far and away -- the better entertainer and crowd-pleaser. And so it was this evening. Kermit drew us like iron filings to a magnet, off our comfortable seats in the back, to come stand by the bar in the crowd and gawk at the stage. The man is a born entertainer. He just makes you happy, make you smile, makes you sing along -- which we all did, on the chorus of his famous Pops-tribute tune "The Viper."
Kermit called up a young woman singer from NOCCA (New Orleans Center for Creative Arts, a public school that one has to test to get into), who did a bang-up job on several standards. I wish I remembered her name, because I'm sure we'll all be hearing from her in the future. Judging from this girl and Sasha Masachowski, a recent grad, NOCCA does a helluva job on teaching jazz vocals.
Big Man and I stayed til about midnight, and Kermit was still going on, razzing Irvin occasionally where he was sitting stageside, but we still had not seen them both onstage at the same time. Dunno if they got to that later.
In terms of the contest, we give to Irvin on trumpet points, and to Kermit for giving us a good time. And we hope lots and lots of money was raised for UNITY.
We found free parking (with Big Man in the car, natch) only a few blocks away, though in the heat and humidity even just from Chartres to Bourbon seemed like a hike. We arrived in the lobby of the Sonesta at or near the time that had been advertised as when the doors would open, but of course everything was late. This is the kind of thing that used to drive Big Man absolutely nuts about New Orleans. (Once on his very first visit to the city, we waited more than an hour past the stated start time at Irma Thomas's old club in the pre-Katrina days. What really got to him was how nobody at the club seemed especially exercised about being so late.) My brother-in-law kept asking, 'Didn't they SAY they'd be open by now?" Well, yes, B, they did, but it doesn't mean anything.
About a half-hour past the "doors open" time, the doors did actually open. I asked the young man at the door about the seating policy, and he told me it was first-come, first-served for the available seating behind the reserved-only section in the very front that was for the folks who had paid $350 for the VIP tickets. I gave him my ticket and scooted past him to snag seats at the back corner banquette that faced the stage. The four of us ensconced ourselves there quite comfortably. As I've said before, I'm too old to stand the *the whole time* for a musical event.
We ordered drinks and B and L ordered from the surprisingly extensive and inexpensive (for the venue) menu (who knew?). L got the alligator sliders with thin onion rings and B got the bananas foster cheesecake. They shared these goodies with Big Man and I, and we all gave 'em a big thumbs-up.
Well, we're sitting there and sitting there and of course the show doesn't start at 8 pm. The place is really filling up, which is a good thing for UNITY, but it is tiresome waiting and not knowing when things will begin. (For those of you reading this, this is not meant to be representative of everything that goes on at Irvin Mayfield's Jazz Playhouse -- for all I know, they start strictly on time every single evening except for this one night. I don't really know, this was my first time there.)
Around 8:30 pm, Irvin and his band came out and they played a good set. If there were folks who thought it was simply going to be a trumpet battle, with Irvin and Kermit duking it out at the same time on the stage, then those folks were disappointed. Irvin and his combo did what seemed like a full set, with fast numbers and some ballads and some fine playing by Irvin, and also with Irvin doing some vocals. He seemed very relaxed and comfortable, which it seems he has gained over time, since there were certainly times in years past when he seemed technically great but very stiff and uncomfortable interacting with audiences.
Somewhere close to hour into Irvin's set, we saw from our vantage point near the door Kermit arriving, so obviously he hadn't been there earlier. Irvin called Troy Andrews, better known as Trombone Shorty, to the stage, and Shorty blew soulfully for a tune or two. Then Irvin came back on, and the set ended without Kermit taking the stage, and Irvin announcing there would be a break before Kermit came on. That just about did it for L and B, who are not late-night people, and who had thought they'd be seeing both trumpeters on-stage together from the git-go. (Plus, they said they would have enjoyed it more if Irvin had just blew and not sung. I enjoyed Irvin's vocals myself. Different strokes...) So they started calling for the check and asking me directions back to their car. (Geez, you go out the door of the Sonesta, turn left, take the first left, and go 2 blocks to Chartres and there you are. How hard is that?)
Big Man excused himself and came back a few minutes later from the Men's Room with a full report -- he had run into Kermit in there, and had asked him if he was still playing a Jupiter. (Jupiter was a company that used to make student horns almost exclusively, but had recently been manufacturing professional models. We had seen Kermit playing one in the recent past.) Kermit told Big Man someone had stolen his Jupiter, and that he had just gotten this new trumpet -- which he held out to Big Man to look at. To Big Man's utter amazement, it was a Harrelson trumpet. This is a super custom-made horn, with extra-heavy brackets and supposedly "ergonomic" finger rings. Damn things cost a veritable fortune, though not as much as a Monette (which custom brand both Irvin and Trombone Shorty usually play). Big Man said that Kermit was acting like he didn't know what he had, but who knows? Maybe he was just putting on a show for the trumpet groupie in the men's room. In any case, Kermit told Big Man he'd had it for all of like a half-hour, and had just had about 5 minutes worth of practice on it.
As a side light, just as a weird coincidence, Big Man ran into Tom Harrelson in the French Quarter during the Louis Armstrong Trumpet Fest, who told him he was delivering a trumpet to "some guy." Could it be??
If completely true, then Kermit's performance in the next few minutes was astounding. He blew that thing like he had had it for years, and put on a great show. The fact is, as any true New Orleans trumpet buff knows, in any trumpet contest between them, Irvin is going to be the better technical player, with triple-tonguing and trills and so on and so forth, and Kermit is going to be -- by far and away -- the better entertainer and crowd-pleaser. And so it was this evening. Kermit drew us like iron filings to a magnet, off our comfortable seats in the back, to come stand by the bar in the crowd and gawk at the stage. The man is a born entertainer. He just makes you happy, make you smile, makes you sing along -- which we all did, on the chorus of his famous Pops-tribute tune "The Viper."
Kermit called up a young woman singer from NOCCA (New Orleans Center for Creative Arts, a public school that one has to test to get into), who did a bang-up job on several standards. I wish I remembered her name, because I'm sure we'll all be hearing from her in the future. Judging from this girl and Sasha Masachowski, a recent grad, NOCCA does a helluva job on teaching jazz vocals.
Big Man and I stayed til about midnight, and Kermit was still going on, razzing Irvin occasionally where he was sitting stageside, but we still had not seen them both onstage at the same time. Dunno if they got to that later.
In terms of the contest, we give to Irvin on trumpet points, and to Kermit for giving us a good time. And we hope lots and lots of money was raised for UNITY.
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