Great drumming ruled February. A predominant cause for this excess in a city blessed with a superb rhythmic tradition was the homecoming of Idris Muhammad. While the internationally acclaimed drummer often returns to visit family and in recent years performed here several times, this was his longest stay in his hometown since leaving for New York in 1957.
Muhammad, who was born Leo Morris and played on the local R&B scene of the late 1950s with the Hawkettes, Joe Jones and Lee Dorsey, oozed the rhythms of this city and beyond for two nights at Sweet Lorraine’s and a gig at Snug Harbor.
The first Friday night at Sweet Lorraine’s, Muhammad teamed with keyboardist Willie Tee, guitarist Steve Masakowski and trumpeter Nicholas Payton. Willie Tee called the shots for the gig, so naturally groove and funk dominated the mood. With this crew, that definitely meant groove and funk New Orleans style with plenty of electrified street beats.
The next weekend, the same rhythm section re-assembled with saxophonist Donald Harrison taking over for Payton. Again, it was Willie Tee calling the often soul groove-oriented tunes. Yet the choice of material whether it was "What’s Going On?" or "Softly as a Morning Sunrise," became merely vehicles for each of these musicians’ personal expression. One could count on Harrison and Masakowski to transform Willie Tee’s smooth numbers into creative improvised works that hit hard or swung out. Muhammad, a superbly astute musician, complemented the multiple layers of the music while always throwing in a bit of funk. These series of metamorphosis, where a tune started at one end of a spectrum only to end up somewhere else, made for some really fun (and funny) moments. The evening ended magically with a spontaneous chanting of the Mardi Gras Indian prayer "Indian Red." The occasion was in anticipation of Carnival Day because this year Harrison and Muhammad both masked Indian. It was Muhammad’s debut as an Indian, acting as the first chief with Harrison as big chief of the Guardians of the Flame.
There were also some Indian shouts and rhythms during a set break at Snug Harbor’s bar area the Saturday night before Mardi Gras. On stage, straight-ahead jazz, hard-bop and bebop were on the main menu. This time out, Muhammad and Harrison were in an acoustic setting with Roland Guerin on bass. "So you came to hear a little bit of swing during Mardi Gras," said Harrison from the bandstand. In the trio setting larger gulps of Harrison’s inspired horn and Muhammad’s unique approach to his drum set were possible. In this piano-less ensemble, Harrison was responsible for almost all of the melody and really made a blowing session out of the night. All of his many influences and talents emerged during the two sets that included the rarely and strongly performed "My Favorite Things" and "If I Were A Bell" that the saxophonist laced with eclectic quotes from "It Ain’t My Fault" and even "When the Saints Go Marching In."
A highlight of the night was Muhammad’s original "New Orleans Is My Home," a solo tribute to the city on which he sang. Before the start of the song, the drummer told the audience what this city and its street traditions meant to him. "Seeing the Indians as a kid influenced my drumming," said Muhammad, explaining that as a child he was so crazy about the Indians that his mother used to put him in a dog harness to keep him from running out and joining them. "Everything came from here," he continued mentioning the rhythms of the secondlines in this birthplace of jazz.
Muhammad returns to New Orleans for Jazz Fest performing with the Joe Lovano Nonet.
Muhammad carries on the modern tradition in that remarkable line of New Orleans drummers that includes such influential jazz masters as the late Ed Blackwell and James Black as well as Smokey Johnson. But in those same weeks leading up to Carnival Day it was possible to catch others New Orleans greats like Johnny Vidacovich with Astral Project, Shannon Powell with vocalist John BouttÈ and trumpeter Kermit Ruffins, Ernie Elly with pianist Henry Butler and a non-New Orleanian drum master Bernard Purdie with organist Reuben Wilson. The drums rule!
GUITARS GOIN’ ON AT TIPITINA’S
While their styles contrasted greatly, guitarists Ike Turner, Robert Cray and Eric Bibb each brought their personalities to their instruments for some hot sets at Tipitina’s in late January. For the most part, Turner, the legendary veteran, smartly veered away from his hits with Tina Turner and instead returned to the roots of the music. He offered up some straight blues along with Louis Jordan’s "Caldonia" while also digging into 1951’s "Rocket 88."
Two nights later, Robert Cray, a reigning force in the blues/soul world, took over the stage with his super tight band to steam both vocally and instrumentally on an incredible roll of hits and new songs. (Is it me, or have Cray’s lyrics, renowned for being, well, kind of cold in attitude-like "your just another notch in my guitar"-softened up considerably?) His set, that included many re-workings of favorites like "Strong Persuader" and "Bad Influence," demonstrated just how deep his songbook has become. Always an incredible guitarist, it is Cray’s vocal prowess that continues to astound. He’s become a real screamer in the best sense of the word, taking his cue from the soul men of the past.
Bibb, who opened for Cray, was the unexpected treat among of the trio of guitarists. Despite playing acoustic and accompanied by just a bassist, Bibb grabbed the attention of the large crowd at Tip’s. A strong player, talented composer, and fine vocalist, Bibb boasts a special charisma that sets him apart from the pack. It wasn’t a surprise when he mentioned that one of the non-originals he performed, "Needed Time," was taught to him by Taj Mahal, who is an obvious influence. Considering the audience’s great response, Bibb should get a call back to New Orleans.
