Rick Trolsen’s latest album, Gringo Do Choro, dances with Brazilian choro music and the works of composer Pixinguinha. To many, the trombonist’s prevailing image is that of a modern jazz musician with tendencies leaning toward the unorthodox – case in point, the 1996 release of Martian Circus Waltz by his group, Neslort. Trolsen often turns up swinging with big bands and he blows hot with New Orleans Nightcrawlers brass band. He’s also heard on Dr. John’s new CD, Dis, Dat or D’Udda. You can’t say the guy puts himself in a musical box.
But even folks aware of the trombonist’s diverse musical nature may be surprised to finding him turning up at Satchmo SummerFest leading Rick Trolsen & his Dixieland Band (Saturday, 3:45 p.m.). Those in the know, however, realize he has a deep background in the traditional style and those with their ears on the recent scene could tell you that lately he’s been blowing a lot of classic jazz around town. Whatever, the style, the exceptional trombonist keeps his interpretations close to the music’s intended roots.
Genre jumping is not at all unusual in New Orleans. Often it’s done out of necessity as in the city’s R&B heydays, when so many modern jazz adventurers paid their bills by working behind the hitmakers to then meet in the wee hours to shed with like-minded jazzers. Fats Domino’s bands were always been filled with jazzmen who dug into the bebop of the day—think saxophonists Nat Perrilliatt and Fred Kemp and drummer Smokey Johnson just to name a few. In the late 1960s pianist Ellis Marsalis, who tried to make a living as a modern jazz musician playing with drummers Ed Blackwell and James Black, did a three-year stint with Al Hirt’s band in order to support his growing family. These days, some musicians once most-associated with modern jazz, like bassist Chuck Badie and drummer Ernie Elly make their livings on traditional jazz bandstands.
Not all genre jumpers switch up purely out of necessity. Pianist Henry Butler, who was once considered primarily a modern jazz pianist, which, of course, he is, has been receiving accolades as a blues/R&B artist. While traditional jazz has often sprinkled his repertoire, particularly during solo performances, and he’s played behind noted leaders in the style, Butler expanded his involvement in 2002 when he formed Papa Henry Butler and the Steamin’ Syncopaters (Sunday, 3:45). “The repertoire is part of the culture and I’m part of the culture,” Butler once declared of digging further into the heritage. “It rings with me. I identify with it musically.”
“I tend to gravitate to joyful, celebratory music,” says Trolsen of the intrinsic element that for him connects the dots to the styles he plays. “I like to have fun, party.”
Trolsen was first exposed to traditional jazz via his father’s extensive record collection. One of his earliest and most significant memories was hearing trombonist Jim “Big Jim” Robinson playing in pianist Sweet Emma Barrett’s band. As a musician, a long-term gig steaming on the Mississippi with the Jim Dugan Band during the mid-1980s beefed up Trolsen’s knowledge of the style and greatly expanded his classic jazz songbook.
“That really put it into my chops,” Trolsen proclaims.
In the last several years, Trolsen found himself falling back into traditional jazz circles. He’s now regularly heard with stalwarts of the style including clarinetist Tim Laughlin (he’s on his CD Isle of Orleans), banjoist John Parker, trumpeter Duke Heitger and bandleader Banu Gibson with whom he’ll blow with on Sunday (2:00 p.m.). Coincidentally, this took place around the same period of time that the trombonist was entrenching himself in Brazilian choro music that resulted in the wonderfully spirited CD, Gringo Do Choro.
As leader of Rick Trolsen & the Dixieland Band, the trombonist is its vocalist. “I grunt out some stuff,” says Trolsen with a laugh. He’s had some experience in this department as well when doing gigs as (surprise, surprise) a solo pianist. “When they pay me to sing, I sing,” he says, promising a rendition of “Sleepy Time Down South” at Satchmo SummerFest.
BRASSIN’ IT UP
Keith Frazier does double duty on Saturday. First he’ll take up the position he’s occupied for the last 21 years as bass drummer with the mighty ReBirth Brass Band (4:00 p.m.). He’ll remain at the same stage to provide the heartbeat for a too-rare appearance by the Forgotten Souls Brass Band (5:15 p.m.).
“It’s an opportunity to play with other musicians,” says Frazier of working with the Forgotten Souls, a collective ensemble that draws its members from New Orleans rich music community. As such, most of its performances take place during special events like festivals or during Carnival season when folks are likely to be in town. Because all of the musicians have other responsibilities, the membership tends to fluctuate somewhat, though the Forgotten Souls boasts a strong core of players. Frazier has been there since the band’s inception and is heard on its three releases. Tuba man extraordinaire Kirk Joseph, saxophonist Eric Traub, snare drummer Ajay Mallery and trumpeter Kenneth Terry are among the regulars expected to be in the number on Saturday.
The Forgotten Souls steps out on different material than most brass bands and often adds non-street instruments like a trap set or guitar. Frazier really digs the uniqueness of applying the bottom beat to the rhythms laid down by the traps as he did when playing alongside drummer Stanton More on the Forgotten Soul’s 2001 release Don’t Forget ’Em.
While traditional brass bands play hymns and standards and the hot contemporary brass bands turn to hip-hop and pop hits to spice their sound, the Forgotten Souls look to the Mardi Gras Indians and funk grooves from the likes of the Meters for inspiration. So songs like “Indian Red” and “Cissy Strut” enter the brass arena.
With back-to-back shows by the ReBirth and Forgotten Souls, Saturday afternoon is definitely dancing shoes time.
