Just as they do when their fellow artists find themselves in troubled times, New Orleans musicians turned out in force to raise money for the victims of last month’s vicious terrorist attacks. For six hours on the Sunday afternoon following the tragedy, some of this city’s finest performers volunteered their talents at a concert presented by smooth jazz radio station, WSJZ-94.9 FM at the Popp bandstand in City Park.

“We just wanted to do something,” says station manger Cheryl Charles, adding that the response by the musicians was overwhelming. She made her first call to Allen Toussaint at 2 p.m. on Wednesday and by 5 p.m. she had lined up some 16 headliners. The station partnered with Regions Bank for the project and by day’s end some $8,000 was raised for the American Red Cross Disaster Relief Fund.

Opening the concert, saxophonist Greg Dawson asked for a moment of silence before performing a moving solo rendition of “The Star-Spangled Banner.” Throughout the area—from those in the audience to folks picnicking beneath the oak trees—people solemnly stood in respect for the nation’s anthem. A passing car came to a stop as its passengers rolled down the windows to join in the tribute. Others waved American flags as the drove by.

By offering a mix of musical styles, the concert represented a day of remembering and helping the victims as well as a day of healing. Vocalist John Boutte began his portion of the show in a spiritual mood with a passionately delivered “Lift Every Voice and Sing.” He then changed “God Bless America,” to “God Bless New Orleans” by altering the lyrics to reflect this city’s glories (i.e., “clubs filled with song”) before switching back to the standard version. Wanda Rouzan also sang the patriotic tune and on finishing declared, “We need to party out here,” and then went directly into the line-dance favorite “The Electric Slide.” Irma Thomas chose to please the audience with her signature “It’s Raining.”

As musicians waited their turn to take the stage, they stood beneath the stately dome that is majestically supported by white columns. So many of New Orleans historic musical families were represented there—the French family by vocalist George, the Harrison family by saxophonist Donald, the Jordan family by vocalist Stephanie, the Brunious family by trumpeter by Wendell, the Batiste family by drummer Russell and the Turbinton family by keyboardist Willie Tee.

Ultimately, the benefit concert demonstrated more than ever that New Orleans artists are one big family, in harmony on a bandstand as well as their shared sense of purpose during times of crisis.

As the sun began setting and the sky turned baby blue and pink, the day’s musical chair format had produced many formidable combinations of musicians. Near the end, a band evolved that certainly could be considered a New Orleans super-group. It boasted Toussaint and David Torkanowsky on keyboards, George Porter on bass, Donald Harrison on saxophone and Russell Batiste on drums—talk about groove.

As Lance Ellis quietly blew a soft saxophone solo, candles flickered in the dark and we remembered again the tragedy that brought us together this day.

The performance of Wardell Quezergue’s “A Creole Mass—The Blessing of Cultural Diversity” at St. Louis Cathedral was a musical and personal triumph for one of New Orleans’ greatest composers, arrangers and conductors. What began with the simple tone of a tuning fork climaxed in a joyful celebration of music and humanity.

The stirrings of Quezergue’s work began five decades ago when fate saved the then army private from being sent to the front line during the Korean War. When he later found out that his replacement was killed, he promised God that he would compose a “Prayer of Thanksgiving” reflecting his salvation. This deep sense of spiritual commitment wove its way through Quezergue’s composition and blossomed in its execution by the musicians and vocalists assembled from all walks of life.

Those in the audience could hardly anticipate what form “A Creole Mass” might take. Some who recognize Quezergue as an arranger for such notables as Fats Domino, Gatemouth Brown, the Neville Brothers, Dr. John and numerous others perhaps expected spiritual numbers with rhythm and blues flair. Considering the church venue and the word “mass” in the composition’s title, others may have thought it likely to be a formal Catholic Church service augmented with music. “A Creole Mass” was neither of these. Instead, it emerged as an expression of religious faith; a solemn yet joyous story told in words and song that opened its heart to all people.

It was a “mass” as defined as a “spiritual assembly” that moved from devout songs such as “Gloria in Excelsis” to delightfully simple oratories by familiar names like restaurateur Leah Chase and Mayor Marc Morial.

The ideals held by the composition in its celebration of cultural (as well as musical) diversity lived within the walls of the church this night. At the opening the stage area held the Symphony Chorus of New Orleans and an orchestra made up of local musicians including keyboardists Hezekiah Brenson, David Torkanowsky, and Larry Sieberth, guitarist Todd Duke, drummer Bunchy Johnson, and bassist Brian Quezergue plus a horn section with reedmen Alonzo Bowens and Carl Blouin, and the brass of Bernard Floyd, Mile Palermo and Jerry Verges. The Christian Unity Baptist Church Choir lined the aisles, singing as they made way to join the others as Rosalie Washington, best known as the Tambourine Lady at the Jazz Fest, vigorously rang out the rhythm. The middle and high school-aged girls forming the Ursuline Academy Choir further filled the ranks coming in to sing “(We Are) The Children of God.”

Highlighting the performance was the powerful vocals of the principal soloists, New Orleans natives soprano Rev. Cynthia Wilson and tenor Bobby E. Wilson. Wilson, who is blessed with an incredible three-octave range, delivered arias that were at once technically brilliant and obviously heartfelt.

Two women dressed in beautiful white dashikis danced gracefully up the church’s main aisle, interpreting the music of “Profession of Faith” as they stepped lightly with their bare feet. At the end of the performance, they helped set a new mood as the rhythms picked up on “Glory Alleluia” and they second-lined out followed by the still singing and beaming members of the choirs.

It was a privilege to observe the Wardell Quezergue’s life-long dream unfold in a performance of great triumph, spirituality, humanity and graciousness.

As Shannon Powell applied his magic behind the drums at Kermit Ruffins’ Jazz & Blues Club there was no indication that this Sunday, September 16 would mark one of the nightspot’s last hurrahs. That evening Kermit Ruffins, who though suffering with dental problems, played his usual role as congenial host, trumpeter and vocalist. As we stood talking as he punched tunes into the jukebox at the end of the show, Ruffins offered no hint that the next day he’d announce that the club, which opened just last February, would close after a final party on Monday night.

“I’d been debating it awhile,” says Ruffins noting that his lease was up in November. “I just woke up this morning and said, ‘Let’s do it.’”

The reason for the closure is strictly financial. “I just ran out of money,” says Ruffins explaining that he often had to dip into his own pocket to pay the musicians. “It was just not paying for itself.”

Ruffins regrets that he was forced to shut down his club, a spot where he and his band, the Barbecue Swingers played weekly and that was also noted for its Sunday evening jazz sets and weeknight brass band shows. When Ruffins opened the jazz and blues hall, he’d been so excited at the prospect of being the proprietor that he even chose the club’s address, 1533 St. Philip Street, as the title of his 2001 Basin Street Records release. “It’s something I had so much fun doing,” says Ruffins with an unusual touch of sadness in his voice.

A smile again returns to his tone as he makes plans for the immediate future. “I’m gonna go right over to Papa Joe’s (the nearby Joe’s Cozy Corner) and see if I can get that Sunday spot back,” promises Ruffins.

“They’re gonna come home, Papa’s here,” says Joe “Papa Joe” Glasper, proprietor of Joe’s Cozy Corner, in confirming that Ruffins will indeed be back at the Tremé nightspot on Sundays at 7 p.m. “All my children gotta stray away,” he continues with a smile adding that following Ruffins set, the ReBirth Brass Band kicks of at 10:30 p.m.

 

SA&PC Parades rolling this month:

The New Orleans social aid and pleasure club parade season, which kicked off on September 2 with the hot steppin’ Black Men of Labor procession, is in full swing. October boasts anniversary secondlines every Sunday with two slated for October 28. This month’s schedule with starting points and times, subject to change, includes:

October 07: Outlaws, Uptown at 1 p.m.

October 14: Original Prince of Wales, Tchoupitoulas and Soniat, 1 p.m.

October 21: Popular Ladies, St. Bernard and Villere, 1 p.m.

October 28: Avenue Steppers, Rose Tavern, S. Dorgenois and Thalia, 1 p.m.

October 28: Original 4, Armstrong Park, 1 p.m.