The Effects of Hurricane Katrina on the Brass Bands of New Orleans
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THE EFFECTS OF HURRICANE KATRINA ON THE BRASS BANDS OF NEW ORLEANS BY AARON D. VANDERMEER Submitted to the faculty of the Jacobs School of Music in partial fulfillment of the requirements for the degree Doctor of Music Indiana University May 2015 Accepted by the faculty of the Indiana University Jacobs School of Music, in partial fulfillment of the requirements for the degree Doctor of Music Doctoral Committee ______________________________________ Brent Wallarab, Research Director ______________________________________ Joey Tartell, Chair ______________________________________ John Rommel ______________________________________ Richard Seraphinoff 24 April 2015 ii Copyright © 2015 Aaron Vandermeer iii To those who made it through that water …and to the memory of those who didn’t iv Acknowledgements This document is only in part the result of countless hours spent researching and writing. It also stems from the contributions of many individuals who offered their help and expertise in a variety of ways. I would first like to thank the members of my research committee—Brent Wallarab, Joey Tartell, John Rommel, and Rick Seraphinoff—for agreeing to take the time to read, provide comments, and officiate the public defense. A very special note of thanks is due to Brent for stepping in as research director toward the end of the process and providing astute guidance within a very short time-frame. To David Baker, who helped me navigate through the early stages of this project and who first exposed me to the magnificent music, history, and culture of the New Orleans brass bands. The Graduate Office at the Jacobs School of Music was very helpful throughout the entire process, particularly Brittany Dye, who patiently fielded many calls and emails from me. The people of New Orleans were an invaluable resource. Their passion for their music and community was inspiring. Bruce Raeburn at the Arthur Hogan Jazz Archive immediately pointed me in the right direction when I started working on this project. He connected me with Matt Sakakeeny, who wrote an outstanding dissertation on the New Orleans brass bands and has since published a book, Roll With It: Brass Bands in the Streets of New Orleans. In addition to being a frequently-cited author in this document, Matt also gave me lots of good advice about sources, contacting and interviewing musicians, and the scope of the document. The incredibly knowledgeable staff of the Williams Research Center of the Historic New Orleans Collection provided some great resources on New Orleans history and even helped me find a place to live while I was conducting interviews. Thanks especially to all of the musicians, venue owners/ managers, and representatives of charitable organizations who took the time to speak with me: v Joe Bikulege, Gregory Davis, Maryse DeJean, Mark Fowler, Keith Frazier, David Freedman, Jeffrey Hills, Benny Jones, Ellis Joseph, Howie Kaplan, Lumar LeBlanc, Don Marshall, Sue Mobley, Jesse Paige, Donna Poniatowski, Walter Ramsey, Allison Reinhardt, Ron Rona, Charlie Simms, and Dr. Michael White. My North Carolina network was indispensable throughout the entire process. The NASNTI grant I received through The University of North Carolina at Pembroke (UNCP) allowed me to live in New Orleans for a month while conducting interviews and also provided an honorarium for the musicians I interviewed. The Mary Livermore Library purchased every single book I asked for, and now quite possibly houses one of the best collections of literature relating to the brass bands of New Orleans outside of Louisiana. They also allowed me to keep materials checked out in perpetuity without charging late fees! Thanks also to Dr. Kathryn White, who transcribed hours of interview recordings. My students and colleagues at UNCP provided constant encouragement, particularly department chair and fellow trumpeter Dr. Timothy Altman and Ms. Cindy Campbell in the Music office. A very special thanks goes to my good friend and colleague, Dr. Larry Arnold, for proof-reading and editing the document before it went to committee, and for helping me decide on its structure. When I reflect on the many experiences of preparing this project and the challenging journey it provided, I am reminded of that which has been constant in my life. To mom, dad, Chris, and Kate, with love. vi Preface I’m from a very small town in northwestern Minnesota—a population of 600 and a graduating high school class of 26. If you want to know what my formative years were like, just listen to a few installments of Garrison Keillor’s “News from Lake Wobegon” stories from A Prairie Home Companion. My father was my band director from grades 5 - 12. He first introduced me to the trumpet and the music of Louis Armstrong. My grandparents, Don and Linda Barta, gave me my first Harry Connick, Jr. album, the big band feature We Are In Love. Not to be outdone, my paternal grandmother, Dolly Mooney, followed up next Christmas with Connick’s solo album, 20. I was hooked. It wasn’t until years later that I would discover the music that I loved had an important connection—New Orleans. Fast forward one decade. With a Biology degree in tow and aspirations of optometry school, the 45-minute one-way commutes to my job as an optician at Pearle Vision were spent listening to Chet Baker and the other eight albums Connick had released since 20. I knew every note. One of my first improvisation teachers, guitarist Glenn Ginn, gave me some great advice— only be a musician if you HAVE to. It was one wintery evening, while driving my green Mercury Tracer back from work and singing along to a Leroy Jones trumpet solo, that I decided I HAD to be a musician. I enrolled at Kutztown University to study music with trumpet professor Dr. Kevin Kjos, an Indiana University alum. Two years later, I was studying Jazz with David Baker and the esteemed faculty of the Jacobs School of Music at Indiana University. It was while working as an Associate Instructor in David Baker’s History of Jazz course that I was introduced to the Rebirth Brass Band. Once I heard that second-line beat and those ferocious horns, it was clear to me that the brass bands were going to be my area of primary scholarship. I began reading everything I could about the brass bands and quickly noticed that there was very little published vii scholarship available. I also started listening to lots of New Orleans musicians: The Dirty Dozen, Wynton and Branford Marsalis, Terence Blanchard, Professor Longhair, The Neville Brothers, The Meters, Sidney Bechet, Jelly Roll Morton. The fabric that weaves these musicians together was obvious, despite the widely varying styles and time periods. I was intrigued, and ready to visit the city for the first time. Then Hurricane Katrina hit (or missed, actually). The well-documented devastation was stunning, but so was the outpouring of support for the city, and particularly for the musicians. My first visit was in the summer of 2010, nearly five years after the storm. Though New Orleans was still recovering from the disaster, it did not disappoint. On my first day in the city, I checked into scholar housing, a little dorm room at Tulane University. I unpacked quickly and made my way to the French Quarter. Within 10 minutes, I heard a brass band playing a few blocks away. I quickly found the party and ended up second-lining my way into the gated courtyard of a local establishment. As it turns out, I had crashed a private wedding party. “Are you with the bride or groom?”—um, YES! It was a memorable introduction to the city. A year later, while living on Ursuline and Royal in the French Quarter, I would come to realize that nearly every day in New Orleans was like that. I stayed in the servants quarters of an old house still owned by a French family. It was small, but beautiful, with mahogany floors, high ceilings, and a balcony overlooking a palmed courtyard. I ended up dog-sitting for a neighbor who had a very well-trained German Shepherd named “Santa.” I brought him to a second-line parade one day where I was asked, “Is that a German Shepherd or a canine?” I didn’t know how to respond. A few minutes later I got the same question from another person. After the third time, I finally figured out that they were asking me if it was a police dog (K-9). In retrospect, it probably wasn’t the best idea to bring the dog to the second-line. viii It is common to see famous people hanging out in New Orleans. I met Clarke Peters and Wendell Pierce, two of the lead actors from HBO’s Treme series, in music clubs on Frenchmen Street. Laurence Fishburne, best-known for his role as “Morpheus” in The Matrix, followed me around one evening to several brass band shows. It got weird when I headed to the Rebirth Brass Band’s long-standing Tuesday night gig at the Maple Leaf bar, seven miles away, and he turned up there, too. I resisted the temptation to tell him that I knew kung-fu. Another afternoon, while tracking down a potential interview, I accidentally met John Swenson, the author of New Atlantis: Musicians Battle for the Survival of New Orleans. As I was describing my topic to Swenson, a raggedy fellow heckled from the end of the bar in a raspy voice, “Why you writin’ that? This man [Swenson] already wrote the book!” I tried to ignore him, but he taunted me a second time. I looked over to address the situation, only to discover that it was Mac Rebennack, better known as “Dr.