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Branches on the Oldest Tree

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Branches on the Oldest Tree More Branches on the Oldest Tree: Tradition and Experimentation through Improvisation in the Music of Post-Katrina New Orleans by David Bethea A Dissertation Submitted to the Faculty of The Dorothy F. Schmidt College of Arts and Letters in Partial Fulfillment of the Requirements for the Degree of Doctor of Philosophy Florida Atlantic University Boca Raton, Florida December 2010 Copyright by David Bethea 2010 ii iii Abstract Author: David Bethea Title: More Branches on the Oldest Tree: Tradition and Experimentation through Improvisation in the Music of Post-Katrina New Orleans Institution: Florida Atlantic University Dissertation Advisor: Dr. Brian McConnell Degree Doctor of Philosophy Year: 2010 On Monday August 29, 2005, Hurricane Katrina made landfall in Southeast Louisiana bringing with it destruction to much of the Gulf Coast. While New Orleans, one of America‘s most culturally and artistically significant cities, was spared a direct hit, the subsequent flood devastated much of the city, home to many musicians. The devastation and stress from the storm established a situation and a motivator for creative response, and this dissertation illustrates that the music these musicians produce is a manifestation and continuation of New Orleans‘ cultural atmosphere. The city‘s historical allowance and celebration of freedom of expression permits New Orleans‘ current musicians to be innovative and responsive to the events surrounding the disaster. This project, designed as a qualitative research study, identifies four professional musicians who are established in the musical environment of New Orleans. To illustrate the depth of tradition and experimentation that their music evokes, the music of post- iv Katrina New Orleans is given historical contextualization and set in comparison to music that was inspired by a past catastrophe, the 1927 flood. Through the holistic exploration of the present circumstances of these four musicians, it becomes clear that New Orleans remains a place that is extremely open to change and that experimental music flourishes at the same time that traditional jazz lives on through new performers, who walk in the footsteps of legends. From interviews conducted with these four individuals, as well as other on-site observations, the emotional, physical, and financial effects of Hurricane Katrina are identified and recorded. Central to this study is the author‘s own knowledge of music and experience in musical dialogue—it is through the interaction of the author and the subjects that important events and characteristics, which could be documented, actually emerged. This project reveals the influence that the storm has had on the individual musician, and it demonstrates that while all four musicians are caught up in the whirlwind of recovery in New Orleans, their music remains rooted in the fundamental characteristic that is associated historically with New Orleans‘ music, improvisation. By the same token, it also shows that while each person may have had to suffer the same conditions, the musical response from each musician was unique. v Table of Contents Introduction ......................................................................................................................... 1 Research Foundations .................................................................................................................. 2 Post-Katrina Research ................................................................................................................. 5 Research Methodology .............................................................................................................. 13 Fieldwork Narrative ................................................................................................................... 16 Research Subjects: Finding People to Meet .............................................................................. 26 Chapter One—The Origins of the City and Its Music ...................................................... 37 The History of New Orleans ...................................................................................................... 37 Early New Orleans Music.......................................................................................................... 43 New Orleans and Jazz................................................................................................................ 46 Laissez-Faire Society ................................................................................................................. 47 Storyville (1897-1917) .............................................................................................................. 49 Jazz in the Big Easy (1917-Present) .......................................................................................... 54 The Evolution of Non-Jazz and Jazz Music after the Closing of Storyville .............................. 56 Dancing...................................................................................................................................... 58 The Flood of 1927 ..................................................................................................................... 60 Music of the 1927 Flood ............................................................................................................ 61 Chapter Two—Hurricane Katrina ..................................................................................... 65 Dynamics of the Event .............................................................................................................. 65 Recovery and the Musicians ...................................................................................................... 69 Neighborhoods .......................................................................................................................... 81 During and After the Storm: In Their Own Words .................................................................... 88 Lyrical and Programmatic Response to Hurricane Katrina ....................................................... 96 Chapter Three—The Façade Washed Away................................................................... 106 Post-Katrina New Orleans Music ............................................................................................ 106 The Idea of Improvisation ....................................................................................................... 108 vi Musical Improvisation ............................................................................................................. 111 Collective Improvisation ......................................................................................................... 116 Collective Improvisation in the Heritage of New Orleans Music ........................................... 117 Tradition .................................................................................................................................. 122 Loose Marbles ..................................................................................................................... 127 Experimentation ...................................................................................................................... 131 Open Ears ............................................................................................................................ 133 504 No More and Flyswatter ............................................................................................... 137 Conclusion ...................................................................................................................... 140 New Directions for Research ................................................................................................... 143 Rebuilding New Orleans ......................................................................................................... 145 Appendix ......................................................................................................................... 149 Photos ...................................................................................................................................... 149 Maps ........................................................................................................................................ 156 Transcripts of Interviews ......................................................................................................... 160 Jeff Albert............................................................................................................................ 160 Helen Gillet ......................................................................................................................... 169 Nobu Ozaki ......................................................................................................................... 176 Ben Polcer ........................................................................................................................... 182 Dr. Frederick Weil .............................................................................................................. 196 Dr. Ike Padnos ..................................................................................................................... 213 References ....................................................................................................................... 226 vii Introduction New Orleans seems to always be influencing itself with this very, very big tradition
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