REVIEWS New Breed Brass Band captures the spirit of New Orleans

New Breed’s leader and snare drummer Jenard Andrews, who is trumpeter James Andrew’s son, Shorty contributes more than his ability on horn or as a composer: he’s got these guys fine-tuned. No bad notes here.

laid-back Caribbean party. This style of sway is familiar to folks on a second line as it’s often used by bands to calm a crowd after a particularly frenetic number.

New Breed Brass Band Made in New Orleans

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New Breed Brass Band’s totally kickin’ recently released album could only be, as the title and music indicate, Made in New Orleans. It’s doubtful if anyone can argue with that because the Crescent City’s street culture permeates the attitude and beats that are heard emanating from the social and pleasure clubs’ parades, the Black Indians, and yes, hip-hop that also lives among the longer-established traditions—and is embraced by a next generation of musicians and friends who hang and play together.

Troy “Trombone Shorty” Andrews, who has demonstrated his savvy on how to keep his feet on the street and his finger on the pulse of the world arena, produced the album with those successful elements prominent. Working with his cousin,

Made in New Orleans gets goin’ on “Come On Out” with Jenard rhythmically leading the procession. Sousaphonist Michael Brooks, a co-composer along with Troy and Jenard, powerfully lays down the essential bottom. Next, the music helps demand “Drop It How You Feel It,” with pushin’ vocals by late 5th Ward Weebie and Wild Wayne.

“Can’t Let Go,” written by the same three as are many of the tunes, melodically has Trombone Shorty’s stamp all over it. It’s one of several instrumentals with most of the cuts coming in on at a little over three minutes. Like when you’re “on a line,” ya gotta keep up.

Various guest artists give each tune a different punch. When trumpeter extraordinaire Nicholas Payton steps in on “Move Something” the Breed’s horns evolve stylistically to act as a big band section to compliment his contemporary jazz edge. When saxophonist Jeff Coffin, best known with the Dave Matthews Band, arrives for “Treme Island,” it becomes a

Made In New Orleans salutes the Mardi Gras Indians on the album’s closer, “Won’t Bow Down” featuring the vocals of Spy Boy Nut.

The New Breed Brass Band’s Made in New Orleans truly captures the spirit of this city’s “we are one” street culture that has been vital to their lives.

New Breed Brass Band perform at Jazz Fest on May 5 at 3:50p Jazz & Heritage Stage.

—GERALDINE WYCKOFF

Johnny Vidacovich Out Da Box (Paw Maw Music)

Johnny Vidacovich’s name is magic in circles where great rhythm and finesse are king. That Out Da Box boasts the drummer’s handle makes sense in arousing strong interest. His stamp is definitely here though he is credited as a co-composer on only one of the 12 tunes on the disc.

In reality, the excellent ensemble itself with Vidacovich, keyboardist, co-producer and arranger Michael Pellera, bassist Grayson Brockamp and saxophonists Tony Dagradi and

Khari Allen Lee, maintains predominance. Vidacovich’s old friend, drummer Jeffrey Meyer, who contributed material to and produced three of Vidacovich’s previous fine albums Mystery Street, Bank Street and ’Bout Time is back as the major composer and producer.

Paraphrasing the late great James Brown, Meyer’s and Pellera’s “Steely Magnolia” “wouldn’t be nothing, nothing without” the groove set by Vidacovich. Next the drummer pounces on the title cut with Khari Allen Lee blowing some mean alto. “Puree,” bebops acoustically with Pellera moving from Fender Rhodes to acoustic piano. Brockamp enjoys some open space to further explore the tune on bass.

Dagradi returns on tenor for one of the few ballads, the beautiful “So Long.” Vidacovich’s impeccable brush work— he’s one of the best-ever with brushes—enhances the mood.

One of the interesting aspects of the recording is the use of two saxophonists—Lee and Dagradi. They turn up on separate cuts as well as blowing together as they do on “Don’t Eat My Grits” and others. We hear Vidacovich count out in scat-like style the opening of the Latin-flavored “Chick Ole.” He recites his sweet, Aesop fabletype tale on “Oneida” the words of which are featured on the album sleeve.

There is a certain comfort zone found within Out Da Box rising from like minds and old friends coming together. These talented artists use it to their advantage in providing diversity, sincerity and musical imagination.

Johnny Vidacovich performs with Astral Project at Jazz Fest on May 4 at 4:40p Jazz Tent.

—GERALDINE WYCKOFF and blues.

Backed by her band and special guests, such as Ivan Neville, the proceedings roll in a classic Memphis soul vibe with sharp, strutting horns, keys, and fatty bass lines. More importantly, Howard’s originals are an open book where one gets a sense of who she is. She finds joy in singing publicly (“Microphone”) and encourages others to follow their dreams as well (“Take a Hand”). The boogie-slamming “Pocket Fox” has a similar theme: pursue what makes you happy. As evidenced by “Better Than You Think,” Howard’s songs are centered around positivity. She shares her gratitude for life, marriage and family on “Hold On,” which producer André Bohren’s comforting piano accompaniment makes particularly touching.

Her lyrics couldn’t be more honest. As noted in “Laying Down the Law,” she admits she’s not perfect regarding relationships but is always willing to dialogue.

The musical tale of Jenn Howard could be construed as the prodigal daughter returning home and eventually finding her muse. Initially, she did the rock thing and flirted with national stardom with her group Project NIM. When it was over, she returned to her native New Orleans and resumed a normal life and career path. In 2009, she cut the full-tilt rock sizzler Up All Night with members of Johnny Sketch and the Dirty Notes. Yet, when a friend introduced her to an Etta James recording, she realized her gritty, Janis Joplin-like pipes were better suited to R&B, soul

“Valiant Woman,” the last song and title track, make an abrupt departure from this groove-bound affair. It’s just her strumming an acoustic guitar, singing about her pivotal journey to the person she has become. Her singing is unbelievably raw, passionate, and pain-filled, to the point of being uncomfortable. Yet understanding the story’s significance and her bravery to perform it makes her the valiant woman.

Jenn Howard performs at Jazz Fest on May 4 at 5:50p AARP Stage. —DAN WILLGING