The high lonesome twang of bluegrass stars the Del McCoury Band and the joyous cacophony of the New Orleans institution the Preservation Hall Jazz Band might strike most observers as a completely incompatible combination. Yet the unlikely pairing collaborated seamlessly Thursday at the Lied Center.
The musicians' mutual respect and the obvious pleasure they took in one another's company was apparent from the opening moments of the rousing concert. A round of solos during "The Band's In Town," a selection from the lively new album American Legacies, provided an introduction to the five members of McCoury's ensemble and the seven men from New Orleans. Without compromising their individual approaches, the musicians bridged the gap between bluegrass and jazz with ease.
When charismatic jazz clarinetist Charlie Gabriel, 78, playfully challenged bluegrass violinist Jason Carter to a musical dual during the first song, the pair's generational and racial differences were quickly rendered meaningless. The remainder of the evening was an invigorating celebration of shared American heritage.
Music lovers have been making the pilgrimage to hear traditional jazz performed at Preservation Hall in the French Quarter since 1961. The storied legacy of Preservation Hall's original house band is stylishly maintained by the band's current membership. In a similar fashion, McCoury, 72, keeps the flame of traditional bluegrass burning. After an apprenticeship with bluegrass pioneer Bill Monroe in 1963, McCoury has earned a deserving reputation as one of the genre's premier bandleaders.
The imaginative pairing of McCoury and the Preservation Hall Jazz Band may be uncommon, but it's not without precedent. In 1930, country star Jimmie Rodgers and jazz icon Louis Armstrong recorded a version of "Blue Yodel No. 9" together. And in recent years, Wynton Marsalis and Willie Nelson have engaged in artistically rewarding collaborations. Thursday's concert was no less revelatory.
Both ensembles played individual sets but the best moments occurred when the bands swapped members. Hearing McCoury's unmistakable nasal voice backed by a brass band on the bluesy "After You've Gone" was transcendent. Gabriel's insinuating vocals and sleek clarinet solo on "A Good Gal" were no less delightful.
"Charlie's got all kinds of energy here tonight, don't he!" McCoury exclaimed.
Besides Gabriel, the audience of approximately 1,000 most appreciated the raunchy groans of trombonist Freddie Lonzo, the mandolin mastery of Ronnie McCoury and the saucy rhythmic commentary of Ben Jaffe on tuba. Their exuberance peaked during the wild encore of "When the Saints Go Marching In." The brass section led a few dozen members of the audience on a second line parade around the theater. The concert ended in an appropriately delirious flurry of broad smiles and uninhibited dancing.
When charismatic jazz clarinetist Charlie Gabriel, 78, playfully challenged bluegrass violinist Jason Carter to a musical dual during the first song, the pair's generational and racial differences were quickly rendered meaningless. The remainder of the evening was an invigorating celebration of shared American heritage.
Music lovers have been making the pilgrimage to hear traditional jazz performed at Preservation Hall in the French Quarter since 1961. The storied legacy of Preservation Hall's original house band is stylishly maintained by the band's current membership. In a similar fashion, McCoury, 72, keeps the flame of traditional bluegrass burning. After an apprenticeship with bluegrass pioneer Bill Monroe in 1963, McCoury has earned a deserving reputation as one of the genre's premier bandleaders.
The imaginative pairing of McCoury and the Preservation Hall Jazz Band may be uncommon, but it's not without precedent. In 1930, country star Jimmie Rodgers and jazz icon Louis Armstrong recorded a version of "Blue Yodel No. 9" together. And in recent years, Wynton Marsalis and Willie Nelson have engaged in artistically rewarding collaborations. Thursday's concert was no less revelatory.
Both ensembles played individual sets but the best moments occurred when the bands swapped members. Hearing McCoury's unmistakable nasal voice backed by a brass band on the bluesy "After You've Gone" was transcendent. Gabriel's insinuating vocals and sleek clarinet solo on "A Good Gal" were no less delightful.
"Charlie's got all kinds of energy here tonight, don't he!" McCoury exclaimed.
Besides Gabriel, the audience of approximately 1,000 most appreciated the raunchy groans of trombonist Freddie Lonzo, the mandolin mastery of Ronnie McCoury and the saucy rhythmic commentary of Ben Jaffe on tuba. Their exuberance peaked during the wild encore of "When the Saints Go Marching In." The brass section led a few dozen members of the audience on a second line parade around the theater. The concert ended in an appropriately delirious flurry of broad smiles and uninhibited dancing.
| Bill Brownlee, Special to The Star
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