[Dixielandjazz] The Second New Orleans Jazz Festival in Tel-Aviv

[Marek Boym]

*NEW ORLEANS JAZZ FESTIVAL IN TEL-AVIV 2019*



The second New Orleans Jazz Festival in Tel-Aviv took place on June 20-22,
in the Tel-Aviv Museum of Art and in the square in front thereof.  A month
has gone by, and I have not yet decided how does one sum up a three-day
festival in a few words, when each show invites a separate essay?  Not that
I attended all the shows – a mission impossible, really, taking into
account that it took place in three concert halls, sometimes
simultaneously; from 8PM there were also free outdoors concerts by various
bands.  I found some shows – paid and free – uninteresting.  I didn't go to
the Billie Holiday tribute (the feedback from friends who did was less than
enthusiastic) or to the Cuban shows.  There were other shows I had to give
up, too.  Basically, I went only to strictly traditional jazz show jazz
shows.  True, I heard thrice each the French Olivier Franc Sidney Bechet
messengers and the Michael White Quartet from New Orleans (all members were
native Orleanians), but we are not too spoilt with that quality groups.

Some of my friends and I heard the Olivier Franc Band at the Gold Washboard
Festival in Poland in 2003, so we knew what to expect; some friends who had
never heard of Olivier Franc (he should be no stranger to followers of
Trevor Richards) thanked me for tipping them off.  It is not too often that
we hear father and son in the same band, but in this case it's true: papa
Olivier plays soprano sax (which was previously owned by Bechet), while his
son Jean Baptiste Franc plays piano with the band.  Add to it the late
grandpa Rene Franc, a traditional clarinet and soprano player, and you get
a real jazz dynasty!   The repertoire, as the name suggested, comprised
mainly songs by Sidney Bechet or often played thereby, but also some
originals by Olivier and Jean-Baptiste Franc.  I was rather disappointed
they did not play "Onions" – not my favourite, but Bechet's greatest hit at
the time.  The trombonist Benoit de Flamesnil played  different Vic
Dickenson composition at each set, justifying it by mentioning the frequent
collaboration between Dickenson and Bechet.  The bassist *Yann Lou Bertrand*
and the drummer Thomas Racine provided solid swing; when soloing, Mr.
Bernard sang higher than the bass line, Major Holley style.

Jean Baptiste Franc also played a solo set which, although labelled
"Tribute to Fats Waller" covered the entire gamut of piano playing, with
nods to other stride pianists, as well as to Errol Garner.  There were some
originals, including a boogie woogie which, Mr. Franc said, was NOT his
style.  He received a well merited standing ovation.  The next set was a
boogie woogie solo by the Swiss boogie woogie wiz Silvan Zingg.  I went to
hear him because I had a gap between performances, and was well
rewarded.  True,
there was too much talk and too little music to my taste, but the public
loved it!  Inter alia, Mr. Zingg told a story about his classical piano
teacher and how, when she was in the room, he played classical, while as
soon as she went out switched to boogie woogie, demonstrating it by playing
Dvorak's "Humoresque" straight and as boogie woogie.

The Dr. Michael White Quartet from New Orleans was perhaps the most popular
group in the festival, its first show being sold out (actually, so was one
of the Cuban shows).  True, it was held I a relatively small hall, but it
was full to capacity.   Actually, most shows around 8PM were very well
attended, better than the earlier ones.  I attended one every day of the
festival, and it was worth it.  All the members – Dr. White, Greg Stafford
(trumpet), Detroit Brooks  (banjo) and Lewis Kerry (bass) are New Orleans
native.  For its third show, Duke Ellington in New Orleans, our own Eli
Preminger sat in; Greg Stafford, although he stayed on stage, sat out for
some of the Ellington numbers.  I was sorry the group was pianoless, but
the cooperation between the banjo and the bass created a piano-like
impression on some banjo solos.

The Israeli Isradixie Band, with guests Enrico Tomasso and  Bruce Harris,
gave a better than usual show, labelled "Trumpet Summit" and devoted to
Louis Armstrong.  It captivated the audience from the first song – an
unaccompanied Pau More vocal rendition of "Let My People Go."  What can I
say about the band that I have not said before?  Thoroughly professional,
good solos from all members, with Anton Lutsky (sousaphone) sitting in for
the regular Shay Buxbaum.  I have praised Felder, Jacques Sany and Merton
Cahm so often that I have nothing to add.  Th rhythm section with Aharoni
Ben-Ari on guitar and banjo and Amram David on drums (and Paul Moore on
ukulele banjo and washboard) is just perfect for the band.  Enrico Tomasso
is an internationally known (at least in Europe) English
trumpeter/singer.  Duncan
Harris is a young black American trumpeter/singer, who as learnt about
Satchmo's music through Wynton Marsalis.  I also caught Isradixie outdoors,
this time with Shai Buxbaum, giving its usual great performance.

Another free show I caught was by listmate Larry Brandt's Doctor Jazz.  I
was really happy to hear the band serving its usual good time jazz (isn't
it what OKOM is about?), as I hadn't heard of it in a long time and started
wondering whether it was still around.  Larry still sings well, and the
band sounded happy to be playing.  The banjo player Shimi Gilad always
seems so enthusiastic!  There rest of the band were Amnon Ben-Artzi on
trombone, Eli Preminger (trumpet), Larry (vocals and an unidentified horn
labelled in the programme as "parade trombone), Anton Lutsky (sousaphone),
Dan Cohen (drums) and a very good soprano saxophonist whose name I do not
recall at the moment.

Arguably the best group featured was the Europa Social Club, the members
being Brits Enrico Tomasso, Ian Bateman (trombone), Adrian Cox (reeds),
Denny Illet (who had been the accompanist of Lilian Boutte), and the
French *Sebastien
Girardot* (double bass) and *Guilluame Nouaux (drums).*  I have heard all
of them before, but somehow this time they managed to sound better than
ever.  The were joined by the New Orleans singer Patricia Boutte for
several numbers.  Ostensibly a tribute to King Oliver, it was really an
excellent traditional jazz concert with wonderful arrangements and great
solos from everybody.

The last group I managed to catch was the Hungarian Jazz Steps Band in a
programme labelled "Let's Dance," devoted to Benny Goodman and Count Basie.
A very good band, but somehow not on par with the others.  Judging by the
way it played traditional standards, it probably sounded better on its
first show devoted to the ODJB.

All this windfall was masterminded by the musical director Ziv Ben, who
seemed to have accomplished "mission impossible," and has already promised
another one for next year.  I confess that I can't wait!
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