Glen David Andrews (New Orleans, USA) - Vocals
Judith Slack (New Orleans, USA) - Vocals
Kathy Boyé (Montauban, France) - Vocals
Max Oestersötebier (Reitberg, Germany)
Shailaja Grace Guillory (Kuala Lumpur, Malaysia) - Vocals
Eunice Love (New Orleans, USA) - Vocals
Dom Pipkin (London, UK) - Piano
Barry Stephenson (New York, USA) - Bass
Revert Andrews (New Orleans, USA) - Trombone
Revon Andrews (New Orleans, USA) - Trombone
Christian Altehülshorst (Reitberg, Germany) - Trumpet
Finlay Milne (London, UK) - Trumpet
Seth Bailin (New Orleans)- Saxophone
Mixed and mastered by Seth Bailin
Video edited by Seth Bailin
Produced by Glen David Andrews
Download the song here:
April and May is usually the busiest time of year for a New Orleans musician. Wedding season is in full swing and festivals happen every weekend, the biggest of which is the 7 day phenomenon known as Jazzfest. Over 650 bands perform across 14 stages each year at Jazzfest, from local brass bands and youth groups to international headliners like Bruce Springsteen and Chaka Khan.
This year, however, the fairgrounds were quiet and empty. Frenchmen St is eerily quiet and litter-free. The windows to all the clubs in the french quarter which usually have music and people spilling out are boarded up and blacked out. The tourism industry in New Orleans came to a grinding halt in March during the COVID-19 pandemic while the nation is on a stay-at-home order. Walking around the city has an uneasy, unnatural feeling of being suspended in time.
I started taking pictures of the stores and clubs that are all closed, and then of signs that you would never have thought would have existed last year: "6 feet y'all," "playground closed," "out of business," "stay safe," etc. As the camera roll on my phone grew with pictures of an upside-down New Orleans, I began to put music to the images. The ballad that I hummed most while biking around was "Do You Know What It Means to Miss New Orleans," because I surely did and still do miss what makes New Orleans great: live music, parties, human connection, cookouts, and celebrations.
As Glen David Andrews and I were recording his new album, I told him about my idea to play saxophone over all these pictures. He said, "let me sing on it," and the rest was history. Joe Boucha played piano, I played saxophone and recorded/mixed the song, and Glen David sang on top. We hope you enjoy this representation of what New Orleans looks and feels like in Spring 2020.
Purchase the single here:
Donate to the New Orleans Brass Band Musician Relief Fund here:
Glen David Andrews - Vocals
Revert "Peanut" Andrews - Trombone
Glen Hall - Trumpet
Glen Finnister Andrews - Drums
Jesse Smith - Guitar
Herbert McCarver IV - Sousaphone
Joe Boucha - Organ
Recorded and mixed by Seth Bailin
Purchase/stream the record at glendavidandrewsband.bandcamp.com
The New Orleans Brass Band Musicians Relief Fund fills the financial gap left by cancelled gigs to support New Orleans’ brass band musicians, their families, and the tradition they carry during the COVID-19 crisis.
CONTRIBUTORS DONATE HERE
MUSICIANS APPLY HERE
New Orleans brass bands bring us together. They organize us into exuberance, bring us through our grief for loved ones passed, lead us down the street with high and fast stepping. While our venues are closed and our streets are silent, it’s our turn to organize for them. “New Orleans Brass Band Musicians Relief Fund” organizes funds to support the people who give life to this essential tradition. The funds go directly into the hands of New Orleans brass band musicians, so they can cover their basic expenses during this time.
NOBB Musicians Relief Fund is set up to accommodate the way gigging musicians often get paid - in cash, “under the table”, or as splits from a tip bucket. The nature of these payments means most musicians are unable to apply for unemployment or other relief funds. Most cannot provide bank statements that prove the income they used to have and the income they’re losing each day the COVID-19 crisis extends. For this reason, NOBBMRF is flexible and low-barrier. It’s not about providing prepared food or food boxes, it’s about supporting musicians the same way unemployment supports the “formal workforce”: cash grants. We believe this is the most efficient and effective way to support the New Orleans Brass Band community.
The busy March-May Spring season in New Orleans is key to enabling musicians to make ends meet year-round, using the buffer of the spring season to get through the slow summer months. While some of the gigs might eventually be rescheduled, many gig workers who rely on the Spring festivals, weddings, and celebrations to get them through those slow months are seeing a dip in their funds where there should be a peak. NOBBMRF aims to offer assistance to make sure musicians can provide basic necessities like groceries and rent payments for their families, starting with the month of April.
For every Sunday you’ve spent dancing down the street behind the band, for every wedding, funeral and celebration that’s been lifted up with brass music, for every time you’ve yelled “hey!” after the trumpet’s call, give back by stepping up with us to support the musicians who make those moments happen.
Please check out the new page on the website called Practice Tools. This page will contain various original resources for musicians to deepen their understanding and practice of music. As of today there is one sample PDF to get started but over time I will add new PDFs and videos exploring different aspects of melody, harmony, rhythm, practice technique, theory, and more.
All PDFs will eventually be compiled into an e-book called Melodic Intervals. Over the past decade I have been developing, practicing, and documenting various intervallic exercises for myself, and this year I have a goal of sharing these tools in the clearest and most logical way for students of any experience level to use.
Today's sample PDF is a chord scale sequence that I use to practice modes and chord types. I hope you find it useful. What kinds of music exercises would you like to see next?
If you're not familiar with the album Stan Getz and the Oscar Peterson Trio, please check it out immediately! It's one of my favorite albums of all time, and features "The Sound" Stan Getz backed by the most swinging band in history, the Oscar Peterson Trio (Oscar Peterson on piano, Herb Ellis on guitar, and Ray Brown on bass).
The last track Blues For Herky is a fun 12-bar blues in C that contains some great language for guitar. You will find the first three choruses of the guitar part transcribed, followed by the three-chorus saxophone solo. All six of those choruses are written out in the key of C for guitar and the key of D for Bb instruments in a four-page PDF.
Head over to my transcriptions page to find this PDF along with many others for your study and enjoyment. Thank you.
Happy New Year everyone! Please enjoy the latest audiovisual project by upcoming rap artist Graphyti featuring the Young Fellaz Brass Band, New Orleans Saints hype song WHO DAT!
Lyrics by Graphyti
Music by Graphyti and Young Fellaz Brass Band
Recorded by Seth Bailin
Produced by Seth Bailin and Graphyti
Video edited by Graphyti
Musicians featured in the video: Graphyti, Rogerick Andrews, Kernell Andrews, Thaddeaus Ramsey, Roy Lancaster, Daimon Thomas, Seth Bailin, Justin Terrell, Revert Andrews, and Glen Joseph Andrews
Buy the song on iTunes
Follow the Young Fellaz Brass Band
Enjoy these two new offerings of sample-based audio collages. I do not own the rights to this music.
I just finished two solo transcriptions of saxophone master Sonny Stitt playing the blues which you can download for free on my transcriptions page. I believe it's important to learn and analyze the musical language of the masters when studying any particular type of music. Thus, a study of Jazz saxophone would not be complete without digging into Sonny Stitt.
Bud's Blues is a recording from 1949 with Stitt on Tenor. It is a Bb blues, transposed to C for tenor sax. Stitt plays one chorus of the melody followed by four choruses of improvisation.
Cool Blues is a recording from 1958 with Stitt on Alto. It is an Eb blues transposed to C to alto sax. Stitt plays one chorus of the melody followed by six choruses of improvisation. Then, after laying out for 3 choruses for the piano, he plays two more choruses of improvisation and one last chorus of the melody.
Documenting work and play as a musician and human in New Orleans, LA.