Last weekend I took a spontaneous trip down to New Orleans to visit my good friend, Miss Anderson Stockdale. It was a great trip. Andy is a fabulous tour guide. Aside from gorging myself on the sweets of the South (beignets, pralines, etc.), and being amazing by the burly trees that tower of the bird-filled swamps, I was most impressed by the music.

The music is everywhere in New Orleans. It was astounding. And not just music, but jazz music. … In the bars, in the streets, doesn’t matter. I don’t think I heard any other kind of music than jazz (or specifically dixieland) music while I was there. I’m used to a more anything-goes state of mind from street performers–bad renditions of Coldplay songs, tribal drums & wooden flute, a lone saxophone squeaking out some notes, a slouchy guitar player with white-boy dreads, a karaoke box hooked up to a tiny amp with harmonica overlaid. … Really. Anything. … So, it was quite refreshing to see buskers in the streets playing decent-to-amazing jazz music. Just putting it right out there.
But as inspiring as this was, there was also another perplexing phenomenon that provoke a lot of reflection for me.
So, the first night I was there, Thursday night, we went to a little dive bar where a small combo + singer was playing: Miss Meschiya Lake & The Little Big Horns. This band I loved. I loved the cathartic honesty of the singer, I loved the stoic witticism of the drummer, I loved the playful facility of the guitar player. … And moreover, I loved the way they played *with* each other. Not just, “hey you take this solo, he gets the next, and we all meet up for the chorus at the end.” I saw happy-musician things like, the supporting non-solo instruments not just chugging along with chords and rhythm, but adding in little commentary riffs in response to the solo on deck. Yes, this band made me happy. … And their followers loved them, too. Dancers were dancing, bar-goers were toe-tapping. Good times were had by all.
Another night, another bar, another band. This time, I was not impressed. The bass player was rhythmically sloppy, the clarinet was pinched and whiny, the trumpet was stiff, and the guitar player was–well, he was, that was all. To me, the musicians were not as proficient nor were they as aware of those they were playing with. I did not feel the same sense of joy and elation of spirit as I did with Meschiya & her Big Horns. … However, when I looked around, the crowd had an identical reaction as I wrote before. Two different bands, same crowd reaction. In face, it was possible that people were *more* excited about this (in my opinion, sub-par) band.
It was so surreal to me. I wanted to speak out, “Don’t you see? Don’t you get it? Why don’t you appreciate the good music you have?” … And I realized, it’s not exactly that they don’t appreciate the music. They very obviously love the fact that New Orleans is so rich with live music. And it’s not that they take it for granted. But the people who surrounded me have such a different way of responding to music than I do.
People in New Orleans seem to respond to the energy of the music, the jubilance, and to the heritage & tradition of New Orleans jazz music. And not necessarily to mastery of skill. … I’m not saying this is wrong. It’s definitely part of the culture down there. … But, all in all, I still like my way, and I’m not sure I could hear it any differently.




Anyway, if anyone’s ever heard of this, knows more information, or has gotten a similar email, please let me know. I’m kind of curious …



