GREGG STAFFORD & DR. MICHAEL WHITE
Praying & Swaying Vol. 1: At the Cross

Jazz Crusade

Jelly Roll Morton was once heard to opine “Rejoice at the death and cry at the birth: New Orleans sticks close to the scriptures.” Certainly the paradoxes inherent in the blues, gospel, and jazz are key to the interpretation and full enjoyment of the traditional jazz that was created in the Crescent City. The combination of the spiritual and the secular is present on all the great recordings associated with early jazz, whether it was actually recorded in New Orleans or not.

It might seem almost impossible for a group of present day musicians to recreate that peculiar combination of elements of the black experience in America with the conviction and energy that was present on such classic recordings as those found on the Jelly Roll Morton Hot Pepper sessions or the music laid down by Louis Armstrong’s Hot Fives and Sevens or by countless groups of musicians who never made it into a recording studio. Yet that is precisely what Gregg Stafford and Dr. Michael White have done along with a group of musicians dedicated to making sure this music is not lost to modern listeners.

Both White and Stafford are superlative musicians who have researched and deeply understand the music of their hometown. But unlike some interpreters who take an altogether too academic stance toward playing traditional jazz, these guys have a real feel for it that will make the listener feel like he or she is sitting at Café Du Monde on a lazy Saturday afternoon, sipping a luscious café au lait and watching the tourists drift in and around Jackson Square. Listen to the slightly mournful but soothing “Saturday Night Function” which not only sports fine ensemble work, but also features Stafford blowing a gorgeous solo that instantly identifies him as one of our top-notch trumpet players. On the joyous “Canal Street Blues” both Stafford and White offer up hot solos while the second line support team of pianist Reide Kaisser, banjo player Emil Mark, bassist Colin Bray, and drummer Taff Lloyd offers excellent support. Listen to Lloyd accenting behind Stafford’s solo and you’ll understand why so many trad jazz revivalist groups fail to get the sparks flying—they too often relegate the rhythm section to simply keeping time without being a real part of the ensemble. Just remember, this is jazz kids, and Art Blakey and Elvin Jones got their inspiration from somewhere! Kaiser’s piano work deserves mention as well—check out his work at the beginning of “Fusty Bottom Blues.”

I’d be remiss if I didn’t mention the great interpretations of such spirituals as “At the Cross” and “Lead Me Savior,” which are beautiful. Stafford’s vocals on “At the Cross” and “I Shall Not Be Moved” convey a sense of spiritual longing and hardship tinged by a faith that allows joy even in the midst of sorrow. The ensemble work here, with White weaving his way around Stafford’s concise statement of the melody, is transcendent.

Dr. Michael White has recently cut two albums for Basin Street Records that are quite good, but which offer up somewhat more modernized arrangements and feature some original compositions. Praying & Swaying-Vol. 1: At the Cross offers up the real deal for both listeners who’ve worn out their original early jazz recordings or who aren’t familiar with traditional jazz but want to check it out, and there isn’t much out there that can compare with it.