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Preservation Hall is a classic jazz club that leaves pretensions at the door, favoring an intimate setting and focusing on great music. OK, so they don't serve drinks, but you can BYO (to-go cup Hurricanes, anyone?)
New Orleans is known for its food. From gumbo to jambalaya to fresh seafood from the Gulf of Mexico expertly prepared in a myriad of ways, the food in New Orleans is world-famous. New Orleans is also known as the birthplace of jazz. And these two elements – food and jazz – come together perfectly in what is traditionally called a Jazz Brunch.
“Brunch,” a combination of the words “breakfast” and “lunch,” is a leisurely meal that is historically enjoyed on Sundays. But here in New Orleans, you can enjoy brunch just about any day of the week. Brunch is not rushed. It is enjoyed leisurely. Starting off with a cocktail (or an aperitif) like a Bloody Mary, Mimosa or Mint Julep, brunch typically begins after after church on Sunday mornings and lasts for a few hours. Brunch provides an opportunity for family and friends to come together to celebrate family life and the culmination of another week… and to relax and prepare for the new week ahead.
Here’s what Kit Wohl has to say about the beginnings of the jazz brunch in New Orleans. This excerpt is taken from her excellent book New Orleans Classic Brunches:
“Brunch in New Orleans came to the forefront when Owen Brennan hatched the ‘Breakfast at Brennan’s‘ concept at his eponymous restaurant on Royal Street, which he’d opened in 1946. The custom of a festive weekend meal combining breakfast and late lunch was readily adopted by New Orleanians, who were (are) always ready for another reason to eat and drink.
“The Brennan family tree branched out in 1974 when Owen’s sisters and brothers, Adelaide, Ella, Dottie, Dick and John Brennan acquired Commander’s Palace.
“During a meal in London, Dick had noticed a roving jazz trio. He telephoned his sister, Ella, and the jazz brunch was born – a new beat to a beloved tune, and now another New Orleans tradition.
“Brunch menus took on a new rhythm, expanding more than fancy eggs. Chefs took advantage of the new meal to flex their creative muscles. Certainly there are specialties, but as you will see, brunch today offers a wealth of dishes you’d like to eat at any time of day. Establishments all across the Big Easy have created their own brunches. Some are casual. Some are dress-up events. The rest are everything in-between. Almost all are wonderful.”
I recently celebrated my third anniversary with my husband with a traditional jazz brunch in New Orleans at Arnaud’s.
New Orleans is one of the top five food cities in the world. I say this being a foodie and eating my way across 57 countries on this planet. New Orleans continues to WOW me. BUT, there are also a lot of tourist traps and restaurants that rest on their laurels. We’ve tried several of the famous restaurants and been disappointed by a few.
So I thought I’d share my thoughts before you drop $100-$200 on a meal.
Arnaud’s did not disappoint. It was the perfect jazz brunch experience.
Located in the French Quarter, this historic restaurant honors dining the way it used to be with white linens on the tables, an incredibly attentive and polite wait staff, real fresh baked bread, and attention to detail. You will see staff making an array of desserts and drinks tableside, which is always fun.
And of course, there’s live jazz.
The restaurant is adorned with historic black and white photos. There’s a lot of natural light. It was exactly what I wanted.
We enjoyed a four course brunch. The price of the brunch is determined by the entrée you order and can range from $32.50 to $45 but choices also range from eggs to crab cakes to filet mignon.
We started with shrimp Arnaud’s, which was fresh shrimp heavily coated in remoulade sauce. I enjoyed it.
Next, we ordered the chicken and andouille gumbo and it was excellent. My husband has to try the gumbo at every restaurant because he makes exceptional gumbo and likes to compare his gumbo to others (and feel superior knowing his is usually better). Having said this, we eat A LOT OF GUMBO, so we are good judges and this one ranked in the top 3.
For the second course, we had the house salad, which was just ok.
For the main courses, my husband had Grillades and Grits, which was flash-seared baby veal scaloppine braised in a rich vegetable sauce and seared cheese grits cakes. I normally don’t like grits, but searing them added a lot of texture. The Grillades were fantastic.
I ordered Eggs Houssard, which was poached eggs, Canadian bacon and and tomato on French Bread crostini with Hollandaise and Marchand de Vin Sauces, and it was good, too.
The highlight of the meal was the Crepes Suzette made tableside. So few places serve this anymore and it’s one of my favorite desserts. It was excellent.
And the drinks were not outlandish. We enjoyed a Sauvignon Blanc for less than $40. Mimosas were about $7.50.
If you’re looking for a wonderful brunch, try it:
Now, as for some of the other places we’ve tried in the past few years. Our most expensive meal and biggest disappointment was Commander’s Palace, which is an historic giant in this city.
Frankly, it’s been over hyped. I hate criticizing restaurants because sometimes it’s just a bad night, but I feel fair in doing so here because we ordered an assortment of food and were not impressed with anything other than the dessert soufflé. Plus, we spent more than $200 on the meal. Ouch.
You need a suitcoat to eat dinner here, so we bought one on vacation which was another expense.
Although Arnaud’s is fancy, I never felt like it was stuffy and I felt like Commander’s Palace was very stuffy.
When we pulled up, there were tour buses out front which immediately turned me off
The meal was mediocre. We had mach choux and we make much better mach choux than that. I had red dish and that wasn’t memorable at all. The gumbo was mediocre. The foie gras was the worst I’ve ever had. It was a seriously disappointing meal.
Another classic restaurant we’ve visited is Court of Two Sisters and I had mixed feelings about it (although it’s highly acclaimed).
It boasts a classic jazz brunch but it’s a buffet and I don’t care for buffets, so I was disappointed.
I will say the atmosphere was wonderful. It was bright, had a beautiful courtyard, and the selection of food was enormous.
While variety is nice, you can’t keep up quality when you mass produce food so I always prefer a la carte meals. Dinner here is a la carte so I’d be willing to give it another chance. One thing I will say about this place, if you’ve never tried Cajun and Creole food then this is a good spot because of the variety of choices. The turtle soup was lovely.
If you like buffet, try it. If not, try Arnaud’s. http://www.courtoftwosisters.com/
A place I didn’t expect to be that good, but was was Emeril’s Delmonico. I expected it to be overly touristy and thought the restaurant would be successful because he’s a celebrity chef, not necessarily because the food is great, but the food was fantastic. It’s over the top and I enjoy that from time to time.
Memoirs of an Amateur Cook
Posted at 2:31 pm by Sarah @ Memoirs of an Amateur Cook , on July 22, 2014
New Orleans has to be one of my favourite places in the whole world and, for me, was one of the most anticipated stops on our tour of the South.
Beautiful balconies in the French Quarter
I adore everything about the city, fondly known as ‘the big easy’ by many, or NOLA by locals. I cannot get enough of the sights, smells and sounds of the place it literally has everything a tourist could want from beautiful architecture, to intriguing history, some of the most mouth-watering food in the world and endless jazz music wafting through the air. Most people now associate New Orleans with hurricane Katrina however, it is so much more than that and I urge anyone to pay the city a visit….I promise you that you will fall in love and that one visit will not be enough!!
On our first night in New Orleans, we were fortunate enough to have the company of some wonderful friends who we knew from our time living in Mississippi. After a few afternoon drinks and a lot of catching up, we decided to meet in the French Quarter for dinner and music. After talking through a few options, we ventured to the Gumbo Shop, situated in the heart of the quarter, on the edge of Jackson Square.
Jackson Square, New Orleans
As you will discover by reading my next few posts, New Orleans really is a foodie mecca and specialises in such a large variety of different cuisines and dishes the flavour of the city is truly unique as it has evidently been influenced by so many different cultures. As NOLA was discovered by French colonists, a French influence on the cuisine is startlingly apparent indeed, Cajun dishes indigenous to New Orleans are a blend of French and Southern flavours and techniques. Gumbo is a dish most associated with Cajun and Creole food and originated from the area, so it seemed apt to sample some of the city’s finest gumbo on our first night in town.
The Gumbo Shop has held the much envied accolade of ‘best gumbo in New Orleans’ for well over ten years now so it is definitely worth a visit. Do not fear, the popular restaurant is not a tourist trap but is also favoured by locals. Contrary to what you may think, Gumbo Shop doesn’t just sell the dish it is named after, but a wide variety of Creole and Cajun delicacies including jambalaya, red beans and rice and etouffe. There is also a very reasonable three course menu on offer for $24.99 which showcases local dishes. Of course, I could not resist opting for the ‘Chicken Andouille Gumbo – Boneless Chicken, Andouille, okra and seasonings simmered in chicken stock selected by locals as the best in the city!’
Chicken Andouille Gumbo at the Gumbo Shop
Wondering what on earth gumbo is? Thought you might be as it is not that common here in the UK! Gumbo is a fusion of so many different cuisines that it is almost impossible to uncover its true origins. It is thought that the dish was first made in New Orleans at the beginning of the 18th century, due to the availability of imported goods that were appearing in the port town and the influx of both French settlers and African slaves.
Gumbo is of soup like consistency, almost like a bouillabaisse, with a handful or so of rice thrown in for good measure. There are so many variations of the filling dish however, one thing is certain, it must contain the so-called ‘holy trinity’ of onion, celery and green pepper. These three ingredients are similar to ‘mirepoix’ and demonstrate the French influence on Cajun and Creole cooking as the majority of local dishes start with this base. The secret to the perfect gumbo is in the roux, a thickening method used by cooking a mixture of flour and fat until browned – the darker, the better! Okra, Andouille sausage, chicken and seafood all feature in different gumbo recipes Creole gumbo tends to contain shellfish whereas Cajun gumbo is darker and meatier. Some recipes contain Andouille, a smoked pork sausage which originates from France but is widely produced in Louisiana.
My gumbo at Gumbo Shop was truly delicious! The roux was dark, the chicken and sausage plentiful and the flavour smokey and slightly spicy. With a salad on the side, I was well and truly stuffed but still wanting more! I would thoroughly recommend a trip to the Gumbo Shop to get a true taste of Cajun and Creole cuisine as they do it oh so well! To get a taste of New Orleans at home, why not order the Gumbo Shop cookbook or watch this space for one of my favourite, albeit not as authentic, gumbo recipes!
Fritzel’s, Bourbon Street, New Orleans
After dinner, it was time for a short meander over to Bourbon Street to enjoy some drinks and live jazz….they are what the big easy is famous for after all!! My parents discovered Fritzel’s some ten or so years ago on a visit to New Orleans and have returned upon every visit to the city!
Parts of Bourbon Street certainly are seedy, particularly the ‘upper quarter’ area close to Canal Street which is heaving with strip clubs. Fritzel’s, although situated on the famous street, is in the slightly more refined ‘lower quarter’ and appears more authentic than many of the tourist heavy bars – it is in fact the oldest jazz club in the city! The place certainly has character with old posters and jazz memorabilia covering every inch of the walls if you are after a plush surroundings in a sophisticated bar you have come to the wrong place but if you wish to find somewhere unique to New Orleans and a lively atmosphere, look no further!
Be warned, the bar is pretty small so to get in on the wonderful jazz action, you need to arrive early to get a decent seat by the stage. If, like us, you are unlucky to get a seat inside, it is possible to relax in the shaded courtyard garden for a while, to escape from the sweltering humidity, and grab a seat inside when one becomes available.
Talented musicians, Fritzel’s
The music at this renowned jazz bar is unbelievable, it truly is the sound of New Orleans! Each musician is ridiculously talented in their own right, the music is so energetic and fast paced it is a wonder how they all keep up! For an insight into the type of jazz played at the bar, check out their website here. Fritzel’s have produced several albums which are available for purchase on iTunes.
An evening at the French Quarter bar is always memorable. On our most recent trip there, a girl from the audience who was in the midst of a pub crawl and busy doing shots with her friends got up with the house band to sing on stage. She had a stunning voice, well suited to traditional style jazz, and performed beautifully which was rather lucky seeing as the band had never met her before…..you really could not tell it was their first time performing together.
There tends to be no cover charge in place most of the time at Frtizel’s and the service and atmosphere are terrific! In order to catch a glimpse of the ‘real’ New Orleans jazz scene, be sure to pay Fritzel’s a visit when you are next in town!
The Palm Court is a Great Venue for Weddings & Rehearsal Dinners.
The decor and theme of the Jazz Cafe reflects the casual elegance of old New Orleans with classic mahogany bar, mosaic tiled floor and Steinway grand piano. The Palm Court Cafe provides a comfortable relaxed atmosphere in which to meet, eat and enjoy good New Orleans music. We offer a wide variety of creole and continental dishes. CD's and Records from the GHB family of labels are available and an interesting collection of New Orleans music photographs are displayed on the old brick walls.
The Palm Court Jazz Cafe presents fine dining with live traditional jazz. Normal opening hours are Wednesday through Sunday, from 7pm to 11pm.
The Palm Court is available seven nights a week for group bookings and private parties. Groups up to 180 can be accommodated with a wide variety of options. These include group business dinners, wedding rehearsals, weddings, birthday and Christmas parties.
Great Venue For Private Parties and Wedding Events!
Haywood Practices Amid Feuding Jazz
After spending more than three seasons on the Knicks with dissension often swirling around him, Spencer Haywood arrived yesterday for his first New Orleans Jazz practice. He found Pete Maravich on the sidelines with an ice pack on his right knee, Gail Goodrich complaining of the uncertain situation of the team, and a lot of trade rumors.
Still later, Haywood learned that Maravich had had a heated argument with Elgin Baylor, the Jazz coach. The subject was Maravich's availability for practices.
The Jazz, who have lost 19 of their last 17 games, are a feuding team and Baylor is the man in the middle. Last week, Baylor said that management would have to take steps to end disagreement between Maravich and Len (Truck) Robinson or face “disgusting basketball.”
The Maravich‐Robinson Feud
“The organization knows what must be done,” Baylor said. “If we don't start playing together as a team we'll just keep playing disgusting basket. ball.”
Soon after Baylor's statement the trade of Haywood for Joe C. Merlweather was concluded.
The Maravich‐Robinson feud surfaced last September when Robinson failed to report to training camp, complaining that Maravich received preferential treatment. Saturday night, when Robinson made only 2 of his 23 shots against the Cleveland Cavaliers, and Maravich shot 8 for 24, it was Maravich who was criticized in the press. Maravich reportedly fumed over the situation.
“Obviously, we're not very happy about the situation,” said Larry Hatfield, the head of the Jazz executive committee. “We have a real chemistry problem. We are not getting 100 percent from our talent.
“There was a time we would never have thought of trading Pete. He's in the second year of a five‐year contract, but he has asked to be traded. We would accommodate him if we could improve our team. But now that everyone knows Pete wants to be traded, the ‘ telephone has not exactly been ringing. There's a lot of talk, but it's just talk.”
The Boston‐Phoenix Connection
Several National Basketball Association general managers said yesterday that little interest had been expressed in Maravich primarily because of his $600,000 salary and the knee surgery he underwent in the offseason.
The Boston Celtics have been frequently mentioned as a team interested in Marwick John Y. Brown, the team's president, said that he had mixed emotions about a deal. “If we do
take him,” Brown said, “New Orleans has offered to pick up a good part of his salary. But we're more interested in Robinson. We've been trying to get him all year. I hope Phoenix doesn't get him — they would be unbeatable.”
Brown said Phoenix had asked about acquiring Billy Knight from the Celtics, apparently so Knight could be used in a trade package for Robinson. Brown said the Celtics had turned down the offer.
One general manager said New Orleans was asking for two starters, cash and draft choices for Robinson.
The Waiting Game
“A lot of teams are waiting to see what the Jazz do,” said Jerry Colangelo, the Phoenix Suns’ general manager. “If they proceed with a couple of deals that have been rumored, it could set off a chain of trades.
“We have been interested in Robinson since he asked to be traded during the offseason. We need muscle up front and he may be the piece to the puzzle we have been looking for. He is one of the premier power forwards in the league. We have made a legitimate offer for him. Some team may panic and go crazy making offers for him, but we're not going to break up the nucleus of our team just to get him.”
The Hawks reportedly are also in the bidding for Robinson, who used to play for Atlanta before he became a free agent and signed with the Jazz.
“I don't see New Orleans sending him back to a team in their own conference,” said Colangelo. “We're just keeping abreast of all the trade talk and there has been lots of it. Maybe the Jazz and Knicks trade has started things off.”
See What Tomorrow Brings
“We have not kept it a secret that we are trying to better ourselves,” said Bill Bertka, the director of player personnel for the Jazz. “If the trade possibilities are attractive enough to improve ourselves, now or in the future, our owners will give them serious consideration.
“But under no circumstances will we do anything in desperation or haste. We're not talking about fringe players. We're talking about the premier power forward in basketball, and one of the great guards in the game, even with an injured knee.”
Meanwhile, Goodrich summed up the mood of the players.
“The young players, Truck and Pete, no one can feel comfortable in his role,” said the 35-year-old Goodrich. “It doesn't effect the older players like myself, but for the others, they don't know where they will be tomorrow. It's not a good situation.”
Check out the Jazz Fest inspired recipes from Emeril Lagasse!
If you're # JazzFestinginPlace this weekend, check out some of my favorite Jazz Fest inspired recipes that you can make at home! https://www.emerils.com/tags/new-orleans-festival-favorites
New Orleans Jazz & Heritage Festival
Happy Birthday Bruce Sunpie Barnes.
WWOZ 90.7 FM New Orleans
Happy birthday to Bruce Sunpie Barnes!
Photo at Jazz Fest 2018 by Michele Goldfarb.
New Orleans Jazz & Heritage Festival
New Orleans Jazz & Heritage Foundation
In March 2020, our "Chanteuse: Celebrating New Orleans Women in Music" concert series was cut short as New Orleans locked down. Now, the series continues with our first in-person events since that time!
Starting May 29, the New Orleans Jazz & Heritage Foundation is proud to continue Chanteuse: Celebrating New Orleans Women in Music. This six-week concert series features new talents alongside NEA Jazz Master, triple Grammy Winning and Tony Award Winning, UN Ambassador Dee Dee Bridgewater. Six concerts will be held over the course of six weeks at the George and Joyce Wein Jazz & Heritage Center. Chanteuse is part of an ongoing effort by the New Orleans Jazz & Heritage Foundation to address inequities in the music industry.
All Chanteuse concerts will take place in the outdoor space at the George and Joyce Wein Jazz & Heritage Center, 1225 N. Rampart St. New Orleans. Safety protocols can be reviewed at https://www.jazzandheritage.org/chanteuse.
Doors will open at 6pm prior to the start of the performance or program.
Admission is free to all six concerts, but attendees must RSVP using this link to reserve your ticket(s): https://www.eventbrite.com/e/chanteuse-celebrating-new-orleans-women-in-music-tickets-153821370861
May 29, 7-8:30pm Meschiya Lake and the Little Big Horns
June 5, 7-8:30pm Caren Green
June 12, 7-8:30pm Cyrille Aimée
June 19, 7-8:30pm Anjelika "Jelly" Joseph
June 26, 7-8:30pm Maggie Koerner
July 3, 7pm Dee Dee Bridgewater
A MODERN KIND OF NEW ORLEANS JAZZ IN TOWN
JAZZ as we know it began in New Orleans. Black musicians may have been improvising a jazzlike music in other cities and towns in the early years of this century, but Buddy Bolden, King Oliver, Jelly Roll Morton, Sidney Bechet, Louis Armstrong and the other innovators who stamped their identities on the new music and breathed life into it were all New Orleans men.
Tonight and tomorrow night, at the Public Theater, a specially assembled group of New Orleans jazzmen, including the celebrated drummer Ed Blackwell and the formidable young trumpeter Wynton Marsalis, will be performing. They will not be playing the traditional jazz that most listeners still associate with the Crescent City. Although they are proud of and well versed in the rich heritage of their hometown, they are thoroughly modern musicians.
Ed Blackwell has made many recordings with Ornette Coleman, John Coltrane and other innovators, and Wynton Marsalis records for Columbia. But most of the modern musicians in New Orleans have been ignored by record companies and jazz writers, and so has the New Orleans modern jazz scene. In fact, most jazz fans are surprised to hear that New Orleans has a modern-jazz scene and are more surprised to learn that New Orleans musicians played a key role in the development of free jazz in the late 1950's and early 1960's.
Why have musicians as gifted as the pianist Ellis Marsalis and Alvin Batiste - called the greatest modern-jazz clarinetist by musicians as diverse as Ornette Coleman and Cannonball Adderley - become forgotten men of jazz? The public image that New Orleans has cultivated since the traditional jazz revival of the 1940's is at least partly to blame. The city's Chamber of Commerce, its Bourbon Street clubs and bars, and institutions like Preservation Hall have all encouraged the notion that time somehow stands still there, that traditional jazz (or Dixieland as it is sometimes erroneously called) still reigns supreme.
That simply isn't so. It is true that commercialized traditional jazz is the only brand of jazz heard in the French Quarter's tourist traps. But as more of the old-timers die off, they are replaced by younger musicians who play ''When the Saints Go Marching In'' only because they have to in order to make a living. Some of these younger musicians would rather be playing rhythm and blues or soul music, but most of them would rather be playing modern jazz.
Alvin Batiste, Ellis Marsalis and Ed Blackwell, who are appearing at the Public Theater this weekend along with Mr. Marsalis's sons, Wynton on trumpet and Branford on saxophone, are all natives of New Orleans. They began playing together there in the mid-1950's, when the city was the rhythm-and-blues capital of America. Bourbon Street was already a tourist mecca, but for young black musicians, the desirable jobs were with such rhythm-and-blues band leaders as Dave Bartholomew, who backed Fats Domino, Little Richard and other singers on records that had sold spectacularly and were beginning to appeal to white teen-agers as well as to blacks.
Ellis Marsalis's first musical appearances were as a rhythm-andblues saxophonist. He had memorized the frenzied tenor saxophone solo from Roy Brown's ''Good Rockin' Tonight,'' an influential hit that was recorded in New Orleans in 1947, and when he began working with some other youngsters in a band called the Groovy Boys, he found that this solo always excited audiences. He left the Groovy Boys to play with the Johnson Brothers Band, replacing Plas Johnson, the saxophonist and future Los Angeles studio musician. But he was becoming more and more interested in jazz and in the piano, and by the mid-50's, when he began playing with Ed Blackwell and Alvin Batiste, he had put his saxophone away. A Drummer to Be Emulated
Mr. Blackwell had also played in various rhythm-and-blues bands, but he was developing a fresh and fascinating style that would by the end of the 50's make him the city's most emulated jazz drummer. New Orleans has long been known to musicians as a drummer's town. Its percussive tradition dates back to pre-Civil War days, when it was the only city in America that allowed African slaves to manufacture and play drums.
After the emancipation, African-derived drumming and call-and-response singing continued to flourish in New Orleans's black neighborhoods, and in the early years of this century African polyrhythms and syncopation became important parts of jazz. Ed Blackwell grew up listening to the African rhythms of the black Mardi Gras celebrations and to the syncopated parade drumming that accompanied the brass bands, and he worked the traditional rhythm patterns he heard into a freer, more flexible modern-jazz context.
Alvin Batiste was still a student, but already an accomplished clarinetist, when he became the first black musician to appear as a soloist with the New Orleans Philharmonic. Later, he worked as a saxophonist with Ray Charles, Guitar Slim, Smiley Lewis and other rhythm-and-blues stars. But by the mid-50's he was concentrating on his first love, the clarinet. It was around this time that Mr. Batiste, Mr. Marsalis, Mr. Blackwell, the bassist Richard Payne and the tenor saxophonist Harold Battiste formed the American Jazz Quintet, which played a kind of advanced chamber jazz.
This quintet recorded an album that was released some years later in a limited pressing, but at the time there did not seem to be much of a future in playing contemporary jazz in New Orleans, so Mr. Marsalis, Mr. Blackwell and Harold Battiste left for Los Angeles. There they ran into a saxophonist from Fort Worth who had met Mr. Blackwell while passing through New Orleans in 1949. The saxophonist's name was Ornette Coleman and, according to Mr. Blackwell, he was already playing free jazz in Los Angeles in 1956. Most Los Angeles jazz musicians thought he was a madman and would leave the bandstand whenever he had the nerve to get up and play, but Mr. Blackwell was intrigued, and the two men shared a small apartment in Los Angeles for a few months. The Call From Coleman
Ellis Marsalis returned to New Orleans to help his father run the family business, a motel, but Mr. Blackwell stayed on in Los Angeles. When he returned to New Orleans, he played in a few rhythmand-blues and rock-and-roll recording sessions, but his style was too adventurous to fit in. Meanwhile, Ornette Coleman had arrived in New York and was turning the jazz world upside down with his revolutionary free-form music. When the drummer Billy Higgins left Mr. Coleman's group, the saxophonist sent for Ed Blackwell, who got to New York in time to play on some of the most influential jazz albums of the 1960's -''This Is Our Music,'' ''Ornette!'' and ''Ornette on Tenor.'' He also performed and recorded with Eric Dolphy, Booker Little, Randy Weston, John Coltrane and other top musicians.
Mr. Blackwell has lived in the Northeast ever since. But Ellis Marsalis and Alvin Batiste prefer New Orleans, where they are active as musicians as well as educators (Mr. Batiste directs the Jazz Institute at Southern University in Baton Rouge). Wynton and Branford Marsalis have been making names for themselves on the competitive New York jazz scene.
Wynton Marsalis is still in his early 20's, but he is a remarkably resourceful trumpeter with a huge, brassy sound and impeccable control in all registers. He has a thorough knowledge of traditional and contemporary jazz styles, but by inclination he is a be-bopper, the most spectacular young inheritor of the modern trumpet tradition that begins with Dizzy Gillespie and Fats Navarro and includes Clifford Brown, Booker Little, Lee Morgan and Freddie Hubbard. He is also an accomplished classical player like Alvin Batiste, he appeared as a soloist with the New Orleans Philharmonic while still a student. Marsalis in Fancy Company
Art Blakey, whose Jazz Messengers band has included Clifford Brown, Lee Morgan and Freddie Hubbard, heard Wynton Marsalis in New Orleans several years ago and asked him to join the Messengers. Musicians soon began passing the word along that Mr. Blakey had discovered another exceptional trumpeter, and before long Herbie Hancock hired Mr. Marsalis to play in a quartet that also included Ron Carter and Tony Williams. This is fast company, but Mr. Marsalis was ready, and he has continued to work with the finest musicians in jazz. Mr. Hancock, Mr. Carter, Mr. Williams and Branford Marsalis, an accomplished and creative tenor saxophonist, played on ''Wynton Marsalis,'' his first album for Columbia.
The young trumpeter's second album for Columbia involved his brother and his father and is called '⟺thers and Sons.'' One side features the father-and-son team of Von and Chico Freeman, both tenor saxophonists from Chicago, and the other side is a showcase for the Marsalis family, with original compositions and arrangements by Ellis Marsalis. The album is the elder Marsalis's first appearance on a major record label.
Saturday, Jun 5, 2021
7:00 &ndash 8:30 PM
Saturday, Jun 12, 2021
7:00 &ndash 8:30 PM
The New Orleans Jazz & Heritage Foundation is the nonprofit that owns the New Orleans Jazz & Heritage Festival presented by Shell. We use the proceeds from Jazz Fest, and other funds, for year-round programs to support our music and culture.
Blackened chicken fettuccine alfredo from Jazz, A Louisiana Kitchen
KANSAS CITY, Mo. — KC Restaurant Week is in full swing and more than 140 restaurants are participating this year.
Jazz, a Louisiana Kitchen is one of the participating restaurants. The owner, Vic Allerd, visited Fox 4 Monday, Jan. 15 to share a recipe for the restaurants blacked chicken fettuccine alfredo.
Jazz has three locations around the metro.
Blackened Chicken Fettuccine Alfredo
1 lb chicken tenders (seasoned with Jazz Bon Ton Cajun Seasoning and prepared ahead of time)
1 qt heavy whipping cream
1 Tablespoon minced garlic
4 oz diced green onion or scallions (green part only)
1 Tablespoon Jazz Bon Ton Cajun Seasoning
1 ½ lb fettuccine (cooked al dente)
In a medium sauce pan, boil the fettuccine noodles in water and 1 Tablespoon of olive oil. Once you have the pasta is cooked to al dente, strain it and hold off to the side.
Thoroughly coat the chicken tenders with olive oil or melted butter and generously season both sides with Jazz Bon Ton Cajun Seasoning. Place a cast iron skillet over medium heat and place the tenders into the skillet. Cook for four minutes on each side (or until completely cooked). Remove the chicken from skillet, dice them into half-inch cubes, and hold off to the side.
Building Your Pasta
In a 14 inch skillet over medium heat, add the diced chicken tenders, garlic, diced green onions, Bon Ton Seasoning, and heavy cream.
*Note: For spicier pasta, add Bon Ton Seasoning to taste, or cayenne pepper to this step. For a milder pasta, use less Bon Ton Seasoning.
Continue to cook the heavy cream until it is boiling in the center of the skillet, stirring occasionally. Once the cream is completely boiling, stir in the fettuccine noodles until the pasta is completely covered in sauce, and boil for another two minutes to raise the temperature of the pasta. Next, adjust the heat to low and add in the Parmesan cheese. Begin to turn the pasta over with a pair of tongs to completely incorporate the cheese.
*Note: For thicker pasta, add more cheese for the desired thickness.
Be careful not to overcook the dish once you add in the cheese as this may cause the sauce to “break” (a term used when the oil separates from the cheese). Plate and enjoy!
This dish is best served with French baguette so not to waste any of the sauce!
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The Mad Hatter
And finally, just for fun (because the New Orleans Jazz Fest and hats inspire this sort of thing):
“Take off your hat,” the King said to the Hatter.
“It isn’t mine,” said the Hatter.
“Stolen!” the King exclaimed, turning to the jury, who instantly made a memorandum of the fact.
“I keep them to sell,” the Hatter added as an explanation “I’ve none of my own. I’m a hatter.”
― Lewis Carroll, Alice’s Adventures in Wonderland & Through the Looking-Glass