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With funky originals like "Do It Again" and "I Like It Like That," 'Rebirth of New Orleans' is a collection of anthemic tunes delivered by a distinguished brass collective at the height of their career. After a breakthrough year which landed the group on the forefront of a brass revival, the Rebirth Brass Band continue to raise the bar with their energetic brand of heavy funk arrangements that perpetuate brass tradition while exciting younger generations of listeners and musicians to follow suit. The Rebirth Brass Band has made and will continue to make appearances in HBO's Treme. Rebirth drummer, Derrick Tabb, was a top ten finalist for CNN's Hero of the Year Award in '09 for his organization, Roots of Music. The program continues to give free, year-round tutoring and music instruction to over 100 students in New Orleans.
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Customer Reviews
Most Helpful Customer Reviews
6 of 6 people found the following review helpful
Format:Audio CD
Formed in 1982 by young men from the Tremé - Tremé, a neighborhood in the city of New Orleans - who'd played together in high school, The Rebirth Brass Band built their fame via recordings, tours, and famous alums who bridge generations and genres.
After The Dirty Dozen Brass Band, the Rebirth Brass Band is perhaps the best contemporary New Orleans ensemble working in vintage marching band style. The group formed in the early '80s while they were still in school. In the latter half of the decade, the band gained of the critics and the public alike. Since the late '80s, The Rebirth Brass Band has cut albums for Rounder and Arhoolie, utilizing multiple trombone/trumpet/tuba instrumentation. They also play booming uptempo tunes, spirituals, rags, marching numbers, and originals, doing them all with a traditional feel and contemporary sensibility.
Originally co-founded by Phil Frazier (tuba/sousaphone), his brother Keith (bass drum), and Kermit Ruffins (trumpet), the band's lineup expands or contracts according to the needs of each recording.
Rebirth of New Orleans' lineup is made up of Derrick Tabb on snare, Byron Bernard and Vincent Broussard on sax, Stafford Agee and Corey Henry on trombone, Glen Andrews and Derrick Shezbie on trumpet, plus the founding Frazier brothers.
Composer David Bartholomew and guest vocalist Lionel Delpit appear in the credits. Guest rappers, vocalists, and percussionists have appeared whenever the material dictates, but hybridized arrangements of Dixieland swing, uptempo rags, gospel, and Mardi Gras tunes are easily handled by the group's core.
Heavy on original compositions--Stafford Agee's "Dilemma" and Glen Andrews' "AP Touro" are particular standouts--the 11 tracks on Rebirth of New Orleans fuse the dancefloor intensity of jump blues to the cerebral virtuosity of bebop with the cool discipline of a military drum corps.
Long respected for their ability to fall out of a deep funk pocket and into a controlled moment of harmolodic freedom (and back) like a kid demonstrating difficult yo-yo tricks, "Rebirth" proves that serious jazz chops don't have to kill an exuberant street party vibe.
There are no rap or pop-soul covers like the ones that graced "Hot Venom" or "We Come to Party", but neither does "Rebirth" try to recreate anything resembling a "vintage" New Orleans sound.
The Dixieland lilt of album opener "Exactly like You" lets a militaristic snare solo introduce the best tune Louis Armstrong never recorded. But this hat tip to cabaret sophistication is quickly abandoned for a range of uptempo instrumentals, ensemble chants and playful shoutouts geared toward crowd participation.
Tracks like "The Dilemma", "Why Your Feet Hurt", and "What Goes Around" offer brief confessions or sly taunts that reveal the band's collective personality in concise bursts of information.
As an index of new directions and new vitality within Rebirth (and the evolving category of "tuba-funk"), Rebirth of New Orleans is a rousing triumph.
Hot Venom
We Come to Party
After The Dirty Dozen Brass Band, the Rebirth Brass Band is perhaps the best contemporary New Orleans ensemble working in vintage marching band style. The group formed in the early '80s while they were still in school. In the latter half of the decade, the band gained of the critics and the public alike. Since the late '80s, The Rebirth Brass Band has cut albums for Rounder and Arhoolie, utilizing multiple trombone/trumpet/tuba instrumentation. They also play booming uptempo tunes, spirituals, rags, marching numbers, and originals, doing them all with a traditional feel and contemporary sensibility.
Originally co-founded by Phil Frazier (tuba/sousaphone), his brother Keith (bass drum), and Kermit Ruffins (trumpet), the band's lineup expands or contracts according to the needs of each recording.
Rebirth of New Orleans' lineup is made up of Derrick Tabb on snare, Byron Bernard and Vincent Broussard on sax, Stafford Agee and Corey Henry on trombone, Glen Andrews and Derrick Shezbie on trumpet, plus the founding Frazier brothers.
Composer David Bartholomew and guest vocalist Lionel Delpit appear in the credits. Guest rappers, vocalists, and percussionists have appeared whenever the material dictates, but hybridized arrangements of Dixieland swing, uptempo rags, gospel, and Mardi Gras tunes are easily handled by the group's core.
Heavy on original compositions--Stafford Agee's "Dilemma" and Glen Andrews' "AP Touro" are particular standouts--the 11 tracks on Rebirth of New Orleans fuse the dancefloor intensity of jump blues to the cerebral virtuosity of bebop with the cool discipline of a military drum corps.
Long respected for their ability to fall out of a deep funk pocket and into a controlled moment of harmolodic freedom (and back) like a kid demonstrating difficult yo-yo tricks, "Rebirth" proves that serious jazz chops don't have to kill an exuberant street party vibe.
There are no rap or pop-soul covers like the ones that graced "Hot Venom" or "We Come to Party", but neither does "Rebirth" try to recreate anything resembling a "vintage" New Orleans sound.
The Dixieland lilt of album opener "Exactly like You" lets a militaristic snare solo introduce the best tune Louis Armstrong never recorded. But this hat tip to cabaret sophistication is quickly abandoned for a range of uptempo instrumentals, ensemble chants and playful shoutouts geared toward crowd participation.
Tracks like "The Dilemma", "Why Your Feet Hurt", and "What Goes Around" offer brief confessions or sly taunts that reveal the band's collective personality in concise bursts of information.
As an index of new directions and new vitality within Rebirth (and the evolving category of "tuba-funk"), Rebirth of New Orleans is a rousing triumph.
Hot Venom
We Come to Party
1 of 1 people found the following review helpful
Format:Audio CD|Amazon Verified Purchase
I bought this CD as a present for my father and he insisted that I borrow it as the music was so good. Although I have heard a French brass ensemble perform a lot of this music with enthusiastic gusto in a live setting on numerous occasions, there is an energy and robustness about Rebirth which , in my opinion, leaves their competitors standing. As much as I love the work of the other New Orleans Brass Band, the Dirty Dozen, Rebirth's music is far earthier and definately seems to take it's cues from the musics that eminate from the street. There is an an element of this band being extremely loose but this is countered by some of the most infectious grooves you can hear in jazz in 2011. Although the anticedents of Rebirth go right back to the very origins of jazz itself, this feels far more contemporary and authentic than anything Wynton Marsalis has produced. In fact, Rebirth are the antithesis of Wynton's more cold approach to jazz heritage, refracting the music into something that is living and of it's time. They sound different from the kind of revivalist jazz you hear but the likes of Papa Celestin would immediately recognise this as his kind of music.
Until the mid-60's when the likes of Lester Bowie and Albert Ayler started to show an interest in more archaic forms of jazz, the history of the music had tended to see a change to a more European and perhaps cerebral approach. Although I am a massive fan of modern jazz, the timbre of early jazz definately help define for me an important ingredient of what the music should be about and wild abandon of Rebirth's playing demonstrates why the best jazz has that degree of abrasiveness that immediately separates jazz from other forms of music. A degree of "dirtiness" within the playing is an essnential component for me, whether it is Louis, Ellington, Ornette or Dave Douglas. The horn players in Rebirth are well versed in the more vocal extremes of the music that were prevalent in the 1920's and have managed to marry this with a predeliction for funky bass lines. Like some of their more illustrious forebears, Rebirth's style of jazz is essentially dance music and where there are vocals (usually by the band members in a call-and-response fashion) the lyrics display the same kind of innuendo of which Jelly Roll Morton would heartily approve.
Generally, I am always on the look-out for new, up and coming jazz musicians and have readily snapped up discs by the likes of Gretchen Parlato, Walter Smith III and Ambrose Akinmusire this year. All of these records have been higely impressive. However, "The Rebirth of New Orelans" ably demonstrates just how you overlook the vitality of more traditional forms of jazz at your peril and I would have no hesitation is classing this brass band disc as one of the best of 2011. Simply put, it is impossible not to be impressed by the vibrant music on this disc. Thoroughly recommended.
Until the mid-60's when the likes of Lester Bowie and Albert Ayler started to show an interest in more archaic forms of jazz, the history of the music had tended to see a change to a more European and perhaps cerebral approach. Although I am a massive fan of modern jazz, the timbre of early jazz definately help define for me an important ingredient of what the music should be about and wild abandon of Rebirth's playing demonstrates why the best jazz has that degree of abrasiveness that immediately separates jazz from other forms of music. A degree of "dirtiness" within the playing is an essnential component for me, whether it is Louis, Ellington, Ornette or Dave Douglas. The horn players in Rebirth are well versed in the more vocal extremes of the music that were prevalent in the 1920's and have managed to marry this with a predeliction for funky bass lines. Like some of their more illustrious forebears, Rebirth's style of jazz is essentially dance music and where there are vocals (usually by the band members in a call-and-response fashion) the lyrics display the same kind of innuendo of which Jelly Roll Morton would heartily approve.
Generally, I am always on the look-out for new, up and coming jazz musicians and have readily snapped up discs by the likes of Gretchen Parlato, Walter Smith III and Ambrose Akinmusire this year. All of these records have been higely impressive. However, "The Rebirth of New Orelans" ably demonstrates just how you overlook the vitality of more traditional forms of jazz at your peril and I would have no hesitation is classing this brass band disc as one of the best of 2011. Simply put, it is impossible not to be impressed by the vibrant music on this disc. Thoroughly recommended.
Most Helpful Customer Reviews on Amazon.com (beta)
Amazon.com:
6 reviews
5 of 5 people found the following review helpful
The "Rebirth" is still providing the beat for NOLa after 28 years!
12 April 2011
Format:Audio CD
With perfect timing for the DVD release of Season One of the HBO series Treme and just a week or so before the start of Season Two, comes this newest release by the musical soundtrack for New Orleans rhythm - The Rebirth Brass Band. Though original member Kermit Ruffins left the band years ago, original founders - the Frazier brothers are still there along with longtime member Glen Andrews and, in the 28 years (can it really be that long?) since the band formed, they haven't lost a beat. (NO pun intended here.)
There's music composed by the band members ("I Like It Like That" is truly funky) and the trombones are out front on "AP Touro", a song written by Andrews cousin Troy, better known as Trombone Shorty. These guys are even gutsy enough to start off the album with their take on the Dorothy Fields/ Jimmy McHugh chestnut "Exactly Like You". Its like they lit a fire under the arrangement! Another highlight is NOLa legendary producer and band leader Dave Bartholomew's "Shrimp and Gumbo" which shows how the NOLa beat mixed with jazz riffs to create its own gumbo. "Feelin' Free" is a seven-minute-plus take on the Jermaine Jackson song.
Mardi Gras may be over for this year but its always time for a New Orleans party. Rebirth is now on Mark Samuels' NOLa-based Basin Street Records label and they are sure to get the promotion all of BSR's fine roster of artists has received. Highly recommended.
Steve Ramm
"Anything Phonographic"
There's music composed by the band members ("I Like It Like That" is truly funky) and the trombones are out front on "AP Touro", a song written by Andrews cousin Troy, better known as Trombone Shorty. These guys are even gutsy enough to start off the album with their take on the Dorothy Fields/ Jimmy McHugh chestnut "Exactly Like You". Its like they lit a fire under the arrangement! Another highlight is NOLa legendary producer and band leader Dave Bartholomew's "Shrimp and Gumbo" which shows how the NOLa beat mixed with jazz riffs to create its own gumbo. "Feelin' Free" is a seven-minute-plus take on the Jermaine Jackson song.
Mardi Gras may be over for this year but its always time for a New Orleans party. Rebirth is now on Mark Samuels' NOLa-based Basin Street Records label and they are sure to get the promotion all of BSR's fine roster of artists has received. Highly recommended.
Steve Ramm
"Anything Phonographic"
2 of 2 people found the following review helpful
Rebirth still blows doors off quite nicely
5 July 2011
Format:Audio CD
We live in an era of great brass bands, a time when people argue over who's the best and global brands sponsor grand competitions. New kids use horns to escape violence while old heads lead protest marches and school programs. As successful as any outfit in the last 30 years, the Rebirth charge forward through this landscape armed with their signature mix of power and filth.
The new record begins with "Exactly Like You," a standard and the opposite of your typical brass band boast. Then things get grimy, with the songwriting team of Phil Frazier and Glen Andrews telling us how a certain somebody likes it (front and back) over speeding horns and snare. "The Dilemma" gives us that Rebirth swagger and shadow, a missive from a Tuesday night second set. That's a compliment to producer Tracey Freeman. We get short doses without the meandering or filler of a live album, but with a balanced fullness that never sounds overly brightened or packaged.
The Troy Andrews-penned "AP Touro" allows the fellas to ascend, cut and pound. At their best, the Rebirth sound like martial swordsmen who group into unison when needed, then race out to new vistas or broaden shoulders to hold down the fort (and of course, taking time to stop at the corner bar). We are rarely in unknown territory on Rebirth of New Orleans, but the album transmits the ferocity that defines the contemporary lineup, with fewer words and more minor keys.
They test themselves in "Feelin' Free," the crossflows of the horns working in sunny contrasts with wild percussion, sounding Caribbean. Overall, the band resists experimentation with new forms, seemingly more interested in blowing the doors off than opening new ones. And, as this record attests, the Rebirth still blows doors off quite nicely.--Brian Boyles, OffBeat Magazine, April 2011 issue.
The new record begins with "Exactly Like You," a standard and the opposite of your typical brass band boast. Then things get grimy, with the songwriting team of Phil Frazier and Glen Andrews telling us how a certain somebody likes it (front and back) over speeding horns and snare. "The Dilemma" gives us that Rebirth swagger and shadow, a missive from a Tuesday night second set. That's a compliment to producer Tracey Freeman. We get short doses without the meandering or filler of a live album, but with a balanced fullness that never sounds overly brightened or packaged.
The Troy Andrews-penned "AP Touro" allows the fellas to ascend, cut and pound. At their best, the Rebirth sound like martial swordsmen who group into unison when needed, then race out to new vistas or broaden shoulders to hold down the fort (and of course, taking time to stop at the corner bar). We are rarely in unknown territory on Rebirth of New Orleans, but the album transmits the ferocity that defines the contemporary lineup, with fewer words and more minor keys.
They test themselves in "Feelin' Free," the crossflows of the horns working in sunny contrasts with wild percussion, sounding Caribbean. Overall, the band resists experimentation with new forms, seemingly more interested in blowing the doors off than opening new ones. And, as this record attests, the Rebirth still blows doors off quite nicely.--Brian Boyles, OffBeat Magazine, April 2011 issue.
Damn fine brass band
29 Mar 2012
Format:Audio CD|Amazon Verified Purchase
I caught Rebirth at the Gasparilla Music Fest in Tampa, then immediately bought their new album. This is a solid brass band, talented as hell, just unrefined enough to be "authentic", and the tracks are a pretty good mix of traditional New Orleans brass band stuff and the new Rebirth Brass Band sound. Great stuff.
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