Dr. Michael White Albums (8)
'Blue Crescent'
Release Date 1/1/2008
Tracks 14
Label Basin Street Records
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What The Critics Say
New Orleans native Dr. Michael White is one of countless musicians who suffered irreplaceable losses from the devastation of Hurricane Katrina in 2005, as flood waters destroyed the musicologist's vast collection of vintage instruments, recordings, sheet music, books, films, original compositions and more. But his attitude is refreshing, as White is happy to have his health and memories, so this CD project obviously serves as part of the healing process for him. A number of New Orleans natives took part in this project, including trumpeter Nicholas Payton, trombonist Lucien Barbarin, bassist Roland Guerin and drummer Jason Marsalis, among others. White's music represents his own reflections of life in New Orleans, incorporating many of the traditions and emotions heard in the music, rather than merely being focused on the storm, as several other projects have. White's free-spirited clarinet is prominent throughout the disc, with the band having the flavor of collectively improvising on many of his themes. "Katrina" begins with storm sound effects, giving way to a percussive funeral cadence and mournful clarinet. But the upbeat "King of the Second Line" signals the desire to party, an essential part of life in New Orleans. The clarinetist's spunky take of W.C. Handy's "St. Louis Blues" will get any crowd on its feet, while the revival of the old hymn "Will the Circle Be Unbroken" sounds as if it could be used in place of "When the Saints Go Marching In" after a traditional New Orleans funeral service. This closer demonstrates the "can-do" spirit of Dr. Michael White as he and fellow Crescent City residents rebuild their lives following the devastation of Katrina. ~ Ken Dryden, All Music Guide
'Dancing in the Sky'
Release Date 4/20/2004
Tracks 13
Label Basin Street
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What The Critics Say
Dr. Michael White has recorded fairly often since the early '90s, and displays the feel and spirit of the best New Orleans clarinetists. On some of his previous sessions, he slips out of tune in spots, but happily that is not the case on Dancing in the Sky, which is easily his finest recording to date. White composed all but two of the selections and, while some pieces are based on obvious predecessors, others are more original. White is joined by an excellent rhythm section, one of three trumpeters (Nicholas Payton, Mark Braud, or Gregory Stafford), and trombonist Lucien Barbarin. The opening "Algiers Hoodoo Woman" is a little reminiscent of "The Mooche," having the same mysterious feel. Payton, who takes both a wah-wah and an open solo, perfectly fits into this classic style. "Dancing in the Sky (Reflection)" is a cheerful piece featuring Gregory Stafford on trumpet and vocal. "The Truth of the Blues," a quartet showcase for White, is essentially George Lewis' "Burgundy Street Blues," while the catchy "Give It Up" has the same chords as "Bei Mir Bist Du Schon." "The Hag's Rag" is a delightful new rag by White, on which he recalls Tony Parenti a bit. The old-time vaudevillian blues "Angel in the Day (Devil at Night)" features the singing of Thais Clark and a surprise ending in the lyrics. "Jambalaya Strut" brings back the sound of Jelly Roll Morton's Red Hot Peppers in an arrangement that expertly uses breaks with White emulating Johnny Dodds and Payton taking a stop-time solo. "Where the Mighty Mississippi Sleeps" is a melancholy ballad that contrasts with "New Orleans Bounce," a lengthy romp for White on a medium-tempo blues. The set concludes with the feel of early-'30s Duke Ellington on "Creole Nights," a vocal by Gregory Stafford on "Down by the Riverside," some emotional clarinet on a slow "Amazing Grace," and a parade band stomp ("Dancing in the Sky [Transition]") that has all three trumpeters interacting. Everything works on this memorable outing, which is highly recommended to fans of New Orleans jazz. ~ Scott Yanow, All Music Guide
'Jazz From the Soul of New Orleans'
Release Date 5/7/2002
Tracks 11
Label Basin Street
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What The Critics Say
Clarinetist/educator Dr. Michael White doggedly insists on the fresh creative potential of the very earliest jazz, and on this record he makes the case eloquently. Playing standards, crafty originals, and public domain spirituals, White emphasizes the polyglot nature of the New Orleans jazz heritage. The Spanish tinge of "Martinique" and "Calypso Girl," the gospel strains of "In the Beautiful Garden of Prayer," the good-time swing of "Fidgety Feet": White's fluttering, soulful clarinet directs it all, and his group responds with spirited, back-to-basics improvisation. (Thais Clark's bawdy vocal on "Horn Man Blues" is priceless.) One can hear echoes of White's old-but-new concept on more modern albums like Ted Nash's Sidewalk Meeting. ~ David R. Adler, All Music Guide
'A Song for George Lewis'
Release Date 5/16/2000
Tracks 13
Label Basin Street
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What The Critics Say
Prior to this recording, jazz historian, educator, and clarinetist Michael White had studied under and performed for many years around the world with contemporaries of clarinetist George Lewis -- a central figure of the New Orleans revival of the '50s -- and A Song for George Lewis serves as a centennial celebration of the birth of the Crescent City jazz legend. The set is worthy of its inspiration and, generally speaking, is high-quality authentic, traditional, New Orleans-style jazz. It is an album overflowing with vibrant color and one that evokes a variety of moods. White selected a baker's dozen of songs --marches, hymns, blues, pop songs -- many of them popularized by or staples in the repertoire of the various aggregates led by Lewis, including numerous classic New Orleans tunes, a few spirituals, and a couple compositions by Lewis himself, including his charming "Burgundy Street Blues," a signature tune of sorts. In addition, Dr. White throws in a couple of his own originals --including the title cut march --which fits seamlessly in the album's flow. The music is rollicking exuberance at times ("Bugle Boy March"), mournful at others ("Just a Closer Walk with Thee"), and often a finger-snapping party ("St. Phillip Street Breakdown," "One Sweet Letter from You"), but the music is, on the whole, accomplished. White's solos are consistently marvelous, and he assembled a crack ensemble around him, a mixture of young and more established players who work off their sources of inspiration without mimicking them. It is certainly not modern jazz by any stretch of the imagination, often being relegated to New Orleans parades and funerals. But the recording is so evocative of the city and expressive of such a broad range of emotions that it could serve as a worthwhile introduction to jazz's early legacy. And it would have certainly made George Lewis proud. ~ Stanton Swihart, All Music Guide
What The Critics Say
Shake It and Break It combines two sessions recorded in 1981 and 1987, hosted by jazz educator, historian, and clarinetist Michael White. This group of New Orleans musicians ranges in age and experience, but are connected by a love and passion of traditional unadulterated New Orleans jazz in its original form. While the versions of these traditional tunes are heartfelt, at times the performances sound stilted and tired, especially on the ten sextet tracks recorded January 1, 1981. The last five tracks, recorded six years later with a quintet of completely different players, are noticeably more lively. ~ Al Campbell, All Music Guide
'A Tribute to Johnny Dodds'
Release Date 2/8/2000
Tracks 11
Label Jazz Crusade
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What The Critics Say
Dr. Michael White teaches Spanish and Afro-American music at Xavier University. But his avocation is working to assure preservation of the New Orleans jazz tradition through writings, lectures and, as here, performing. Selecting soul-mate fellow clarinet player Johnny Dodds as the subject for this CD, White recreates tunes Dodds wrote and played with either his own group or with one of the many groups he was a member of during his performing years. The older brother of drummer Baby Dodds, he was largely self taught although he is purported to have taken some lessons from master New Orleans clarinet teacher Lorenzo Tio. Although not as technically adept as other New Orleans clarinet players like Jimmie Noone or George Lewis, Dodds possessed a unique and memorable tone which White faithfully follows. The rendition of "Loveless Love," which Dodds put to wax in April of 1927, is traditional jazz at its purest. The solemn trumpet of Norman Thatcher, both in solo and in unison with White's mournful clarinet, makes this cut one of the highlights of the album. There are some rarities here as well, like "Melancholy," "Blue Clarinet Stomp," and "Bull Fiddle Blues," all of which Dodds wrote and of which he was virtually the only performer. Discographies reveal no other recordings of these pieces by anyone else from that period. The set includes "Wild Man Blues," which Dodds recorded with his Black Bottom Stompers as well as with Louis Armstrong & His Hot Seven. White receives A-one support from players who share his admiration and feel for the New Orleans style. In addition to Thatcher, Emil Mark's piano and Colin Bray's bass are fully synchronized with White's interpretation of the music Dodds wrote and played. Big Bill Bissonnette, the driving force behind Jazz Crusade Records, is here playing the typical New Orleans style of drums. Solid stuff and recommended. ~ Dave Nathan, All Music Guide
'Crescent City Serenade'
Release Date 7/6/1992
Tracks 14
Label Antilles
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What The Critics Say
Early-period jazz from New Orleans clarinetist/historian. Excellent recording. ~ Michael G. Nastos, All Music Guide
'New Year's Eve Live at the Village Vanguard'
Release Date 4/21/1992
Tracks 10
Label Antilles
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What The Critics Say
The people of New Orleans really know how to have a party, from Mardi Gras to a backyard crawfish boil. New Year's Eve is no exception, and this CD captures the New Orleans party spirit live and on the road in New York. In what has become an ongoing tradition, Dr. Michael White & the Original Liberty Jazz Band take their polyphonic traditional jazz sound to the renowned Village Vanguard to ring out the old and ring in the new, Big Easy style. The joyous event has become quite a happening and is broadcast live on many NPR stations across the country. This CD was recorded in 1992, and can be played whenever you need a lift, or want to have an instant dance party. The CD is simply one of the best live jazz performances ever recorded. The intimate atmosphere of the club, the enthusiastic crowd, and the fantastic lineup of jazzmen combine for a rare listening experience. Dr. Michael White, who is a university professor of Spanish, is also quite the traditional jazz historian. His knowledge serves him well as master of ceremonies. Then there is his clarinet. It sounds sweet and clear, especially on his rendition of the French unofficial national anthem, Sidney Bechet's "Petite Fleur." The Original Liberty Jazz Band is made up of some of the greatest players of traditional jazz in New Orleans. Most play regularly at the venerable Preservation Hall in the French Quarter. They include Steve Pistorius on piano, Pappa Don Vappie on banjo, Wendell Brunious on trumpet and vocals, Freddie Lonzo on trombone, Richard Paine on bass, and Louis Cattrell Jr. on drums. Together, they turn in some fine music. Wendell Brunious is entrancing on the vocals of "Kiss Me Sweet," the album's only slow-tempo cut. Most of the pieces are high-energy tunes that tear the roof off the place. "By and By," "Canal Street Blues," and "St. Philip Street Breakdown" are standouts. The group is then joined by special guest Wynton Marsalis for the finale, a swinging "Lord, Lord, Lord." What a way to bring in the New Year. ~ Rose of Sharon Witmer, All Music Guide
