NOLA: Music and Drawings from New Orleans (One Microphone Recording)

Flophouse Magazine

NOLA is one step further in the remarkable development of RED. Black is the color of my true love’s hair. But red is the color of passion, wild roses, wine wine wine spo-dee-o-dee and the glow of the red-light district.

RED, the band of trumpeter Ellister van der Molen, organist Bob Wijnen, tenor saxophonist Gideon Tazelaar and drummer Wouter Kühne, buoyantly evokes the spirit of New Orleans, cradle of jazz, art form born out of sleaze, resilience, and the blues on NOLA. It delivers on the promise of RED’s promotional motto of ‘vibrant, uplifting’ jazz.

Van der Molen and Wijnen spent one week in The Big Easy in November 2019 and have turned their experience into song. The album was recorded in front of a live audience at Muziekcentrum van de Omroep (MCO) in Hilversum. Killer vintage sound and atmosphere that makes momma Van Gelder proud.

RED feeds off legends Louis Armstrong, Sidney Bechet, Jelly Roll Morton, James Black, and The Meters with various interesting approaches, turning in the restrained march of St. James Infirmary that features joyful muted trumpet, a modernized Blues My Naughtie Sweetie Gives To Me reminding us of the minor-keyed Jazz Messengers gems and the party-hardy Tom Cat Blues. Furthermore, the traditional Just A Closer Walk With Thee has an intriguing modal feel and a maximum of ‘ton-sûr-ton’ coloring.

The band delights in funk Jazz, Latin tinges, and the original Van der Molen ballad, Sola, which translates as ‘lonely’. Van der Molen’s attempt, through lyrical blue-isms and crystalline, outgoing high notes, as a contemplation on both the melancholic and purifying aspects of loneliness, is highly engaging and successful. In her own words, ‘a real tearjerker’. Ain’t that the truth!

Good vibrations have been at the core of RED’s personality from its inception in 2017 but NOLA signifies a maturity arguably heretofore absent. Tazelaar’s pleasantly languid beat is reminiscent of the old tenor masters and his contributions are playful and marked by surprising tranquility. His full and warm tone matches well with Van der Molen’s sweet-sour sound and both revel in the company of the spirited Kühne and Wijnen, who slaughters a couple of turkeys with spirited and well-developed single Hammond organ lines. Wijnen’s concise solo intermezzo’s between songs heighten the tension of the main course.

This is a strong effort reminding us of the miraculous melting pot legacy of New’ Awlins (New Orleans).

Francois van de Linde - Source