VAPPIELLE MUSIC PRODUCTIONS1705 South Jahncke Ave.

Covington, LA 704331 (985) 893-7785

info@vappielle.comwww.vappielle.com

DON VAPPIE& the

CREOLE JAZZ SERENADERS

Dedicated to contemporary performance and recording of classic jazz compositionsfrom the 1920’s and 30’s, Don Vappie’s Creole Jazz Serenaders’ main goal is to providetoday’s audiences with a glimpse of “the real spirit of early jazz,” a period when jazz was the“pop” music of the time.

“Several years ago, it became apparent to me that the label ‘‘traditional jazz’ hadbecome more a repertoire of tunes chosen from a short list of familiar titles,” band leaderand arranger Don Vappie explains. “What I’ve tried to do with the Creole Jazz Serenaders, isbring both the spirit and sophistication of classic jazz back to life by presenting neglectedsongs from that era that are also lively and entertaining. I hope to illustrate the kinds ofmusic played when jazz was young, as well as the complexity of many of these pieces.When we perform, I always try to provide a sense of fun and energy that demonstrates tomodern audiences why this music was the dance music of that generation.”

With the help of Milly Vappie, a cultural historian and researcher, Vappie compiled asong list for the group’s first recording, CREOLE BLUES, which includes lesser-known tunesfrom the likes of Jelly Roll Morton, Jabbo Smith, Sam Morgan, and The New Orleans Owls.Drawing heavily on the Creole heritage of New Orleans, Vappie has included early Creole jazztunes performed in the traditional French patois of the region. The Creole Jazz Serenadersare one of the few bands that incorporate French Creole jazz songs in their repertoire.

The group’s second major project, “In Search of King Oliver” was sponsored by RobertParker, an Australian producer and host of the Public Radio International syndicated series,“Jazz Classics in Stereo.” In 1997, the Creole Jazz Serenaders recorded 18 classiccompositions from Vappie’s transcriptions of songs originally recorded in 1923 by KingOliver’s Creole Jazz Band. Parker described this recording as sounding more like King Oliver’smusic than anything done in the last 70 years.

In the spring of 1998, the Creole Jazz Serenaders, in conjunction with the HistoricNew Orleans Collection, presented “The Lost Manuscripts of Jelly Roll Morton” premieringnewly discovered Morton compositions. And in 2003, the Creole Jazz Serenaders,performing with the Corpus Christi Symphony Orchestra during their 2002/2003 season in aprogram entitled “Gumbo,” debuted Vappie’s original arrangements of jazz classics for jazzband and symphony.

With a very real sense of living, tradition, the Creole Jazz Serenaders breathe new lifeinto classics of a bygone era, without resorting to the kind of self-conscious stiffness oftenfound in historic recreations. Instead, the band delivers to contemporary audiences all theexcitement and satisfaction this music first brought to audiences more than 70 years ago.

DON VAPPIE – BIO

Born in New Orleans, in 1956, Don is presently one of New Orleans premier musicians.He studied music at Loyola University and Xavier University in New Orleans and isconsidered one of the best and most original tenor banjoist in the world. Don grew upplaying funk, rhythm and blues, and pop music with one of New Orleans most popularbands “Trac One.” At the age of 17, he became a member of Dick Stabile’s Orchestrabased at New Orleans Fairmount Hotel’s Blue Room. While a member of this group, hebacked up artists such as Joel Gray, Carol Channing and Peggy Lee, who was soimpressed with the young musician, she offered him a position in her band whenever hefelt ready to leave home. In 1988, he became a regular at New Orleans famed jazz club,Preservation Hall and toured with their jazz band from 1999 to 2005. With his band TheCreole Jazz Serenaders (CJS), Don produced two recordings that have receivedworldwide attention. His Creole Blues was chosen by Offbeat magazine as one of the100 Essential Louisiana CD’s and his recording and transcription of Joe “King” Oliver’smusic became the subject of a Public Radio International Broadcast radio series entitled“In Search of King Oliver.” Appearing several times as a guest with Wynton Marsalisand the Jazz at Lincoln Center Orchestra, Vappie can be seen on PBS’s Live at LincolnCenter’s Tribute to Louis Armstrong, and has toured and recorded with the Jazz atLincoln Center Orchestra and as a member of Marsalis’ band. Don can also be heardwith Mr. Marsalis on his Standard Time, Vol. 6: Mr. Jelly Lord, the soundtracks for KenBurns’ JAZZ, and Unforgivable Blackness, the story of Jack Johnson. In addition, he hasrecorded several movie soundtracks such as Eve’s Bayou, Next Friday, Saintly Switch,and The Tempest under the direction of jazz artist, Terence Blanchard. Vappie and CJS,can be seen in the movie, Homefront, and the 2006 IMAX release, Hurricane Warningfor which he wrote the opening song. Vappie has appeared on the Smithsonian’sFolkmaster Radio Series honoring Banjo masters, and transcribed early jazz compositionspublished by Warner Brothers in conjunction with the Smithsonian, Lincoln Center andthe National Park Service. In 1999, Don was chosen by the Historic New OrleansCollection to serve as musical director for the premier of newly discovered Jelly RollMorton compositions in a program entitled “Jelly’s Big New Band.” He has servedseveral times as a jazz mentor for classical music apprentices at The Hot Springs MusicFestival lead by conductor, Richard Rosenberg. In 2003, Don and CJS were invited toperform his orchestral arrangements of early jazz pieces with the Corpus ChristiSymphony conducted by Rosenberg. Instrumental in bringing attention to the Creole jazzmusic of his heritage, Vappie has served as a panelist, presenter and performer at severalsymposiums and conferences, most recently, the Black Banjo Gathering at AppalachianState University in Boone, North Carolina. He has been featured in articles in magazinessuch as Mississippi Rag and, FIGA, the news magazine for the Fretted Instrument Guildof America. Don has recorded and toured with several European bands from Germany,France and Denmark just completing a month-long European tour in March 2005.Currently working on the production of two new CDs, Don is also developing projectswith Victor Goines, Director of Jazz at Julliard, as well as, Michael Doucet, leader of theGrammy-wining Cajun Band, BeauSoleil. In addition to Marsalis, he has performed withsuch notable artists as Danny Barker, Doc Cheatham, Dick Hyman, Charles Neville,Johnny Adams, Marcus Roberts and Jon Faddis.

May 1998 Jonathan Tabak’s FEST FOCUSPage 1 of 2

Magazine

May 1998 Jonathan Tabak’s FEST FOCUS

DON VAPPIE & THE CREOLE JAZZ SERENADERS

Think of “traditional” or “classic” New Orleans jazz and what comes to mind? The scratches, hisses, andpops of a mono recording from the dawn of the recording era? A group of venerable musicians faithfully playingthe same old tunes, “The Saints,” “Down By The Riverside,” etc., according to the same old formula: play themelody, take solos, repeat the melody? Did you just stifle a yawn?

Well, that’s changing now, thanks to Don Vappie and his group of “Creole Jazz Serenaders,” who, like anafternoon dose of café au lait and beignets, are putting the life back into this great artform.

What makes them different? The choice of tunes for one thing. A gong ceremoniously opens Creole Blues,their debut album. The first cut is “Peculiar,” a tune written by the largely forgotten Harry Bonano (sic) and HarryShields, and the record continues to delight with lost gems by the likes of Jabbo Smith “The Dizzy Gillespie of thatera,” Papa Charlie Jackson and, rarest of all, a few traditional French Creole tunes, such as the title cut. Vappie,who plays tenor and six-string banjo, guitar, bass, vocals and washboard on the record, had grown tired of playingthe old stand-bys. “Why keep playing ‘Bill Bailey’?” he questioned. “Not that ‘Bill Bailey’ is a bad song, but Imean, that’s what it’s turned into. People come to New Orleans, they want to hear ‘The Saints,’ ‘Down by theRiverside,’ ‘St. James Infirmary,’ ‘Tiger Rag’ . . .You know, all of those tunes are great, but that’s just a small partof the galaxy . . . That’s just like one address in a city.”

He and his wife, Milly, a cultural historian, went in search of tunes that capture “the real spirit of earlyjazz.” They mined collections in New York and Europe, where it is revered more so than in its native New Orleans,and discovered wonders like Sam Morgan’s “Short Dressed Gal.” This song has a fresh, “double-dutch” rhythmicquality that makes it jump with spunk. Suddenly you can understand why, even though it is structurally complex,this was hot dance music. “See, that’s 1927 or 28, but to me, that’s funk,” says Vappie. “And it does not fit therules that people set down for a traditional New Orleans jazz band, yet these guys [Sam Morgan’s band] were oneof the most popular groups around.”

Born in 1956, Vappie comes from the unique Creole heritage of New Orleans that is so often overlooked(Jelly Roll Morton and King Oliver were Creoles). His great-uncles “Papa” John and Willie “Kaiser” Joseph wereamong the earliest jazz musicians, and their descendent, Stanley Joseph, Vappie’s longtime drummer, is proof thatmusic still runs strong in the Joseph blood.

It may seem strange now, but Vappie came of age musically in the late-sixties and seventies, and firstgained notoriety as the electric bassist for the popular funk group, Trac One. Surprisingly, he sees this experienceas training for what he does now. “A bass line in a funk group, you lay down a certain thing, and thecombination of all these things together creates the funk. And that’s so similar to New Orleans jazz. Everybody’sgot a role, a part to play . . . You know, when I was growing up it might have been the last generation of bands,where you had the same guys in the band pretty much all the time and the band had it’s own identity. And that istraditional New Orleans, that is in the tradition of King Oliver. No we weren’t playing 1920’s pop music, which isearly jazz, we were playing 70’s pop music, but we were doing it in the New Orleans tradition. That is tradition, .. . having your shoes spit shined, and wearing a suit from the fifties and sounding like George Lewis. That is nottradition. That is copycat.”

Vappie’s band . . . are extremely versatile young musicians with backgrounds ranging from classical tomodern jazz. Instead of focusing on the solos for inspiration, they focus on the joyous ensemble playing that wasactually popular at that time in New Orleans. Instead of trying to duplicate the exact phrasing and instrumentationof the original music, they use that period’s stylistic ingredients more creatively. On “Short Dressed Gal,” forexample, Vappie spices it up with a “walking” rhythmic line on his banjo which wasn’t in the original music, butwas a popular device of that era.

“To me, that’s what traditional jazz is about, if you want to call it that. It’s about, okay, what kinds ofthings did guys do in that period? The banjo did these things, there were breaks, modulations. Okay, incorporateall the aspects of the style, and you can play any song you want. You can play ‘I Feel Good’ by James Brown if

May 1998 Jonathan Tabak’s FEST FOCUSPage 2 of 2

you incorporate all the style. It’s a matter of how you arrange it, you know? Because it’s not about a repertoire,it’s about a style.”

This philosophy has served the Creole Jazz Serenaders well. Creole Blues has received good reviews insuch unlikely places as the folk magazine Dirty Linen, and their performances have attracted a wider audience.Their first Jazz Fest in ’96, they were scheduled at 12:30 on Thursday, hardly a choice slot, but by the third tune thetent was overflowing. When they finished, people jumped out of their chairs to give a rousing ovation. This yearthey close out the Economy Hall tent. . . .

For that show, and . . . at Le Petit Theatre, they will present “The Lost Manuscripts of Jelly Roll Morton.”This will be the world premiere of Morton compositions which recently turned up in Bill Russell’s jazz collection . . .including advanced big band arrangements Morton wrote before his death. . . .

For the Le Petit Theatre shows . . . the Serenaders will also unveil the music from their latest major project,In Search of King Oliver. This record is a collaboration with Robert Parker, the famous Australian producer/sound-engineer and host of Public Radio International’s syndicated series “Jazz Classics in Stereo.”

Parker, who has spent his life re-engineering classic jazz records so that they could be enjoyed by amodern audience in stereo, discovered Vappie’s band only a year and half ago, but immediately recognized theopportunity to complete a life long dream: “To hear what the King Oliver band would have sounded like if youcould have heard it in Chicago in 1923, instead of having to listen to the really truncated sound which comes off theearly horn recorded 78’s.”

In 1923, a young Louis Armstrong had recently joined King Oliver’s Creole Jazz Band in Chicago. Therecords they made are essential links to jazz origins, when, as Parker says, “the music was so inventive, so vitaland so young.” The problem is that the sound quality of these recordings is especially bad; some instruments fadein and out and the drums and bass can hardly be heard.

For many years, Parker dreamed of recreating these recordings under the right conditions, but he knew itwould take someone who could flesh out the arrangements and play with the right spirit. “It’s needed someone likeDon Vappie to emerge,” he says, “and it could only happen here [in New Orleans], which is so fascinating. I couldhave tried to do this with a group of British musicians and it wouldn’t have worked. Because there is a culturalinput to this music which is still very much alive here. Don and his cousins who make up the rest of the rhythmsection, they’re all of a mind. They’ve grown up all their lives hearing the rhythmic patterns of New Orleans jazz,which pervade everything here, still.”

Vappie puts it another way: “We grow up with a natural ability to feel rhythm in New Orleans. I meanwe live it. We live the rhythm in New Orleans.”

After testing a variety of locations for the perfect acoustics, Parker and the Serenaders went into the St.Joan of Arc Church in Uptown New Orleans last December to record the King Oliver music, which had beenpainstakingly transcribed and arranged by Vappie. Wherever something was missing on the records, a section of acornet line, for instance, he brilliantly “filled in the blanks.” Together with his band, he managed to unlock thevibrant energy imbedded in the music. It’s like a statue come to life.

“To get back to what King Oliver was doing is really exciting,” says Parker, . . . “Because this is reallycomplex, difficult music, that can only be played by the most accomplished and skilled musicians, which those guysin 1923 were.”

For Vappie, he didn’t originally see the need to resurrect songs like “High Society,” because they arealready so well known, but now he feels differently. “It was a real thrill to hear it. I thought, man, this iscounterpoint at its best. It sounded so New Orleans to me. Songs like ‘I’m Going Away To Wear You Off MyMind’ and ‘Canal St. Blues,’ they’re beautiful. If I close my eyes I can hear the streetcar rocking back and forth.That’s how connected this whole thing feels to me.”

February/March 1998

Don Vappie and The Creole Jazz SerenadersCreole Blues

Perhaps one of the greatest challenges of exploring past genres iskeeping true to the style without presenting it like a museum piece. Forbanjoist Don Vappie, Creole Blues succeeds with a refreshing examinationof the seminal New Orleans jazz music from the 20s through the 30s.Vappie and wife Milly carefully researched the album’s selections, makingit a classic representation of the era’s lesser-known tunes. Vappie arrangedthe material to fit his band’s stellar lineup of trumpet, clarinet, alto andtenor sax, piano, and drums.

The 12 selections present a snapshot of divergent and integrated NewOrleans’ early jazz music, as well as its evolution. “Creole Blues” and“Salee Dames, Bon Jour” are sung in Creole French, a dialectic variety thathistorically stems from Martinique. Interestingly enough, these two tunesare among the only nine tunes ever recorded in French by Creole jazzmen.“Meat on the Table” is a prime example of improvisation and tonality withno main soloist, but rather a conversation between clarinet and trumpet.Two Jelly Roll Morton tunes (“Georgia Swing,” “Red Hot Pepper Stomp”)are wailing, swinging dance numbers, with the latter featuring a stunning,polyphonic improvisation between trumpet, sax and clarinet. “Rhythm inSpain” and Vappie’s dreamy crooning on “Absolutely” hints how CrescentCity jazz was shifting into a big band sound.

Throughout the proceedings, it’s apparent why Vappie and his catshave to stay in sync. The tempos are not blazingly fast, but they do movewith quick breaks that result in a split-second change of soloists. Unlikeother styles of music, no one player dominates the melody. Instead, anintense level of interaction is required. With intricate rhythms, breaks,jumping intervals and extended endings, it’s also less linear than othermusical styles – which makes it more challenging for today’s musicians.Vappie doesn’t attempt to recreate something that’s already been done, butdoes excel in capturing its spirit. And based on that, the spirit of early NewOrleans jazz is in fine shape. Dan Willging (Denver, CO)

MAY 16, 2000, VOL. 21, #20

PERCUSSIONS — By Geraldine Wyckoff

In The Tradition

Banjoist Don Vappie and the Creole Jazz Serenaders are one classact. Standing before their sharp black music stands, the bandfocused on material that was stylistically at the edge of theNew Orleans classic jazz and swing eras. Vappie, who likes toeducate his audience as well as entertain, explained that themusic was from bands that developed in Chicago and New York.His group played several tunes from composer/bandleaderFletcher Henderson, including his 1926 “Henderson Stomp.” Thesong beautifully incorporated the clarinets of Tom Fischer andAlonzo Bowens. “We’re gonna do a tune by Duke Ellington backwhen he had a banjo player,” announced Vappie beforestrumming on Duke’s “Rock in ’ in Rhythm.” Strongmusicianship and an imaginative and challenging repertoiremade this swinging set really special.

New Orleans' Monthly Entertainment Magazine, May 2003

Don Vappie’s Creole Jazz Serenaders are always a pleasure to experience.Led by the charming banjo/guitar playing vocalist Don Vappie; this groupspecializes in bringing forth the early jazz compositions, style andinstrumentation of such greats as King Oliver, Jelly Roll Morton, JabboSmith, Sam Morgan, Duke Ellington, Sharkey Bonano and others from thepre-swing era of classic jazz. Vappie is also an aficionado of CreoleFrench music and is fascinated with the Caribbean music that becamepart of the “Latin tinge.” I’m certain that Vappie will specifically honor themusic of Martinique as well. Don Vappie’s Creole Jazz Serenaders utilizemeticulous charts and arrangements to create an orchestrated style ofmusic that swings like no other. This is what the New Orleans Jazz andHeritage is all about. (MD)

4/29/03

Don Vappie's Creole Jazz Serenaders

In the dictionary under the word "irrepressible" is a picture ofDon Vappie. One of New Orleans' great trad-jazzambassadors, Vappie is also a scholarly student of the form.But he's no book geek; Vappie delights everyone with hisbubbly demeanor as he plays the banjo or digs into hismammoth collection for his entertaining morning show onWWOZ. In other words, Vappie makes music -- and learningabout music -- very, very fun.

Magazine

Jazz Fest 2003 Redux – May 2003

DON VAPPIE HITS THE JUG

Hats off to Don Vappie for breathing fresh life into the traditional jazzrepertoire at Jazz Fest. Vappie’s set has been completely different for the lastthree years running. When I waltzed in Vappie was singing a Bill Monroegospel tune! From there he segued into a Martiniquan number beforesurprising us with a Jimmy Martin tune popularized by Ricky Skaggs (!).Don Vappie and the Creole Jazz Serenaders’ interpretation of Stuff Smith’s“Old Joe’s Hittin’ The Jug” was one of the day’s brightest moments. Vappiedelighted us with his original “Streamliner.” There was also a very hotversion of Charlie Christian’s “Air Mail Special” in which newcomer GrantHarris channeled the great “talking/squealing” sound of the great CootieWilliams. Rounding out the band was the vastly underrated trumpeterCharlie Fardella, Alonzo Bowens, Tom Fisher, Richard Moten, LarrySieberth and Shannon Powell on the skins.—Michael Dominici

Discography - Don Vappie & the Creole Jazz SerenadersSwing Out - 2005Creole Blues - 1997In Search Of King Oliver - 1999Doctors, Professors, Kings & Queens:... [Box Set - Compilation] - 2004Blues Routes: Heroes & Tricksters, Blues &... [Box Set - Compilation] - 1995

Discography - Don VappieBanjo a la Creole - 2005Papa Don’s New Orleans Jazz Band -1986A Christmas Present - 1994

Discography - Appearing with other artistsUnforgivable Blackness, The Rise and Fall of Jack Johnson

(Wynton Marsalis)Mr. Jelly Lord

(Wynton Marsalis)Jubilant

(Jubilant Sykes)Preservation Hall Hot 4 With Duke Dejan

(Preservation Hall Jazz Band)Shake That Thing

(Preservation Hall Jazz Band)Trad Jazz: The Language Of New Orleans Vol. 4

(Compilation)Christmas Greetings From New Orleans

(Compilation)Mermaids Of The Canary Islands

(Moise And Alida Viator With Eh, La-Bas)Bob French's Original Tuxedo Jazz Band 1993

(Bob French's Original Tuxedo Jazz Band & Joris De Cock)Perdido Street Parade

(New Orleans All-Star Stompers)The Way We Are

(Fred Moolten)Trevor Richards' Legends Of The Swing Era

(Limited Edition)Jazz in Schloß Gracht II "Wrap Your troubles in dreams"

(Maryland Jazz Band of Cologne)Christmas Time in New Orleans

(Maryland Jazz Band of Cologne)"Swingin´ With Finn

(Finn Burich International New Orleans jazz Band)Live at the Village Vanguard

(Dr. Michael White)

CREOLE JAZZ SERENADERSSTAGE LAYOUT

Note: Placement and number of monitors subject to change according to venue.

GUITARBANJOVOCAL

ALTO SAXCLARINET

STRING BASS DRUMS

PIANO

( I )Mic

DI Box

Monitor

TENOR SAXCLARINET

TRUMPETTRUMPET

Monitor

( I )Mic ( I )

Mic( I )Mic ( I )

Mic

( I )Mic

( V )Mic

Boom std

Boom std

( I )Mic

( I )Mic

drums as needed

BASS AMP

GTR AMP

Monitor

Monitor

Monitor

( I )Mic

= instrument mic

( V )Mic

= vocal mic

= music standS

SS S

S

SS S

SS S

( V )Mic

( V )Mic