The New Orleans Jazz Orchestra at first might sound like a contradiction in terms, with the reputation of New Orleans jazz being on the raw side and a big band considerably more refined and streamlined.
But the 18-piece band led by trumpeter Irvin Mayfield successfully straddled both traditions Thursday night at the Manchester Craftsmen’s Guild Jazz Concert Hall. Not only did the band add instrumentation befitting its Crescent City base — James Williams switched off between trumpet and tuba; Sam Friend, between guitar and banjo — but also all the soloists were top-notch.
The band opened with a pedestrian “Sing, Sing, Sing,” which was surprising (Why would a group from the Big Easy do a tune associated with the Swing Era?). But as it turned out, the composer Louis Prima came from there. Alto saxophonist Jeronne Ansari bent and nearly broke a bunch of notes during Duke Ellington’s “Star-Crossed Lovers,” at one point spiraling from one note to a much higher one as a trombone player might.
The best tune was the stark, dark “Angola,” a movement from a suite that Mr. Mayfield had composed some time ago and a reference to a notorious Louisiana prison. The tune featured baritone saxophonist Jason Marshall and, especially, trumpeter Ashlin Parker, who was allowed to stretch out.
A little humor never hurts, either. During his patter Mr. Mayfield talked about finding someone on the street whom band members could teach to sing jazz that day and bring to the show that night. When that didn’t happen — as if it could — the band instead brought up trombonist Leon “Kid Chocolate” Brown to sing “I’ve Got the World on a String,” doing a trombone imitation in the process. Mr. Marshall also got to play here, at times in the soprano range. And with two other members taking the mic for Louis Armstrong tributes — trombonist Michael Watson for “What a Wonderful World” and Mr. Williams conjuring Mr. Armstrong’s rasp on “You’ve Got a Friend in Me” — the band didn’t need to hire a vocalist.
Mr. Mayfield saved the most somber moment for last with “May His Soul Rest in Peace,” written in memory of his late father and part of which resembled a chorale. But it didn’t remain somber for long, as at the end he ripped off an amazing cadenza, including a snippet of “Amazing Grace.” And, at the very end, he tried to introduce everyone during — what else? — “When the Saints Go Marching In,” with all but the rhythm section coming down to stand in front of the audience.
The only real negative was that it was difficult, if not impossible, at times to hear the soloists over the backgrounds.
Rick Nowlin: rnowlin@post-gazette.com or 412-263-3871.
First Published: February 21, 2015, 5:00 a.m.