Snug Harbor Jazz Bistro
The Friday night audience of Snug Harbor looks on with anticipation as Ellis Marsalis’ fingers take their position poised above the piano keys. Jazz veteran and patriarch of the Marsalis jazz empire, Mr. Marsalis commands the stage with statuesque posture and a cool, Southern style.
“If you don’t like us, you can keep your mouth shut and go about your business,” he says cracking a smile. I feel my foot start tapping with the beat as the melodies of Marsalis’ newest album, “Open Invitation to Thelonius”, spread across the room and fill my ears.
Home to jazz greats like Mr. Marsalis and Charmaine Neville as well as younger aspiring musicians, Snug Harbor is hailed as the nexus of contemporary jazz in New Orleans. The famed jazz bistro is appropriately located just outside of the French Quarter on Frenchmen Street, where Jelly Roll Morton once lived. In many ways the antithesis to the monochrome New York jazz club, Snug Harbor features a dual-level showroom with round wooden tables and wooden seats. A projection of a cityscape onto the backdrop of the stage recalls the history of jazz as it traveled from the small jook joints of the south to the larger clubs and lounges of the north. Cozy and sophisticated, Snug Harbor offers an intimate venue with renowned jazz performers and a knowledgeable staff.
Current manager Jay Crispin, informs me that the club suffered a blow in 2007 when its longtime owner George Brumat suddenly passed away. Passionate about and dedicated to the heritage of jazz in his city, Brumat never missed a show. In the wake of such a tragedy, Jay explains that Brumat’s family and staff have vowed to continue his mission of restoring the contemporary jazz scene in post-Katrina New Orleans. Part of carrying out this mission and part of what makes Snug Harbor unique is the opportunity it offers for young jazz musicians to play alongside the experts. Like many other artistic and socio-cultural traditions in New Orleans, jazz is passed down through the generations, and its survival often relies on the spirit of improvisation. I see this spirit of tradition and improvisation in action during Mr. Marsalis’ set. Swaggering back to the stage after finding a napkin to wipe the sweat from his top lip, Mr. Marsalis explains that the saxophonist on his new album recently relocated to New York City. Instead of finding another seasoned saxophonist, he was replaced by a young xylophonist. Mr. Marsalis can’t pass up the opportunity to indulge his sense of humor as he brings the young musician to the stage.
“Throw something at him or a drop a tip in the bucket if you think he’s promising. But make sure not to hit the bass player cause he’s standing right behind him!”
