The news of Alvin Batiste’s death of an apparent heart attack early Sunday morning came as I was preparing to write a few words about his new CD. A great clarinetist, a masterly transmitter of the jazz tradition, Batiste was scheduled to play Sunday at the New Orleans Jazz and Heritage Festival with Branford Marsalis and Harry Connick, Jr., two of the legion of Louisiana musicians who learned from him. As head of the music department at Southern University in Baton Rouge, much of Batiste’s teaching was in that four-year institution, but in recent years he was also the primary teacher of jazz instrumental music at the New Orleans Center for Creative Arts (NOCCA).
He teamed with NOCCA’s founder, his lifelong friend Ellis Marsalis, to help shape the abilities of Connick, the Marsalis brothers (Branford, Wynton, Delfeayo and Jason), drummer Herlin Riley, saxophonist Donald Harrison and dozens of other young New Orleans musicians who have become prominent in jazz.
The first black soloist with the New Orleans Philharmonic, Batiste was thoroughly grounded in the formal rules of music and brilliant in breaking them. As effective in free music as he was in traditional jazz and bebop, Batiste jammed with Ornette Coleman during Coleman’s New Orleans sojourn in the 1950s. Along with Ellis Marsalis, Harold Battiste, Ed Blackwell, James Black, Melvin Lastie, Al Belletto, Warren Bell, Jr. and a few others who fell under the spell of Charlie Parker, Dizzy Gillespie, Bud Powell and other pioneers of bebop, he helped establish modern jazz in the city.
In my encounters with Batiste in New Orleans over the years, I found him kind and gracious, with an endearing soft humor. In Batiste the educator those qualities were wrapped around a core of iron; he once ejected Branford Marsalis from the Southern University jazz band for insufficient commitment. Marsalis later said that the experience concentrated his focus. He went on to become one of the deepest improvising musicians of his generation.
Batiste’s Cd titled Alvin Batiste is an initial release in the Honor Series on the Marsalis Music label. It was produced by Branford Marsalis, who plays saxophone on three of its tracks. Riley is the drummer. The other name musician is guitarist Russell Malone. They are supported by two youngsters Marsalis recommended, pianist Lawrence Fields and bassist Ricardo Rodriguez, both impressive in this fast company. Singer Edward Perkins appears on four tracks. Batiste has played farther out than he does in this collection, but the CD provides a broad acquaintance with his scope, his daring and the depth of his fat sound. Seven of the ten compositions are Batiste’s, including “The Latest,” based on John Coltrane’s “Countdown” and the funky anthem “Salty Dogs,” which was adopted years ago by Cannonball Adderley. Exchanging phrases on “My Life Is A Tree,” Batiste and Marsalis, on tenor sax, are continuations of the same line of thought. Batiste’s bebop foundation is in stimulating evidence in the “Cherokee” derivative called “Bat Trad.”
Batiste’s concentration on music education kept him occupied. As a result, there is precious little of him on recordings. We may consider the CD Alvin Batiste a posthumous gift.
Quint Davis, the director of the New Orleans JazzFest, sums up Batiste’s importance in this interview with WDSU-TV. The New Orleans Times Picayune combines an obituary and a wrapup of the concert that replaced Batiste’s appearance at the festival.
Branford Marsalis will play with his quintet this week at The Seasons. I look forward to reminiscing with him about his friend and mentor.