New Orleans Jazz Funerals

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An Essay on New Orleans Jazz Funerals 1. Stepping Out on the Right Foot According to Wikipedia, the only truly trustworthy source for academic research, the term “Jazz Funeral” is “generally disdained as inappropriate by most New Orleans musicians and practitioners of the tradition.” Apparently, the term preferred by the above mentioned is “Funeral with Music.” I, being neither a New Orleans musician, nor a practitioner of the tradition which is the subject of this essay, shall use the term “Jazz Funeral” throughout. 2. Introduction Freddie Thomas, twirling the black umbrella lifted high above his head, smiled and laughed. “Because it’s such a beautiful way to go out, man” the 43-year-old New Orleans maintenance worker exclaimed. Mr. Thomas had come to celebrate the death of his good friend, a local Voodoo Priest known as Chicken Man. “He was a beautiful brother, man,” Mr. Thomas remembered. Earl Barnhardt, a local bar owner, declared the proceedings “A proper funeral” (Bragg). These comments would be welcomed at any ordinary funeral, but Chicken Man’s funeral was far from ordinary, or would be outside of the City of New Orleans. Chicken Man was being honored with Last Rites uniquely New Orleans. The Jazz Funeral. 2. The Basics There are two distinct parts to the traditional Jazz Funeral. The first is the subdued and somber procession to the church and/or graveside, which is followed by the second: the celebratory and “exuberant return from it” (Marsalis). The central element of the proceedings is the band of musicians that accompanies the procession from start to end. The walk to the church and/or graveside is accompanied by traditional hymns from the black Protestant churches. (The Catholic Church disapproved of the playing of secular music at funerals.) Though the somber atmosphere during the walk to the grave has changed dramatically over the years
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