The Hoppin' John Orchestra
Philadelphia, Pennsylvania, United States | Established. Jan 01, 1996 | SELF
Music
Press
By WADE LUQUET
Bands outside of New Orleans who claim to play New Orleans style are generally like cooks outside the city that claim to cook its cuisine—it's a noble attempt and tastes good, but they often do not quite get it. There always seems to be one ingredient missing. The Philadelphia-based Hoppin' John Orchestra gets it. This sixteen year-old New Orleans-style brass band has the feel and the sound down, and its self-titled CD exemplifies this with powerful horn solos and a grooving rhythm section. Under the direction of trombonist, bassist, and composer Mike Hood, it features some of Philadelphia's top jazz and brass players, along with two excellent singers.
More orchestrated along the order of the Dirty Dozen Brass Band, with piano and guitars rather than the brass and drum street groups like the Rebirth Brass Band, The Hoppin' John Orchestra CD features six original tunes by Hood and five excellent covers. Darren Keith's syncopated drum beats Brian Cox's tuba grooves hold the band together in Hood's skillfully written and arranged second line numbers. His laidback "Melvin Purvis Gets His Man" features the horns playing confidently as a group, with beautiful solos from trumpeter Matt Cappy and Tony Gairo, who proves to be an impressive musician throughout the CD, seamlessly switching between saxophone, clarinet and flute. The tune also includes a smooth guitar solo by Joe Napoli.
A cover of Dave Bartholemew and Pearl King's 1955 hit, "I Hear You Knockin,'" features superb slow drag tuba, passionate, soulful blues singing by John Conahan, and a tight brass section. The band's cover of Allen Toussaint's R&B tune "Nothing Takes the Place of You" is played with a rhythm to which most New Orleanians will recall slow dancing at high school Sock Hops. This sad love song is sung passionately by Lauren Lark, whose voice is reminiscent of a young Irma Thomas.
Hood's writing—and his arrangements of second line and brass band tunes—demonstrates a real understanding of this type of music. New Orleans music is sort of like beer—it almost always tastes better at the tap. But in this case, an exception can be made. Under Hood's capable direction and with superb musicians, The Hoppin' John Orchestra has managed to bottle the New Orleans sound and ship it to Philadelphia, while maintaining all of its flavor.
Track Listing: Bayou Biscuit; I Hear You Knockin'; B.B.'s Second Line; Nothing Takes the Place of You; Crash!; Melvin Pervis Gets His Man; Le Petit Quadrille; Caravan; Dawn of the Desert; 12 x 6; All Alone.
Personnel: Matt Cappy: trumpet; Tony Gairo: saxophone: flute, clarinet; Dave Champion: trombone; Lou Fuiano: baritone saxophone; Brian Cox: tuba; John Conahan: piano, organ, vocals; Joe Napoli: guitar, banjo; Mike Hood: bass, trombone; Darren Keith: drums; Lauren Lark: vocals; Chris Aschman: trumpet; Doug DeHays: saxophone.
Record Label: Self Produced
Style: Dixieland/New Orleans/Swing - AllAboutJazz.com
Maybe their name is stupid. Maybe it’s not. I don’t know. Either way, it shouldn’t dissuade you from falling in love with Philly’s sole post-modern New Orleans brass ensemble, a band touched by the soul (and dipped in the batter) of Southern-fried rhythm and blues. Though they can be found on records by Marah and John Train, Mike Hood’s brass fantasy is best heard on its own solid-state albums, like his 2007 self-titled. Hoppin’ John has a brand new album, Reunion Days, out this week, and will party like it’s Mardi Gras at the too-rarely-used Power Plant in Old City.
By A.D. Amorosi - Philadelphia City Paper
After a decade in business, this eclectic local band has a long-awaited self-titled CD and seems in prime mood to celebrate. Led by bassist/trombonist/arranger Mike Hood, the 10-piece unit bills itself as “Philly’s only Southern-fried jazz orchestra.” That would seem to entail horns galore and a taste for New Orleans second-line grooves, jump blues, good-time funk, vintage R&B, early jazz and the odd smoky ballad. The CD playlist features a slowed-down “I Hear You Knockin’,” along with Ellington and Charlie Shavers goodies and a helping of Hood’s originals too. With dollops of tuba and banjo and big-band power in a small package, it’s hard not to like. (D.R.A.)
- Philadelphia Weekly 8/1-8/8/08
3.7.08 | FROM CITY PAPER
ON THE FLOWER SHOW PERFORMANCE
"Hoppin' John is reason I'd dream braving those crowds. They are one of this city's under-utilized forces of nature. Beats? Clean and hotly syncopated. Horns? Blasting and no hesitation on intonation. They'll be playing daylight hours through Sunday (last day of show)... close your eyes, feel the heat of the crowd, catch the drift of jasmine and gardenia, hyacinth and narcissus in the air and, yeah, you can be in NOLA for a minute. - Philadelphia City Paper
After a decade in business, this eclectic local band has a long-awaited self-titled CD and seems in prime mood to celebrate. Led by bassist/trombonist/arranger Mike Hood, the 10-piece unit bills itself as “Philly’s only Southern-fried jazz orchestra.” That would seem to entail horns galore and a taste for New Orleans second-line grooves, jump blues, good-time funk, vintage R&B, early jazz and the odd smoky ballad. The CD playlist features a slowed-down “I Hear You Knockin’,” along with Ellington and Charlie Shavers goodies and a helping of Hood’s originals too. With dollops of tuba and banjo and big-band power in a small package, it’s hard not to like. (D.R.A.)
- Philadelphia Weekly 8/1-8/8/08
Page 32
Hoppin’ John Orchestra
Sun., Dec. 31, 7pm and 9pm. $20-$25. Chris’ Jazz Cafe, 1421 Sansom St. 215.568.3131. www.chrisjazzcafe.com
by Ken Micallef
On original material like “Melvin Pervis Gets His Man” and “Bayou Biscuit,” Philly’s Hoppin’ John Orchestra bring home the bacon, raise the roof and burn down the mission. Jamming the blues on equal parts Dixieland, Dixie-funk, traditional jazz and early rock ’n’ roll, this eight-piece band of local jazz scholars has been mixing styles and blowing minds since 1996. Far from purists, Hoppin’ John count Darius Milhaud and Raymond Scott among their influences, lending a seamless sense of texture and ease to their music that escapes more traditional jazz outfits. Now if only Hoppin’ John would release a CD. (K.M.)
- Philadelphia Weekly
Page 32
Hoppin’ John Orchestra
Sun., Dec. 31, 7pm and 9pm. $20-$25. Chris’ Jazz Cafe, 1421 Sansom St. 215.568.3131. www.chrisjazzcafe.com
by Ken Micallef
On original material like “Melvin Pervis Gets His Man” and “Bayou Biscuit,” Philly’s Hoppin’ John Orchestra bring home the bacon, raise the roof and burn down the mission. Jamming the blues on equal parts Dixieland, Dixie-funk, traditional jazz and early rock ’n’ roll, this eight-piece band of local jazz scholars has been mixing styles and blowing minds since 1996. Far from purists, Hoppin’ John count Darius Milhaud and Raymond Scott among their influences, lending a seamless sense of texture and ease to their music that escapes more traditional jazz outfits. Now if only Hoppin’ John would release a CD. (K.M.)
- Philadelphia Weekly
Discography
2008 "The Hoppin' John Orchestra" by The Hoppin' John Orchestra
recorded and mixed at Buckeye Studio, Philadelphia PA - Mastered at Morningstar Studio
2014 "Reunion Days" by the Hoppin' John Orchestra
recorded and mixed at Buckeye Studio, Philadelphia PA - New Alliance Digital Sound
Photos
Bio
Established in 1996 as the Black Eyed Peas Brass Band, the current Hoppin' John Orchestra has seen our name, our music and our musicians evolve and change in many ways over the years. For the uninitiated, Hoppin' John is a tasty, tasty dish, one of whose main ingredients is black-eyed peas. One look at a current radio chart and one can see why the change occurred. Still and all, we find it a fitting moniker for our efforts. Four of the original eight members remain: Matt, Tony, Mike, Lou.
Over the years as our musician's careers have taken off, we have been more and sometimes less active performing and have now weathered two significant hiatii. We are all very excited to be playing out once again and bringing our special brand of New Orleans flavored Jazz, R and B and original composition.
As the creative director and main arranger/composer, there are a few things I try to keep in mind when selecting repertoire and composing new materiel for the group. An over all 'sound' which includes that delicious organic wind instrument timbre is certainly our aural calling card. Also, more complex and sophisticated Jazz harmonies tend to predominate. Each wind player brings a unique and special musical personality to the gumbo of sound. With this in mind, I do try to emulate one of my idols and perhaps the 'Zeus' in the pantheon of American Musical Geniuses, Duke Ellington. Among his many, many brilliant innovations, writing for the individual players in his bands was a hallmark. I try to do the same. Certainly the musicians can play anything put in front of them but there are particular musical identities which have emerged over the years and I try to keep these in mind and positively exploit them whenever possible. The fluid nature of the rhythm section's interaction in general is one of the great strengths and joys of this ensemble. There is much Jazz sensibility in our group as nearly all of us come from that school of thought and sound. There are plenty of opportunities for improvisation as well as through composed areas and pieces.
Our influences are many but in particular, the New Orleans street bands, Duke Ellington, the John Kirby Sextet and the Raymond Scott Quintette, the writing of Darius Milhaud and Ferde Grofe as well as arrangers such as Fletcher and Horace Henderson, Jelly Roll Morton, Don Redman and Bill O. Smith. The work of Mary Lou Williams and Brick Fleagle also inspire us. The various projects of the members of the former Squirrel Nut Zippers, the Industrial Jazz Group and the Beau Hunks various projects also give us great inspiration.
Ensembles we love to listen to for inspiration include the Duke Ellington Orchestras (particularly the small group sessions from '37-'39), The Kirby and Scott small groups from the late '30's and early 40's as well as Dave Brubek's '46 Octet and Miles' '49 Nonet. Certainly the mighty Dirty Dozen Brass band as well as Jesus Almany's Cubanissimo, the Industrial Jazz Group and New Orleans guitarist and all around musician Roy Montrell. The work of James Spaulding, Don Sickler, Poncho Sanchez, Steely Dan, Tom Waits, a host of early R and B and Jump Blues artists and the band Cake also give us a boost.
Performances of note include: Chris's Jazz Cafe, the Kimmel Center, the Theatre of Living Arts, the Tin Angel, Bethlehem MusikFest, The Brewer's Plate, Stoudt's Beirgarten, the King of Prussia Beerfest Royale, Yellow Springs, Le Cochon Noir, the Mainline Jazz Festival, the Philadelphia Folk Song Society, the Five Spot, the Grape Street Pub, the Black Banana, the Khyber Pass, Fergie's Pub, Doc Watson's Pub, Taxi, Eden Roc, the Art Bar, the Medford Jazz Festival, the Philadelphia Clef Club, the Yardley Country Club, Louis I. Kahn Park, Gorgas Park, Gold Star Park, Jefferson Park, Cianfrani Park and Mario Lanza Park.
Band Members
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