Randall Despommier

South

Sunnyside

These born-and-bred New Orleans cats have a way of learning their craft there, venturing out into the world to gain more education and varied experience, only to return home at some point. The latest example is alto saxophonist and composer Randall Despommier. His dad was a drummer who studied with NOLA icon James Black and served a stint in the city’s rock band South. Randy was more restless. He studies sacred music in Italy, earned a PhD at New England Conservatory, played organ and led choirs in churches, eventually landing in NYC’s bustling jazz scene. His first album as leader was the widely acclaimed Dio C’e, and he later collaborated with guitarist Ben Monder to render the Swedish composer Lars Gulin’s works on 2022’s Midsummer Odyssey. Yet, like so many, he’s returned to his Crescent City roots for this bluesy jazz recording, South, timed perfectly for Mardi Gras, by the way.

Despommier is not messing around. He’s tapped the best musicians in the city – keyboardist David Torkanowsky, bassist James Singleton, and the ever reliable drummer Johnny Vidacovich, musicians that have graced countless albums from NOLA artists. Here that foursome plays on five of the nine tracks except on the ninth, where Despommier’s dad, Phil, steps in for Vidacovich. The other tracks are largely manned by his New York compatriots – pianist Jason Yeager, bassist Aaron Holthus, and drummer Rodrigo Recabarren.

The first quartet largely stays on familiar turf, opening with Professor Longhair’s “Goin’ to the Mardi Gras,” a tune covered by countless New Orleans greats such as Dr. John. At this year’s SuperBowl held in the city, the pregame activities featured this tune led by Harry Connick Jr. While Despommier does a nice job with the ingrained melody, solos from each member of the rhythm section give the tune more jazz flourishes than typically heard. They do the same with Allen Toussaint’s megahit “Southern Nights.” On the other hand, they delve into the Despommier penned “Jelly Roll’s Living Room,” obviously for Jelly Roll Morton and a feature for Torkanowksy. Despommier’s lyricism on the alto is simply sublime, as is the pianist’s deep dive into the blues. Those bluesy strains also color fellow altoist Edgar Winter’s “Dying to Live,” a tune often performed by his dad’s rock band, South. Speaking of his dad, Phil, the drummer hadn’t played in ten years but walked right in to establish a swinging groove on the gospel rave-up “Just A Closer Walk with Thee,” a jazz staple at New Orleans funerals. Despommier sings like a vocalist through his alto, an sure indication that his NOLA roots run deep.

The New York musicians play a mix of originals and covers as well. Despommier’s sharp lyricism is again on display on the flowing standout “Round 3AM (A Blues Nocturne). Obviously there is a reference to Monk in the title, but the Nocturne connotes classical. Despommier comments, “It’s my blending of the blues and the nocturne The blues evolved in the Deep South after the Civil War from the voices and guitars of formerly enslaved people. The nocturne was a mid-19th century genre of pensive piano music popularized by Irish composer John Field…the key of my piece is F minor – a nod to the first Chopin piece I learned on the piano, the Nocturne in F minor, OP. 55, No.1.” They also pay tribute to one of New Orleans’ jazz pioneers and first improvisers as Despommier weaves Sidney Bechet’s clarinet/soprano sax lines in “Si Tu Vois Ma Mere.” (If You See My Mother) The quartet takes an especially mournful approach via Despommier’s elongated lines to Charles Mingus’ touching farewell to Lester Young, who grew up across the Mississippi River in Algiers.  Those dark, mellow tones also imbue the original  “Blues Rheumatica,” inspired by Billy Strayhorn.  While this paragraph may imply an album of ballads, it is well balanced as the NOLA backed tracks are interspersed with the New York backed fare. Thus, the album showcases Despommier’s strengths of swinging at high tempo with his superb lyricism on the ballads.  Just as New Orleans music is multi-faceted, so is this effort.

– Jim Hynes

Buy Us a Cup of Coffee!

Join the movement in supporting Making a Scene, the premier independent resource for both emerging musicians and the dedicated fans who champion them.

We showcase this vibrant community that celebrates the raw talent and creative spirit driving the music industry forward. From insightful articles and in-depth interviews to exclusive content and insider tips, Making a Scene empowers artists to thrive and fans to discover their next favorite sound.

Together, let’s amplify the voices of independent musicians and forge unforgettable connections through the power of music

You can donate directly through Paypal!

Subscribe to Our Newsletter