In a city where music traditions are held sacred, the Rebirth Brass Band, anchored by leader Philip “Tuba Phil” Frazier alongside his brother, Keith “Bass Drum Shorty” Frazier, occupies a unique place in New Orleans culture.
Over the course of three decades, the group’s R&B and funk motifs have redefined the standard for brass band music without losing sight of the music’s heritage. Rebirth’s profound influence on brass band musicians endures during second line parades and jazz funerals, and in classrooms and rehearsal spaces citywide.
This according to “Rebirth Brass Band: Keep it goin’ like a heartbeat” by Jennifer Odell (DownBeat LXXXI/9 [September 2014] pp. 44–47).
Above and below, Rebirth in action.
Playing on male-gendered instruments, the members of the all-women Original Pinettes Brass Band contest the male domination of the New Orleans brass band scene, queering the normative relationship between instruments and musicians and carving out a space for female musicianship.
The group’s songs and performance decisions present agential and subjective sites of black feminist thought put into action to subvert the brass band patriarchy. The Pinettes force us to view the New Orleans brass band scene as an intersectional site where gender is a central element in the construction and consolidation of power relationships.
This according to “Street queens: New Orleans brass bands and the problem of intersectionality” by Kyle DeCoste (Ethnomusicology LXI/2 [summer 2017] pp. 181–206). Below, the Pinettes in 2016.