Traditional New Orleans jazz is over a hundred years young. It
could only have developed in the jubilant melting pot that
distinguishes the Crescent City. But half way through its journey to
now, it suffered a midlife crisis. People stopped listening. Its
musicians sat idle. Rock and roll took most young ears by 1960,
a pair belonging to a jazz tubist from Pottsville, PA – Allan Jaffe.
moved to New Orleans with his wife, Sandra, to open Preservation
in a circa 1817 French Quarter structure at 726 St. Peter in 1961.
venue for jazz pioneers reminded the world that this organized yet
extemporaneous mélange was the American sound track. The Jaffes’
did more than preserve New Orleans jazz: It reinvigorated it,
ultimately creating a self-renewing trans-generational hand-off to
masters and devotees that continues today.
In 1963, Jaffe organized the Preservation Hall Jazz Band as a
group to bring this joyous noise to the world. By 1967, the Band had
seduced the beast that nearly devoured New Orleans jazz,
playing alongside The Grateful Dead, Santana, and Steppenwolf at a
Graham concert in San Francisco. Tours grew to encompass global
festivals and collaborations, culminating in 2012’s 50th anniversary
performance in Carnegie Hall. A 50-year old band will have some
personnel changes over the years but this band probably sets the
at 46 members and counting. And in a city of legacies, none is more
poignant than that the tuba chair has been passed to Allan and
son, Ben Jaffe, who also mans the upright bass in the Band’s current
eight-man lineup. Thirty-one albums and one National Medal of Arts
later, the Band and the Hall prove what's old is new & what's
new is old.
Preservation Hall was part of the City’s mosaic for fifteen years
before Terrance Osborne first opened his eyes on New Orleans’
centuries-old pictographic landscape. Paralleling what the PHJB did
with traditional music, Osborne reinvigorated classic painting with
compellingly fresh American figurative approach reminiscent of the
advances crafted by Thomas Hart Benton – albeit set in America’s
charismatic urban landscape. Osborne’s striking use of complementary
colors burnishes the humid city’s nocturnal patina and illuminates
work in particular.
This, Osborne’s fourth poster for art4now (Congo Square 2007 & 2010; Jazz Fest 2012), shows his
continuing evolution as an artist, leveraging his vigorous style to
reveal his subject’s depth. His shrewd use of a trump l’oeil sleight
preserve the buildings’ orthogonal geometry and maintain the Band’s
vertical plane is masterful. His allegory of the band emerging from
historic home binds the two and alludes to its going on tour as if a
marching band, a heritage it shares but does not embody. From the smallest details, such as including the house cat, to his placing Ben Jaffe, Allan Jaffe’s son who ascended to his father’s tuba position, overseeing the band’s arc – a curve that pulls the viewer deep into the Hall – Osborne delivers history with knowing grace.
This Forty-Fifth Anniversary Jazz Fest poster is the apotheosis of
poster-maker’s art: A spectacular realization of a glorious original
artwork by a still-youthful master portraying a musical group and
historical venue that connect the City to its deepest cultural
This limited edition silk-screened print is a must-have for
of the series and for any fan of the music and art of these stars
the city that inspires them.
10,000 Numbered prints on archival paper, 16” x 33”, $69
2,500 Artist-signed & numbered prints on 100% rag paper, 18” x
750 Artist signed and pencil remarqued, signed by each Band member
& numbered Remarque prints on 100% rag paper, 20” x 39”,
350 Artist-overpainted and signed, signed by each Band member &
numbered C-Marque canvas screen prints, suitable for stretching, 21”