Musicians channel Mardi Gras with New Orleans jazz tunes

Mardi Gras occurred in New Orleans four days earlier, but the Las Vegas Philharmonic’s Pops program Saturday came as close as one could expect, at least musically, to replicating the real thing, regardless of the calendar.

Actually there was none of the ribald “celebrating” or the debauchery that has come to characterize the New Orleans event. There was, however a talented performer and seasoned entertainer who had the somewhat smaller-than-usual audience on his side from the moment he set foot on the stage.

The featured attraction was trumpeter/singer Byron Stripling whose trumpet and voice (think Louis Armstrong) and humorous brief stories and one-liners were the stuff that makes those seeing him for the first time say, “If I’d known he was this good I’d have brought more people.”

The program led off with “After You’ve Gone” with Stripling’s trumpet demonstrating his range, facility and stylistic savvy.

It was one of those “close your eyes and you’ll swear you’re hearing Louis Armstrong” moments.

Not that it was a note-for-note knockoff of Armstrong, rather a sound and style indelibly identified with “Satchmo” and his New Orleans counterparts.

Then came “Bourbon Street Parade” with Stripling singing as well as playing his horn. Again, an unmistakable influence of Armstrong’s phrasing and style.

This carried through the night with such New Orleans classics as “Basin Street Blues,” “Black Bottom Stomp,” and “Saint James Infirmary.”

The evening was an unvoiced tribute to Sidney Bechet, Jelly Roll Morton, Kid Ory and the others who performed on the steamboats plying the Mississippi River and introduced a new music, “jazz,” to the world.

The highlight of the first half was “Do You Know What It Means to Miss New Orleans,” featuring Bobby Floyd at the keyboard of his Hammond B3 organ.

Floyd was in the spotlight several times, and deservedly so. Like so many great jazz artists, he talks through his instrument.

The set following intermission opened with Stripling starting from offstage with a long trumpet improvisation leading to a pair of tunes, the most energetic of which was “Black Bottom Stomp.”

The orchestra, heretofore playing an unobtrusive supporting role, became prominent as the “Battle Hymn of the Republic” unfolded.

Floyd, now at the piano, demonstrated, without words, the song’s evolution from a church hymn to a jazz staple.

Orchestras, even Pops orchestras, aren’t usually known for an ability to “swing,” but this one did, escorting this time-honored classic to a joyous conclusion.

Included in the set were “What a Wonderful World,” “Twelve Gates to the City,” and a tribute to the great Mahalia Jackson with “He’s Got the Whole World in His Hands” and “Just a Closer Walk With Thee.” It ended with (what else?) “When the Saints Go Marching In” with all stops pulled out.

When not playing, many orchestra members were foot-tapping and appeared to be “into” the Dixieland sounds. None more than concertmaster DeAnn Letourneau whose discreet gyrations of head, shoulders and arms suggested she’d rather be dancing to the music than sitting still waiting to play her violin.

Good for her — that’s what New Orleans style is all about.

Guest conductor for the evening was Steven Jarvi, music director of Winter Opera St. Louis.

He is the sixth of nine conductors to work with this orchestra this season.

Each is presumably being “looked over” as a prospect for appointment as music director next year.

Pops programs seldom give a guest conductor much opportunity to show artistic prowess, but Jarvi’s engaging smile captured the audience from the moment he took the stage and his conducting technique, while not flashy, showed leadership and solid preparation

If only we could see him work with a more serious repertoire.

All in all, it was a fun-filled evening of great New Orleans tunes, masterful trumpet playing and top-flight entertainment.