Swaying and Singing on the Sunny Side of Nawlins
A 10-Day Journey Through Jazz, History, Culture, and Music Community of New Orleans
Grab your coat and get your hat
Leave your worry on the doorstep
Just direct your feet
To the sunny side of the street
— From the jazz standard “On the Sunny Side of the Street” (1930)
A Midnight Invitation to Jazz and Gumbo
It was 2am in June 2024 when I was procrastinating about going to bed. My Hong Kong musician friend Jack Wong sent over a link to the music program, “The Jazz Course: The Orff Approach to Teaching Jazz to All Ages” and asked if I was interested in joining him on a trip to New Orleans (fondly pronounced by NOLA locals as “Nawlins”).
I replied “Sure” without a blink because who would ever turn away from the opportunity to study Jazz at its birthplace? Plus, the thought of enjoying gumbo, cajun fried chicken, blackened shrimp, jambalaya, and andouille sausage, crawfish étouffée, charcoal grilled oysters and all the Southern hospitality was simply irresistible!
Jazz band playing at the Arrival Hall of New Orleans International Airport (MSY)
When I landed at Louis Armstrong New Orleans International Airport (MSY), named after one of the most influential figures in Jazz, a quartet was already playing at the Baggage Claim area, greeting visitors with musical hospitality. I sensed that this trip would profoundly change me, both as a jazz vocalist and as a person.
Echoes of Congo Square: Jazz’s Ancestral Roots
In 1719, the first ship bearing Africans trafficked from the Senegambia region arrived in present-day Algiers Point, New Orleans. The forced labor of these enslaved people built the city as they drained swamps, constructed levees, grew rice, harvested sugarcane, and laid bricks.
Sculpture of cornet player Charles “Buddy” Bolden near the Congo Square. He was considered the first person to play what later became known as jazz
Catholicism was enforced as the mandatory religion, designating Sunday as a “rest day” for enslaved people. On this day, they gathered at Congo Square — the only place where they could openly practice their ancestral chants, call and response, improvisation, and rhythmic patterns. This laid the groundwork for Jazz. And from Jazz emerged all modern music genres we know today: R&B, Blues, Rock, Hip-hop, and Pop.
This is the city where I studied music with over 30 fellow musicians and numerous local jazz artists under the guidance of Doug Goodkin, an internationally recognized music educator who has taught music and movement for over 45 years using the Orff Schulwerk approach.
Studying Jazz and Swinging the Orff Way
The Orff Schulwerk approach, developed by German composer Carl Orff, is a vibrant and engaging method of music education. It emphasizes learning music through body percussion, such as clapping, stomping, and snapping, along with improvisation, physical movement, non-verbal sounds, spoken words, and dramatic expression.
This methodology is particularly suited for learning jazz, which demands a deep internalization of complex rhythms, creative improvisation, spontaneous expression, and collaborative music-making.
Three aspects of the Orff approach resonated with me as a jazz vocalist.
#1 Finding My Groove and Freedom through Body Percussion
Growing up with poor body coordination, I often felt clumsy and awkward. This was a major source of frustration and anxiety, especially on stage. Each day, Doug began his class with physical movement and body percussion, inviting us to feel our inner rhythm. Gradually, I managed to mimic some of the complex polyrhythmic movements. This approach opened up my body as a vocalist and, consequently, my spirit, highlighting the profound connection between the two.
Daily body percussion and movement routine guided by Doug.
After all, body percussion and movements were once the only way for enslaved populations to circumvent the prohibition of owning or playing instruments. They expressed their sorrow and blues through their bodies and communicated escape plans in non-verbal ways. With each dance move, I better understood what Doug said:
“Jazz is the language of freedom, the practice of freedom, the deep experience of genuine freedom. It frees the body to dance, frees the heart to sing out its feelings, free the mind to imagine and to think, frees the spirit to soar, and the soul to sing.”
#2 Grounded in Jazz: From Soil to Soul
The “soil” represents the roots of jazz, embedded in the rich and often painful history of African American culture. It is the foundation laid by the struggles and resilience of those who toiled in the fields and plantations under cruel conditions, where the rhythms and melodies of jazz were born.
The “soul” signifies the expressive and emotive quality of jazz that touches the essence of human experience. Jazz is not merely about playing notes; it is about conveying stories of love, loss, joy, struggle, and resilience. This genre of music transcends the physical realm and delves into the spiritual and emotional.
Jazz is going down to the Soil and Soul.
“Jazz demands a kind of bravery to put yourself up on the stage and express your deepest feelings and highest thoughts, not by playing the notes already on the page, but by improvising who you are in that moment in front of the crowd.”
Jazz’s connection to the soil and soul differentiates it from genres oriented toward the spirit, which often emphasize an upward, lofty direction. For instance, European opera and classical dance forms like ballet aim to uplift and create a sense of religious transcendence. Through the physical act of creating rhythms with my body and the freedom to improvise, I felt the deep, historical roots of jazz while expressing my innermost emotions.
#3 Tuning In: The Power of Listening in Jazz
Another unique aspect of Doug’s teaching that I enjoyed was the focus on listening. He used minimal visual aids, such as printed materials or presentation slides. Instead, he encouraged us to rely on our ears as much as possible because hearing is a much older human faculty, allowing for more immersive, 360-degree perceptions than sight.
Jazz, as a genre that demands conversations, understanding, and real-time collaboration between musicians, requires this heightened ability to listen. No high-end technology, smart devices, or software programs were involved in the program. We used only our hands, feet, body, and voice, yet the learning outcomes were incredibly effective. This made me question the modern narrative that education must be paired with “technology” or “AI.” Do we really need them if they don’t contribute to the nourishment of body, mind, spirit, heart, and soul?
A sneak peek into the typical Orff-Jazz classroom.
• • •
Most people know I had very negative memories about school: the rigid systems, ill-tempered teachers, repression of creativity, and competitive nature. But I always enjoyed music classes, where I learned about various musicians and sang my heart out.
As Doug puts it: “A good teacher illuminates the unseen needs within their students, helping them discover hidden talents and inspiring them to cultivate these gifts to their fullest potential.” This is exactly what I saw in him during the past 10 days.
Hands of my musician classmates from all around the world.
And here I was, attending The Jazz Course as one of the few attendees who don’t work in Music Education, surrounded by dozens of passionate music teachers who work with children from kindergarten to high school.
When they jammed with me and inspired me with their stories, I felt healed, and I felt hopeful knowing that some children in their schools who who never got seen or heard will be able to express their voice and body through the Orff approach.
Serendipitous Musical Moments in Nawlins
Outside of the classrooms, the musical activities intensified, lasting from 6pm to midnight on weekdays and until 2am on weekends. It was a joyful experience full of delightful surprises as I ventured into various districts of NOLA: French Quarter, Bywater, Garden District, Carrollton, and Downtown.
Sunset near the French Quarter. Taken at the waterfront park along the Mississippi river.
One evening, near the Orpheum Theatre where I watched PJ Morton last Thanksgiving, I walked into the Roosevelt Hotel New Orleans. I was hooked by the buttery voice of vocalist Antoine Diel and pianist Sam Kuslan at the Fountain Lounge. When they found out I was a visiting vocalist, they invited me to join them on stage.
Sam and I had a blast performing “Corcovado” [Watch on Instagram] together. An audience member from Rio de Janeiro told us how much they enjoyed our performance. This was the first time I sang in a 4-star hotel, and it was a super fun and spontaneous moment.
With vocalist Antoine Diel and pianist Sam Kuslan at The Roosevelt Hotel New Orleans
Another magical encounter was in the Vieux Carré (the historic French Quarter). I heard a mellow voice from the corner of Royal Street and St Louis and found Aoleon, a friend I met last year at a karaoke bar, busking! We jammed a song together and had dinner at a nearby seafood restaurant.
Busking and dining with guitarist-vocalist Aoleon, on the sunny side of the French Quarter!
We caught up on so many topics and later went to The Ritz-Carlton Hotel, where her teacher performs with trumpeter/vocalist Jeremy Davenport’s jazz band at the Davenport Lounge. Coincidentally, they were playing “Corcovado,” the same song I had just sung at The Roosevelt Hotel.
Music clubs and piano bars are scattered around various neighborhoods like stars in the sky. I joined the Jazz Jam hosted by the fabulous Meryl Zimmerman at the Carrollton Station Music Club, bringing playful grooves and Brazilian Bossa Nova bliss to NOLA through “Desafinado” [Watch on Instagram] and some late-night melancholy through the Italian Ballad “E Se Domani” [Watch on YouTube] with my pianist friend Jack.
The same welcoming spirit of musicians was demonstrated by guest artists invited to the classroom, like New Orleans-native drummer Herlin Riley and Uruguayan vocalist Victoria Douton. Despite their impressive resumes, they were humble and approachable, generously sharing their knowledge and experiences. Their humility reminded me that true greatness lies not just in talent and accolades but in the ability to connect with others and uplift the community.
The Magic Ingredients of NOLA’s Musical Hospitality
As I immersed myself in the vibrant local music scene, I began to understand why this community is so hospitable and welcoming. Here are the 5 major ingredients I discovered in the recipe of the NOLA’s musical hospitality.
Rich Musical Heritage and Fusion: Walking through the streets of New Orleans, I could feel the blend of African, Caribbean, and European influences that create a rich musical heritage. This fusion celebrates diverse musical expression and makes every note resonate with history and culture.
Community-Oriented and Celebratory Nature: Music in New Orleans is deeply embedded in social events like festivals, ceremonies, and parades. I attended several of these gatherings and was struck by the communal spirit that encourages collaboration and welcomes new talents. Every performance felt like a family gathering, filled with joy and shared experiences.
Supportive Venues and Institutions: During my stay, I visited legendary jazz clubs, music venues, and restaurants that provide platforms for musicians to perform and grow. These supportive spaces nurture the musician community, making it possible for talents to flourish and for audiences to enjoy world-class performances.
Economic Interdependence Among Musicians: I also noticed that many musicians rely on each other for gigs and collaborations. This mutual reliance fosters a network of support where professional relationships turn into genuine friendships. I experienced this firsthand when fellow musicians invited me to join them on stage, creating an environment of camaraderie and mutual respect.
Shared Challenges and Triumphs: Hearing stories about overcoming adversities like Hurricane Katrina and COVID-19, I saw how these shared experiences have cultivated resilience and solidarity. Musicians support each other through tough times and celebrate triumphs together, creating a strong, interconnected community.
These elements made me feel at home and embraced with open arms. In New Orleans, music is more than an art form; it’s a way of life that unites and uplifts everyone involved.
The Past is Incurable. But Scars are Healable.
As I immersed myself in the vibrant music scene of New Orleans, I reflected on the deep historical scars that have shaped its residents’ resilient character. This history, while painful, reveals a path toward healing, much like the music that echoes through the city.
A quiet and meditative summer night in front of the St. Louis Cathedral located at the French Quarter.
Consider Ella Fitzgerald, one of the most iconic jazz vocalists. In 1954, she was denied first-class plane service due to her race while traveling with her band, including the legendary Oscar Peterson. Despite having first-class tickets, they were refused entry by Pan American Airways staff solely because they were Black. This blatant act of racism disrupted their travel plans and led to the cancellation of her concert in Australia. Yet, Ella’s music transcended these barriers, healing both herself and her audiences. (P.S. She sued the airline company later and won the lawsuit.)
Similarly, Nat King Cole faced significant racial discrimination throughout his career. In 1956, he was attacked on stage during a performance in Birmingham, Alabama, purely because of his race. Despite these challenges, Cole continued to perform and break racial barriers, using his platform to advocate for civil rights. His resilience and dedication to music made his legacy a source of healing and inspiration.
My visit to the Whitney Plantation provided a sobering reminder of the brutal history of slavery in the United States. Walking through the grounds where enslaved Africans once labored, I was struck by the resilience of those who endured unimaginable hardships. Despite these conditions, they resisted and found ways to express their humanity and creativity, ultimately leading to the development of jazz. The plantation’s history is a testament to the idea that while the past cannot be cured, it can be healed through remembrance and recognition.
Speech on slavery given by Pope John Paul II in Senegal, Feb 1992. Taken at Whitney Plantation
It was also at the Whitney Plantation where I discovered Frederick Douglass’s speech on July 4, 1852: “What to the Slave is the Fourth of July?”. Douglass’s words highlighted the hypocrisy of celebrating “freedom from British colonial oppression” in a nation that still enslaved and oppressed millions. It was a timely reminder that “justice for some is not justice for all.”
Through Doug’s latest publication “Jazz, Joy, and Justice: The Stories Every American Should Know” which recounts stories of Ella Fitzgerald, Nat King Cole, and countless unnamed souls who suffered yet contributed to the rich tapestry of jazz, I saw how the past, while it cannot be cured, offers lessons and inspiration for healing. Jazz, with its roots in pain and struggle, has become a powerful form of healing, transcending time and bridging divides.
Doug’s latest book “Jazz, Joy, and Justice: The Stories Every American Should Know” with his hand signature.
Jazz Music as Medicine for the Soul
I have always been fascinated by the therapeutic effect that music can have on our emotions and mental health, given my academic background in Psychology and music training in Voice as an instrument. This trip sparked a stronger desire to explore the interconnection between music and mental health, and how our voice can be a powerful tool for healing.
Looking back at my Spotify playlist from June 2018, when I visited New York City from Hong Kong for the first time, I was surprised to find myself listening to Jazz after a relationship break-up. Songs like “Travelin’s Light” and “But Beautiful” by Billie Holiday, “Someone To Watch Over Me” and “These Foolish Things” by Ella Fitzgerald served a therapeutic role during that period. Six years later, I still listen to and even sing some of them, aiming to pass on their legacy and bring healing to the world through jazz.
Music can heal children who feel unseen in traditional classrooms, hospitalized elderly hoping to peacefully finish their last chapter, and even those who have passed away, hoping to be remembered in a way that allows them to reach the other shore. We as musicians, take the weight of the world we carry and create a sense if freedom and healing in how we gather, chant, mourn, and celebrate.
Thus I plan to spend part of my summer researching on Music Therapy and Neuroscience, particularly the role of Jazz, Improvisation, and Voice in improving the mental health among young children who have experienced abusive childhood, or working adults who have faced hostile, unethical, and stressful working environments.
• • •
As I swayed through the streets of New Orleans, with every note and beat echoing the resilience and spirit of jazz, I felt a profound connection to the city and its people. From impromptu performances to deep historical reflections, this journey has invited me to walk on the sunny side of the life.
So I’d like to invite you too, to grab your coat and get your hat, leave your worries on the doorstep, and just direct your feet — on the sunny side of the street.
• • •
Laissez le bons temps rouler!
Yummmmmmm!
About Honolulu Mailman
Honolulu Mailman 島嶼郵差 is a San Francisco-based Jazz vocalist on a journey in search of authentic voice and sound that inspire and then deliver those stories to the world. He has a penchant for delicate and sensual tones in the Jazz, R&B, Bossa Nova, and Neo-Soul genres. He enjoys bringing people together through organic music experience curated with notes, rhythms, melodies, and love.
He is currently receiving extensive voice training from Carolina Santos, a professional Jazz Vocalist based in Buenos Aires. In Summer 2024, he is engaging in multiple professional programs including the Jazz Vocal Program at Stanford Jazz Institute, Jazz Camp West in a Californian redwood forest, and The Jazz Course: An Orff Certification Course in New Orleans.
Jazz Camp West in the setting of a Californian redwood forest
The Jazz Course: An Orff certification course in New Orleans
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