← All Of It with Alison Stewart
All Of It with Alison Stewart
Ahead of Mardi Gras, Julie Benko Performs Live from 'Euphonic Gumbo'
00:28:45
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- [00:08]
A
This is all of it on wnyc. I'm Alison Stewart. Mardi Gras, next Tuesday. And if you're looking for a way to get in the spirit, look no further than my next guest's forthcoming album, Euphonic Gumbo, and a concert to boot. Julie Benko is a singer and Broadway actor. You may know her from her time in the recent Broadway revival of Funny Girl or in her current role as Emma Goldman in Ragtime. But she's also a fan of New Orleans jazz, and on Monday, she'll be at Birdland Jazz Club for an album release party, backed by her band, who are also here with me in studio for a special preview. Welcome, everybody.
- [00:46]
B
Thank you.
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C
Hi.
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A
Everybody's got their beads. They're ready to go. Julie, will you start us off with a song?
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B
Absolutely. Jason. Shall we go?
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D
Yeah.
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E
What? One, two. One, two. One, two, three.
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F
Hello, everybody.
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B
This is Julie Manko. I hope you'll celebrate Mardi Gras with me and Euphonic Gumbo.
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F
Let's ride down or fly down to New Orleans.
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C
That city sure has pretty historic scenes.
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F
I'll take you made you down Bourbon Street. There are lots of hot spots.
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C
You'll see lots of big shots. Down on Bourbon Street. Ram.
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F
Going down to New Orleans, I'm gonna see the Mardi Gras. Going down to New Orleans, I'm gonna.
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C
See the Mardi Gras. And when I see the Mardi Gras.
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F
I'm gonna know what carnival.
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C
Won't you come along with me? To the Mississippi. We'll take a trip down the land of dreams. Blow it down that river down to New Orleans. And there to greet us old friends There to meet us. Where all the proud and elite folks meet. Heaven on earth they call it Basin Street.
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F
Mason Street. The street where the best folks always meet.
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C
Down in New Orleans, land of dreams. You'll never know how nice it seems.
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F
Or just how much it really means.
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C
Just to be yes siree. Down in New Orleans, Land of dreams Where I and lose my face and street. Come on, let's ride down. Come on, let's fly down. Down to new man. That city sure has free his glory. Well, I'm going to take you. I'm going radio. Down on Bourbon Street There are lots of hot spots. You'll see lots of big shots. Not on purpose.
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A
That was down in New Orleans Melody with Julie Benko and her band. They're here to preview her album, Euphonic Gumbo, which is out next week. Hi, Julie.
- [06:13]
B
Hi, Alison.
- [06:15]
A
Would you introduce us to everybody in the studio?
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B
Absolutely. So we have Ronan Itzik on the drums over there, Ron Wilson on trombone, who was in the pit of Funny Girl with me, actually. Wilkins. Ron Wilkins. Oh, God. We go way back.
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F
On live.
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B
Oh, boy. Andy Warren on trumpet, Kenny Pexton on clarinet and saxophone, Michael o' Brien on the bass. And over here on piano and organ, Jason Yeager, who is also my husband and the father of my child.
- [06:52]
A
And that last part. Father, My child, yes. When did you become in love with New Orleans jazz?
- [06:59]
B
We went down to New Orleans for Jason teaches at Berklee College of Music in Boston. And we went down about 10 years ago for the gen, the jazz education Network. And we had never been there before, and we just completely fell in love. You know, there's music on every street corner. And we just kept going back. You know, we got the bug, and we just would stay out all night on Frenchman street and exploring everywhere. We. And, you know, always putting on about ten pounds every visit.
- [07:35]
A
When did you decide to sing New Orleans jazz?
- [07:38]
B
It was a couple of years later, and we were doing a lot of research. I was doing research because I was so fascinated by Storyville, in particular the legal red light district that existed prior to World War I there, where Louis Armstrong came up playing and Jelly Roll Morton. And I started to write a play about Storyville and set in Storyville. And as I was doing this, I was finding all of these songs and all of this repertoire that had been a part of New Orleans history for so long. And then one Mardi Gras came around, and we, Jason and I, just did a little duo gig at a restaurant near our old apartment in Harlem. And then the following year, after Funny Girl had happened and we were starting to play bigger clubs, Birdland invited us to do a show, and it was February, and we said, well, you know what? Maybe we'll make this a bigger affair. So that was. That was three years ago. And so we did it. We've done it for three years. This Monday will be the fourth annual Mardi Gras extravaganza at Birdland, and we finally recorded the record.
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A
Jason, what is it that you like about playing New Orleans jazz music?
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E
The thing I like best about it is that it's unbridled joy, and it celebrates community and collective creativity. So I love many styles of jazz, and I've played in many different contexts that give me a lot of joy and fulfillment. This style of music has a special quality of privileging expression and community and the ensemble, as opposed to individual virtuosity or, you know, instrumental prowess. It's really not about that. It's about the song and the feeling and the, the community. And it's so. Because this music was born in New Orleans, jazz music was born in New Orleans. The, the traditions that come out of that place are so special. And, and it's not just one tradition. I think a lot of folks in, in my community, in the jazz community, assume that it's all, you know, Louis Armstrong, hot fives and hot sevens, which is a touchstone for us. But it's so much more. It's R and B, it's zydeco, it's Creole folk music. It's many different things. So that's what I love about it, the community, nature.
- [09:57]
A
Julie, when you think about New Orleans jazz and you think about musical theater.
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D
What do they have in common?
- [10:03]
B
Well, what Jason mentioned, the collective. I think anytime you're making theater, it's by nature this communal experience. You're doing it together. You rely on each other, you're listening. Everybody is structured, but there's play within structure. I also think, I also think there's a theatricality to, you know, New Orleans music. You know, you think about the parades this time of year, the costumes, the beads, the floats, the characters that everyone's playing. It really feels like, I mean, it's a masquerade, right? Everybody is really playing a character. And so I think it's sort of a natural fit for somebody like me to go, oh, wow, I can't believe it took me so long to find this place. I so belong here in this make believe place that you kind of step into.
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D
Thanks for the beads, by the way. You're welcome. I don't know if I can hear.
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B
Them on the radio or not.
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A
Tell us about the title of the album.
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B
Euphonic Gumbo came to me. I was writing this play which is called down the Line, which references the houses that were along Basin street, you know, the houses of ill repute. And they would say, oh, the houses down the line. And in the play there's a character, Tony Jackson, who was a real pianist in Storyville. He was Jelly Roll Morton's hero. He was never recorded. He died young and never recorded. But he was the undisputed king entertainer of Storyville. And he was a genius. I mean, he, he wrote Pretty Baby, which we do on the album. He, he apparently could hear any song one time and sing it back and play it back forever. He could do all sorts of styles. And he lived openly as a gay man. G in the early 1900s. Not an easy thing. And wait, what was the Question. I got all on Tony Jackson.
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D
The name of the album.
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B
The name of the album, Right. So I was writing a monologue for him, and he is explaining to one of the newcomers to the house, you know, what jasmine music means to him, which was shortened to jazz. And he talks about how it takes the roux. It's a gumbo. And the roux is like the rhythm from Africa, and then the spices are these oranges, band instruments and the blues from, you know, the fields. And all of these elements that come together and create a euphonic gumbo. That's something that's really tasty, but goes down easy. You know, something you can just enjoy and. But feels like home.
- [12:44]
D
I'm in studio with Julie Benko and her band. She's previewing her album, Euphonic Gumbo, which is out next week. On Monday, she'll be at Birdland Jazz Club for an album release party. Should we hear some more music?
- [12:56]
B
Sure.
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D
What are you gonna hear next?
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B
So this is the Lakes of Pontchartrain, which lake? Pontchartrain is just north of New Orleans. There are not multiple lakes, but that is the title of the song, and it's. It's become an Irish sort of troubadour favorite. It's an old song. The melody, they think, comes from around the War of 1812, and the lyrics come from around the time of the American Civil War, but apparently it got brought back to Ireland. Jason and I actually performed this in Ire over the summer in an impromptu performance, but not with the whole band. So it's special to be all together.
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D
Here's Julie Benko.
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F
Twas on one bright March morning a bit New Orleans adieu.
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C
I took the road to Jackson town.
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F
My fortunes to renew.
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C
I cursed all foreign money no credit could I gain.
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F
It filled my heart with long longing for the lakes of pond to drink. I stepped on board the railroad car in the early morning sun.
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C
I rode the rails till evening Then I lay me down again.
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F
All strangers here, no friends to me. Till a dark girl toward me and I fell in love With a Creole girl from the lakes of Pont a train. I said, my lovely Creole girl My money here's no good.
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C
If it weren't for the alligators I.
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F
Sleep out in the wood.
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C
You're welcome here, kind stranger.
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F
Though our house is very plain. But we never turned a stranger out on the banks of fun to drink. She took me to her mammy's house and she treated me quite well.
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C
The hair upon her shoulders in jet black ringlets fel to try and paint her beauty would surely be in vain.
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F
So charming was my Creole girl From.
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C
The lakes of Pontoo Tree.
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F
I asked her if she marry me she said that could never be for.
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C
She had got a lover and he.
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F
Was far at sea she promised that.
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C
She would wait for him and faithful.
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F
She'D remain Till he returned to his Creole girl From the lakes of palm to dream. Fare thee well my bunny girl I never see no more But I'll never forget your kindness or your cottage by.
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C
The shore and at every soul she'll gather In a flowing glass I'll raise.
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F
And I'll drink the health of my Creole girl From the lakes of Pontchartrain yeah, I raise a glass to my barn girl from the lakes of Palm to train.
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A
That was Julie Benko and her band. We'll be back with more after a quick break.
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D
This is all of it.
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A
You're listening to all of it on wnyc. I'm Alison Stewart. I am in the studio with Julie Benko and her band. She's previewing her album, Euphonic Gumbo, which is out next week. And on Monday, she'll be at Birdland Jazz Club for an album release party. Now, this can happen on Monday because Broadway is closed.
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B
Exactly. It's my one night off.
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A
You're playing Emma Goldman in Ragtime. What has it been like to take over that role in.
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B
It's been awesome. It's truly one of the most incredible shows ever written. And it's so powerful. It's so resonant right now in this moment. And, you know, I'm used to sort of stepping in under very high stakes scenarios, but it truly, everyone's been so kind. It's such a great place to work. I actually, it's like the nicest theater I've ever worked in on Broadway. I have a bidet in my dressing room.
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A
Well, well, well.
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B
I know Emma, but learning about Emma Goldman, really doing a deep dive on her. I'm in the middle of her autobiography. It's taking me a while because it's a thousand pages long, but I'm just so inspired by the woman that she was and the work that she did. And I'm just, I'm really impressed by the way that she lived in, you know, the 1890s and the early 1900s, this incredible lifestyle that would even seem in some way is kind of pushing the boundaries today, but also an early advocate for birth control. And, you know, she's really an amazing character. And sometimes when I, you know, introduce myself in the prologue, everybody sort of introduces their character. And I say, Emma Goldman was a radical anarchist. And a good number of the time, people start applauding, give Emma Goldman entrance applause. And I truly think it's not. It's not Julie Benko. Entrance applause. They hear the name Emma Goldman, they get so excited because of what she represents at this point in history, too. So it's very meaningful to step in. And it's just an incredible production to be a part of.
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A
And the music is so gorgeous. In rack time, what do you think about when you're listening to others sing their songs?
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D
Especially, oh, Joshua Henry?
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B
I mean, I usually just, you know, my jaw is usually just on the floor. We were able to watch the show from these entrances that are in the audience. Cause of the way this theater is built. And you can really watch the show from up close. And I watch Wheels of a Dream and pretty much every day. And I'm just. I'm just so blown away by him and. And he just, you know, he just makes me cry every day.
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D
What do you enjoy about the music in the show?
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B
It is so. Well, it's so rooted in ragtime music. It really. But it's its own. It's its own melody, you know, its own melodies that Stephen Flaherty wrote. But it really pays homage to. To ragtime music. And, you know, people at the end of the show, they always ask me at the stage door, what's your favorite song in the show? And I say, I really can't choose. And when I watched the show, you know, when I was coming in to learn it, I mean, I. I just was so struck by how that just in act one, it's like hit after hit after hit after hit song. You have your daddy, son, and new music and wheels of a dream, and they all. They all just kind of rip your heart out and make you cry. So if you come to Ragtime, bring tissues.
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D
Definitely bring tissues.
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B
Yes.
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A
All right, the show on Monday at Birdland.
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D
What can we expect?
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B
So it is a party. There will be beads for everyone. There will be king cake. There will be trivia, New Orleans trivia and prizes. And also you will be able to. To buy the CD or the. The vinyl. We pressed vinyl on this one, so you'll be able to get it. Get. Get that there. We'll sign it for you. You can also get that on Bandcamp. That's also available on. On the Internet, but you can. And you can also watch this. This concert on a live stream on Veeps. It's available. So if you can't make it to the show. You can watch it from the comfort of your own home. And it's just.
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C
Just.
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B
We're going to be doing these songs, a few other songs that we've recorded on other albums as well that have New Orleans flair and flavor. And it's going to be just a really great party. And there's always a little bit of an element of surprise because whoever gets the baby in that king cake is going to be the king or queen of Mardi Gras and has to bless. Bless Birdland and bless the album. So. And we don't know who will win these. These trivia questions and get their prizes, but it's just gonna be a lot of different kinds of music. We also have a special guest, two special guests. John Mansari, the tap dancer who I did Funny Girl with on Broadway. He will be performing on two songs. And also Sasha Papernik, an accordion player, will be there as a special guest to bring some accordion to the Cajun music. So we have a mix. I'll be singing in French and Yiddish and English. I know Yiddish.
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E
Right.
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D
Sounds good. I have a question for Jason.
- [23:11]
E
Sure.
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D
You know, it's Valentine's Day weekend. This weekend you're gonna be busy with ragtime. Get ready for the show. How did you know that your professional relationship was gonna turn to a personal one?
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E
That's interesting. We met at a Starbucks, and Julie overheard me on the phone explaining that I was a jazz pianist who worked quite often with vocalists. And she took it upon herself to introduce herself to me after the phone conversation was over and we went on a date. And it turned out that Julie and I. It wasn't the right time for us to be.
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B
So I had been dumped. I was heartbroken at the moment, it.
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E
Was not the right time, but we came together as friends and collaborators. And it was over the course of a year that we discovered that we actually had deeper mutual feelings. And then. So after a year of that early collaboration, we got together, and we've been together ever since. It's been 12 years and four and a half of those of wedded bliss. Right, honey?
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B
Right. Yes, honey.
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D
What's our last song we're gonna hear today?
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B
So this is. It's another medley. It's Let the Good Times Roll and Tipitina. Both are home homages to the great pianists of New Orleans. Professors, they call them down there. So Professor Longhair and Dr. John, who I guess Dr. John was Professor Longhair's mentee. So this is a little piano feature. And Let the Good Times Roll is of course, what we say at this time of year, le say le bonton roulette.
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D
Here's Julie Benko.
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F
People see me but they just don't know? What's in my heart and why I love you so? I love you, baby, like a miner loves gold? Come yeah, baby, let the good times roll?
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C
I'll let the good times roll? Yeah, let the good times roll? Let the good times roll?
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F
Love is nice when it's understood?
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C
It's even nicer when you're feeling good? You got me slipping like a flag on a pole? Come yeah, baby, let the good times roll? Let the good times roll? Times roll? Let the good times roll?
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F
Let the good times ro.
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C
Hey la, Won't you tell me where you been?
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F
When you come home this morning?
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C
Honey, you had your belly for a. Hey la, Come on, Liberta, you got company at home.
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F
When you come home this morning early.
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C
You won't be all alone. Dino.
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F
Lot of people live and make believe.
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C
They got a lot a to eat up their sleeve? I wonder why, baby, you treat me so cold? Come yeah, baby? Let the good times flow? Let the good times flow? Well, let the good times flow? Let the good times flow? Let the good times.
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