Chicago-born New Orleans jazz trumpeter Mario Abney brings 'The Abney Effect' to ASU Kerr April 5

Abney to showcase his energetic blend of soulful, funky jazz to kick off Jazz Appreciation Month and pay tribute to his late friend and fellow trumpeter Roy Hargrove


April 2, 2019

On Friday, April 5 at 7:30 p.m., ASU Kerr Cultural Center will present "The Abney Effect" in a kickoff celebration of Jazz Appreciation Month, a month created by the National Museum of American History to praise jazz as a historical and living treasure. 

Deftly fusing modern jazz, bebop and blues to soul, second line brass and funk, Chicago-born New Orleans trumpeter Mario Abney leads his band with an enlivening spirit and fresh presence that communicate the many complex connections within his highly developed musical identity. He weaves a diversely jubilant jazz sound from his strong foundation of musicianship, abundant energy and passionate creativity.  The Abney Effect - April 5 at ASU Kerr "The Abney Effect" will be held Friday, April 5 at ASU Kerr. Download Full Image

“I was very impressed with Mario’s ability to not only play the trumpet, but entertain the people,” said concert co-promoter Doc Jones from the International Jazz Day AZ Foundation.

Abney's talent is not entirely bound to the trumpet. He moves from drums to keys to vocals with an agility that reveals his vast musicianship, style and rhythm, Jones said.

Introduced to the piano at age 7 and to drums at age 11, Abney said his inspiration came in the form of his uncle’s piano playing and the musical inclinations of his church's members. He noted a distinct, heavy Southern Baptist gospel sound in his church — something he links to the fact that many Mississippi, Alabama and Louisiana transplants were living in Chicago.

After getting hooked on trumpet in his high school years and learning about the work of pioneers Miles Davis, Dizzy Gillespie and Louis Armstrong, Abney said he was encouraged by his mother, Ora Abney. She often took him and other young musicians to Fred Anderson's legendary Velvet Lounge, a landmark Chicago jazz club known worldwide for its spirited jazz jam events. Playing his horn and learning from a wide range of seasoned players at Velvet Lounge, Abney began to hone his performance skills and showmanship, he said.

He was beginning to make the connections between jazz and the music of his communities, recognizing that gospel, hip hop, blues and roots could all intersect with jazz, Abney said.

Often seen dancing dexterously across the stage during his performances and yelling encouraging words to his band members, Abney's live shows are a vibrant celebration of the dynamic Chicago and New Orleans musical influences that he embodies.

Abney has performed at Kennedy Center, the New Orleans Jazz and Heritage Festival, Jazz Aspen Snowmass, Saratoga Jazz Festival and other esteemed venues across the country. He played a fictionalized version of himself in HBO's hit series "Treme," performing as part of fictional New Orleans band Soul Apostles.

He has performed on stage with musicians Ellis Marsalis, Jimmy Cobb, Erykah Badu, Christian McBride, Herlin Riley, Bill Summers, Nicholas Payton, Kermit Ruffins, Roy Hargrove and many more. At the ASU Kerr show, Abney will pay tribute to the late Hargrove, a personal friend and Grammy Award-winning fellow trumpeter who died in 2018, Jones said.

“Jazz lovers, music lovers and lovers of life should take the opportunity to enjoy a great evening of jazz like they’ve never heard before in the intimate setting of ASU Kerr,” Jones said. “Mario Abney is an untapped national treasure, someone the audience will be able to say, years down the road, that they saw when.”

Abney will be joined April 5 by Buddy Banks (drums) and Jermaine Lockhart (tenor sax, soprano sax). Tickets are $30 premium, $25 reserved and $20 general admission and available at asukerr.com, 480-596-2660 or in person at the ASU Kerr box office. Students with valid ID, ASU faculty and ASU staff receive $10 general admission seats. 

"Mario Abney's positive energy will draw you in, and his music gets something moving in your heart and soul," said Tracey Mason, ASU Kerr general manager. "You just have to tap your toes, clap or get up and dance."

Translating Caesar's 'Gaul' (aka 'the best bad man's book ever written')

Julius Caesar was a bad man, certainly, writes ASU librarian Jim O’Donnell, but the book he wrote was magnificent


April 2, 2019

Julius Caesar’s own account of his nine years at war may be “the best bad man’s book ever written,” writes Arizona State University librarian Jim O’Donnell in the introduction of his new translation of Caesar’s work, “The War for Gaul.” 

Caesar was a bad man, certainly, writes O’Donnell, but the book he wrote was magnificent — “clear, vivid and dramatic, a thing to be remembered and read for the ages.” University Librarian Jim O'Donnell poses for a portrait on the second floor of Noble Library University librarian Jim O'Donnell has penned a new translation of Julius Caesar's "The War for Gaul." Download Full Image

ASU Now talked to O’Donnell, a distinguished classicist and professor in the School of Historical, Philosophical and Religious Studies, about why he’s inviting readers — “brave readers” — to take an unflinching look at an unnecessary war, led by a politically ambitious and amoral man, who, among other things, was a master of language.

“There is no denying that this is a great work of literature, one of the greatest,” O’Donnell said. “And at the same time, there should be no denying that it is a bad man’s book about his own bad deeds.”

Question: Most people don’t think of the legendary Caesar as also being a great storyteller (who apparently exceeded in time management). What about his book is significant? 

Answer: First of all, it's a great yarn. Let your imagination play with what it was like for a bunch of landlubber soldiers who'd never seen open water outside the Mediterranean try to navigate by the thousands across the English channel and only then learn about what tides and currents can do. Caesar is very dry about it all, but vivid nonetheless. 

But it's also a book that obviously gets a lot of its interest from the fate of its author. The Caesar we meet in the story and the one who writes down the year's doings every winter back in Italy wasn't yet the Caesar of history, so we get to see him on the make, spinning his yarn to play back home, staging what are almost "media events" to impress the voters. It's a "you are there" moment of huge importance in world history.

Q: You’ve written that Cormac McCarthy would be an ideal writer of the story of Caesar in Gaul. How do you distinguish yourself from other translators of Caesar?

A: I keep it short, like Caesar: clean, crisp. I thought it was time to strip away some of the chatty helpfulness of other translations and let Caesar write the book he wanted.

Q: Your translation includes a map of Gaul and comes with year-by-year introductions for each part of the story. How do these elements work in the retelling of Caesar’s story?

A: Caesar is the magician who wants us to look where he wants us to look. I'm the guy who wants you to see how he's doing his tricks and what he's really up to. The introductions are meant to put you in his mind as he wrote, juggling military and political realities and looking to make some serious money out of his time in Gaul as well. I think you can enjoy the book more if you know all the things he doesn't want to tell you while he's telling you the ones he does.

Q: What did you learn in the process of translating Caesar’s story? Were there any surprises along the way?

A: The book we get from the ancient manuscripts is in eight "commentaries," basically one for each year of his time in Gaul. But he never wrote one for the last two years, so that got filled in later by one of his colonels, a man named Aulus Hirtius. By the time I got to that part, I'd been translating for a good while, rocking and rolling with Caesar's prose, when suddenly — when you start that last book — it's like going off-road in the mud in a Volkswagen beetle. The story is there and that's important, but I hope my translation makes it as clear as the Latin does that Caesar is the great writer here, and Hirtius is, well, a better colonel than he is a writer. My notes try to show just how clunky he can be and to let the reader then really feel how great Caesar — the writer — was. Caesar the general and politician? Make up your own mind.

O'Donnell will lead a talk about his new translation of Caesar's "Gaul" at Changing Hands Bookstore in Tempe, at 7 p.m., Wednesday, April 10.

Britt Lewis

Communications Specialist, ASU Library