Dan Oestreicher first hit the radar for this writer when he presented himself at a Naked Orchestra show at the Mermaid lounge and made clear that he should be playing with the group. He did that for the rest of that evening and for a long time afterward.
He played with many of the most forward thinking New Orleans musicians and frequently he is there right when they are looking the most forward. This includes the The Other Planets, The Magnetic Ear, 3 now 4, James Singleton, Irvin Mayfield's New Orleans Jazz Orchestra, Roger Lewis's Baritone quintet (where Dan is playing Bass sax instead of his more heard, Bari sax,) The Naked Orchestra, The Jonathan Freilich group, his own group- The Diesel Combustion Orchestra, and more. He is seen playing some tuba and really tends to go very deep when he is exploring anything, but especially music. He also knows a good deal about saxophone lore and trade as well as the other end of the spectrum, analog synthesis.
As he is in Trombone Shorty's band, touring constantly, he is in a unique position to discuss the current meanings and associations in the idea of New Orleans music (if there is really such a thing at all) and improvisation. His perspectives are well informed and if nothing at all show a blazing mind for inquiry and a fearless and healthy statement of opinion. He could go anywhere from here. If you were into horse racing you might see him listed in the racing form as one to watch.
...Look to the end for heated debate.
Part 1- What Dan is up to now; the Roger Lewis baritone sax quartet+ bass sax; Roger, Tony, tim green, calvin johnson, shannon powell; jazzfest as a showcase for acts that aren’t playing around very much; “the guardians of the vault”; playing with Trombone Shorty and the perception of New Orleans in the world; ponderings about why Trombone Shorty is the current poster child for New Orleans music; the limitations of the idea of New Orleans music; bandleader, Trombone Shorty; Dan’s other musical lives in the past; New Orleans Jazz Orchestra and peoples’ perception of that in relation to the New Orleans music categorization; more on the liberations and restraints of being identified as a New Orleans musician; jazz in academia; musical priorities; the position of precise execution in the New Orleans instrument player’s aesthetic; brass bands and depth of rehearsal- Hot 8 Brass Band; Soul Rebels Brass Band.