“Li’l Liza Jane” (PDF) from the New Birth Brass Band album, D-Boy.

The lasting appeal of “Li’l Liza Jane” is its simplicity, a call-and-response sung over a jubilant blues rhythm that can be adapted for various styles and themes. The song’s origin have been traced to an African-American work song, as well as its use in minstrel shows and as a children’s folk song, while writer Dan Gutstein’s upcoming documentary film attempts to identify the titular character. But rock critic Jessica Hopper notes that love-hate-relationships as the subject for much of American music reveals the misogynistic tendencies of songwriters, performers, and people. If we are to progress the legacy of this song, then perhaps the “Liza Jane” of the 21st century should be the one who is celebrated for dismantling oppressive traditions entirely.

For example, the version of “Oh Liza” by The Preservation Hall Jazz Band utilizes Mardi Gras Indian rhythms and themes to express a more-universal spirit in the music, including an extended Freddie Lonzo trombone solo. The somewhat-abbreviated trombone solo on this New Birth Brass Band version of “Li’l Liza Jane” brings the tune back to the blues. The use of shorter, 2-bar melodies allows for a call-and-response phrasing within the individual playing. And as the shout backgrounds enter in support, the trombone melody takes a cue to let loose in the upper register before returning back to the main theme.

Here is a YouTube trailer for the upcoming documentary Li’l Liza Jane:

Recommended reading: Roll With It: Brass Bands in the Streets of New Orleans by Matt Sakakeeny. Published by Duke University Press.