Four Men, One Sound: How a 27-Year-Old Quartet Keeps a New Orleans Tradition Alive

27 years of continuous performance define the current tenure of Southern Tradition, a barbershop quartet that has operated in New Orleans since 1999. The group performs on Mid City evenings, projecting four-part harmony from a location just off Canal Street. This local ensemble represents a specific continuity within a musical tradition that has persisted for more than a century.

The four members of the group hold distinct professional jobs outside of their musical practice. Karl Hansen serves as a doctor and sings bass. Hansen Eschette works as a medical technician and sings tenor. Joe Jacquat is a civil engineer who handles the baritone parts. Johnnie Oufnac, the only actual barber in the group, sings lead. This mix of backgrounds creates a singular sonic output that relies on each member’s specific contribution.

Hansen describes the primary requirement for participation in the group as a lack of embarrassment. He states that singers must simply keep going. The group’s longevity allows them to develop a deep understanding of their partners' musical intentions. Hansen notes that being together for a long time helps them harmonize and anticipate where other singers are going within a phrase.

Zachary Matherne, an award-winning barbershop singer, identifies New Orleans as a central hub for American music at its basic level. He points to Louis Armstrong as a key example of this connection, noting that the famous native son performed in a vocal quartet before he began playing the horn. Matherne also performs with NOLA Vox, a larger vocal group that spawned The Dreamers, a coed barbershop quartet. His involvement illustrates the breadth of the local singing community.

The tradition has evolved to include female voices, which many in the community view as a welcome addition. Sarah Todd, a singer in the local scene, says it is fun to see where one stacks up against other performers. Matt Ridley, another local singer, states that the group needs women to hit the high notes. He adds that while some gentlemen can reach those pitches, the female voices are more attractive to the ear.

New Orleans has a history of hosting large-scale international competitions for these groups. Matherne recalls that the most recent international event in the city took place in 1992 at the Superdome. These events brought thousands of singers to the area. However, for local groups like Southern Tradition, the motivation is less about competition and more about the daily practice of harmony and camaraderie.

The members of these local quartets sing for the love of the craft rather than for financial gain. They gather every couple of weeks to rehearse and perform. Ridley describes the process as beautiful when the parts are learned well and the ensemble comes together. In a city defined by its musical history, this specific form of vocal performance remains an active part of the local culture.