New Orleans Jazz & Heritage Festival :: 04.30.09 - 05.03.09 :: Fair Grounds Race Course :: New Orleans, LA
My predecessor from the first half of Fest did a splendid job at describing this event in a linear fashion; I offer here an alternate approach - flashes from the front lines, a montage of musical moments to simulate the Jazz Fest experience, where you're listening to R&B and can hear Zydeco off in the background, eating a mango freeze while smelling fried chicken, thinking you're still in America but feeling as if you're outside its borders. And you are.
Spirit Everywhere
Heavy on the tambourine and bass drum, Indian music drove hard, forcing the audience to chant along to "Wild Man Hurt Nobody." An Indian with the name of Fi Yi Yi (the "i" sounds long, like "eye") danced onstage in his suit of feathers, accented with long bundles of straw hanging down from the sleeves and down the back, like a giant Voudou doll. He wore an African mask under a hat made from sticks, reminding me of Legba, the guardian of the crossroads between the spirit realm and the real world. There might be something to this: it wasn't even noon and I was already caught in the music, unable to leave the stage. We chanted "Hoo Na Nay" as Fi Yi Yi sang of Mardi Gras morning adventures. We stood transfixed as he related a tale of visiting the Lakota in South Dakota, his backup chanting, "I feel spirit everywhere." Later, I stumbled upon Fi Yi Yi being interviewed. He explained how he came up with his name - he just grunted it out one morning and realized it was his spiritual name. He offered it up to all of us to use when we're feeling down. Just say, "Fi Yi Yi," and it all gets better.
Oh The Agony
I stand by my choice of the Crawfish Beignets. The French version of our donut, a beignet may seem like an odd place for crawfish - nowhere else I know puts seafood inside donuts - but some things simply transcend common sense. Crispy on the outside, the warm nuggets had a dense, doughy middle, punctuated with flavors of hot peppers, onion and, yes, crawfish. A tangy remoulade sauce added the perfect amount of creaminess to the dish, which I ate standing up. Another Jazz Fest phenomenon: most food is consumed standing, not only due to a lack of seating near the food vendors, but because it's too delicious not to shove immediately into your mouth.
Every Shade of Blue
I'd never heard of Kenny Neal, but his guitar lured us into the Blues Tent to enjoy the full sounds of his two-keyboard band. Swaying with the guitar, he got the whole crowd singing "Since I Met You," then switched to the dulcimer to close with the bouncy "Blues, Leave Me Alone," creating some of the happiest blues I'd ever come across.
It shocked me to hear such a strong and haunting soprano coming out of the wizened, 86-year-old Doc Watson, who picked his guitar for a full-capacity Blues Tent. Fast picking, sweet singing and occasional yodeling marked his set, where he played classics such as "Summertime," "If I Needed You (Would You Come To Me)" and rockabilly versions of "Tutti Frutti" and "Whole Lotta Shakin'." He got two standing ovations.
I sought out Chris Thomas King at the Blues Tent, in time to hear him play "Baby Can't Be Found." Sporting a short Afro, shades and a white-hot suit, he certainly looked the part for the Blues Tent. But, I wasn't so sure about his voice, which didn't have the heft I like in a bluesman. His band was working an R&B sound, and I wondered how they'd do at Congo Square instead. Later that day, I caught a little John Mayall as I cruised by, and it sounded just like the blues should - the notes clean and slow, digging in the chest right between the ribs. You only need a minute walking past to get the real blues.
Although a tent is usually small, Jazz Fest Tents are not. They easily seat a couple hundred people and often pack in more: when Buddy Guy closed the Blues Tent this year, fans took every seat and crowded the aisles. The Chicago guitar man filled up the rest of the space under the tall canvas ceiling, where the air pulsated with emotion. His voice ranged from gravelly to sassy to sweet, as in John Hyatt's "Feels Like Rain," a suitable anthem for an almost-finished Fest. But before we had to leave, he threaded Hendrix and Iron Maiden riffs into a screaming electric jam, the bites of familiar melodies anchoring us to our previous reality, stopping our heads from flying off completely.
Bunk Don't Tip
Join the Triathlon!
Who knew that there's been an annual Jazz Fest Triathlon (JFT for short) for as long as anyone can remember? Determined to check it out, I found the tri-athletes by the Fais-Do-Do Stage, dancing to Steve Riley & the Mamou Playboys. I caught them between Leg One (the bike race to the Fair Grounds) and Leg Two (the mile-long foot race around the horse track), loosely gathered around a box of Coors. For Leg Three, the Bayou Swim, the group plunges in and swims across Bayou St. John after leaving the Fair Grounds.
If that weren't enough locally brewed weirdness, the JFT coincides with the Annual Watermelon Sacrifice, which takes place between sets at the Fais-Do-Do Stage on the Thursday of Weekend Two. Certainly if there were ever a place to sacrifice a watermelon, the Fais-Do-Do would be that place. Cajun for "dance party," Fais-Do-Do hosts the smaller Cajun and Zydeco bands, along with assorted others. Although the ground still held its sod when I was there, usually Fais-Do-Do means dancing in the mud. With a frame painted to look like an old Cajun swamp shack, this stage can bring out the country in damn near anyone - that accordion sound wraps you up like a blanket and don't let go.
Watermelon sacrificed, the tri-athletes could commence with the foot race around the horse track. Pumped from witnessing this oddity in a land of oddities, I decided to run. Tradition dictates that the run begin with participants shotgunning a beer. No one leaves the starting line until they've emptied their beer can. I can't speak for the other runners, but I fear this tradition may have negatively affected my finish time. Though I did get to see both Ben Harper and Emmylou Harris during the same time slot, even if it was at a jog - the track encloses all, which may be why the tri-athletes run it.
The Jazz Fest Paradox
There are screens, yes, but the sea of people flows so far back that you may find yourself in a spot where you can't even see the artist's image on the giant screen halfway deep into the field. This is where I caught the beginning of Neil Young's now-famous set, his first-ever appearance after 40 years of being courted by Jazz Fest. Because of the wind, which blew the sound waves coming from the remote speakers away from the crowd, the audio quality could have been better, yet I got to hear him take to the piano for the rollicking "Are You Ready For The Country?" and back on guitar for the sing-able "Everybody Knows This Is Nowhere." He played "Pocahontas" with his full band, who were a little too heavy on the instrumentation. I like the song better stripped-down, more like how he later performed "Needle and the Damage Done" simply with acoustic guitar. Warping the ending to "Cinnamon Girl" into a tidal wave of sound that reverberated through space and time, Young blasted away any doubts that he can't keep his old songbook fresh.
I can only spend so much time pressed up into the armpit of humanity, so I regret to report that I escaped Acura before "Rockin' In the Free World" and the soon-to-be legendary cover of "A Day In The Life," where he mangled his guitar as part of the encore performance. It's the Jazz Fest Paradox - the constraints of time remain the same as in the outside world, yet to truly experience the staggering amount of musical offerings, time must be suspended. How else could I hear Neil Young's encore, catch Los Lobos' Latin-flavored cover of The Grateful Dead's "Bertha," check out Dash Rip Rock and witness Guy Clark singing "Homegrown Tomaters," which all happened at approximately the same time on Sunday afternoon? True, running the track may solve this dilemma, but I'll be damned if I try that again. I'm hoping that for next year, Jazz Fest adds motorized wings to its growing assortment of merch, something for us musical dilettantes too lazy to run from one show to another.
More From the Land of A Thousand Flags
Later that day, I returned to the Acura with the tri-athletes to catch the end of Ben Harper's set with his new band, Relentless7. He covered Queen's "Under Pressure," which had most of the crowd and all of the tri-athletes literally jumping from the joy of it - the crashing drums, the singer's earnest scatting.
Bon Jovi played at the Acura Stage, an act that I would skip if it weren't for the 14-year-old living in my psyche. She would hate me forever if I didn't at least try to hear Bon Jovi's voice, so I dragged myself away from The New Orleans Bingo! Show, a local musical cabaret outfit whose instrumentation includes grand piano, bass, drums and saxophone, as well as the megaphone, sirens and metal brushes on an old gas can. Bandleader Clint Maedgen was blowing the notes of "Down By The Riverside" on a glass coke bottle when I tore myself away from their antics.
Among the thousands of Bon Jovi fans, I realized that I was a part of what may have been the largest concentration of white people in the recent history of New Orleans (at least since Dave Matthews played the Fest in 2001). To confirm my theory, Bon Jovi launched into a cover of "Twist and Shout." Time to go home.
Grease Is The Word
Bonnie Raitt is happy to have stood the test of time. She's also at Acura, and even from a great distance I can spot her shocking red hair. She brings plenty of locals to the stage, playing "A Real Good Thing's About To Come To An End," with Jon Cleary scorching the piano, followed by an old Sippie Wallace tune from the 20s, "Woman Be Wise" with Glen David Andrews on trombone and his cousin James Andrews on trumpet. More locals add an extra accompaniment, the beer vendors clanging cowbells for every person tipping the jar. Even onstage, it was hot in the afternoon sunshine, prompting Raitt to give the Fest's best advice yet: "Get into that grease, honey." She then launched into the lusty "Something To Talk About," which I sang all the way to the next act.
Get The Glaze
Jazz Fest 2009 by McCullough |
The Dance Continues
If a dance troupe comes to the U.S. all the way from Africa, I figure they have to be quality. Jazz Fest rarely disappoints, though the Crocodile Gumboot Dancers of South Africa seemed more like an acquired taste. Accompanied by spare guitar and a fiddle repeating its tune in a minor key, the lead punctuated his chanting by loudly blowing his whistle into the mic. All six dancers wore giant black rubber work boots of the gumboot tradition that originated in the goldmines under apartheid. Even without the boots and whistle, the mining connection was made plain through all the kneeling, saluting and crouching during their dance. Percussion consisted of strings of bells around the dancers' boots combined with their synchronized thigh slapping and boot stomping. Though the talent was impressive - not easy to dance while crouching - the overall effect was unsettling with these direct reminders of apartheid and slave labor.
Providing an entirely different experience, the Ori Culture Dance Club of Benin kept a playful quality throughout their performance, which included several acts and costume changes to the accompaniment of African drums and the gourd rattle. In the first act, male dancers brandished stylized silver hatchets as they leapt, spun and thrust themselves about, all knees and elbows. The men danced off stage, followed by three women dancers with their shoulders and upper arms covered in white powder. Starting with subtle arm movements, the women worked up to seductive shoulder rolls, followed by jumping and squat-hops. Then, the men returned, wearing fishing hats and work clothes, each one balancing a boat paddle over his shoulder. Acting out a fishing tale, the male dancers worked those paddles. At one point, they stood behind their paddle and thrust at the audience.
Jazz Fest 2009 by Grayson |
The finale employed a rainbow-colored straw hut, which, after being rubbed with the mysterious powder that the dancers not only ate but also puffed towards the audience, spawned coconuts with paint inside the color of egg yolk. The lead dancer then gobbed the paint onto his fingers and smeared it onto another dancer's bald head before smearing it on his own chest. I confess, this is the sort of culture I like - men smearing paint onto each other!
I was sad to see the act end, but considering how strongly New Orleans is tied to Africa, I wouldn't be surprised if next year's Fest has the Neville Brothers on stage in skirts, decorating each other with coconut paint.
What He Say
If that weren't enough, his speaking voice is soft and cultured, a caramel melting on the tongue. When asked if he'd been influenced by the old New Orleans jazz greats like Jelly Roll Morton and Louis Armstrong, Toussaint got straight to it: "Not so much. I was too busy tryin' to catch up with Professor Longhair," and treated the audience to a brief Longhair medley. Later in the interview, he confessed that when it came to traveling, he preferred to stay in New Orleans "and never leave. I don't like to leave a shrimp po-boy too far." The audience laughed, of course, but I knew what he meant.
Speaking about his career, Toussaint quipped, "Once you say yes to music, it says yes back to you."
I looked out the viewing area, where I could see almost all of the Fair Grounds and its many stages. It wouldn't be long before the stages and tents disappeared, the out-of-towners gone, and New Orleans resumes its usual rhythms. But as Toussaint continued on, I spent a few moments observing the field of people ahead of me as they moved to and fro, still saying yes to the music after all these years.
Images by: Adam McCullough
Solomon Burke | |
Robert Glasper | |
Anders Osborne | |
Ben Harper | |
Mark Braud | |
Kirk Joseph | |
Little Freddie King | |
Leo Nocentelli | |
The Subdudes | |
New Birth Brass Band | |
New Birth Brass Band | |
Paulin Brothers Brass Band | |
Nicholas Payton | |
George Wein | |
Red Hawk Indians |
Images by: Tamara Grayson
Second Line Parade | |
Creole Zydeco Farmers | |
Emmylou Harris | |
Mardi Gras Indians | |
Mardi Gras Indians | |
Mardi Gras Indian Confrontation | |
Kone Seguenon | |
Solomon Burke | |
Culu Children's Traditional African Dance Company | |
Ben Harper | |
Honey Island Swamp Band | |
Little Freddie King | |
Alex McMurray | |
George Porter Jr. | |
The Melody Clouds | |
Steve Riley And The Mamou Playboy | |
New Birth Brass Band | |
John Rankin | |
Rosie Ledet | |
Johnny Sketch and the Dirty Notes | |
Theresa Andersson | |
Continue reading for Friday pics of the Second Weekend at the New Orleans Jazz & Heritage Festival...
Images by: Adam McCullough
Tony Bennett | |
John Boutte | |
John Cleary - John Scofield Piety Street Band | |
George Porter Jr. & John Scofield - Piety Street Band | |
Dirty Dozen & Rebirth Brass Band | |
Dirty Dozen Brass Band | |
Evan Christopher | |
Julian Marley | |
Musiq Soulchild | |
Shannon Powell | |
Esperanza Spalding | |
Walter 'Wolfman' Washington | |
Trombone Shorty |
Images by: Tamara Grayson
Lady Tambourine | |
Marcia Ball | |
BeauSoleil | |
Tony Bennett | |
Dirty Dozen Brass Band | |
John Boutte | |
Charmaine Neville | |
Clarinet Woodshed | |
Kermit Ruffins | |
Julian Marley | |
J. Monque'D | |
Glen David Andrews with Trombone Shorty | |
Bonnie Raitt | |
Sugarland | |
Lars Edegran | |
Poncho Sanchez Latin Jazz Band | |
Washboard Chaz | |
Walter 'Wolfman' Washington |
Continue reading for more pics of Saturday Second Weekend at the New Orleans Jazz & Heritage Festival...
Images by: Adam McCullough
Dr. John | |
Buckwheat Zydeco | |
Zack Smith - Rotary Downs | |
Irvin Mayfield, Jr. | |
Bon Jovi | |
Cowboy Mouth | |
Deacon John | |
Preservation Hall Jazz Band | |
The Pinstripe Brass Band | |
New Orleans Jazz Orchestra | |
Midnite Disturbers |
Images by: Tamara Grayson
The New Orleans Bingo! Show | |
Bon Jovi | |
Dr. John | |
Dr. John | |
Bonerama | |
Ensemble Fatien | |
Feufollet | |
The Pinstripe Brass Band | |
Preservation Hall Jazz Band | |
Bryan Lee | |
Cedric Watson & Bijou Creole | |
Kings of Leon | |
Chris Thomas King | |
The O'Jays | |
Gina Brown | |
Deacon John | |
Cowboy Mouth | |
Jason Rhein - Rotary Downs | |
Zack Smith (Rotary Downs) Fan Club |
Continue reading for more pics of Sunday of Second Weekend at the New Orleans Jazz & Heritage Festival...
Images by: Adam McCullough
Allen Toussaint | |
Brother Tyrone | |
Cedric Burnside | |
Chuck Brown | |
John Cleary | |
Jonathan Batiste | |
Eric Lindell | |
Jazz Jam | |
Jazz Jam | |
Shamarr Allen | |
Voice of the Wetlands All-Stars | |
The Neville Brothers | |
Aaron Neville - The Neville Brothers | |
Neil Young |
Images by: Tamara Grayson
Crocodile Gumboot Dancers of South Africa | |
Crocodile Gumboot Dancers of South Africa | |
Ellis Marsalis | |
D.L. Menard | |
Dash Rip Rock | |
DJ Soul Sister | |
Big Chief Bo Dollis | |
Cedric Burnside & Lightnin' Malcolm | |
Chuck Brown | |
Buddy Guy | |
Kenny Neal | |
Kurt Elling | |
Lil Brian & The Travelers | |
Jonathan Batiste | |
Panorama | |
Shamarr Allen | |
Voice of the Wetlands All-Stars | |
Los Lobos | |
Charles Neville | |
Neil Young | |
Neil Young | |
Neil Young | |
The rain is comin' |
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