AFTER THE HURRICANE

BRIAN WISE FOUND NEW ORLEANS IN DISREPAIR BUT JAZZ FEST STILL GOING STRONG.

Artist photos by Douglas Mason and the New Orleans Jazz& Heritage Festival

Other photos by Brian Wiseor others as indicated.

It might seem odd to open a Jazz Fest review with a political discussion but there are a few things you need to know. Since I reported on last year’s first post-Katrina Jazz Fest not much has changed in New Orleans.

The Lower Ninth Ward is still in a shocking state and not even the world famous St Charles streetcar is running. The largely unscathed French Quarter and Garden District are superficially recovering but the footpaths are still often a jagged mess and many businesses are still on restricted hours.

So I was struck just as we went to press when former President Jimmy Carter declared that President George W. Bush's administration is ‘the worst in history’ in international relations.

The criticism from Carter is not only unprecedented for a former President but until the past two years it was certainly not de rigeur for Americans to criticise their own President.

I reckon Carter is being too kind. I think I can be fairly confident that within a few years we will start to hear the scandals about the misuse of money, the corruption that kept much of the city in tatters and the greedy businessmen who profited. The whole affair makes our politicians (of all political persuasions) look pretty good!

I mention Carter’s views because I have seen him at Jazz Fest on at least one occasion (and he has probably been there many other times). In the post-Katrina mood there would now be tens of thousands of Louisiana residents who would wholeheartedly agree with his assessment.

We passed through the Lower Ninth Ward on our way out to Cajun country (more on that next month) and visited the folks at Common Ground who are trying to help restore the area. You can help them too at www.commongroundrelief.org or you can help the musicians at the New Orleans Musicians Relief Fund (www.nomrf.org).
So, in the light of what has gone on in New Orleans it seems incredible that Jazz Fest went ahead last year at all and it is even more amazing that it has made such a comeback in the light of all the city’s other problems. Maybe they should put the Jazz Fest organisers in charge of rebuilding New Orleans!

“It looks like a full-size Jazz Fest,” producer/director Quint Davis pronounced to the media this year and it certainly was. While the 2006 festival officially drew 250,000 you would have to think that this year’s event drew a lot more. Spread across six days and two weekends both Saturdays attracted huge crowds – just like before the hurricane.

Make no mistake, Jazz Fest can be hard work. Set out on the Fairgrounds Racecourse a short bus or taxi ride from the French Quarter, the festival features two arena stages, three large tents, and eleven stages in all (including the kids’ tent). There are literally hundreds of food and craft stalls and only the grandstand offers some respite from the crowds and heat. And it can be hot and steamy. The crowds can be daunting, it can be difficult to get a seat in some of the tents if you want to catch jazz, blues or gospel and there are queues for everything, including the Go Cans, the portable toilets that litter the racetrack. (Hint: if you have to use one never look down!).

This year there were a few changes. The main tents were swapped around so that the Jazz Tent was at the far end of the track on the back straight while the Gospel tent took its place and the Blues Tent moved to the middle. I am not sure of the reason for this change but I did not care for it much. The other change was the chair free areas imposed in front of the stage that sound good in theory and did allow me to get to the front of the Gentilly stage quite a few times.

I usually go hard on the first weekend, acquire a few blisters plus sore feet and a painful knee and then become more selective the following weekend having rested on the cajun country tour and filled myself with crawfish. It seems to be a strategy that works for me because I made it through to the final day and then threw myself into the hotel pool (for the first time) feeling some relief that I had survived.

Then there are the evening gigs you have to contend with as well. I suppose if you are a music fan then it is hardly a chore to spend all day watching music and then find your evenings taken up with it. It is not something any of us ever complained about.
Jazz Fest began for us, as it should in the Gospel Tent where Al, Terry Jephcott and myself enjoyed a burst of the Leviticus Gospel Singers to get us in the mood. You’ll be delighted to know that Al and I had begun each day with a Bible reading – after all, what else do you do with the Gideon’s Bible in your hotel? This ensemble featured a seven-year old singer who has more vocal talent and natural rhythm than anyone of her age has a right to. Throughout the Fest we would return to the tent to recharge on the inspiration there.

I was delighted to see Zachary Richard back after many years absence. He had French singer/songwriter with Jacques Cabral with him (they have recorded together) and they sounded superb.  The subdudes previewed songs from a forthcoming album so it is good to know that they are still going strong.

Later in the day I chose to see Van Morrison rather than Lucinda Williams (whom I was seeing at the House Of Blues) and he put in a fine set, although many still felt that he did not relate well enough to the audience. I don’t know what they want him to do, hug them? He closed with a superb version of ‘When The Healing Has Begun.’ It was not in the league of his Austin City Limits set from last year which is now available at his website but it was not grumpy Van by any means. My only complaint is that Van’s band is just not gutsy enough for him.

The undoubted highlight of the first day was T Bone Burnett, who was introduced as having done more for roots music than almost anyone else in recent years – and you can’t argue with that. Dressed in what looked like a suit from the 19^th century T Bone played quite a few songs from his latest album, The True False Identity. The real treat was hearing Marc Ribot on lead guitar and Jim Keltner on drums. You know Ribot as soon as you hear him because his style is so distinctive and he is such a tasteful and brilliant guitarist. He can play just about any style – and he even sings backing vocals! The songs came alive under Ribot’s spell and he made every one compelling.

At then end of the day I managed to catch one song from Percy Sledge in the Blues tent. Yes, you guessed it: ‘When A Man Loves A Woman.’ What a fine way to finish a Friday afternoon.

Jon Cleary started the first Saturday with his Absolute Monster Gentlemen in their usual inimitably funky way. I was delighted to see that Cleary has an EP out (reviewed later in this issue) to tide us over until an album arrives.

The chance to see Mose Allison interviewed at the Allison Miner Heritage Stage was irresistible and he was amusing and illuminating. His interviewer could have been a little better prepared. The first question was ‘You began at a young age as a boy.’ Cringe. Later Mose received a rapturous ovation when he took the stage in the Jazz Tent. He showed his skill as a piano player but everyone reacted to his wry sense of humour on songs such as JD Loudermilk’s ‘You Call It Jogging’ or ‘Your Mind Is On Vacation.’ ‘Everybody’s Cryin’ Mercy’ still resonates.

One of the most exciting events at Jazz Fest was set to be Bobby Charles’ appearance at the Fais Do Do stage but a front page article in the morning’s Times-Picayune cast doubt on this when he revealed that he had had a dream that he got shot on the way to the Fest. Famed for writing ‘Walking to New Orleans’ and Bill Haley and The Comets' ‘See You Later Alligator’ Charles never made it to the stage and by the time I got there Dr John was in full flight. He was helped out by Marcia Ball and Sonny Landreth in what was hailed as a great show (I only saw a few songs). It was recorded but not made available when Dr John nixed the plan.

I opted for Johnny Rivers over Calexico (who I had seen at The Corner Hotel just a few months ago) and I was glad I did. Johnny is one of those guilty pleasures but his classics such as ‘Poor Side Of Town’ and ‘Summer Rain’ as well as his covers of songs like ‘Tracks Of My Tears’ elicited a great response. Rivers looks good, sounds great and is a real showman.

What to close the day on: Rod Stewart, Norah Jones, Pharoah Sanders , Sonny Landreth? Well, I had to see some of Rod Stewart, having never seen him in concert before, and I was immediately impressed with the sound – the best of the Fest. His band is exceptionally tight, although I did notice that the main qualification for getting a gig with Rod appears to be the possession of supermodel looks and the ability to play a musical instrument or sing. I have to say that Rod is looking in good shape and his voice is still in good form. He did a terrific version of ‘Losing You,’ a fine one of Sam Cooke’s ‘Twisting The Night Away’ and then lost me completely with ‘Infatuation’ and some other ‘80s songs that were atrocious.

Luckily, I left Rod early and managed to get a seat for most of Pharoah Sanders’ set which turned out to be brilliant, and even more so when he brought on Terrance Blanchard.

John Boutte - singer with The New Orleans Social Club  

Sunday saw The New Orleans Social Club play on the Gentilly Stage (the second main stage) and I was looking forward to this as a possible highlight of the festival. Unfortunately, sound problems plagued the start of the gig (but not on the CD that is available at www.nojazzfest.com). This was to be a constant problem on this stage, which had the worst sound I can ever recall at the festival. You would think that after all these years they would get it right. It was embarrassing to see Dr John struggling along while the audience members pointed fingers skywards to indicate that the sound needed to be turned up. With musicians of the calibre of George Porter Jr, Leo Nocentelli, Raymond Weber, Henry Butler and Ivan Neville you expect the best possible sound. Still, like the city itself, the group weathered the storm to produce a great show. John Boutte’s singing was a revelation.

Seeing The Killer, Jerry Lee Lewis, had to be one of the high points of the festival and it was great to be in his presence – when he finally took the stage. His band did the usual showtime intro for about 15 minutes beforehand and I was worried that Jerry Lee might not show but when he strolled on stage he proved that he can still rock. His piano playing is still mighty, even if the voice is a bit shakier. His versions of ‘Roll Over Beethoven,’ ‘Whole Lotta Shakin’ Goin’ On’ and ‘Great Balls Of Fire’ were sensational to hear.

I left Jerry Lee and managed to catch the last part of Gillian Welch and David Rawlings’ set on the Fais Do Do stage and they drew probably the biggest crowd I have ever seen to that stage. Gillian is due for a new album but it was great to be reminded of how wonderful her shows were in Australia a few years back.
Who the hell is Brad Paisley? Apparently he is a huge country star in the US and he closed the first weekend on the main stage. I didn’t see him and I don’t know anyone who did. Bonnie Raitt (whom I saw here just prior to Jazz Fest) and CJ Chenier were on other stages and Al and I chose top close our weekend with Cuban musician Arturo Sandoval in the Jazz Tent and it was an energising experience. He was brilliant and his band were cooking. 

When we arrived at the Fairgrounds on the second Friday and headed for Lil’ Band O’ Gold at the main stage, the sky was threatening. Suddenly it started bucketing down and we rushed for shelter in the Acura tent where we found seats amongst the display cars and watched for the next two hours as a fierce rainstorm flooded the infield. Thank you to Mr Honda for the shelter.

Though the afternoon became abbreviated and some acts were cancelled Chuck Leavell and The Randall Bramlett Band managed to get in four songs – two of them Stones covers (including ‘Tumbling Dice’) with Chuck on vocals! Tony Joe White set the Blues tent alight with a smouldering set.

Adam Duritz out front of The Counting Crows 

Most people went to see ZZ Top at the close of the day but I opted for the Counting Crows. I am over ZZ after their Byron Bay shows of a few years back. In this regard I agree wholeheartedly with Al Hensley about being organic – I can’t handle the synths and the tape loops.

Son of Bob - Stephen Marley
 

The remainder of the second weekend was less frenetic. The weather fined up after the brief storm and I took in some acts at length. Snooks Eaglin was mighty and is still under-rated. Stephen Marley has one of rhe best reggae bands I have seen – a mix of youth and experience – and I was really impressed.


The Holmes Brothers

The Holmes Brothers were still as lively and ‘loose’ (in a good way) as ever. We got within sight of the The Allman Brothers Band on the Gentilly Stage and camped beside the muddy ditch. Derek Trucks and Warren Haynes alternated on lead guitar and sounded excellent. The highlight was a smoking version of ‘Walk On Gilded Splinters.’

The Beethoven  of New Orleans - Allen Toussaint

The final day of Jazz Fest provided one of my undoubted highlights in not only allowing me to see Allen Toussaint in another of his great shows (dedicated to Alvin Batiste who had died the previous evening) but also in talking to him. (Interview in next month’s Rhythms).There was also an Alvin Batiste tribute with Branford Marsalis and Harry Connick Jr in the Jazz Tent.

Steel Dan were smooth, slick, professional and sounded amazing. I don’t know how they manage to recreate the sound of their albums but they do. Becker and Fagan are two of the weirdest cats in the business but they still deliver on stage.
Many chose to see Harry Connick Jr close the festival but I gave it a miss. I still miss the Nevilles doing the closing spot and cannot quite get enthused at anything else. Maybe that will change next year.

Will I be back for another Jazz Fest? Will the sun come up tomorrow? It’s still the best music festival on the planet.

Next month: Allen Toussaint on The River In Reverse.

The opinions expressed in this article are the viewsof the Website Editor and do not reflect the opinion of Rhythms Magazine.