THE NAZZ ARE BLUE
I haven’t kept up with Todd Rundgren at all, but I do have a slight addition. [Backtalk June 2013] In a probable 1968 Hit Parader magazine, in the back, was an article entitled “Nazz Jazz.” There was a picture of Todd Rundgren (he was just called Todd) holding an EB-O or EB-3 bass that was fancifully painted. The next time I heard the word Nazz, a few months later, they were coming to “The Bank” (Decatur and St. Philip), hardly a big venue (150 tops, sitting on the floor). Todd was on the right side of the stage playing a Danelctro bass (they’ve been re-issued—the two Longhorn cutaways—very inexpensive) in obscurity and I don’t believe he even sang that night.
I can almost guarantee you that I was the only person in the audience who knew his name. I’m 61 and saw just about everyone who came to town at the Warehouse or the Bank; I was too young for Bonaparte’s Retreat. I think I’m right about this other group too: a band called “Knowbody Else” later became Black Oak Arkansas.
—Mark Lawrence, Metairie, LA
[Editor’s note: Todd Rundgren played lead guitar in the Nazz. The bassist was Carson Van Osten. The Knowbody Else did indeed become BOA].
HAPPY WITH BETH
Great article about one of New Orleans’ best musicians, period. [cover feature on Beth Patterson, June 2013] People talk about a lot of different bands around town, some of whom have national followings, but I’d go see Beth over 80% of them and be happy about it.
—Mark Saucier, New Orleans, LA
STILL HAS THE FIRE
Patti Smith’s performance was a highlight of my past 28 Jazz Fests, it was inspiring—she still has the fire.
—Ralph Collinson, Saint Augustine, FL
“Because The Night” brought tears to my eyes. The whole set was very emotional. She thanked us for standing in the rain. Not a problem, Patti. Not a problem.
—Rick Moore, New Orleans, LA
MY LAST JAZZ FEST
Since 1988 the New Orleans Jazz and Heritage Festival has been home. Everyday… a journey… pack “the Fess Bag,” get on the bus; stand in line. Eight hours of solid—mostly New Orleans regional music—jazz, blues, second line, all of it wonderful. But things have changed. The Fair Grounds is no longer fair. A few examples: expensive prices for admission, food and shirts; large chairs and blankets with groups that “stake out” spots like they own it; rude people, cell phone talking; then the guy who controls the Blues Tent. He loves to boss people, even the handicapped ones. I have a tiny tripod chair and try to sit near and have been rudely told “only approved chairs.” The Jazz Tent has gotten almost as bad.
Next problem is the amount of space being allocated to “special groups” with stadium seating that is not usually occupied but is taking up valuable space for regular festers. Seems like they are trying to push out the faithful.
Lastly, the entire flavor of the Fest has changed. Big rock/folk names having no connection to New Orleans heritage are taking over our beloved Fest. It could be an event in any city—a pop summer festival!
The passion, the connectedness, the energy—all the dynamics of Jazz Fest have changed in a negative way. This year was my last—look out French Quarter Festival, here we come!
—Sandy Lenney, Saint Augustine, FL
UNDER-THE-RADAR
I am a recent purchaser of a Super Potluck collection of OffBeat back issues and I think they are fabulous.
Old issues are great for learning about relatively obscure artists, which is my passion. While at the Louisiana Music Factory, I asked the attendant to recommend an under-the-radar local musician I would like as a fan of Eric Lindell and Grayson Capps. And his suggestion was Thomas Johnson & the People, which turned out to be a stellar recommendation.
—Paul Eckert, Washington DC
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