OUT-OF-TOUCH JAZZ FEST

Bravo OffBeat for having the courage to print your in-depth analysis of the Jazz and Heritage Festival. As great as the festival is there are many aspects that can be improved. It’s time to ban those obnoxious sight-impairing poles, big blankets and oversized lawn chairs; especially in the walkways. For years culture-loving enthusiasts have bemoaned the inclusion of mainstream pop acts such as Dave Matthews, Joan Osborne, Jimmy Buffett, Sting, Lenny Kravitz and the like on the festival grounds. Regrettably, Quint Davis & Co. have added a far graver issue to concern ourselves with: public safety.

Sadly, the post-Jazz Fest comments by Quint Davis, Michael Bagneris and police chief Richard Pennington seem to confirm our worst fears. For what it’s worth, I wish Jazz Fest would realize that there are culturally significant big-name acts that don’t suck. What about Macy Gray, Beck, Sade, Tracy Chapman, and Medeski, Martin and Wood? And what about big names from the older generation like Aretha Franklin, James Brown, Santana, Stevie Wonder, Tony Bennett, Lena Horne and Bo Diddley? There’s a general sense of laziness that permeates every aspect of musical programming at Jazz Fest. Where’s the sense of creativity and anticipation in regards to how the music is presented? All one has to do is check out other festivals around the country or Mystic Knights of The Mau Mau’s incredible blues presentation at The Circle Bar and Superfly’s ambitious and exciting presentations (especially their Superjam series) on the local scene to get a glimpse of what’s missing at Jazz Fest. The blues being presented is watered-down, funk has been replaced by the patchouli-drenched dreck of hippie jam bands, world-music is reduced to a footnote, and what little jazz one hears in the Jazz Tent is often out-of-date and not up-to-par. It would be nice to hear fresh and innovative voices like Geri Allen, Leon Parker, Kenny Barron, Arthur Blythe, Steve Turre, Mark Murphy, Bill Frisell, Kahil El’ Zabar’s Ritual Trio, Abdullah Ibrahim, etc; not to mention avant-garde artists like Archie Shepp, David S. Ware, the World Saxophone Quartet, Ray Anderson, Evan Parker, and Henry Threadgill just to name a few.

While I’m ranting, why is Jazz Fest so out-of-touch with what’s happening on the world music scene? Where’s Caetano and Moreno Veloso, Cesaria Evora, members of the Buena Vista Social Club, Oumou Sangare, Amadou & Mariam, Zap Mama, João Gilberto and Bebel Gilberto, Susana Baca and so many others? Just think how great Jazz Fest would be if its organizers were as enthusiastic about presenting great music as they are about shattering attendance records!

—Corrine Cervenka, New Orleans, LA

ARMSTRONG’S RIVAL?

Jonathan Tabak’s comment in OffBeat’s Jazz Fest issue that some of the material on Kermit Ruffins’ latest recording “rivals Armstrong’s best work” is especially galling to anyone who has studied, appreciates and understands Armstrong’s myriad contributions to the 20th-Century. When one considers that specifically Tabak is referencing Ruffins’ performance of “Black and Blue” his comments become mind-boggling. As written, the song, composed by Fats Waller with lyrics by Andy Razaf in 1929 for the stage show Hot Chocolates, is to be performed by an African-American woman with very dark skin. She laments in the verse: “Out in the street/ Shufflin’ feet/ Couples passin’ two by two/ While here am I/ Left high and dry/ Black and cause I’m black I’m blue/ Browns and yellers/ All have fellers/ Gentleman prefer them light/ Wish I could fade/ Can’t make the grade/ Nothin’ but dark days in sight.”

The song is about the problems of a dark-skinned woman finding a man. It took Armstrong’s formidable genius to toss the sentiments above and mine the song’s chorus for a deeper more universal meaning. Let’s be honest here, although Kermit Ruffins is a genial entertainer who always pleases his audiences, his entire thing, from performance style to the endless references to weed, is derivative of Louis Armstrong. There is little originality involved. I ask Mr. Tabak if confronted by a paint by numbers version of “Guernica,” would it rival Picasso’s best work? This sort of simplistic, uninformed commentary tends not to honor Armstrong, as New Orleans purports to be doing in this his centennial year, but rather serves to desecrate his memory.

—William McKenzie, St. Louis, MO

It’s no secret that Ruffins is a nostalgically oriented performer who, like many jazz artists, is greatly inspired and informed by Armstrong, but to say he “paints by numbers” (as you have implied) like those who play repertory traditional jazz is simply not accurate. His style also reflects his own spirit and personality, which has been informed by his experiences growing up in a New Orleans music culture which, contrary to what your studies may have led you to believe, still retains some of the qualities which originally influenced Armstrong. More importantly, I never said that the material on Ruffins’ new record rivaled Armstrong. I ONLY said that his vocals on “Black and Blue” did. I wouldn’t put Ruffins on the same level with Armstrong in a wholistic sense (nor would Ruffins himself), but it is obvious to anyone who has studied art that an artist who is greatly inspired and informed by a past giant, such as Picasso or Armstrong, can occasionally capture the same brilliance as his mentor. This is not sacrilege; this does not “desecrate” Armstrong’s memory, but rather compliments his enduring legacy. —Jonathan Tabak

HER NAME IS GLADYS

Being one of the “attention grabbing idiots” referred to in… [Michael Hurtt’s Deacon John Jazz Fest review], I feel obligated to comment on such a misunderstood piece of poultry. First, the “stuffed chicken” Mr. Hurtt so rudely refers to has a name, Gladys. Second, we love Deacon John and try to see him every year for Jazz Fest. Now follow me for a moment:

A quick history… we have been contributing natives of New Orleans for many years. Our group has been very respectful of the traditions of the city we call home, you know, the one nobody wants to move to or do business in because of the wonderful image painted by the national media. Anyway, over the years we have actively contributed to the reason this city is known for the mystique and originality that separates us from “Anywhere, USA.” Every Mardi Gras (and practically year round now) we develop a theme and create costumes, walking heads, and even floats based around it, like real New Orleanians used to do. We even go as far as to save the “new suits” for Mardi Gras Day, which takes a great amount of restraint and responsibility to keep up such a great tradition. If you’ve seen any walking heads out and about at a local club or on a street lately, it’s a good possibility it was one of our krewe members.

Our group has been behind the scenes for many years, but now we are proud to introduce ourselves as “The Krewe of Grotesque and Outlandish Habiliments”! Our charter is simple, all one must do to become a part of this group is to participate. Don’t just be tourist, get involved with our heritage. Every year I see fewer people putting any kind of effort into costuming for Mardi Gras. My hat goes off to everyone who works year-round for this occasion. It reminds me of a Phil Johnson editorial they used to play on WWL every Mardi Gras Day where he observes “a housewife can be the Queen of England…”, he ends by saying that “in the end, there is silence, because Mardi Gras for us (locals), is a state of mind.” That is the spirit of the city! This is why most locals cannot uproot and move to the cities that have no soul.

Let me get back on track:

You see this year’s theme has somehow gravitated towards “chickens.” So we’ve been trying out our concept in small secret social experiments. And what bigger, better place than Jazz Fest itself. Well, all I can say is “sorry to you Mr. Hurtt,” because we have been getting fan mail and pictures from across the country of our feathered mascot, Gladys the chicken. Most everyone we’ve crossed paths with enjoyed and even took pictures with this lovable poultry dish! People of all ages enjoyed her festive antics. Now granted, in Mr. Hurtt’s defense there may have been a few moments where care was thrown to the dirt track and Gladys was not well-behaved. But if you’ve ever twirled a chicken on a stick, you would understand how these things sometimes happen! I state that no disrespect was shown to any of the musicians. As a matter of fact, some were inspired. Out one night during the Fest, Olu Dara was so inspired that he actually made up a chicken song on the spot! We have his autograph on the chicken to prove it! Many others acknowledged Gladys with song throughout Jazz Fest including John Mooney and Little Freddie King.

Thank you for hearing our response to such a tragic misconception. So we are sorry to offend you Mr. Hurtt and hey, “lighten up, it’s later than you think.” By the way, you can bring drinking water into the Jazz Festival (and some other beverages if you’ve lived here long enough as most locals know!), but have you ever thought to try and participate? Oh yeah, what kind of drugs were you on that day, 50-year-old!? C’mon! I HOPE I have this much fun when I’m 50!

—Rodney Ory, A Habiliment (a.k.a. “attention grabbing idiot”),

New Orleans, LA

SMOKING SONNY

No mention of my favorite moment at Jazz Fest this year, Sonny Landreth’s smoking set at the House of Blues stage. Sonny lit it up doing several sizzling tunes from his fine Levee Town release. No one plays slide guitar like Sonny and the way he has incorporated Louisiana into his sound is amazing. You can almost hear the accordions and fiddles from up Lafayette way as Sonny plays. He got two genuine encores and it was the best set I saw all Fest.

Another moment from the same stage was John Mooney climbing up the monitor, then up the backside of Jeff Sarley’s string bass, then up the backside of Jeff Sarley himself, to finish his set standing tall as the crowd went wild. Classic…

And it was nice to read something positive about Van Morrison’s set. Van is just not a “How are you all doing? Good to be here…” kind of guy, but he dug in and sang his ass off. He brought something special for New Orleans, the horn-based sound of his band fit perfectly, and did the requisite crowd pleasers, singing “Brown Eyed Girl” like it had been written yesterday to the delight of the big crowd.

—Mark Grissom, New Orleans, LA

HUGE FAN

Best Rock Bands of New Orleans:

1. Cowboy Mouth—I agree 100%!

2. Daydreams & Curry—Do they EVEN ROCK? Funk? Or pass off their weak music with circus freaks—(jugglers, fire-eaters, etc.) to cover up their “lack-of” musicianship. Only OffBeat  Magazine would call a vacation to India a tour! Hahahahohoho. That is SO FUNNY! A tour? Hahahahehehehe! And y’all printed that!?!?? Hahahohe.

3. Ricki Comeaux—hahahahohohehe—I wonder how that “college tour” is going that you reported?? Haha. What a JOKE!! She has dumped more managers and BLAMED more people for her “lack-ofs” than anyone in N.O. hahaha. College tour?? Did you bother to ask if she has a booking agent? Haha. she has already fired that “new” manager in your story! College tour!? Hohhe. Why don’t you CALL HER and see how that tour is going?

Can people just MAKE STORIES up about their careers and you WILL print them? Are we supposed to BELIEVE these stories—month after month? There are plenty of very good Pop-Rock bands in New Orleans—Motorway, Birdfinger, Barstool Logic—but are these bands really trying to succeed? Are they going out town to town, playing shows to different cities? No.

I am a Cowboy Mouth fan (huge)! I am also a fan of OffBeat! So I know of your “dis-likes” of the band Tom’s House-but I want to tell you that I really think you are missing the boat here! If you haven’t seen Tom’s House, that is because they ACTUALLY TOUR to other cities—therefore reducing the amount of opportunities to see them here.

I AM NOT a girlfriend or sister—just a native New Orleanian who recently just graduated from the University of Georgia: Like I said, I am a Big Cowboy Mouth Fan, and got the chance to see Tom’s House open for them in Athens, Georgia a couple years ago. I have been following them since—literally all across the Gulf-South. This IS a band who tours and packs HOUSES all across the South—not vacations! Their vocals are CONSTANT 3-part-harmonies—how much more Beatles can you get? I don’t mean to “dis” other artists—just call something what it is. I just don’t see what I’m reading—and I don’t think you’re looking before you write!

I take my music VERY SERIOUSLY—especially music from home. I hope to make my career in music business or management of some sort… But for now, I would just like to open your eyes to Tom’s House, the purest pop-melodic-harmonizing-band in the land.

Please don’t confuse PMS and Passion for being a bi@#h! lol many thx for your time.

—Taylor K., Kenner, LA

It’s always great to hear from an “impartial” reader. Seriously, no one ever said or wrote that Daydreams & Curry went on a concert tour of India. Drummer Greg Wiz and guitarist Dave Rosser spent five weeks touring India as tourists. The experience influenced their latest songs.—Ed.

SAINT BUNNY

I was checking in, needing a taste of home when—voila—Bunny Matthews’ review of the Daydreams & Curry album hit me over the head like a wet Schwegmann’s bag fulla used crawfish shells!

I can’t tell you how appreciative we are of your support, Bun, especially as I sit in this hotel room in Reno (home of the oldster slot brigade) waiting to play this afternoon (a gig outside of D & C) wishing I were back in the humidity. The smells of incense and home cookin’ simultaneously came back for a moment.

Greg Wiz definitely nailed the vibe we got from the whole India thing, and thanks for your interview… your pointy hat awaits you in Rome.

See you guys later in the HEAT.

—David Rosser, Daydreams & Curry

MASTERING FESS

This is a letter of gratitude. Since you began the “Masters of Louisiana Music” series I would hurry and check each issue of OffBeat that I received, hoping that this issue would feature Professor Longhair. Each issue I was disappointed and thought what’s wrong with these people, how can they not do Fess.

Then I received the Jazz Fest May 2001 issue and then I understood. You were saving the best for this special issue. Not only a very good article but his picture on the cover! Good job. Thank you so very much. An avid Fess fan.

—Minta C. Bowers, San Ramon, CA