Jazz Fest Expands to Eight Days
This year Jazz Fest expanded its program to include an eighth day of music. The opening Thursday concluded with a performance by native son Fats Domino on the main stage that offered a summation of everything remarkable about the city’s music. Domino had been rumored to be in poor health but he struck a robust figure as he powered through an astonishingly vital set of New Orleans R&B, backed by the roaring glory of his Dave Bartholomew-led backing band. Domino was in exceptionally strong voice, pulling all the beauty and nuance out of the ballads “Walking To New Orleans” and “I Want To Walk You Home” and giving his talented band ample space to stretch out with rhythmically adept solo passages. At the end of the show Domino showed he was in the pink by employing his legendary technique of pushing the piano across the stage with his stomach as he pounded through a rousing version of “When the Saints Go Marching In.”
—John Swenson
Nicholas Payton
On mentioning the humor that kept popping up throughout Nicholas Payton’s tremendous set, a friend offered this reminder: “Remember who his father is.” Yeah, you’re right, his dad, bassist Walter Payton is one hilarious dude. As the trumpeter led his new, adventurous band Sonic Trance, his wry wit turned up in song titles like “Cannabis Leaf Rag” and “Two Mexicans on the Wall,” which opened with a mariachi-style trumpet proclamation. It was also evidence in the pimp hat he donned near the end of the set and was slyly sprinkled in his use of his wah-wah and other electronic devices. On “Spiral,” Payton’s trumpet rained fireworks and sparklers that were propelled by the drums of Adonis Rose and further ignited by the sax of Tim Warfield. Few musicians can successfully make leaps from the traditional and straight-ahead jazz platforms to more electrified fields without creating negative shockwaves. Payton’s huge talent and solid sense of taste assured positive energy.
—Geraldine Wyckoff
Chair People
I understand the attraction of bringing a chair to the Festival, but something needs to be done to prevent the logjams they create. I’ve long since gotten over the loss of the Acura Stage to the Chair People, but when there’s a chair mafia in front of the Congo Square and Fais Do-Do stages, I tend to get irate. Cajun and zydeco music was not intended to be heard in a reclined position. It’s strictly dance music. The same can be said for the Latin and world music of Congo Square. Jazz Fest needs to liberate the front of these stages from the tyrannical hands of the Chair People and demarcate the land as dancer-friendly (this does not include noodle dancing of the hippie variety).
—Christopher Blagg
Joe Cocker
Having recently performed at a casino near you, the first half of this performance did not give anyone much to cherish. Featuring the same saccharine material that has sustained his career for the last 20 years, the first two-thirds of this set was less than inspiring. However, by the time the end was near nearly all was redeemed as Cocker belted out more than credible versions of “ With a Little Help From My Friends,” “The Letter,” “She Came in Through the Bathroom Window” and a powerhouse version of “Feeling Alright” that left most of the audience feeling just that.
—Adam Cohen
Theme Song
Li’l Buck Sinegal, Tab Benoit, Los Lobos (three times!), Alex Mc Murray and even the original Li’l Bob himself all played the ultimate ode to good times and indulgence, “I Got Loaded,” during Jazz Fest. If that isn’t the most appropriate theme song for Jazz Fest I don’t know what is.
—Adam Cohen
A Family Thing
There was something in the air that just shouted that Troy “Trombone Shorty” Andrews was going to step it up a notch for his debut as leader in the Jazz Tent. And oh man, did he ever. The 17-year-old was impressive from the onset. Playing mostly trumpet, Andrews pushed and bent notes, was observant in his role as leader, killed the crowd with his smooth dance moves and was a fireball of energy and enthusiasm. The sophistication of his original, Latin-influenced “Fall – On” was striking and showcased his talented ensemble and particularly the saxophone of James Martin. Pulling an ace out of his sleeve at just the right moment, to the amazement of all Andrews picked up another horn and blew two trumpets simultaneously. Naturally, the crowd went wild. Old friends and fans were visible moved when Andrews called his brother trumpeter James Andrews, who he credited with much of his success, and cousin vocalist/trombonist Glenn Andrews to the stage for a heartfelt version of “St. James Infirmary.” It’s a New Orleans thing; it’s a family thing.
—Geraldine Wyckoff
No Lines
No, you were not hallucinating. There were no lines for Crawfish Monica, Mango Freezes, or the Port-a-Potties on the final Sunday. Hallelujah.
The drop in attendance may have some concerned, and no doubt every attempt will be made to bring the crowds back to record levels. (I suggest investing more money in top-drawer jazz acts and less in big name pop artists with marginal connections to either the music or heritage of New Orleans. You don’t think that will bring more people in? Me, either, but I’ll have even more fun.)
Still, there’s a lot to be said for no lines and a little elbow room.
—OffBeat Staff
