Tag Archives: Corey Henry
From the Revivalists passionate opening Gentilly set to the final moments of Springsteen’s plaintive reading of Saints, the first weekend of Jazzfest 2012 was an abundance of special moments. Yes, the draws were the Acura headliners. Petty and Bruce delivered deep satisfying sets (from what I was able to catch), and Springsteen’s presence was a rallying cry of celebration and reflection. A reminder of how New Orleans has healed since his epic 2006 post-Katrina Seeger Sessions appearance, and how far there is still to go. Even the Beach Boys brought their game, judging by the smiles and sing alongs from a nice size Acura crowd. But, hey, did you check out Seun Kuti and Egypt 80 at Congo Square? The four generations of players from 9 to 90+ that filled the Fais Do Do on Saturday for the Savoy Music Center Cajun Jam? How about Bon Iver’s stirring (and unexpected) connection with the Jazzfest crowd? Gary Clark, Jr. absolutely tearing down the Blues Tent opposite the Boss with Texas blues that left teeth marks? Not to mention the Voice of the Wetlands All-Stars and Jon Cleary & the Absolute Monster Gentlemen showing Tom Petty how it’s done in New Orleans. Sure until self-cloning is an app, we all pang for what we missed. Weekend 1 proved, yet again, no matter where you are at the Fest, it’s exactly where you should be.
The days between were not too shabby. Instruments A’ Comin’ on Monday night at Tip’s and New Orleans Musicians for Obama at Generations Hall on Tuesday had my head spinning (in a good way). IAC was loaded this year, as always. The sight/sounds of the best young brass in town marching along a closed Napoleon Ave. is breathtaking, and Shorty, Galactic, HISB and a cast of thousands made for a very satisfying 4:30 AM bedtime. Tuesday night’s “ObamaFest” had some unfortunate ticketing glitches, but once inside Generations Hall, there was a little bit of everything with two stages, multiple bars and a great relaxed vibe. The mostly Meters mini-set with Dr. John was locked in and tight, the highlight of the night by far.
The second weekend of the Fest boasted one of the richest lineups in year. While the Foos and the Eagles were not in the cards for me (my closest encounter was fighting the 65,000 Eagles fans for the exit), the Gentilly Stage and the Blues Tent pulled me like magnets. Thursday can never be a bad day. The crowds are lighter and headliners undemanding. It’s easy to roam, chill and eat. Like a bonus day. Flow Tribe completely entertained, Glen Hansaard sang/played his heart out with a 6-string that makes Willie Nelson’s “Trigger” look new. Honey Island Swamp Band’s “Bayou Americana” keeps getting better. George Porter, Jr. and his Runnin’ Pardners were totally in the groove. Regina Carter’s Reverse Thread was magical and Florence Welch had me completely under her spell. Only at Jazzfest could Florence + the Machine be counterpointed with the earthy grit of James Cotton’s blowing in the Blues Tent. If that’s a down day at the Fest, give me more.
Friday was a highlight. Grace Potter’s scorching stage presence was topped by the Nocturnals go for broke delivery. Hornsby’s long overdue Fest debut was juicy and this Bruce was loving every minute of it, especially when joined by dem ‘bones. Rodrigo y Gabriela’s metal rooted world nylon string mash up was mesmerizing. Zac Brown showed why he is a festival circuit favorite, and so much more than a solid country rock comer.
Saturday brought a rollicking (and rocking tight) Allen Toussaint set. Anders Osborne, fresh from the release of “Black Eye Galaxy” dug deep and raw, then vulnerable. Dropping the guitar and backed by strings, “Higher Ground” was simply beautiful. John Boutte brought the house down with a triumphant Jazz Tent performance and running between My Morning Jacket, Herbie Hancock and the Warren Haynes Band (with Dr. John) sums up why there is nothing like Jazzfest. The Haynes Band especially shined in the slot originally scheduled for Levon Helm. Levon’s spirit was all over the Fest, whether it was Hornsby covering “The Night They Drove Old Dixie Down” or Mavis Staples bringing the crowd to tears in the Gospel Tent with “The Weight”.
By the time Sunday rolls around, you tell yourself the tank is more than half full, not running down fast. You believe the flight home is just a scheduling mistake, rather than a cruel joke. Then Galactic overpowers the Acura crowd. Glen David Andrews brings out that red horn and everyone rises a few inches off the ground. You go to church with the entire Boutte clan. David Sanborn and Joey DeFrancesco seize the Jazz Tent crowd before the final coming together to honor 50 years of Preservation Hall, with guests that celebrate all that is New Orleans music. Go shake it with Sharon Jones and her Dap Kings before the reality sets in that there are only 355 more sleeps to Jazzfest 2013. Now that’s a life. Thank you Quint and every human who make Jazzfest possible.
December 31, 2011
Bill Graham spoiled me. The man knew how to throw a New Year’s party. 4-5 hours of cosmic Dead jams, epic substance abuse and 6,000 or so of my newest friends. The calendar would turn, Uncle Bobo would descend, Sugar Mag would kick in and all was right with the world. OK, so that was 30 years ago. Still, that ecstatic pull set a high bar few 12/31s have matched since. These days when milestones are counted in decades, New Year’s is often kept in quieter company and places, and indulgence swapped for reflection. But damn, the echo still haunts and the spirit craves a hit that only a hard wired all night jam or funk groove can provide. Add a few hundred people (or thousands or multiples thereof) primed to kick last year in the ass and anything’s possible. Call me a seeker.
Such was my latest NOLA pilgrimage that landed me at Tip’s in the waning hours of 2011 for Galactic’s annual year-end bash. With Eric Lindell’s Trio opening and billed guests including Anders Osborne, Corey Henry from Rebirth and Corey Glover of Living Colour (both Coreys vets of the last Galactic tour), prospects for New Year’s salvation seemed reasonable. Galactic’s newest release “Carnivale Electricos” is described by the band’s web site as a “carnival record that evokes the electric atmosphere of … whole cities – vibrating together all on the same day”. Sounds pretty 3 AMy to me. Throw Anders Osborne and Lindell into the mix and confidence was high going in.
Lindell’s trio delivered a healthy solid set to get the room closer to midnight. Spirits were high as the last hour of 2011 approached and the crowd was appropriately exuberant (deliberate choice of words). Galactic landed with “Boban” (from the 2011 release, The Other Side of Midnight:Live From New Orleans) and didn’t let up from there, in what turned out to be the first of (count ‘em) 3 sets. “Hey Na Na” from “Carnivale Electricos” cranked up the energy a little before midnight when we all reverted to the timelessness of Auld Lang Syne because we could and that’s what you do. 2012 was inaugurated with Lindell joining Galactic to romp through Steve Miller’s “Jet Airliner”, a killer cover that gets better each time Lindell busts it out. Other first set highlights had Corey Glover working the crowd into a lather (and in an argyle sweater vest, no less) with “Heart of Steel” (from 2010’s “Ya-Ka-May) and Stanton Moore elevating for the first time in the show.
Announced guest Anders Osborne went straight for “Darkness at the Bottom” (from his 2010 American Patchwork release) to start Set 2, one of my favorite rip your soul open Osborne tunes. Jonny Sansone joined Anders with just plain nasty harmonica turns on his own “The Lord is Waiting and the Devil Is Too” (from the 2011 release of the same name). Anders and Sansone stuck around to cover “Who Took the Happiness” (featured on Moore’s 2008 release, Take It to the Street) to wrap up a killer set within a set. Much of the second set featured Corey Glover, but the band really had me with a loose and frenzied “Manic Depression”. Ben Ellman moving from baritone to ballsy harp wasn’t too shabby either.
With just enough in the tank to start the third set, I profess to not making it all the way to the end, but an appropriately funky cover of Lee Dorsey’s/Allen Touissant’s “Night People” and the Arabian-brass-prog-metal tinged flavor of “Garbage Truck”(from The Other Side of Midnight) were perfectly suited for the hour. Somewhere along the way Corey Henry stepped into the crowd and climbed atop the bar never missing a note. Exhausted, satiated, I left Tip’s past 3, ready to take on a new year. Spiritual awakening, nah. Uplift, hell yeah. That’s good enough for me. Think I’m ready to kick some 2012 ass now.