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Jazzfest 2012 Reflections
Soul Rebels Brass Band at the Congo Square Stage
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.
Ed Williams and George Gekas of the Revivalists, Gentilly Stage
Mike Love of the Beach Boys on the Acura Stage
Savoy Music Center of Eunice Saturday Jam, Fais Do-Do Stage
Irma Thomas in the Gospel Tent
Anders Osborne and Johnny Vidacovich, Voice of the Wetlands AllStars, Acura Stage
Gary Clark, Jr. in the Blues Tent
Al Green on the Congo Square Stage
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.
Trombone Shorty at Instruments A Comin'
Leo Nocentelli, George Porter, Jr. and Charles Neville Meter Up at ObamaFest
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.
Glen Hansaard at the Acura Stage
Esperanza Spalding at the Congo Square Stage
Florence Welch of Florence + the Machine, casts a spell from the Gentilly Stage
James Cotton in the Blues Tent
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.
Grace Potter in office attire, Acura Stage
Bruce Hornsby is all eyes from the Gentilly Stage
Rodrigo y Gabriela, channeling their inner Metallica, Gentilly Stage
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”.
Allen Toussaint and his technicolor dream coat
John Boutte gets down to the Treme in the Jazz Tent
Patrick Hallahan and Joseph Lastie, Jr. keeping time with My Morning Jacket, Gentilly Stage
Herbie Hancock in the Jazz Tent
Warren Haynes and Terence Higgins in the Blues Tent
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.
Corey Henry and Stanton Moore, Galactic, Acura Stage
Glen David Andrews can't hear you, with Paul Sanchez in the Blues Tent
Derrick Shezbie of the Rebirth Brass Band, and Ben Jaffe, Preservation Hall Turns 50 at the Gentilly Stage
Bonnie Raitt joins the Preservation Hall party
Sharon Jones, nasty and loving it in the Blues Tent
Posted in Reviews
Also tagged Acura Stage, Al Green, Allen Toussaint, Anders Osborne, Beach Boys, Ben Jaffe, blues guitar, Blues Tent, Bonnie Raitt, bottleneck slide, Bruce Hornsby, cajun music, Charles Neville, classic rock, concert photography, Congo Square Stage, Corey Henry, Dap Kings, Derrick Shezbie, Esperanza Spalding, Eye on the Music, Florence + the Machine, Florence Welch, Gabriela Quintero, Galactic, Gary Clark, Generations Hall, Gentilly Stage, George Porter, Gibson ES-335, Glen David Andrews, Glen Hansaard, Gospel Tent, Grace Potter, Grace Potter and the Nocturnals, Herbie Hancock, Intsruments A Comin', Irma Thomas, James Cotton, jazz, jazz photography, Jazz Tent, Jim Brock Photography, John Boutte, Johnny Vidacovich, Joseph Lastie, Lakland bass, Leo Nocentelli, live music, Mike Love, music photography, My Morning Jacket, New Orleans Jazz and Heritage Festival, New Orleans music, New Orleans Musicians for Obama, Noisemakers, Patrick Hallahan, Paul Sanchez, pedal steel, piano, Preservation Hall Jazz Band, Radio Music Society, rebirth Brass Band, Rodrigo Sanchez, Rodrigo y Gabriela, Savoy Music Center, Sharon Jones, Soul Rebels Brass Band, soul singers, sousaphone, Stanton Moore, Stratocaster, surf music, Swell Season, Takamine, Terence Higgins, The Meters, The Revivialists, Threadhead Records, Tipitina's, Tipitina's Foundation, Treme, trombone, Trombone Shorty, trumpet, tuba, Voice of the Wetlands, Warren Haynes, Warren Haynes Band, zydeco music
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Jim Brock Photography collaborates with New Orleans artist Steven Sweet for Jazzfest Shabbat project
April 18, 2012
Touro Synagogue’s annual Jazzfest Shabbat service is a tradition that has featured the likes of Irma Thomas, Marcia Ball, Allen Toussaint, Irma Thomas and Jeremy Davenport over its 21 years. This year, John Boutte will grace the bima for this uniquely New Orleans gathering. Anyone who has heard John sing knows the beauty and soul his voice will bring to the service.
The event is commemorated by an illustrative interpretation of Jim Brock Photography’s image of Mr. Boutte by New Orleans artist Steven Sweet. The piece was commissioned by Touro Synagogue and features the singer dramatically set against a backdrop of the synagogue. The original source image was previously featured in the April 2011 USA Today print article, “New Orleans is back, and so is the talent”.
JazzFest Shabbat 2012
Jazzfest Shabbat is a very special event, bringing together Judaism, and the warmth and community of a Shabbat service, with the best in New Orleans music. See Touro Synagogue JazzFest Shabbat 2012 for more information on the service and performance.
Posted in Latest News
Also tagged concert photography, Eye on the Music, jazz photography, jazz vocals, Jazzfest, Jazzfest Shabbat, Jim Brock Photography, John Boutte, live music, music photography, New Orleans Jazz and Heritage Festival, New Orleans music, Nine Lives, rock photography, Threadhead Records, Touro Synagogue, Treme
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Galactic, Tipitina’s
December 31, 2011
Galactic hitting the G spot after midnight
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.
2012 becomes Stanton Moore
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.
What 12:01:01 looks like
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.
Going all night long
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.
Anders Osborne and Stanton Moore, brilliant "Darkness"
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.
Corey Henry works the room
Posted in Reviews
Also tagged Anders Osborne, Ben ellman, brass, Carnivale Electricos, concert photography, Corey Glover, Corey Henry, drums, Eye on the Music, funk, Galactic, Gretsch, guitar, Jeff Raines, Jim Brock Photography, live music, Living Colour, music photography, New Orleans music, New Year's Eve, rebirth Brass Band, Rich Vogel, Robert Mercurio, rock photography, saxophone, Stanton Moore, Stratocaster, Tipitina's, trombone
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Donald Harrison, Jr. Electric Band and Jon Cleary’s Philthy Phew, Santa Monica Pier
September 8, 2011
As a native Angelino, attendance at any of the Santa Monica Pier Twilight Dance Series performances truly is a rite of summer. Gorgeous nights, ocean air, sand between your toes. Hard to beat. Despite a rap that Southern California indulges in the frivolous and expensive – 8 figure “homes”, 6 figure cars, $15 cocktails, every summer Los Angeles and environs offers abundant opps to hear great music for nothing from downtown to Hollywood to the beach, and we are spoiled for it. 2011 marks the Pier Twilight Dance Series’ 27th year and if the last performance is supposed to mean that summer is almost over, it’s so not true. We all know SoCal doesn’t really bake until October while the rest of the country tastes the first chill of autumn and winter ahead.
I profess to only catching a few Pier shows the past few years, but could not miss Jon Cleary and his Philthy Phew (aka, Piano, Bass & Drums) with Donald Harrison’s Electric Band for the series closer on September 8th. NOLA funk, meet Santa Monica mellow.
I’ve seen Donald Harrison, Jr. in many configurations at Jazzfest, be it in full Indian regalia or blowing straight ahead in the Jazz Tent, and was rather looking forward to what he would pull out with his electric band. He took the stage dressed in a crisp white suit and black collared shirt as the warmth of the day lingered after sunset. He wouldn’t have looked out of place in South Beach, either. Unbeknownst to me, Harrison, Jr.’s Electric Band has found success on the smooth jazz charts, an idiom to which I am musically allergic, and when he introduced 2003’s “Tropic of Cool” with a crowd query of who listens to “The Wave”, I feared the worst (full disclosure – when the Mighty MET, KMET, went down, only to find the WAVE in its place, it was a day of radio mourning never to be forgotten). I do not besmirch any performer for finding success wherever they can, especially one as supremely talented and integral to the lifeblood of contemporary New Orleans music and musicians, as Harrison, Jr., but my disappointment was rising. This was a side of Harrison, Jr. where he is clearly comfortable, his sharp, twisting tenor right at home with the mainstream material.
Donald Harrison, Jr., setting the mood
Backed by a band mixing NOLA vets and younger, powerhouse players, including Detroit Brooks (g), Max Moran (b), Joe Dyson (dr) and Zaccai Curtis (p), the tone soon shifted to the familiar New Orleans crowd pleasers that sprinkle so many sets these days – Aiko, Aiko, Cissy Strut, Hey Pocky Way and the inevitable Treme song and obligatory Saints. These tunes are all feel good music, no doubt, and Harrison, Jr. wrapped his playing around their themes with precision and passion. Detroit Brooks always plays with class, touch and soul and the rhythm section of Moran and Dyson embodies a powerful force of youth and experience. Zaccai Curtis, who was showcased on several numbers, stretched out amply and concisely, climbing and resolving his solos with fiery satisfaction, leaving my ears begging for “please sir, may I have some more” (no surprise to find him on Christian Scott’s Rewind That, one of my favorite jazz releases of the past 5 years). The Donald was all smiles, all night (when isn’t he), clearly having a good time throughout. Me, love the beach, but I’ll take the Jazz Tent any time.
Zaccai Curtis, up close and personal
Enter Jon Cleary and those Phew (wildly famous Treme actor and bass/sousaphone player extraordinaire, Matt Perrine, and Doug Belote on drums), and mellow got seriously funked up. Cleary has been working with the trio format for a while and it suits his barrelhouse style to a tee. Didn’t take long for Cleary to be schooling the crowd on Professor Longhair, and that was well before he launched into a rollicking version of Tipitina (now that’s one I never get tired of hearing). “Help Me Somebody” from 1999’s Moonburn, put Cleary’s blue-eyed soul sound on full display early in the set and the as yet to be recorded “Bringing Back the Home” was dedicated to the people of NOLA and the gift of New Orleans music to the world. Got the message, he can be the messenger, anytime.
Jon Cleary, schooling us with feeling
The stage was warmed, the mellow vibe more energized and then it got really philthy. Not quite hide the women and children philthy, but not far from it, either. From a B-flat shuffle to churchy influenced chunks of joy, Cleary relished each and every tune, even managing to get these denizens of the beach to feel a little Mardi Gras in their bones. The R&B groove of his soulful nature really shined on “When You Get Back” from 2002’s Jon Cleary & the Absolute Monster Gentlemen, especially when his solo took flight Caribbean style – a beautiful sound, indeed. With more homage to the Professor on “Go to the Mardi Gras” (featured on 2008’s live Mo Hippa recording), Donald Harrison, Jr. joined the Phew and you could hear Frenchmen calling. With further nods to Earl King and Jellyroll Morton, the healthy set moved from heartbreak to history to straight up, grab your ass messy, syncopated funk. Cleary’s take on Little Richard’s “I Can’t Believe You Want to Leave” even left me wondering if the Beatles may not have copped a little for “Oh, Darling”.
Harrison, Jr. and Cleary make some philthy noise
As the set ended and Angelinos scattered for another summer, I reflected on the musical legacy of the great city of New Orleans and an unlikely British minstrel spreading the word of Professor Longhair. Crazy World, huh. Just don’t call it another day at the beach, or I’ll have to smack ya philthy.
Celebrity, Matt Perrine, taking in the sea air
Jim Brock Photography raises over $1,100 for the Tipitina’s Foundation
Three Jim Brock Photography prints raised over $1,100 for the Tipitina’s Foundation as part of this year’s Instruments A Comin’ event during Jazzfest. The featured images were of Donald Harrison, Jr., James Singleton and Snooks Eaglin, with the Snooks image well exceeding the maximum suggested bid. Jim Brock Photography is very pleased to have contributed to the Tipitina’s Foundation mission and encourages visitors to this site to support the Foundation and learn about Instruments A Comin’, the T.I.P intern program, Sunday workshops and more at www.tiptinasfoundation.org.
Snooks Eaglin, Jazzfest 2008
Donald Harrison, Jr., Jazzfest 2009
James Singleton, Jazzfest 2009
Posted in Latest News
Also tagged bass, blues, concert photography, Donald Harrison, Eye on the Music, Instruments a Comin', James Singleton, jazz, Jazzfest, Jim Brock Photography, music photography, New Orleans Jazz and Heritage Festival, New Orleans music, saxophone, Snooks Eaglin, Tipitina's, Tipitina's Foundation, Treme
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Stanton Moore Trio, The Mint
Robert Walter and Stanton Moore all smiles
July 13, 2011
Stanton Moore is everywhere, deal with it. And no drummer jokes, please. Seriously, it seems like Stanton Moore is the Warren Haynes of the skins, playing wherever, whenever he can and not only like he’s having a great time, but also as if his life depended on it. Whether leading his Galactic mates through a snare fed fury that turns the band into the equivalent of a human trap set, sitting in seemingly every night during Jazzfest he’s not gigging with the propulsively manic Garage a Trois, the brass royalty of the Midnite Disturbers, his own trio, or Galactic, this is a man who literally can’t sit down when he plays. He is simply having too much fun to keep still. Last year, Mr. Moore anchored Anders Osborne’s epic American Patchwork recording and tour in 2010 and fortified his collaboration with Hammond wiz Robert Walter. The tribal material and arrangements that grew from this collaboration resulted in one of the best albums of the year. Moore and Walter, along with guitarist Will Bernard, have further shaped their unique funk with the Stanton Moore Trio over the years and for those who love their B3 sound dripping in swamp juice and punchy percussive attacks that serve as smelling salts to the senses, you’ll like what you hear.
Mr. Stanton Moore, respect, please
The New Orleans percussionist has taken up a month long Wednesday residency at The Mint for July, providing free all ages drum clinics before every show – a thoughtful give back for aspiring and seasoned players alike. Each show rotates in a different guest and I elected to hit the July 13th gig with Karl Denson. Within minutes of the 9:50ish start, the room was full. Not bad for the Wednesday night before Carmeggedon.
Karl Denson, 'nuff said
Opening with Walter ‘s staccato riffs on “Pie Eyed Manc” from 2010’s aptly titled Groove Alchemy, the set I heard started strong and headed higher. The chemistry between all three players was astonishing. Walter’s bass lines alone pushed and grabbed the trio, and especially Moore, to punch back and dig deep. The sound was vintage, old school and often organ driven (OK, Yamaha on wheels), shifting from a complex soul groove to in your face rapid fire I gotcha soloing. Heck, I half expected to hear the snap, crackle and pop of vinyl between notes. Denson altered his horn’s tone to great effect that only enhanced, not detracted, from some wicked and adventurous playing. By the time they hit “Magnolia Triangle” mid-set (from 2002’s Flying the Koop), the trio was a single swinging, squonking, fiery unit (wouldn’t have been surprised to see wisps of smoke rise from the bell of Denson’s tenor). The set closed with Dirty Dozen Brass Band’s, “Who Took the Happiness” (from 2008’s Take It to the Street), that stripped a larger brass band sound to it’s rawest elements with circular interplay wrapped around Walter’s keyboard bass and jungle-like swing. This was great stuff. Call it funk, call it jazz, call it soul. Don’t matter. As long as you respect the drummer.
Robert Walter getting deep with Stanton Moore
Posted in Reviews
Also tagged concert photography, drums, Eye on the Music, funk, Galactic, Hammond, Jim Brock Photography, Karl Denson, live music, music photography, New Orleans music, organ, Robert Walter, saxophone, Stanton Moore, The Mint, Treme
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Honey Island Swamp Band, The Mint
Chris Mule and Aaron Wilkinson doing some shredding
June 26, 2011
Honey Island Swamp Band swung into the Westside on Saturday, another NOLA nugget appearing at the Mint. This is a New Orleans band that reflects its Katrina Diaspora-Bay Area birth with chunky and soulful jams, tight arrangements and great material. If you are expecting ballads, standards, and second lines, this ain’t that NOLA band. Whether moving easily from moments Dead infused or Dr. John influenced, their self-described Bayou Americana sound never loses sight of its swampy swagger or solo driven joy. The band has kicked ass at Jazzfest the past few years, so a chance to enjoy them here in the Southland was indeed a treat, and to my knowledge, The Mint gig is their first Los Angeles show.
Aaron Wilkinson feelin' it
At Fest performances and in the studio, HISB often fattens their arrangements with horns, and Saturday had that taste with Karl Denson sitting in for both sets contributing frequent solos and locking into some killer grooves with Trevor Brooks on keys and Chris Mule’s SG/Strat driven leads. When not providing the good time feel of a summer day front porch harp, Aaron Wilkinson switched between mandolin and his hollow-body Tele, taking the bluegrass string thing into Hendrix/Page territory, while the rhythm section of Sam Price and Garland Paul just kept having too much fun and pushing the band ahead. HISB can swing easily from romps like “Natural Born Fool”, and the Anders Osborne reminiscent “Till the Money’s Gone,” to there and back deep intense jams like “Wishing Well”. While the material is straight ahead, HISB is not shy about stretching out live.
Karl Denson sitting in all night
The mixed crowd ranged from music savvy date night couples, thrilled to have the tables gone and the dance floor open for the second set, to the usual NOLA diehards that wouldn’t miss it. The vibe was relaxed and up.
This summer tour behind the their recent Threadhead Records release, “Good to You”, takes HISB from the where it all began of San Francisco’s Boom-Boom Room, to the where it was always meant to be at Tipitina’s in NOLA. I suspect they will be back in the SoCal soon, and playing bigger places. Catch them while you can.
Mssrs. Mule, Wilkinson and Price
Posted in Reviews
Also tagged Aaron Wilkinson, bayou americana, Chris Mule, concert photography, Eye on the Music, funk, Honey Island Swamp Band, Jim Brock Photography, Karl Denson, music photography, New Orleans music, roots music, swamp rock, Telecaster, The Mint, Threadhead Records
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Jazzfest 2011 closing thoughts
Jazzfest 2011 is in the books. Weekend 2 brought the it could only happen here bag of familiar closers (Jimmy Buffet, the Nevilles, et al), epic sonics (Arcade Fire, Wilco), roots, (not so) alt-country and blues (Lucinda Williams, Greg Allman, Willie Nelson), mind-bending bills (Trombone Shorty>The Strokes), sentimental moments (Rads farewell, Christian Scott proposing in the middle of his set), jazz giants (Sonny Rollins) and local and regional artists who have been, and always will be, the heartbeat of the Fest. The lack of a jam band closer seemed to go unnoticed, supplanted by an edgier, “indie” orientation – an eclectic mix even by Fest standards. “Only at Jazzfest could….” 50/60-somethings leave their front row seat for Robert Randolph and the Family Band to catch Kid Rock.
Christian Scott, WWOZ Jazz Tent, May 5, 2011
Greg Allman, Blues Tent, May 8, 2011
The weather cooperated to the point of being freaky. Not a drop of rain all seven days, temps warm to warmer, but not scorching. As always, the food will take a year to work off and worth it.
Kirk Joseph's Tuba Tuba, Jazz and Heritage Stage, May 7, 2011
Whether at the Fairgrounds or night shows, I couldn’t split myself in half. Simply too much good stuff to go around.
Anders Osborne, Down on the Bayou III, Howlin' Wolf, May 5, 2011
Most of my time shooting circled the Jazz and Blues Tents, and unexpectedly (or not), the moments I took away most from this second weekend, both personally and as a photographer, were provided by the New Orleans musicians and artists I’ve covered/attended many times over. Sure, Henry Butler, Sonny Landreth and Robert Randolph tore up the Blues Tent on Sunday, and Aaron Neville’s Amazing Grace brought church to the Acura crowd as the sun went down. But the stage debut of Nine Lives during the week, and songs transformed by the Rolling Road Show at the Fest were something so big, you had to step back, smile and cry a little. There seems to be new meaning and new power in New Orleans. Rebuild, renew, that’s what people do, indeed.
Paul Sanchez and the Rolling Road Show, Lagniappe Stage, May 7, 2011
Aaron Neville, Acura Stage, May 8, 2011
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Also tagged Aaron Neville, Acura Stage, alt-country, Anders Osborne, Andy Comeau, Arcade Fire, Arsene DeLay, back to the Bayou, blues, Blues Tent, Christian Scott, concert photography, Craig Klein, Eye on the Music, fairgrounds, funk, Greg Allman, Hammond organ, Henry Butler, Howlin' Wolf, jazz, Jazz Tent, Jazzfest, Jim Brock Photography, Jimmy Buffet, Kid Rock, Kirk Joseph, Lagniappe Stage, Lucinda Williams, Matt Perrine, Michael Cerveris, music photography, Nevilles, New Orleans Jazz and Heritage Festival, New Orleans music, Nine Lives, Paul Sanchez, Robert Randolph, Rolling Road Show, Shamarr Allen, Sonny Landreth, Sonny Rollins, Strokes, Threadhead Records, Threadheads, Treme, Trombone Shorty, trumpet, tuba, Tuba Tuba, Wilco, Willie Nelson
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Jazzfest 2011 impressions so far…
Shooting the Fest is akin to an endless buffet, musical whiplash and constant discovery. Instead of full sets, joy is more concentrated, fleeting. Depending on the stage and act, three and done translates to here/now/next move. The fan inside is stifled and exhilarated. Mental focus is at a premium, especially when now doesn’t want to go. My coverage has been exhaustive some days, less intense on others, leaving the observer behind to just soak up the experience. Nature stepped up with beautiful weather, the rest was on me.
Friday opened strong, and this photographer had to bond with the mastery of Jeff Beck, but close with a smokin’ set by the New Orleans Nightcrawlers at the Jazz and Heritage Stage. The reborn roots of Robert Plant, paired with Patty Griffin and the amazing string work of Buddy Miller were also especially captivating.
Jeff Beck, Acura Stage, April 29, 2011
Whether shooting or not, where else could anyone experience the Kentucky bluegrass of Ricky Skaggs, move on to Robert Cray’s deep and soulful well and then witness an absolutely stunning performance by Ahmad Jamal, as I spent Saturday afternoon. Bluegrass, blues and straight ahead/to your head jazz – and that’s just a taste of a day, one of seven. Sunday could not have been a more diverse experience. From the “indie-folk-rock-grass” flavored and cheeky humor of Portland’s The Decemberists, Glen David Andrews joined by Marcia Ball, Amanda Shaw, Paul Sanchez and brother Troy ruling the Blues Tent, the consistently transcendent Terence Blanchard, the Bhangra Funk of Red Baraat, and yes, even John Mellencamp closing out Acura with Pink Houses and Crumblin’ Down.
Glen David Andrews, Blues Tent, May 1, 2011
Sure, some folks complained about sound and noise bleed from Congo Square or into the Jazz Tent. It’s all part of the gumbo that’s the Fest. Pretty tasty if you ask me.
Sunny Jain, Red Baraat, Jazz and Heritage Stage, May 1, 2011
Posted in Reviews
Also tagged Acura Stage, Ahmad jamal, Amanda Shaw, Band of Joy, bluegrass, blues, Blues Tent, Buddy Miller, concert photography, Congo Square, Decemberists, Eye on the Music, funk, Glen David Andrews, indie rock, jazz, Jazz and Heritage Stage, Jazz Tent, Jazzfest, Jeff Beck, Jim Brock Photography, John Mellencamp, live music, Marcia Ball, music photography, New Orleans Jazz and Heritage Festival, New Orleans music, New Orleans Nightcrawlers, Patty Griffin, Red Baraat, Ricky Skaggs, Robert Cray, Robert Plant, roots, Stratocaster, Sunny Jain, Terence Blanchard, Treme
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New Orleans is back, and so is the talent
Jim Brock Photography’s image of Shamarr Allen from last year’s inaugural Threadhead Thursday at City Park is featured in this excellent USA Today article. Paying the rent as a professional musician is tough enough as it is. To say it has been a long haul can’t begin to describe the heartbeat and swing of the sounds you can’t hear or feel anywhere else. Check out the article at www.usatoday.com
Shamarr Allen, City Park, New Orleans, April 22, 2010
Posted in Latest News
Also tagged City Park, concert photography, Eye on the Music, funk, jazz, Jazzfest, Jim Brock Photography, live music, music photography, New Orleans Jazz and Heritage Festival, New Orleans music, Shamarr Allen, Threadhead Records, Threadhead Thursday, Threadheads, Treme, trumpet, USA Today
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