As described via the eyes and ears of Jon Pareles.
It turns out this is the most heavily attended one since Levees' - FEMA Fail05 , (peak year Jazzfest attendence was 2001).
Jon did a rundown on the Ponderosa Stomp here.
Jon and Jazzfest: "Zydeco at a Bowling Alley" here.
Jon, Jazzfest and "Soul Men" here.
Jon, Jazzfest and "Voice of the Wetlands" here.
There are more links following "Voice of the Wetlands," which are equally interesting and valuable to read:
"A Bit of a Stretch;" Behind Threadhead Records; "Other Glimpses From Friday;"
Jon is one hell of a reporter. He does his legwork as well as his earwork. I know just how arduous what he's doing is. I've been with Vaquero while he's done the same thing. It is not at all the same as running around from one stage to another while drinking a lot of beers, and running into your friends. Well, yes, that is part of it. But you have to somehow remain clear-headed enough to make notes and recordings that are usable, and then pull it all together when your body aches and your legs are like rubber, and you're starving and there's no place to get anything to eat, and somehow get back to where you are staying, while sneezing from all the dust and itchy from the sunburn because you sweated off your sunblock and if your wife isn't there to make you re-apply it, you didn't (unless it rained all day, then you're covered with mud). And it's late and you have to go out to hear these other esssential acts who are not exactly playing Jazzfest, or are playing this gig too, and you then have to get up really early and do it all again. While looking for breakfast and coffee while the rest of the world is doing the same in the city that isn't about fast, efficient service on little bit.
If I have this right, Jon started coming to New Orleans with Mardi Gras, 2006 (I remember running into him then, and don't recall that from previous years). He's learned so much. This is a really good job.
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Great stuff, although the new Rock n' Bowl doesn't sound like as much fun as the old one. Yet, anyway.
This could be my imagination, but it seemed to me like the first weekend of JazzFest was better for Louisiana bands.
K -- Jon addresses this very observation in this entry, posted yesterday too (busy, busy Jon!):
"New Orleans Captures a Fleeting Musical Moment" here.
[ "The mission of Jazzfest is to ensure continuity: to reinforce the value of prized New Orleans phenomena like funk, brass bands, traditional jazz and Mardi Gras Indian chants and South Louisiana styles like zydeco and Cajun music. The talent pool, ideally, will be replenished from younger generations; the music, ideally, will evolve without forgetting its roots or turning into a museum piece. Working musicians and members of Mardi Gras tribes and Social Aid and Pleasure Clubs are determined to maintain their heritage; at Jazzfest shows, they bring their youngsters onstage and dress them for their parades.
But the world beyond New Orleans prefers its Louisiana music from Britney Spears and Lil Wayne, and for all of New Orleans’ wondrous resistance to the way things are done elsewhere, it’s not entirely immune.
Who will replace the patriarchs of Jazzfest? Charismatic musicians up from the brass bands like Trombone Shorty and the trumpeter Kermit Ruffins, perhaps — though they write less of their own material than the patriarchs did. Many of the city’s younger bands are not filled with the locals who were natural heirs to family and neighborhood lore, but immigrants drawn to the city for its music; they’ve learned, at first, from recordings, and maybe visits to Jazzfest, rather than block parties. It’s hard for me to imagine New Orleans bands like Galactic or John Cleary and the Absolute Monster Gentlemen, who are already well established locally, taking up the torch from the Meters or Dr. John.
Who will replace the patriarchs of Jazzfest? Charismatic musicians up from the brass bands like Trombone Shorty and the trumpeter Kermit Ruffins, perhaps — though they write less of their own material than the patriarchs did. Many of the city’s younger bands are not filled with the locals who were natural heirs to family and neighborhood lore, but immigrants drawn to the city for its music; they’ve learned, at first, from recordings, and maybe visits to Jazzfest, rather than block parties. It’s hard for me to imagine New Orleans bands like Galactic or John Cleary and the Absolute Monster Gentlemen, who are already well established locally, taking up the torch from the Meters or Dr. John." ]
Particularly with Jindal and his ilk making sure all state support for the arts has been ripped away.
Love, C
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