Writers picks for Jazz Fest
1st Weekend
By Staff Music WritersEconomy Hall Tent, 12:25 PM
The Original Dixieland Jazz Band
For some inexplicable reason, there has been an aversion in recent years to the use of the term “Dixieland” when referring to old-time New Orleans jazz. Revisionists have taken to giving it the more bland and non-descriptive moniker of “traditional jazz” (or trad jazz for short, but this is just as bad). Maybe it’s the association with a segregationist time of minstrel shows and whites singing Negro spirituals in blackface, but whatever the reason, “Dixieland” is what millions of tourists from around the world come to New Orleans to hear, and they’re not going to find it easily if it’s called something else in the local media’s live music listings.
Fortunately, though, not everyone here is subscribing to this revisionist doctrine. The Original Dixieland Jazz Band is not only proud of its roots, but also proud of its name. As it should be.
Heirs to one of the oldest continuously playing jazz ensembles and the first group to make a jazz recording (Darktown Strutter’s Ball, 1917), today’s incarnation of the ODJB is led by trumpeter Jimmy LaRocca, son of the original Original’s leader, clarinetist Nick LaRocca. Today’s ODJB doesn’t even make a pretense of being anything other than what its name specifies. What you hear is what you get: “Livery Stable Blues,” “Tiger Rag,” “St. Louis Blues,” “Bourbon Street Parade,” “When It’s Sleepy Time Down South,” “Basin Street Blues,” “When the Saints Go Marching In,” and many other great New Orleans classics, all in that familiar old-time Crescent City style. And when people tap their feet, clap their hands, smile, and comment on how good they feel when they listen to this music from New Orleans, today’s Original Dixieland Jazz Band is doing its job. –Dean M. Shapiro
Gentilly Stage, 12:45 PM
Javier Gutierrez & Vivaz
Bolivian Javier Gutierrez’s Latin dance band, Vivaz, features a lively mix of Caribbean and Brazilian rhythms executed by an international lineup with musicians from Nicaragua, Puerto Rico, the Dominican Republic and the United States. Driven by the powerful Afro-Cuban beat of Alejandro Bueno, Antonio del Valle, and Abdel and Donald Jarquin’s bongos, timbales, tamboras and tumbadoras (congas), the band has a full, rich sound that intertwines the melodies and harmonies forged by Gutierrez on lead vocal and acoustic and electric guitars, the Jarquins on backup vocals, Rik Fletcher on keyboards, Andy Pizzo on trombone and Barney Floyd and Jeff Sutton on trumpet. The only thing missing is a saxophone.
As multiple award winners, the band plays a mix of new arrangements of old standards and original compositions by Gutierrez in a wide variety of Latin genres including salsa, cha cha cha, son montuno, rumba flamenca, merengue, samba and bossa nova. Examples from Vivaz’s 2004 independent CD Latin Caravan include Gutierrez’s salsa melody “Una Semana” (“A Week”) featuring Fletcher’s seductive electric piano, Tito Puente’s “Bailando Mi Cha Cha Cha” (“Dancing My Cha Cha Cha”), highlighted by flute and piano. There are two examples of the son montuno by Gutierrez, “Mi Tres” (“My Tres”) and the instrumental “Montuneando,” both executed by the songwriter on a musical instrument called the tres (an unusual Cuban guitar with three sets of double strings and a highly unique sound) and featuring Pizzo’s rich trombone and Floyd and Sutton’s bright trumpets. Other examples are the improvisational guajira “Sonero,” the bolero “Como Fue” (“How It Was”) by Ernesto Duarte and Benny More in a special arrangement by Vivaz, the upbeat merengue “Damelo” (“Give It to Me”), and The Gypsy Kings’ rumba flamenca “Quiero Saber” (“I Want to Know”) – likewise expertly arranged by Vivaz.
This is a very tight band comprised of a number of very talented musicians working in unison, like the precision parts of a well-oiled machine. When Gutierrez gets going on the guitar accompanied by Fletcher’s captivating keyboards, and Pizzo, Floyd and Sutton join in on horns, with the assorted drums of Bueno, del Valle, and the Jarquins relentlessly urging them on, the effect can be quite overwhelming. The music will quickly captivate you – so much so that you will suddenly find yourself completely unable to resist an irrepressible urge to dance as the percussion section launches into a spirited descarga (jam).
Mark my words, you will begin by swaying back and forth to the relentless beat and end up quick-stepping and twirling your partner like a ballroom dancer. By the time the set ends, you'll find yourself drenched in sweat and thoroughly, yet happily, exhausted with the feeling of sweet satisfaction that you once mistakenly thought could only come from making love. Yet you'll still want more and will find yourself hoping against hope that the promoters will expand the offerings of Latin music in future Jazz Fests to include a few well-chosen national and international stars.
–Dan Nelson
WWOZ Jazz Tent, 3:05 PM
Leah Chase
When Leah Chase started out on her professional singing career, she had the advantage of immediate name recognition. Daughter of legendary New Orleans restaurateurs Edgar “Dooky” Chase II and Leah Chase, the acorn didn’t fall far from the tree. Her father, a skilled trumpeter, led a 17-piece band called the Dooky Chase Orchestra. The restaurant, famous for its Creole cooking, was also a Mecca for many local and internationally renowned musicians while Leah was growing up, including Ray Charles and Quincy Jones. In such a rich musical environment, the young Leah was strongly encouraged to explore and expand on her talents – and she did. Today, although still heavily involved in the management of Dooky Chase Restaurant, Chase is busy cooking up other types of recipes; namely, the smooth, silky jazz vocals that have become the hallmarks of her style. A Jazz Fest veteran, her mellow delivery has been favorably compared to that of Betty Carter, Nancy Wilson, Sarah Vaughan, and others in that genre. Her debut CD, At Last (Fertile Crescent Records, 2001) featured many of New Orleans’ most talented instrumentalists and garnered rave reviews. One reviewer wrotes: “Chase exercises great vocal control and range and this CD is a pleasure to listen to.” She is a frequent performer at Snug Harbor on Frenchmen Street and other clubs around the city, and she recently contributed a track to the 2007 Fulton Street Live CD, a sweet interpretation of Sting’s “Fragile.”
–Dean M. Shapiro
Acura Stage 3:30 PM
Alison Krauss & Robert Plant
The dynamic duo of Alison Krauss & Robert Plant will be performing on the main stage, showcasing their musical artistry and great vocal range together in the Big Easy. Although some may find the billing of the two together a bit odd, their work received the Grammy award for Best Pop Collaboration with Vocals for “Gone Gone Gone (Done Moved On),” from Raising Sand. The Grammy-worthy album actually debuted at #2 on the Billboard 200 chart following its release on Rounder Records, and was certified RIAA Gold soon after. Krauss, an outstanding performer, is known more in the country circuits for her work with Union Station, whereas Plant is simply a living musical legend, crossing and inspiring all genres of music. Be sure to get there early and stake out a good spot since this act is receiving international attention. –Sheri McKee
Acura Stage, 5:35 PM
Sheryl Crow Detours from Her Winding Road
Sheryl Crow is on the cover of magazines, her songs are on the radio, and a Google search on the Internet produced nearly 8 million results. The musician turned mom is one of the coolest celebrities in California, but this Jazz Fest, she’ll be soaking up the New Orleans sun.
Crow is famous for her fun-loving songs. Her light lyrics, peppered with wit and sometimes sarcasm, are sung to an infectious background beat. Her breezy, feel-good music has been consistently popular, earning her nine Grammy Awards and admiration from a loyal fan base.
Her past few albums produced songs that topped the Billboards, such as “Strong Enough,” “If It Makes You Happy,” and “Steve McQueen.” Because of her sing-a-long smash hits and engaging personality, she’s become one of the country’s favorite female rock stars.
In her latest album, Detours, Crow veers from her traditional style and takes a brave step into new territory. Although some of the same, reliable elements are still there, Detours is different than all of her previous albums. Heartfelt and slightly edgy, Crow boldly infuses her songs with emotion and intensity derived from her own personal experiences. She reveals that the new album was inspired by “how I feel things are going in the world and what’s happened to me the last couple of years.” She also believes that “We sometimes detour away from the road that we were originally on … we get so far away from who we think we are and who we want to be, and that demands that we come back and regroup.”
Many of these life-changing events that she endured were publicly played out in the tabloids. Sheryl experienced the joy of adopting her baby boy Wyatt, the pain of a breakup with Lance Armstrong, and the shock of learning that she was diagnosed with cancer. She allowed herself to feel the emotion and pain and penned them onto paper. By doing this, “it rendered [her] very awake” and made her “very fearless.” Although they still possess a hint of hope, her heavy lyrics on this album are a result of this vulnerability.
The disc includes a nod to her relationship with Armstrong, and a love song to her son called “Lullaby for Wyatt.” She also acknowledges the pain and fear she felt while undergoing radiation in “Make It Go Away.” She even sings a song that pays tribute to New Orleanians who have suffered because of an infamous storm. Crow will play these songs along with her past hits when she stages one of her famous performances at this year’s Fest.
The almost always-optimistic Crow will be one of the most entertaining acts of Jazz Fest. So get there early and grab a place to sit, because it’s going to be a great show! –Suzanne Pfefferle
Saturday, April 26
Gentilly Stage, 12:35 PM
The Imagination Movers
Preschoolers and parents unite! With the newly released smash album Juice Box Heroes, a soon-to-be syndicated series on the Disney Channel’s Playhouse Disney, and possibly their most paramount year to date, the Imagination Movers are hot. Set to perform at the very venue where Disney discovered them, the Movers will entertain their legion of pint-sized fans on April 26 as they take to the Acura Stage at Jazz Fest.
Touted as the only band in New Orleans history to be discovered in the Kid’s Tent, Disney execs were thunderstruck by the Movers at Jazz Fest 2005. Plucked from the stage and dubbed “the next big thing,” Disney was so wowed by the dynamic, rock-a-bye-baby & roll performance that yearlong negotiations landed them a gig. Now, three years later, The Imagination Movers stand at the cusp of total preschool domination.
–Sheri McKee
Congo Square Stage, 2:20 PM
Walter “Wolfman” Washington
One of the first happy moments in New Orleans after Hurricane Katrina was the return of the live music the city is internationally lauded for. The first musician delivering the joyous message “New Orleans music is back!” was guitarist/vocalist Walter “Wolfman” Washington. His gigs at the Maple Leaf Bar on Oak Street in late September and early October 2005 under generator-driven lights are now looked back upon as major triumphs of the city’s will to survive in the face of the worst disaster ever to befall a major American metropolis. As Washington recalls, he and his manager/wife Barbara were in Ohio after fleeing the hurricane when the phone call came from the Maple Leaf’s owner, Hank Staples. The city was still without power, but Staples, whose club was spared the flooding that covered 80% of New Orleans, was determined to bring live music back as quickly as possible. He tracked down Washington, and the Wolfman and his entourage, touched by a sense of duty to their stricken city, raced back home. They gathered up a few other musicians who had either stayed through the storm or had also just returned, and their Maple Leaf performances became a heartwarming story that will be forever remembered by those who were there.
Prior to Katrina, Washington had been on the road more often than he was at home. Today he is more of a homebody, with a regular, standing room only Wednesday night gig at d.b.a. on Frenchmen Street, and other playing dates in and around the Crescent City. A New Orleans native, born here in 1943, Washington cut his musical teeth in the African-American clubs of the inner city in the 70’s and 80’s. Over the years, he worked his way up to national status with a series of well-received albums and appearances. His first big break came in the form of a supporting role for vocalist Johnny Adams in the late 50s, and in the early 60s, Washington became a member of Lee Dorsey’s touring band. After that, he worked with Irma Thomas and Earl King. By the early 70s, his popularity had grown enough to earn him a slot on a European package tour of New Orleans R&B acts. In the late 70s, he toured Europe on his own with his new band, the Roadmasters.
Washington began his recording career relatively late, cutting his first album in 1981. The record, Rainin’ In My Heart, appeared on a small independent label called Help Me; it was later re-released on Maison de Soul. Four years after his debut, Washington landed a contract with Rounder Records, releasing Wolf Tracks in 1986. He recorded two more albums for Rounder -- Out of the Dark (1988) and Wolf at the Door -- before moving to the Point Blank/Charisma label in 1991. Throughout the 90’s, Washington continued to perform regularly, particularly in New Orleans clubs, and he recorded occasionally, yielding Blue Moon Risin’ in 1999 and On the Prowl a year later. During this time, he also frequently teamed up with the late blues singer, Timothea, on her CDs and live performances, including Timothea’s benefits for hepatitis C.
Today, with the Roadmasters, Washington incorporates all of the elements of soul, funk, jazz, and blues into his repertoire and his performances. He is electrifying to watch, squeezing out an extraordinary range of notes and chords with a dexterity that holds his audiences spellbound.
–Dean M. Shapiro
AIG Gospel Tent, 3:25 PM
Davell Crawford
“The Piano Prince of New Orleans” is the name some use when discussing Davell Crawford, the piano sensation that is all-around musically gifted. Crawford has made a name for himself over the years, playing the piano around the world in places like Italy, France, Spain, and of course, his hometown of New Orleans. This year he will be sure to please as he makes his way to the stage at Jazz Fest 2008.
He may have made his name as a piano player, but to hear a live performance and to have the privilege of hearing him sing will leave the audience asking for more. Some would say Crawford is one of the most exciting live performers, but he is also a major force in American Roots Music. His talents range from traditional jazz and gospel all the way to funk and R&B, but he is most “committed to keeping the piano sounds of New Orleans alive.”
Davell Crawford is truly a live performance not to miss, but that is not the only strength he has. Crawford has been performing since he was seven years old and knows how to please audiences. He has also recorded several albums and even produced several CDs and tracks for artists such as Marva Wright and Kipori Woods. Crawford was also chosen as a Louisiana Cultural Ambassador. Audiences will be pleased they took the time to hear this treasure, straight from New Orleans. –Rebecca Brych
Acura Stage, 3:35 PM
Dr. John
Dr. John, also known as Mac Rebennack, is celebrated all over as a living testament of the musical culture that is New Orleans. The Doc’s musical career, which dates back to the 1950s, is one of the most accomplished musical careers of any New Orleans musician still alive today. Dr. John has recorded with such musicians as Professor Longhair, Art Neville, Joe Tex, and Frankie Ford. In the recent past he has done recordings with Van Morrison and Aretha Franklin. Lately, here in New Orleans, we have been referring to the Doc as the New Orleans Night Tripper, which is what he has been calling himself in the solo band he performs with. Come to his show if you dare to find if the curse is meant for you. Do not be surprised to see the Doc and his band decked out in voodoo charms. The music that you will hear is a sweet blend of funk, rhythm and blues, psychedelic rock, and traditional Creole. Also, be on the lookout for Dr. Johns newest solo album, All By Hisself, which will be appearing on the Hyena record label. –Floyd Falcon
Gentilly Stage, 3:35 PM
Cowboy Mouth
Cowboy Mouth – how can you not love them? They are a band from New Orleans about New Orleans, and, as they say, “It’s good to be alive,” especially in New Orleans. The Jazz & Heritage Festival 2008 will be the band’s 17th Jazz Fest appearance much to the delight of fans. If you have not heard them lately (shame on you for not running the Crescent City Classic!), this is the time. Bandleader Fred LeBlanc says, “Cowboy Mouth is in a great place and playing at its best.”
Cowboy Mouth is unlike any other New Orleans band, and they are proud of that fact. They bring a whole new meaning to the term “New Orleans band” with their heavy rock influences and lyrics that make their audiences leave their troubles at the door. The band has dabbled in various genres of music, but they always come back to their rock roots. As LeBlanc says, “They always have been and always will be a rock band.” But they never forget the New Orleans influences they grew up with, like Ernie K-Doe and the Nevilles. Do not be surprised if you hear a little Hank Williams influence here and there, as well. Cowboy Mouth’s theory is “if it doesn’t interest me, it won’t interest the audience,” and that is who the band is truly there for.
One of the many other things that make Cowboy Mouth unique is its longevity. Not only will this be their 17th Jazz Fest, but they are also a band that has survived personal changes over the course of its existence and still managed to hold the band, the feel of their music, and their audience together – a feat rarely accomplished in the world of rock.
Today the band is still a quartet, but it has some new faces. Fred LeBlanc is still the lead singer, drummer, and main source of energy of the band. He is joined by long-time band member John Thomas Griffith on the guitars. Their bass player, Regina Zernay, and Jonathan “JP” Pretust on the rhythm guitar round out the quartet while giving some new blood and energy to the band.
LeBlanc is grateful to still be able to do the thing he loves, and that is play music. “Ever since I was five years old, that’s all I wanted to do – play the drums.” He feels that right now, he has people who really want to be out there in front of the audience and who are “playing with their hearts. That is what it is all about.”
Katrina hit the whole city hard, including the music world, but Cowboy Mouth made the best of a bad situation, and they feel that the storm gave them “a sharper focus.” “There are growing pains, lots of them, but life keeps moving forward.” LeBlanc is “grateful for what God and New Orleans gave” to both him and Cowboy Mouth, and they still love what they do, even if at times, it is “against some difficult odds.”
Cowboy Mouth is one of the many things that make New Orleanians proud to call this city home, and with their enthusiasm, they are a Jazz Fest show worth braving the crowd that is sure to swallow the stage. As always, look for classics like “Jenny Says,” a song that LeBlanc “still gets a kick out of playing.” While you’re there, remember to “Let It Go,” but also be on the lookout for their new songs, which may even be released during the Jazz Fest season. Let’s all show the world that “people from New Orleans move and think more with our hips,” as LeBlanc put it. –Rebecca Brych
Jazz & Heritage Stage, 4:45PM
New Birth Brass Band
Unable to have chosen a more suitable name, New Orleans’ own New Birth Brass Band has been edging our city into its own 21st century renaissance for over two decades. True to the conventional sound of mainstream brass bands, New Birth enamors audiences of all generations, but it is their fresh saturation of a myriad of various genres, from funk and hip-hop to ragtime and gospel to Mardi Gras Indian chants and modern jazz, into this tradition that has rejuvenated the groove and soul of the brass band.
Modest beginnings in a Sixth Ward living room of the mid-80s provided the roux for the revitalization of brass bands’ potential, seasoned by innumerable talents come and gone, each bringing their own flavor to our own local musical revolution. The current lineup for this year’s performance boasts many of the New Birth founders; “Renaissance Men” in their own right: Cayetano “Tanio” Hingle on bass drum, Kerry “Fatman” Hunter on snare, Kenny “Little Milton” Terry on trumpet, Darryl Adams on alto sax, Corey “Bo-Monkey” Henry on trombone, and Kerwin “Fat” James on tuba. Trombonist and vocalist Glen Andrews, Troy “Trombone Shorty” Andrews, Frederick Shepler, Vincent Broussard, and singers Darryl Jenkins and Tracy Brown round out this ever-evolving all-star clan.
While attending New Birth’s performance at this year’s Fest, expect you’re your expectations to be exceeded and prepare for an epic reawakening of the brass band color as we know it. Listen up for songs from their latest album, New Orleans Second Line! as well as New Birth “family favorites” from past albums New Birth Family and D-Boy.
–Carolyn Heneghan
WWOZ Jazz Tent, 5:25 PM
The Count Basie Orchestra
William “Count” Basie’s modest demeanor was a stark contrast to his musical accomplishments. Elevated from pianist to bandleader by the sudden death of Benny Moten, Basie rose to the challenge and became a dominant force on the Kansas City jazz scene and ultimately, worldwide.
His orchestra’s accomplishments include film and recordings with Ella Fitzgerald, Sarah Vaughn, Joe Williams, Tony Bennett, and Frank Sinatra, yet it was the New Jersey native’s penchant for assessing each band member’s role in the framework of the big band that garnered the respect of fellow musicians and the admiration of music lovers.
Today’s Count Basie Orchestra, under the direction of Bill Hughes, carries on that Big Band tradition. On the 24th anniversary of Basie’s death, the 19-member band will take the New Orleans Jazz & Heritage Festival stage. This performance will also feature the vocals of Patti Austin, fresh off of her Grammy win for Best Jazz Vocal Album, Avant Gershwin.
The orchestra’s most recent release is a 13-track collection of classics, Basie is Back, recorded live at Japan’s Denryoku Hall in 2005.
Aaron Woodward, the album’s Executive Producer and President of Count Basie Enterprises says, “Band leader Bill Hughes has done an incredible job of sharing the Basie legacy with all who hear this album. Bill and the guys give dynamic interpretations to many of the Basie classics of the last fifty years, and they give today’s younger generation something to swing to.” –Craig Cortello
Congo Square Stage, 5:30 PM
Keyshia Cole
In the not so distant past, most of Keyshia Cole’s life was centered around growing up in the foster care system and maneuvering through the tough streets of Oakland. However, 2005 ushered in a new era for the pint-sized powerhouse with the release of The Way It Is. Cole’s soulful singing had previously caught the attention of industry heavyweights Kanye West, Alicia Keyes, and Eve, which all appeared as featured artists on the platinum recording. Cole’s sassy “I Should Have Cheated” and heart tugging “Love” sent the album soaring to the top of the charts. It also thrust the young songstress into the forever-scrutinizing public eye.
Nonetheless, this “Princess of Hip-Hop Soul” chose to promote her album in conjunction with her very public reality show, Keyshia Cole: The Way It Is. Cole boldly allowed the six-episode television show to document nearly every aspect of her familial dysfunction, including her drug-addicted mother, Frankie, who was attempting to stay sober after prison, and a high-strung sister with man problems.
Surprisingly, her stint in reality television did not leave her with a sour aftertaste, and she agreed to a second season of the show, which aired in 2007. The petite singer once again released an album that coincided with her television program. Just Like You debuted at #2 on the Billboard Chart and featured some of her most successful work to date, including “I Remember,” “Shoulda Let You Go,” and “Let It Go” with Lil’ Kim and Missy Elliot.
Despite her achievements, which include a Vibe and ASCAP (American Society of Composers, Authors and Publishers) Award and Grammy and Soul Train Award nominations, Cole has retained her genuine disposition. She has found that family trumps everything else, and avoided the tragic trap of many starlets: the uncontrollable downward stardom-fueled spiral. Keyshia Cole will be making her first Jazz Fest appearance on Saturday, April 26. –Danyiell Oviedo
Acura Stage
Billy Joel 5:30 PM
Billy Joel, the classic rock and roll legend that made Grammy award-winning hits all through the late 70’s and early 80’s, will delight Fest-ers by tickling the ivories and crooning out the familiar songs we all remember. Joel is currently on tour promoting his Legacy release, The Stranger: 30th Anniversary Edition, featuring classics like “Only The Good Die Young,” “She’s Always A Woman,” the undeniable “Just The Way You Are,” and many more. Just this past Valentine’s Day, Columbia Records released “All My Life,” a song he wrote for his wife, which was also Joel’s first new pop creation since his 5-time Platinum Grammy-nominated album, River of Dreams, was released in 1993. Be sure to catch Joel playing all of his magical hits along with a few surprises thrown in here and there, bringing this famous boy from the Bronx to the Big Easy. -Sheri McKee
Allison Miner Music Heritage/Lagniappe Stage, 5:55 PM
Paul Sanchez
When talking to Paul Sanchez, he will mention a lot about the “cool cats” he has had the privilege of working with lately, but Sanchez is definitely a “cool cat” himself. Sanchez has been a New Orleans fixture for over sixteen years and seven solo CDs. Most recently, he has become a staple of the Frenchman Street scene playing regularly at d.b.a. Now he is preparing for his first solo performance at the Jazz and Heritage Festival.
Sanchez’s career has spanned the last several decades, beginning with the Backbeat’s in the eighties. After spending time in New York and becoming involved in the “anti-folk” scene, Sanchez returned to New Orleans. He then spent the majority of the next sixteen years on the road, touring the U.S. and ten different countries with the rock band Cowboy Mouth.
Then, in 2005, Hurricane Katrina hit New Orleans and spun the city upside down. It also shook up a lot of things in Paul Sanchez’s life. His house in Gentilly, close to the London Street breach, was wiped out, and everything he owned was lost. But one of the things Sanchez did not lose was his love for the city and the music that makes it unique.
After Katrina, Sanchez wrote one of the most poignant post-Katrina songs of the time, “Home,” and although times were “hard in St. Bernard” and there were many “tears in Algiers,” Sanchez eventually found opportunity within the devastation. He decided that it was time to “reconnect with the soundtrack of New Orleans,” and for him, that meant focusing on his own songwriting and singing career.
“Life can be gone in an instant,” and Sanchez wanted to make the best of his personal abilities and desires. He left the large venues that came with the rock scene and now looks forward to the more intimate settings like d.b.a and Carrollton Station, where he feels he is best able to “rediscover real music, rediscover New Orleans and life surrounded by music.”
The direction Sanchez has taken may not be the road most traveled, but it is the road that he enjoys and one that audiences are sure to feel privileged to be part of. Sanchez is writing songs unique to the stories of life, especially life in New Orleans, but he is also incorporating what makes New Orleans so unique. He has formed the loose-knit group, the “Rolling Road Show,” with the likes of Ivan Neville making appearances. Sanchez has also released an album, Between Friends, that features songs he wrote for Theresa Anderson, Susan Cowsill, and Darius Rucker, to name a few.
Sanchez did not stop there; instead he has been working towards the future. “You can’t get what has been lost, but you can find what is there,” he says, and musically and spiritually, Sanchez has been fighting the good fight. On a tight budget, partially funded by the group Threadheads, Sanchez put together two new albums, back to back. The first, Exit to Mystery Street, due out in April, features his own songs and musical talents such as Sonia Tetlow, Shamar Allen, Craig Klien, Eric Bolivar, Alex McMurray, and a duet in Spanish with Freddy Omar. The second album features Sanchez’s longtime friend John Boutte and is titled Good Neighbor. If Sanchez keeps this busy, we may soon see him writing songs for some of the New Orleans legends such as Aaron Neville, something Sanchez says “would be a dream”.
In the meantime, audiences are sure to be head over heels with his new music, the new focus and his sincere love for the city he calls home. “I wouldn’t be anywhere but New Orleans, surrounded by music”. –Becky Brych
Sunday, April 27
AIG Gospel Tent, 11:55 AM
Shades of Praise
Shades of Praise is a 65-voice interracial choir that is united in its devotion to God through song. It was founded about eight years ago by Philip Manuel and Michael Cowan and is directed by Al Bemiss, longtime keyboardist for Clarence “Frogman” Henry. Five years ago, the choir made front-page news on two continents by touring Ireland and strife-torn Northern Ireland with their message of peace and harmony through the international language of song. Their first CD, God Is Still Doing Great Things, was a 14-track collection of choral gospel favorites that allowed Shades of Praise to share its collective voice and message with the rest of the world. With a dozen featured soloists, including New Orleans Opera Chorus standout bass Joshua Walker, there is an air of excitement and spirited joy evident in each of the choir’s selections.
Their second CD, Celebrate the Child, almost didn’t happen. During Hurricane Katrina, about 20 members of the group lost all or most of what they had, and the master for this disc was nearly lost as well. However, Bemiss and recording engineer Steve Reynolds rescued the music, and the CD was out in time for the 2006 holiday season. Backing the singers is a talented ensemble consisting of Bemiss on piano and organ, Matt Hampsey on guitar, Michael Harris on bass, and Benson Dupre on drums. –Dean M. Shapiro
Economy Hall Tent, 12:30 PM
Tim Laughlin
Two Jazz Fests ago, legendary clarinetist Pete Fountain mounted the stage, weakened by recent ailments and still stunned by the loss of his Gulf Coast home and most of his prized musical possessions. But he bravely honored his commitment to perform, and the clarinetist he handpicked to accompany him onstage was Tim Laughlin. What a great vote of confidence that was.
That alone would have been the honor of a lifetime and certainly one that Laughlin deservedly earned through hard work, paying his dues, and perfecting his craft. Jack Sohmer, critic for JazzTimes Magazine, once wrote, “Tim Laughlin appears to be among the best of this decade’s younger clarinetists.” Since 1991, Laughlin has released ten CDs, several of which were on major labels such as Good Times Jazz Records (an affiliate of Fantasy) and Jazzology. On each of his releases, he enlisted the talents of some of New Orleans’ finest musicians to back him up, including members of Astral Project, Bonerama, and trumpeter extraordinaire Connie Jones, who shared the spotlight with him and Fountain at the ’06 Jazz Fest. His selections are a combination of New Orleans standards and compositions written by some of the great American songwriters of the Big Band Era, but he has composed and performed a significant number of original numbers as well. With performances on three continents, Laughlin has been a goodwill ambassador of New Orleans jazz. –Dean M. Shapiro
Acura Stage, 3:40 PM
Irma Thomas
Irma Thomas, although a contemporary of Aretha Franklin and Etta James, has never enjoyed the same commercial success. She has never quite made the crossover from blues to mainstream pop, even though many performers, like Otis Redding and the Rolling Stones, reinterpreted some of her earlier recorded songs and made them hits.
She has stayed true to the blues and soul that earned her a legendary name in the first place – and perhaps this is why New Orleanians feel like she belongs to them, bestowing her with the somewhat limiting title of “Soul Queen of New Orleans.” Thomas was born in Ponchatoula, but has spent most of her life here in New Orleans and is a beloved annual performer at Jazz Fest.
The resilient Ms. Thomas had already lived a lifetime by the time her first single “(You Can Have My Husband But) Don’t Mess With My Man” came out in 1960 when she was nineteen. By that time, she had already been married twice, had four kids, and worked as a waitress in New Orleans. When the song went to #22 on the R&B charts, there was no looking back for the young singer.
Now, with a critically acclaimed career that has spanned more than forty-five years, the quality of Thomas’s recordings has not diminished. If anything, they have improved with time, as evidenced by Thomas’s transcendent voice that still comes straight from the heart. Last year, she finally won a long-overdue Grammy for her contemporary blues album After the Rain. –Jordan Shay
Allison Miner Music Heritage/Lagniappe Stage, 3:45 PM
New Orleans Klezmier All-Stars
Where else but in New Orleans, where nearly every genre of music coexists side by side and frequently borrows from the others’ styles, could a group playing “funky Jewish music” have come into being? That’s what happened when the New Orleans Klezmer All-Stars exploded on the local scene, often spoofing its own heritage.
Klezmer, for those unfamiliar with the term, is Jewish folk music that contains elements of gypsy, Central European, Turkish, Greek, and other folk music styles that were popular in European Jewish shtetls (communities) of the Diaspora. Stereotyped as “bar mitzvah music,” it fell out of fashion from the 1940s until the 1970s, when a revival of Yiddish music featured recreations of the music heard on scratchy 78 RPM records. The style soon expanded to include fusions with other musical styles, including rock, jazz, bluegrass, and even surf music and avant garde interpretations. The sound is very heavy on the clarinet (Rob Wagner) and accordion (Glenn Hartman), but just about any other instrument can be blended into the mix, and the NOKAS have done just that since they introduced the klezmer tradition here in 1991. And you don’t have to be Jewish to appreciate the sound. It’s the universal music of fun times, as the band’s legions of fans who love to dance to the catchy rhythms can testify. –Dean M. Shapiro
Gentilly Stage, 4:55 PM
Elvis Costello & Allen Toussaint
Eclectic British singer-songwriter Elvis Costello will team up with the legendary Allen Toussaint, one of the most influential names in New Orleans R&B, and indeed, one of the founding fathers of New Orleans sound, for a sure-to-be unforgettable performance at Jazz Fest. Costello, who gained early notoriety in the pub rock scene in London and later in the punk rock and New Wave musical movements, will surely deliver a spirited performance with Toussaint. Toussaint has contributed to the funky heartbeat of New Orleans for decades, writing and producing hits for such greats as The Meters, Dr. John, and Irma Thomas, later going on to a pursue a successful solo career.
The River in Reverse, Costello and Toussaint’s collaborative album released on May 29, 2006, was recorded at Piety Street Studios in New Orleans and was the first major studio session to take place in the city after Hurricane Katrina. The album features seven songs from Toussaint’s back catalog, five new collaborations by Toussaint and Costello, and the title track penned by Costello. This ambitious duo is sure to deliver a soulful performance. –Meg Barbor
Acura Stage , 5:30 PM
Tim McGraw
Tim McGraw is one of the few country singers that have been able to make the crossover to pop/rock music. What’s even more impressive is that he was able to carry countless awards with him along the way. Since the years that McGraw set out on his journey to become one country’s superstars, he’s sold over 25 million albums and singles, which is a staggering number for this Louisiana local.
Despite his sold out concerts and string of awards, Tim was not an immediate success. When he first left his home in Delhi, Louisiana to head for Nashville, he wasn’t greeted with any southern hospitality. “I was told by one producer to pack up and go home; I would never make it,” he confesses. Although he was given the boot (steel toed, I’m sure), he didn’t give up.
McGraw persisted by playing at small clubs and dimly-lit bars, but it wasn’t long before his audience’s reactions were reversed. Almost overnight, crowds began filling the clubs to hear the country crooner. By morning he was headlining his own tour. Even Tim was overwhelmed by the sudden success. “It was a crazy time,” McGraw recalls. “We just wanted to play.”
The fame-bound cowboy finally got his break with his first hit song “Indian Outlaw.” He immediately followed this single with his first number one, “Don’t Take The Girl.” Not stopping for a second, he scored again by singing the anthem used in NFL ads, “I Like It, I Love It.” Soon afterwards, he embarked on one of the most successful country tours of the year. Proving the pessimistic producer wrong, he went on to win several CMA awards, Grammy awards, and even dabbled in acting.
Despite his tremendous success, McGraw maintains his ability to stay true to his roots. His family is the most important aspect of his life and keeps him grounded. Tim met his wife, Faith Hill, while on tour and they are now the proud parents of three girls. “My family keeps me focused,” he affirms. “They are the most important thing to me.” He also adds, “I saw the responsibility that comes with being a husband and a father. It required me to make some major adjustments.” He obviously succeeded, because the National Fatherhood Initiative honored him as “Father of the Year.”
Tim, with the support of his wife, took responsibility again in 2005. When Hurricane Katrina ravaged his home state of Louisiana, he immediately stepped in to assist. As a member of the American Red Cross, he helped raise donations for storm victims and also performed on A Concert for Hurricane Relief telethon. A year later, the charitable country couple went on a tour together that grossed nearly $89 million. In a generous gesture, they donated all of the profits to the Hurricane Katrina relief.
Tim McGraw will return to the stomping grounds that he helped to rebuild by making an appearance at this year’s Jazz Fest. On the playlist are songs from his new Collector’s Edition album, which will hit stores on May 6.
McGraw will give the audience exactly what they want to see, plus more. “I am a fan myself. I like to think about what the fans want.” With that attitude, the crowd-pleasing cowboy is sure to deliver an exciting show.
–Suzanne Pfefferle
Congo Square Stage, 5:45 PM
Al Green
The Reverend Al Green brings an infectious joy to his music, whether it is R&B or gospel, that makes him truly unique. Originally, Green tried to emulate the sound of his heroes Jackie Wilson, Sam Cooke, and James Brown, but eventually found his own distinctive voice that has so far earned him nearly forty years of commercial success and led Rolling Stone Magazine to call him, “unquestionably the greatest soul singer to come to prominence in the seventies.” He has sold more than 20 million albums to date and his music is still enjoyed around the world. You can’t help singing along to the R&B classics “Lets Stay Together,” “Tired of Being Alone,” and “I’m Still In Love With You,” among his many other chart-topping hits.
The son of a sharecropper, Al Green was born Albert Greene in Arkansas. When he was young, the family formed a band called the Greene Brothers that toured around the South. By the time Al was in high school, the family moved to Michigan and performed around the state until Green was kicked out of the band by his father, supposedly for listening to Jackie Wilson. Green created a new band with friends from school, Al Greene and the Soul Mates. Two of the Soul Mates formed an independent record label called Hot Line Music, where Al Greene and the Soul Mates released their upbeat debut album Back Up Train in 1967. The title song became a mild hit, but the album never received much commercial success and was consequently the only album ever released on Hot Line Music.
Greene dropped the "e" when he went solo and met the bandleader Robert Mitchell, who encouraged him to accentuate his own distinctive style. Al Green the superstar was born as soon as he let his incomparable voice swoop through the sensual R&B lyrics. Green created the new standard for R&B music with his distinct sound by combining Motown sweetness with Memphis soul. Green’s stardom rose to prominence in the early seventies with six consecutive hits in the top ten: “Let’s Stay Together,” “Look What You Done for Me,” “I’m Still in Love With You,” “You Ought to Be With Me,” “Call Me,” and “Here I Am (Come and Take Me).”
Green reigned as the top male soul singer in the world during that decade, giving up that status voluntarily in 1979 when he turned to gospel music. According to Green in his autobiography, Take Me To The River, “God had called me to a higher place, turned me away from earthly to heavenly love, and while it hurt to say it, I had to leave the sensual for the spiritual.” Green became an ordained pastor of the Full Gospel Tabernacle in Memphis in 1976, where he continues to preach. Every Sunday, the Reverend Al Green can be found in the pulpit, preaching with the same infectious joy with which he sings, where his sermons and gospel are open to the public. –Jordan Shay