Jazz Fest: Snarky Puppy, Stevie Wonder, Wayne Shorter & Herbie Hancock, Terence Blanchard, Neil Young, Paul Simon, Steely Dan, Joe Lovano, more

Yes, as expected, another juggernaut of musical talent is slated for this year’s New Orleans Jazz & Heritage Festival.

I’ve attended this mammoth and amazing musical gathering umpteen times (although, oddly, not since 2010), and I still get excited by the quality, variety, and sheer quantity of the music presented at Jazz Fest.

Yes, I could do without some of the overtly commercial pop/rock (Nick Jonas? Seriously?) and rap headliners, but there’s enough jazz, blues, funk, R&B, brass band, zydeco, gospel, folk, world beat, and generally rootsy music to whet the appetite of any music lover.

Great to see the mighty, mighty Snarky Puppy on the bill again, along with some big-name acts I’ve caught at previous editions of Jazz Fest, including Stevie Wonder, Paul Simon, Elvis Costello, and Sharon Jones and the Dap Kings.

And some great bands and artists I’ve seen elsewhere (some of whom also have played at Jazz Fest) including the Tedeschi Trucks Band, Los Lobos, Neil Young, the Red Hot Chili Peppers, Bonnie Raitt, Buddy Guy, and loads of New Orleans favorites, from Dr. John to the Iguanas.

Then there are several world-class jazz heavy hitters, including the Herbie Hancock-Wayne Shorter Duo (wow!); Jack DeJohnette with Ravi Coltrane and Matt Garrison; Gregory Porter; Arturo Sandoval; Joe Lovano Us 5; and Heads of State Featuring Gary Bartz, Larry Willis, Al Foster, and George Mraz

jazz fest 2016

(This year’s Jazz Fest poster features the Marsalis family in what looks like a double-decker shotgun home)

And, of course, several top-shelf jazzers living in NOLA or with NOLA roots: Terence Blanchard featuring the E-Collective, Irvin Mayfield and the NOJO, Nicholas Payton, Astral Project, Jason Marsalis, Ellis Marsalis, and Donald Harrison, among others.

Who would I be keen to see at Jazz Fest, if I were able to get there this year? Well, here’s the rundown, my top picks, day by day. Modern or traditional jazz or jazz-rooted acts (except brass bands) are in bold.

Friday, April 22: Steely Dan, Gov’t Mule, The Subdudes, Sharon Jones & the Dap Kings, Buckwheat Zydeco, Donald Harrison Jr., Geri Allen, Christian Scott, Jason Marsalis, The Music of Stevie Wonder featuring Brian Blade.

Saturday, April 23: Van Morrison, Pearl Jam, Boz Skaggs, Galactic, Big Sam’s Funky Nation, Anders Osborne, John Hammond, DeJohnette-Coltrane-Garrison, Leo Nocentelli (of the Meters), Tribute to Jelly Roll Morton featuring Henry Butler, Butch Thompson, and Dr. Michael White, Tab Benoit, Joe Krown Trio featuring Walter Wolfman Washington and Russell Batiste, Jr.

Sunday, April 24: Red Hot Chili Peppers, Herbie Hancock & Wayne Shorter Duo, Voice of the Wetlands All Stars, Taj Mahal & the Trio, Henry Butler & Jambalaya, Terence Blanchard featuring the E-Collective, BeauSoleil, Little Freddie King Blues Band, Herlin Riley Quintet, The Iguanas,

Thursday, April 28: Tedeschi Trucks Band & Friends, Elvis Costello & the Imposters, Snarky Puppy, Gary Clark, Jr., Cyril Neville & Swamp Funk, Corey Harris Band, George Porter Jr. & Runnin’ Pardners, Savoy Family Cajun Band, Marlon Jordan Plays the Music of Miles, Trane, and Bird, Spencer Bohren & the Whippersnappers, Tuba Skinny, Bill Summers & Jazalsa

Friday, April 29: Paul Simon, My Morning Jacket, Irma Thomas, Elvin Bishop, Los Lobos, Bonerama, Dirty Dozen Brass Band, John Boutte, John Mooney & Bluesiana, Terrance Simien, Irvin Mayfield & the New Orleans Jazz Orchestra, Joe Lovano Us Five, Nicholas Payton & Afro-Caribbean Mixtape, Astral Project, C.J. Chenier, Raw Oyster Cult, and Tom McDermott & Friends.

Saturday, April 30: Stevie Wonder, Buddy Guy, Dr. John, Jon Batiste and Stay Human, Gregory Porter, Rebirth Brass Band, Arturo Sandoval, Kermit Ruffins’ Tribute to Louis Armstrong, Jon Cleary and the Absolute Monster Gentlemen, Roy Rogers & the Delta Rhythm Kings, Cyril Neville’s Royal Southern Brotherhood, New Orleans Klezmer Allstars, Paul Sanchez & the Rolling Road Show, and the James Rivers Movement.

Sunday, May 1: Neil Young, Bonnie Raitt, Mavis Staples, Aaron Neville, Ivan Neville’s Dumpstaphunk with Art Neville, Punch Brothers, B.B. King Blues Band, Allen Toussaint Band, Ellis Marsalis, Davell Crawford, The Gospel Soul of Irma Thomas, Walter Wolfman Washington, Marcia Ball, Heads of State Featuring Gary Bartz, Larry Willis, Al Foster, and George Mraz, Rockin’ Dopsie & the Zydeco Twisters, The Mashup featuring Ike Stubblefield, Terence Higgins and Grant Green, Jr., Trumpet Mafia

I should add that, as usual, some of the most amazing shows during Jazz Fest week are held in the evenings, at various clubs and concert halls around New Orleans. Offbeat is the best place to go for all the music listings.

And Swagland, operated by a guy who has attended Jazz Fest for two decades consecutively, remains the essential online guide to “doing” the festival, with loads of practical tips on lodging, logistics, food, and general tips about NOLA.

Headed to Jazz Fest? Here are a few more resources:

Gambit, a major weekly, annually puts out a detailed guide to Jazz Fest acts.

My Spilt Milk is Alex Rawls‘ informative and opinionated blog/site on all things NOLA music (and culture). “Jazz Fest is Re-Reeling in the Years” is the headline on his piece announcing this year’s lineup.

The Times-Picayune, a once thriving daily now largely gutted, is worth checking out, although that paper’s music writers, Keith Spera and Alison Fensterstock, have taken their talents and a deep knowledge of NOLA music, to The New Orleans Advocate, so expect better informed fest coverage there.

And Louisiana Music Factory, an indie record store, remains THE place to go to pick up audio souvenirs of your trip. It’s  jam packed with recordings by New Orleans and Louisiana artists (as well as other musicians, of course). And the in-store performances during Jazz Fest week are great.

 

 

 

 

 

 

 

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Clearwater Jazz Holiday: Free no more & acts announced: Bonnie Raitt, Avett Brothers, Mindi Abair

News on the Clearwater Jazz Holiday front: It’s no longer free, according to a Tampa Bay Times story published today.

Organizers have announced that, for the first time in its 33-year history, the fest will charge for admission: $10 at the door.

As late as last year, organizers said that they couldn’t/wouldn’t book top top-shelf jazz talent because of the expenses incurred. Hard to believe that line of reasoning, particularly given that the fest frequently has positioned pricey smooth-jazz artists at the top of the bill.

The response, among the jazz fans I talked to: Hey, we’ll gladly pay an admission fee if we can get heavyweight jazz talent – the artists who win jazz polls, for instance – in return.

The situation: Now there’s a charge at the gate, and the first three acts announced are decidedly NOT major jazz artists. So far: Bonnie Raitt (blues-rock-pop), The Avett Brothers (altcountry-Americana-rock-pop), Mindi Abair (smooth jazz).

Raitt is terrific, and, as a blues artist, makes a decent fit on a jazz festival. I look forward to hearing her show, part of a tour promoting “Slipstream,” her first new album in seven years. Abair is par for the course.

Then there’s the Avett Brothers. I’ve seen this siblings-led band grow from rootsy bluegrass-influenced contenders to making a nice splash in the broader Americana/pop world – I’ve caught several of their amazing performances at festivals held at Spirit of the Suwannee Music Park in Live Oak.

But they have to count as a first – the farthest afield, musically, from jazz that the Clearwater Jazz Holiday has ever played host to.

Nothing wrong with an eclectic music festival. But for any jazz festival that wants to maintain its identity as a jazz festival, then the Avetts are a terrible fit.

Sad to say, but it’s probably time for the Clearwater Jazz Holiday to drop “jazz” from its name. I’ll still go — heck, I’d love to hear Raitt and the Avetts again — but I guess I”ll finally give up hoping that the event will return to its glory days as a major jazz festival.

That makes me sad.

The Clearwater Jazz Holiday is slated for October 18-21 at Coachman Park in downtown Clearwater. For more information, go here. Interested in suggesting an artist to play the fest? Send your thoughts to info@clearwaterjazz.com

(Meanwhile, up the road, the long-running Jacksonville Jazz Festival, held over Memorial Day weekend, is bringing in Sonny Rollins; Poncho Sanchez with Terence Blanchard; Corea, Clarke, and White; and more; it’s still free)

The Next Hot New Orleans Trumpeter? The Search Is On

New Orleans, not surprisingly, has produced a long line of great jazz trumpeters, from Buddy Bolden, King Oliver and Louis Armstrong to Christian Scott and Shamarr Allen. Louis Prima is the subject of this year’s poster for Jazz Fest.

And, of course, there are also Terence Blanchard (probably my favorite living trumpeter; looking forward to his Jazz Fest appearance), Wynton Marsalis, Nicholas Payton, Irvin Mayfield (ditto for his Jazz Fest show with the NOJO), Leroy Jones, Kermit Ruffins, Al Hirt and several other notables whose names will come to mind the second this post is published.

(Payton, right, plays tonight at the Village Vanguard in NYC; listen live here)

Young jazz trumpeters in New Orleans will get a chance to raise their game — and their profile — via “Seeking Satch,” a contest co-sponsored by the French Market and the Mayfield-directed New Orleans Jazz Institute at the University of New Orleans.

Three high-school trumpet players will get four-year scholarships to UNO’s jazz studies program, and a chance to perform this August at Satchmo Summerfest.

Trumpeters from two other age groups — 6th to 8th grade, and 9th to 11th grade — will gain admission to the year-round Saturday Music School organized by the New Orleans Jazz Institute.

That’s all according to a piece published today in the New Orleans Times-Picayune.

Official details are below:

SEEKING SATCH

WHAT: A trumpet competition that rewards high school seniors with University of New Orleans Jazz Studies scholarships, and sixth to 11th grade students with spots in the New Orleans Jazz Institute’s Saturday Music School. Outgoing seniors must submit a UNO college application and e-mail a link to a YouTube video of them performing their favorite Louis Armstrong song, plus a jazz tune of their choice, to Robin Williams at rmwilli6@uno.edu. Younger student applicants must send an e-mail expressing their interest to Amy Kirk at akirk@frenchmarket.org.

WHEN: The deadline for high school senior applications is March 18. Six finalists will be chosen to compete at French Quarter Festival April 10. The three winners will go on to perform at Satchmo Summer Fest in August. Deadline for the younger students to apply is May 3; their competition will be held May 22 at McDonogh 15.

Disc of the Day: Lionel Loueke, “Mwaliko” (CD review)

Lionel Louke, Mwaliko (Blue Note)

It seems like just a minute or two ago that Benin native Lionel Loueke was making his first splash on the global jazz scene. He provided gorgeous West African-flavored flourishes for trumpeter Terence Blanchard‘s mid-’00s groups and made key contributions to performances and recordings by bassist Charlie Haden and pianist Herbie Hancock (including a stellar show with the latter at Jazz Fest in New Orleans).

Several indie releases and two Blue Note discs later, the guitarist, educated in Africa, France, and at Berklee College and the Thelonious Monk Institute, is more than fulfilling the promise of those early appearances. Mwaliko has Loueke joined by instrumentalists and singers from Africa and the U.S. for a variety of originals, a traditional from Benin, and a slippery, brightly interactive duet with drummer Marcus Gilmore on Wayne Shorter‘s “Nefertiti.”

That tune, like nearly everything else on the recording, suggests a real musical intimacy between Loueke and his collaborators. Clearly, there’s some wavelength-sharing going on here, including beautiful, bouncy exchanges between his guitar lines and mouth sounds, and longtime Benin-born friend Angelique Kidjo‘s singing, on the opening, joyful “Ami O” and the pensive “Vi Ma Yon,” a Beninese folk song.

Loueke, bassist Massimo Biolcati and drummer Ferenc Nemeth — AKA the guitarist’s touring band, known as Gilfema –sound like three of a perfect pair, so attuned they are to each other, on Loueke’s searching, vocals-showered “Griot,” Nemeth’s haunting ballad-to-groover “L.L.” (which feels a bit Methenyesque) and Biolcati’s rhythm-tricked “Shazoo.”

Two other bassist-vocalists team with Loueke to great effect.

Young upright phenom Esperanza Spalding joins in on the pretty, lilting “Twins,” and the aptly named, funk-edged “Flying,” both written by Loueke and both suggesting that these musicians’ singing and instrumental talents are made for each other.

Cameroon-born electric bassist Richard Bona is aboard for the floaty “Wishes” and the closing, insistently percolating “Hide Life,” as sunny and intoxicating a piece of African-infused jazz as you’re likely to hear this year.

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For more on Lionel Loueke, check out Steve Hochman’s interview with the guitarist, online at Spinner.

Jazz at the Grammys; and props to Lifetime Achievement winner Clark Terry

The Grammy Awards — particularly as demonstrated by its biggest categories — remains the music industry’s overblown high-school prom, a chance for the year’s most popular and/or most attractive rock, dance, hip-hop and country artists to toast each other’s success on the charts and in the media spotlight.

Last night’s ceremony, in that respect, was mostly the same: Does anyone believe that, 20 years from now, anyone will be singing the songs of, or caring much about the likes of Lady Gaga, who opened with a two-piano extravaganza with Sir Elton John (his earliest songs have become classics), or Pink, who did a skin-baring Cirque du Soleil-style act?

Jazz, as usual, got short shrift (yes, there was Herbie Hancock’s big win last year, but that was a fluke).

Lifetime achievement winner Clark Terry (right), the great and gracious trumpeter, and good-humored “mumble”/scat singer, got onstage recognition from director Quentin Tarantino (huh?) and the camera caught Terry, 89, in the audience. Then it was on to a really annoying, profanity-laced performance by Eminem, Lil’ Wayne, Drake and drummer Travis  Barker. No, thanks.

Best musical moment: Jeff Beck‘s performance of “How High the Moon,” with singer Imelda May, in a too-short salute to Les Paul, introduced by actor Jeff Bridges (huh?) Beck played a sunburst Les Paul guitar for the occasion.

This year’s jazz nominees, for the most part, were musically solid. Several of the recordings that appeared on my Top 10 list — discs by singer Roberta Gambarini, pianist Allen Toussaint, and bassist John Patitucci — grabbed nominations, but not wins.

Nice to see New Orleans artists take home trophies in two categories — trumpeter Terence Blanchard for best improvised jazz solo, and trumpeter Irvin Mayfield‘s New Orleans Jazz Orchestra for best large jazz ensemble album — although it’s a bit of a shock that the latter category didn’t include nominations for first-rate recordings by Chuck Owen & the Jazz Surge, and the Gerald Wilson Orchestra.

The Jazz Surge’s CD, The Comet’s Tail: Performing the Compositions of Michael Brecker, did get attention in the category of best instrumental arrangement. Talented veteran arranger Bill Cunliffe won, for “West Side Story Medley” from the Resonance Big Band’s tribute to Oscar Peterson. Note: Mendoza was nominated twice in this category, so that may have hurt his chances for a win.

And it ought to be noted that neither acclaimed pianist Vijay Iyer, nor his trio’s Historicity, which topped this year’s Village Voice Jazz Critic Poll (I voted), were to be found among the nominees. UPDATE: Vijay let me know that Historicity “was released two weeks too late to qualify for the awards.” Here’s hoping that NARAS will honor the CD next year.

Kurt Elling won in the jazz vocal category for another impressive recording, but I wonder if the superb discs by Robert Gambarini (my pick for ’09’s best jazz vocal CD) and Tierney Sutton resulted in a vote split leading to the Elling win.

It was satisfying to see several veterans pick up wins, including late Weather Report keyboardist Joe Zawinul, for the final CD from his Zawinul Syndicate band, and pianist Chick Corea and guitarist John McLaughlin, for a live recording from their Five Peace Band.

Dan Morgenstern, director of the Institute of Jazz Studies at Rutgers-Newark, picked up another Album Notes Grammy, his eighth, for his contributions to The Complete Louis Armstrong Decca Sessions (1935-1946).

Finally, how many father-and-son recordings have won Grammy awards? In the Latin jazz category, the great Cuban-born pianist Bebo Valdes and his son, pianist Chucho Valdes, won for Juntos Para Siempre.

The jazz winners and nominees….

Best Contemporary Jazz Album

*Winner: 75 Joe Zawinul & The Zawinul Syndicate

[Heads Up International]

Urbanus Stefon Harris & Blackout [Concord Jazz]

Sounding Point Julian Lage [Emarcy/Decca]

At World’s Edge Philippe Saisse [E1 Music]

Big Neighborhood Mike Stern [Heads Up International]

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Best Jazz Vocal Album

*Winner: Dedicated To You: Kurt Elling Sings The Music Of Coltrane And Hartman Kurt Elling [Concord Jazz]

No Regrets Randy Crawford (& Joe Sample) [PRA Records]

So In Love Roberta Gambarini [Groovin’ High/Emarcy]

Tide Luciana Souza [Verve]

Desire Tierney Sutton (Band) [Telarc Jazz]

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Best Improvised Jazz Solo

*Winner: Dancin’ 4 Chicken Terence Blanchard, soloist Track from: Watts (Jeff “Tain” Watts) [Dark Key Music]

All Of You Gerald Clayton, soloist Track from: Two-Shade [ArtistShare]

Ms. Garvey, Ms. Garvey Roy Hargrove, soloist Track from: Emergence [Groovin’ High/Emarcy]

On Green Dolphin Street Martial Solal, soloist Track from: Live At The Village Vanguard [CamJazz]

Villa Palmeras Miguel Zenón, soloist Track from: Esta Plena [Marsalis Music]

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Best Jazz Instrumental Album, Individual Or Group

*Winner: Five Peace Band – Live Chick Corea & John McLaughlin Five Peace Band [Concord Records]

Quartet Live Gary Burton, Pat Metheny, Steve Swallow & Antonio Sanchez [Concord Jazz]

Brother To Brother Clayton Brothers [ArtistShare]

Remembrance John Patitucci Trio [Concord Jazz]

The Bright Mississippi Allen Toussaint [Nonesuch]

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Best Large Jazz Ensemble Album

*Winner: Book One New Orleans Jazz Orchestra [World Village]

Legendary Bob Florence Limited Edition [MAMA Records]

Eternal Interlude John Hollenbeck Large Ensemble [Sunnyside]

Fun Time Sammy Nestico And The SWR Big Band [Hänssler Classic]

Lab 2009 University Of North Texas One O’Clock Lab Band [North Texas Jazz]

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Best Latin Jazz Album

*Winner: Juntos Para Siempre Bebo Valdés And Chucho Valdés [Sony Music/Calle 54]

Things I Wanted To Do Chembo Corniel [Chemboro Records]

Áurea Geoffrey Keezer [ArtistShare]

Brazilliance X 4 Claudio Roditi [Resonance Records]

Esta Plena Miguel Zenón [Marsalis Music]

New Orleans: Serious About Its Identity As a Music Town?

But of course: New Orleans is a music town, one of the greatest on earth, and in many respects the heart and soul of American music.

It’s the birthplace of jazz, and it would be darn near impossible to gauge how great an impact the city and its indigenous arts culture have had on other forms of musical Americana, including R&B, blues, funk and soul.

And yet because of pesky political obstacles or a lack of imagination, the city’s fathers have never quite been able to capitalize on NOLA’s music/arts culture, which encompasses everything from still-vital brass bands to Mardi Gras Indian groups, great modern jazzers, traditional jazzers, amazing funk/rock groups, inspired singer-songwriters, and soul singers — artists like the Dirty Dozen, Rebirth Brass Band (in photo), New Orleans Nightcrawlers, the Wild Magnolias, Ellis Marsalis, Astral Project, Kermit Ruffins, Trombone Shorty, Galactic, Paul Sanchez, Alex McMurray and Irma Thomas, just to name a few.

By capitalizing, I mean spending the time and energy, and devoting the appropriate funding and resources to help leverage New Orleans’ amazing music scene — from Frenchman Street to the Uptown clubs — as an essential element driving visitors from all over the world to the city.

No, I don’t mean handouts, although expanding the available arts grants would be entirely appropriate. I’m talking about consistently creating opportunities for musicians to demonstrate their art, and pushing even harder to get that message out to potential tourists from the U.S. as well as those in Canada, Europe, South America, and elsewhere.

Other American cities have accomplished that task more effectively, and two of those cities are in the South – Austin, which has effectively branded itself as “the live music capital of the world” and  Memphis, where blues haven Beale Street does big business.

What would it take for NOLA to become known worldwide as “the home of American music” or “the heart and soul of American music” or something similar, and for hundreds of thousands of additional music-loving tourists to come to the city year-round, not just for the wonders of Jazz Fest?

These were among the topics discussed in a mayoral forum held Monday at Loyola University. Five of the candidates vying to succeed (the largely incompetent) Ray Nagin for the city’s top job met to share ideas during  a gathering sponsored by Music Swings Votes, an organization comprising local music industry professionals.

“The music and cultural community want to be sure that we are recognized by the next mayoral administration, taken seriously, and that we can actually get the mayor to achieve some agreed-upon goals,” said OffBeat magazine publisher Jan Ramsey, an organizer of Music Swings Votes, according to a piece written by Times-Picayune music writer Keith Spera. “We want to emphasize that this is important and they need to include it in their platform and their administration.”

I don’t live in New Orleans, so I’m not familiar enough with the local issues — including those having to do with racial politics — to weigh in on which candidate is best qualified to lead a city still reeling from hurricane devastation. But I will say that Lt. Gov. Mitch Landrieu (photo, left) has consistently worked to elevate the music and music industry of New Orleans and the entire state, which also boasts regional musical treasures zydeco and cajun.

During a Jazz Fest press reception several years ago, I spoke with Landrieu about his efforts to promote Louisiana music. I’ll link to that piece here as soon as I can track it down.

“The music community stepped up to remind everybody that New Orleans is the soul of America. … I want to trumpet it, no pun intended, to the rest of the world,” Landrieu told the crowd, which included New Orleans-born trumpet great Terence Blanchard.

Boosting the public profile of the city’s music/arts culture would be of huge benefit to all of the city’s people, not  just for the musicians and other artists. A dramatic increase in tourism would help everyone in New Orleans survive, and again thrive, to regain its footing as a major American city.

Here’s hoping that the city’s next mayor possesses the inspiration and determination to make that happen.

Jazz Grammy Winners

Jazz generally gets little or zilch air time during the actual Grammy telecast, but it’s always nice to see legitimate artists grab a little attention from the National Academy of Recording Arts & Sciences (NARAS).

So, herewith, the jazz winners (including one, Cassandra Wilson’s Loverly, that wound up on my Top 10 last year):

  • best contemporary jazz album: Randy Brecker, Randy in Brasil

(MAMA Foundation)

  • best jazz vocal album: Cassandra Wilson, Loverly (Blue Note)
  • best jazz instrumental solo: Terence Blanchard, “Be-Bop,” from Live at the 2007 Monterey Jazz Festival (Monterey Jazz Festival Records)
  • best jazz instrumental album, individual or group: Chick Corea and Gary Burton, The New Crystal Silence (Concord Records)
  • best large jazz ensemble album: Vanguard Jazz Orchestra, Monday Night Live at the Village Vanguard (Planet Arts Recordings)
  • best Latin jazz album: Arturo O’Farrill and the Afro-Latin Jazz Orchestra, Song For Chico (Zoho)
  • best pop instrumental album: Bela Fleck and the Flecktones, Jingle All the Way (Rounder)