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2007 New Orleans Jazz and Heritage Festival New Orleans, Louisiana April 26, April 27-29, May 4-6
Jazzfest is such a joyous occasiona 10-day marathon reunion of friends and families from around the world who revel in the music, the food and the other pleasures of New Orleansthat it's hard to reconcile with the sobering realization of the devastation from Katrina and the despair of so many struggling to rebuild their homes and lives. I didn't get out to the Lower Ninth during this year's festivalbeen there, done that in 2006but it's not news that 200,000 uprooted city dwellers are still extant, tangled in a web woven by tight-fisted insurers, government bureaucracy and the long-standing stagnation of New Orleans' economy. None of this extramusical context seemed to sap the spirits of the 375,000 paying customers at the Fair Grounds, who made this the biggest Jazzfest since 2003. Most were drawn by superstars such as Van Morrison, Lucinda Williams, Rod Stewart, Norah Jones, Bonnie Raitt, John Mayer, the Allman Brothers and John Legend. Not to mention Harry Connick Jr. It is, after all, JAZZfest. Those of us who spent most of our daytime hours in the AT&T-WWOZ Jazz Tent were treated to sets by visiting celebs Arturo Sandoval, Dr. Lonnie Smith, Mose Allison, the World Saxophone Group, Danilo Perez and the Roy Hargrove big band.
Great music, for the most part.
But what really makes Jazzfest special is reconnecting with the immensely talented collection of local musicians, many of whom rarely tour. They're the ones who 90 percent of the audiencethe out-of- townerscome to see. People like John Boutte, Leah Chase, Astral Project, Germaine Bazzle, Nicholas Payton, Terence Blanchard, Donald Harrison, and any of the Marsalises are given heroes' welcomes before as much as a single note sounds.
Some of my most blissful memories:
Astral Project introduced a new tune by guitarist Steve Masakowski, "Once Lost," a slithery blues on which he and tenor player Tony Dagradi excelled. Then bassist Jim Singleton turned on his electronic magic on "Cowboy Bill," yanking booming notes while a bowed refrain echoed via Memorex.
Always-upbeat trumpeter/singer Kermit Ruffins, married recently onstage at the French Quarter Festival, was more ebullient than ever, though his set list hasn't changed much in a couple of years.
Irvin Mayfield continues to impress with his knock-out compositions and arrangements prepared for the New Orleans Jazz Orchestra, a smoking big band. And his most recent suite, Water Rising, musical commentary on Katrina, is exceptionally powerful stuff.
Terence Blanchard's quintet played parts of the soundtrack he and others in the band composed for the Spike Lee documentary, When the Levees Broke. Alternately reflective and passionate, the music evoked strong emotions in the tent, earning a rare standing ovation in mid-set.
Arturo Sandoval's tour-de-force performance began with another demonstration of his renowned chops: a five-octave run on trumpet that started with tuba-deep blats and crested with his trademark stratospheric squeals. The Cuban native also exhibited prowess on keyboard and drums and scatted convincingly.
Stanton Moore conducted a clinic on the art of second-line drumming, playing behind the Gentilly Groovemasters on the strutting tune "Port of Call."
Ellis Marsalis led a quintet on John Lewis' classic but too infrequently performed "Django" and the more familiar "Bags Groove." The piano professor played with more oomph than I'd heard from him in a while, especially on a driving boppish blues.
John Boutte wasn't in great voice, and his mood was admittedly peevish, troubled by sound system problems and the scattering of his once close-knit family after Katrina. But his updated lyrics to the Randy Newman lament, "Louisiana 1927," and gospel-imbued versions of "City of New Orleans" and "Sisters" had the audience in his corner.
Over in Economy Hall, the venue for traditional jazz, Bob Wilber joined with fellow clarinetists/soprano saxophonist Dr. Michael White and Evan Christopher for a soaring, swooping salute to the Soprano Summit group Wilber and the recently deceased Kenny Davern co-led for years. Wonderful tunes by the likes of Sidney Bechet, James P. Johnson and many others of their ilk led to a classic three-clarinet ensemble performance of Ellington's incandescent "Mood Indigo."
Maurice Brown was the wake-up call on the festival's final Sunday morning. The maturing young trumpeter played with more melody and less bombast than in the past but remains a way upbeat performer, with music to match.
First lady of jazz Germaine Bazzle jazzed up one of her favorite songs, "Secret Love," with a spicy double-time groove laid down by bassist George French that in the end morphed into the refrain from Coltrane's "A Love Supreme."
Jazz is a creative explosion of individual freedom and communication.
I was first exposed to jazz when I was a kid. My father had a music store.
The best live performance I ever attended was Kenny Garrett in Harlem, New York.
The first jazz record I bought was Saxophone Colossus by Sonny Rollins.
My advice to new listeners is keep listening!