Beautiful weather adds to the pleasure of Jazz Fest’s first weekend

By Geraldine Wyckoff
Contributing Writer

It wasn’t until Sunday around noon time when the Electrifying Crown Seekers were breaking into their rousing version of “Old Time Revival Going On,” that the overhead misters in the Gospel Tent came on to refresh the crowd. For the first two days of Jazz Fest, a good breeze and low humidity provided all that was required to keep one’s cool – temperature-wise that is. The music, on the other hand, kept things hot.

Looking back over the weekend, it’s interesting to note that many of the finest sets were presented by local artists. Granted, some of these “locals” boast national and international renown though others remain best known in New Orleans.

Trumpeter Christian Scott aTunde Adjuah, who is among the local/international crew, really stood up and blew at his Friday afternoon set at the Jazz Tent. Sometimes gently chided for being a too generous leader, Adjuah was center stage most of the time with alto saxophonist Logan Richardson often at work by his side. The trumpet/alto combination was a bit reminiscent of when, years ago, Adjuah was playing regularly with his uncle, alto saxist Donald Harrison Jr. Adjuah and Richardson egged each other on as they traded bars – strong stuff. Talk about back-and-forth musical conversations, drummer Corey Fonville and djembe master Weedie Braimah, who is the nephew of the late great New Orleans drummer Idris Muhammad, got down with it on Adjuah’s “The Great Chieftain.”

Speaking of great chiefs, the impressive Big Chief Yam (James Harris) stood tall leading his gang the Semolian Warriors. Somewhat unusually, he also played bongos that added to the very solid back-up rhythm and vocal section that also included guests from other tribes in the Black Indian Nation. One moment stood out in the set. The Warriors were performing the classic “Meet De Boys on the Battlefront” when, as part of the song, a drummer in the back sang, “the Wild Magnolias gonna stomp some rump.” The formidable Big Chief Yam, donning a magnificent white suit adorned with many beaded patches depicting Native Americans, turned quickly around and gave the guy a “look.” The next time that verse was sung, an excellent vocalist who was playing cowbell, sang it correctly for the occasion: “Big Chief Yam gonna stomp some rump.”

There might have been others who dug into Fats Domino’s hits earlier on Friday but keyboardist/vocalist Davell Crawford quickly pulled out “When My Dreamboat Comes Home” during his performance. Wow is the only word for Crawford’s new hairdo. Stylishly cut, his hair was dyed a color that could perhaps best be described as day-glo pink. While the late, great guitarist/vocalist Snooks Eaglin was dubbed “the human jukebox,” Crawford gave him a run for his money this day offering New Orleans classics like Lee Dorsey chart-topper “Working in a Coal Mine,” Irma Thomas’ “Ruler of My Heart” and Bob Marley “Three Little Birds (Don’t Worry About a Thing)” before going into his own masterpiece, “Creole Man.”

Remaining on the New Orleans beat, saxophonist Edward “Kidd” Jordan, who, of course, blows to the “beat” of his own drummer, in this case the great Alvin Fielder, had family – sons Kent Jordan on flute and piccolo and Marlon on trumpet – close friends and longtime musical associates surrounding him. Pianist Joel Futterman opened the set in his usual ferocious manner that is mind-boggling to watch let alone hear. When he wasn’t blowing, Kidd, sitting on a stool, was often listening with a smile on his face. New York bassist William Parker, who came down especially for this gig, was totally in the mix especially when, in his exhilaration, Kidd would be up on his toes – the excitement was obviously contagious. Kidd would bring it “in” by quoting melodic jazz standards and Fielder stood as an example of somehow bringing simplicity to the complex. It was Kidd and Kent standing and blowing side-by-side that was the epicenter of the music that, like a tornado, swirled around.

The elegance of jazz was fully realized in the quiet dignity of the legendary bassist Ron Carter. Even the look of Carter’s drum-less trio with guitarist Russell Malone and pianist Donald Vega spoke of its distinctiveness and grace as each of the men wore matching black suits and gold ties. A highlight of the set was a tribute to Jim Hall, a wonderful guitarist who often performed with Carter. On the tune called “Candlelight,” the bassist and guitarist played a duet with both of the musicians strumming their instruments.

Switching to the superstar performers, Khalid, drew a huge and notably diverse crowd to the Congo Square Stage. Hey man, they knew all the words—arms moving on the beat — to “(Show Me Where Your) Love Lies.” There’s something in the gentleness, rhythm and Khalid’s moves that creates a reggae-like groove in the audience — one love, ya know. He was on his knees for his romantic contemporary rhythm and blues ballad “Hopeless.”

It was quite a transition to jump over to the Fais Do-Do Stage to catch a little of The Last Bandoleros. There was time enough to hear this hard-driving, harmonizing group, primarily from one of the hearts of the Tex-Mex music scene, San Antonio, do a solid version of the granddaddy of them all, the Texas Tornados’ “Hey Baby Que Paso?”

First thing Sunday morning the best place to be at Jazz Fest is in the Gospel Tent where the spirit of rejoicing acknowledges the day of worship. The Rocks of Harmony, a group that has been praising for over 60 years, boasts all of the essentials. For one, it carries its own band so everyone knows where and when to get going and when to let the front man, the preacher of sorts, take it on. On tunes like “Holy Ghost Power,” that means testifying at the front of the stage and, joined by other members of the group, dancing, jumping and spinning with joy. “(It Will Be) By the Grace of God that I’ll Be Here,” was the Rocks’ final song. With the vocalist looking forward to returning to the festival next year, it was a sentiment that was shared by those witnessing the Rocks of Harmony’s inspiring set.

This article originally published in the May 7, 2018 print edition of The Louisiana Weekly newspaper.