Jazz Fest first weekend – Around the world and home again

By Geraldine Wyckoff
Contributing Writer

Beautiful weather and a brand new look at the Fair Grounds welcomed crowds attending the first weekend of Jazz Fest. The towering bleachers at the Acura Stage and the smaller edition at the Congo Square Stage were both unobtrusive and offered much improved site lines for those located at the edge of the infield.

The “no chair” areas in front of both of those stages were even larger than anticipated and seemed to encourage more people to get up and dance. They really loosened up the audience by providing more wiggle room. The zones, which were simply marked off by painted lines rather than police barriers, also made it easier for those with chairs set up further back to come forward and join the party.

The Belize Pavilion became increasing popular throughout the Fest’s first three days. Vocalist, harmonica player and guitarist Brad Pattico backed by the Talla Walla Vibrations, a group of conga players and vocalists, was a swaying way to kick off the festival. The ensemble began its set traditionally performing a style called sambei that is a rhythm that originated in Gales Point, now called Manatee, located on an extremely narrow peninsula in the Southern Lagoon in Central Belize. It was once explained that it was the place that runaway slaves established a community. Later, the Pattico and Talla Walla dug into the more modern brukdown style that remains popular at dances around the country.

Drummer/vocalist Shannon Powell not only put together an all-star band for his tribute to the late, great drummer Smokey Johnson but also presented a well thought out program to represent Johnson’s contributions to New Orleans music. The band played tunes written by Smokey and producer/arranger Wardell Quezergue like “Did You Heard What I Saw” and, of course, their hit “It Ain’t My Fault.” The group with pianist/organist David Torkanowsky and horn players trumpeter Kevin Louis and saxophonist Roderick Paulin (to name a few) worked on tunes from some of the many bandleaders with whom the legendary drummer played and recorded. They included Fats Domino, guitarist/vocalist Snooks Eaglin and vocalist Jessie “Ooh Poo Pah Doo” Hill.

People knew that Janelle Monae’s set would be emotional due to the death of her close friend and mentor, the iconic musician Prince, just the day before her performance at the Congo Square Stage. Many, purple-clad people there – mourning themselves – wanted and needed that from her. She gave it to them by being her full-on, energetic and dramatic self and by doing material from Prince’s songbook like “Let’s Go Crazy.” It might have taken a toll on her but her effort was met by great empathy. Just as she did at Essence Festival following the death of Michael Jackson, Monae sang a moving, acappella version of “Smile.”

Alpha Blondy & the Solar System Band brought a much-appreciated international flavor to the Congo Square Stage. The Ivory Coast-born vocalist, who has also lived in France and the United States, stood right at the edge of the proscenium for the entire set that blended African and reggae music sung in his native language, French and English. It was great that there was the essential saxophone and trombone onboard just as there was in early reggae music and its predecessor, ska. With its happy rhythm and social conscious message, Blondy’s music felt just right at the Fest.

For their set, veteran drummer Jack DeJohnette was at the core of the trio with saxophonist Ravi Coltrane and bassist Matt Garrison. That was as it should be as the drummer played and recorded with both of their fathers’, saxophonist John Coltrane and bassist Jimmy Garrison during DeJohnette’s illustrious career. The performance represented the past and the present, tradition and today’s electronic era and these talents made it work. Playing electric bass, the modernistic Garrison – whose style was a long way from the acoustically inclined work of his father – met DeJohnette’s insistent, often African-influenced drums, with push. Coltrane, who played both tenor and soprano saxes, was, perhaps, a bit closer tonally and spiritually to that of the music of his dad. By the end, Coltrane took off flying. A great set.

After experiencing brilliant musicianship as on the aforementioned set, it is sometimes difficult to know just where to head. The motto: “When in doubt go to the Gospel Tent” remained excellent advice. The Johnson Extension was on the stage all stunningly dressed in white. Matriarch and New Orleans gospel legend, Lois Dejean, was there, though sidelined in a wheelchair following a stroke. She participated by waving a handkerchief and obviously enjoying herself as she watched multiple generations of her family bring down the house.

The Gospel Tent boasted back-to-back performance of old-school, harmonizing, praising and singing groups, the Rocks of Harmony and the Electrifying Crownseekers. These veteran ensembles have been spreading the word for some 60 and 50 years, respectively. Each carry its own bands, sing from the heart and include soloists who scream ala rhythm and blues artists and dance and jump for joy at the very edge of the stage. At the end of the Crownseekers’ set, the group’s excellent and oh-so-tasty guitarist started playing Prince’s “Purple Rain” that was picked up by a subbing organist. Heard elsewhere, it came as an unexpected surprise in the Gospel Tent that day.

Folks got a taste of what people have been raving about – drummer Herlin Riley’s latest album, New Direction. Riley, enthusiastic, smiling and joyful behind the trap set in the tradition of legends like Roy Haynes and Tootie Heath, brought in the young, New York guys heard on the disc for a show. The music went around the world and the throughout the African diaspora for inspiration. It ended right back here in New Orleans with Danny Barker’s “Tootie Ma.”

Those in the Jazz Tent held their seats for the next super-star duo, pianist Herbie Hancock and saxophonist Wayne Shorter. These two legends just get each other in every way. Their set was a conversation of almost classical drama with touches of humor and a ton of soulfulness. Every musical nuance seemed to be answered – Shorter, who played soprano saxophone throughout, whistled and Hancock responded. When Hancock moved from the grand piano to electric keyboards, his rhythms seem to call to the tribes. We are here.

This article originally published in the May 2, 2016 print edition of The Louisiana Weekly newspaper.