1st Weekend JazzFest Suggestions From One Who Cannot Be There

D.L. Menard
Photo © Ron Weinstock

A comment to a post on this blog requested if I had any recommendations for JazzFest this year and then Steve Kiviat, who is associated with the Washington City Paper, mentioned he was going to JazzFest for the first weekend and it was the first time in six years. He knew most of the funk acts and brass bands so he requested some other suggestions including any idea about Luther Kent and Ernie Vincent. I replied to Steve by email and am using my response to him as the basis for some Festival recommendations and excluding the most obvious big stage and soul acts like Bruce Springsteen and Al Green.

Evan Christopher - Photo © Ron Weinstock

I have not seen Ernie Vincent who is in the Blues Tent as is Luther Kent (who I have seen and is real good). However, Luther is opposite Evan Christopher who will be in the WWOZ Jazz Tent. Evan’s new Clarinet Road CD, In Sidney’s Footsteps (STR Digital) is superb.

Of special note on Friday, Stephanie Jordan and her Big Band is doing a tribute to Lena Horne and will be followed by Pancho Sanchez with Terence Blanchard.The Blues Tent becomes over-crowded but early on Friday it has legendary pianist Henry Grey followed by the former Clifton Chenier guitarist Lil Buck Sinigal. The New Orleans Revue on the Acura Stage Friday has Frankie Ford, Robert ‘Barefootin’ Parker, and Al ‘Carnival Time’ Johnson looks real good and they will be followed by The Dixie-Cups. Frankie Ford remains a terrific entertainer. The Fais Do Do Stage which features cajun and zydeco always has some good music with an exceptional lineup on Friday with Geno Delafose and Beausoleil standing out. Butch Thompson will be doing a Jelly Roll Morton tribute in the Economy Hall Tent and Irma Thomas will be doing her Mahalia Jackson Tribute in the Gospel tent.

Brother Tyrone
Photo © Ron Weinstock

On Saturday, Brother Tyrone (If You Ain’t Cheating, You Ain’t Trying) is soul-blues in Blues Tent and recommend him along with Wolfman Washington at that venue. In the WWOZ Jazz Tent I already have mentioned Evan Christopher and Clarinet Road, but also check out Irving Mayfield's New Orleans Jazz Orchestra features some terrific compositions and soloists. Closing in the Blues Tent will be a Tribute to Wardell Querzergue featuring The Dixie Cups, Robert “Barefootin’” Parker and Tony Owens. D.L. Menard (the Cajun Hank Williams), the Savoy Music Center Jam and the terrific Pine Leaf Boys will be on the Fais Do Do Stage, along with a non-cajun act, the Carolina Chocolate Drops. Shamarr Allen (Meet Me On Frenchmen Street) is on the Gentilly Stage early in the day.The Voice of the Wetlands All Stars (Tab Benoit, Dr. John, Cyril Neville, Anders Osborne, Big Chief Monk Boudreaux, Johnny Vidacovich, Johnny Sansone and Waylon Thibodeaux are on the Acura Stage before Tom Petty.

Stephanie Jordan
Photo © Ron Weinstock

On Sunday, Dr. John and Trombone Shorty are featured on the .Acura Stage but fans of New Orleans funk should also check out Papa Grows Funk on the Gentilly Stage (overlaps Dr. John) as well as The Batiste Brothers whom will be on Congo Square (overlap with trombone Shorty). Must see in Economy Hall is Lionel Ferbos who will be celebrating his 101st Birthday soon, and The Treme Brass Band. In the WWOZ Jazz Tent, Ellis Marsalis makes his festival appearance, the great Diane Reeves will sing and Nicholas Payton leads a fascinating trio which includes Jeff ‘Tain’ Watts on drums. In the Blues Tent Corey Harris & Phil Wiggins make perform some fascinating acoustic blues followed by the JazzFest return of Ironing Board Sam, once a JazzFest mainstay. Also in the Blues Tent is Gary Clark, Jr, who has been getting lot of well-deserved press recently. Kirk Joseph's Tuba Tuba on the Jazz and Heritage Stage sounds really fascinating as he leads a group of New Orleans finest Tuba players. Highlights on the Fais Do Do Stage on Sunday are Steve Riley and Hadley Castille, while guitarist Spencer Bohren performs on the Lagniappe Stage.

So that is my specific recommendations including some you may have not considered. Have a great Fest. I will post recommendations for the second weekend May 1 or 2.

Papa John Gros of Papa Grows Funk
Photo © Ron Weinstock

RIp June Gardner 1930-2010

2008-0425_JazzFest_Day_1-1014, originally uploaded by NoVARon.

Word came out today that New Orleans drummer Albert "Gentleman June" Gardner passed away on November 19 at the age of 79. Gardner was just one of the many great drummers to come out of the Crescent City,

According to Geraldine Wyckoff in her article in the November 22, 2010 Louisiana Weekly "Gardner studied with the influential Professor Valmont Victor and first hit the road with vocalist Lil Green. When he returned to New Orleans he became a regular at the now-infamous Dew Drop Inn playing with Edgar Blanchard & the Gondoliers with whom he also recorded. In his younger days, Gardner was heavily on the rhythm and blues scene both in the studio and on tour. He played and recorded with the greats including spending nine years with Roy "Good Rockin' Tonight" Brown and hitting the drums behind the legendary Sam Cooke from 1960 until the vocalist's death in 1964. It's Gardner laying down the essential rhythm on Lee Dorsey's smash hit "Working in a Coal Mine" and he also performed regularly with Dave Bartho­lomew's band."

It is also Gardner heard behind Sam Cooke on Cooke's two live albums, "At the Copa" and "Live at the Harlem Square Club." He joined Cooke, replacing another New Orleans drummer Leo Morris (a/k/a Idris Muhammad). After Cooke's death he returned to New Orleans and worked on a number of sessions as a leader. According to Dan Phillips' blog, Home of the Groove, only two singles were released under his name. "99 Plus One”/”Mustard Greens” first came out on Hot Line, one of the NOLA family of labels, but was licensed to Blue Rock when distribution problems arose."

Phillips had this to say about June:
"Gentleman June, as he was sometimes called, could play straight or make it funky, as the situation required. His groove versatility I am sure is why Cooke kept him in his band. I’ve chosen his composition, “Mustard Greens”, for the unusual, proto-funk stick and foot work Gardner demonstrates. On top, the song has a quasi-Latin big band arrangement by producer Wardell Quezergue."

A full CD of these sessions was issued on Tuff City/Night Train CD compilation, 99 Plus One which the Louisiana Music Factory has for sale.

He was an extremely versatile musician, whether anchoring his traditional New Orleans jazz band "The Fellas" on Bourbon Street or at JazzFest, or playing with Lionel Hampton or Alvin Tyler. I saw him at JazzFest in 2008 in the Economy Tent and this past May at Irvin Mayfield's Playhouse as part of a band led by pianist David Torkanowsky and featuring vocalist Germain Bazzle.

He is someone you may not have heard of, but you likely are to have heard.

Here is the link to the Home of the Groove blog entry on him from 2005

Here is the link to Geraldine Wyckoff's obituary of June Gardner: =

And wwoz has a short obit on Gardner: 

Snooks Eaglin at 2007 JazzFest Day 2-299

JazzFest 07 Day 2-299
Originally uploaded by NoVARon

I have become jaded over the years, but few acts could continually astonish me as much as the late Snooks Eaglin who passed away this year at the age of 72 in New Orleans. While he recorded with Smiley Lewis and on his own for Imperial as a R&B musician, folklorist Harry Oster recorded him as a blind street singer that misled many as to the extent of his talents. He reemerged with some performances and recordings with Professor Longhair as well as a Scandinavian recording that paired him with New Orleans musicians including pianist Ellis Marsalis. Called the human jukebox, he could play thousands of tunes and always brought something new. I saw him only a handful of times, but he was one act I would not miss if I could help it. JazzFest can bring national touring acts, but these acts are a dime a dozen. Who will they bring in that can replace Snooks. No one. RIP Snooks. Your music will continue to astonish us every time we play it.

Michael P. Smith JazzFest Photographer Supreme RIP

I remember years ago attending a Smithsonian Institute Folklife Festival in Washington which was devoted in part to the culture of Louisiana and New Orleans. It was chance to hear some blues like the late Boogie Bill Webb as well as it was my first exposure to the Mardi Gras Indian tradition other than the recordings of The Wild Magnolias and The Wild Tchoupitoulas, as members talked about and demonstrated the making of a costume as well as the various traditions involved. At the store where they sold items related to the Festival was a book of black and white photographs, Spirit World: Pattern in the Expressive Folk Culture of African-American New Orleans, It was essentially a catalogue of one of his exhibits documenting aspects of the cultural life and communities of New Orleans that was totally new to me, such as spiritual churches, and I slowly began to understand the interrelationship between the churches, the Indians, the music and other interrelated aspects that were the foundation for the New Orleans Rhythm and Blues Music that I loved (well I still d0). The book was republished by the Louisiana print house, Pelican, and is readily available.

I soon became aware of the importance that Smith had in documenting the music, culture and communities of New Orleans. His photos graced album covers and t-shirts (I proudly had t-shirts of his photos of James Booker and Clifton Chenier). Subsequently I acquired his marvelous book, A Joyful Noise: A Celebration of New Orleans Music, which is out of print.

When I first attended the New Orleans Jazz & Heritage Festival, in the mid-190s, I went to his tent in the crafts section of the Festival grounds which his daughter Leslie (herself a very fine jazz singer) was manning, and eventually purchased his then recently published book on the Mardi Gras Indians as well as a poster made from the Dancing Cat Professor Longhair album cover that was signed by him. Since I framed it upon getting home, it hangs in my bedroom.

Subsequently I purchased his New Orleans Jazz Fest, A Pictorial History, which chronicled the first 20 or so years of the festival from images of Mahalia Jackson with the Eureka Brass Band; Jackson with Duke Ellington, George Wein and Cousin Joe, Rashaan Roland Kirk with Herbie Mann's Band, Como Fife and Drum Band, Sonny Stitt with Ellis Marsalis, Sweet Emma Barrett, Sister Gertrude Morgan, Stevie Wonder with the Meters, Dizzy Gillespie and Bongo Joe, Benny Spellman, Professor Longhair, Nina Simone, etc (and that's in the first 50 odd of 200 pages). This book is in black and white and was followed by an JazzFest Memories with color photography which was done in collaboration with Allison Miner who wrote about the Festival's history.

I am obviously a fan of his work and was saddened when I found out he passed away on Friday, September 26. The New Orleans Times-Picayune celebrated his marvelous life in an obituary, Cultural archivist Michael Smith dies. If that link does not work, try http://tinyurl.com/3oz49v

An excerpt from John Pope's piece.

"Michael P. Smith, a photographer who spent three decades capturing vivid, vibrant images at jazz funerals, Mardi Gras Indian ceremonies and the New Orleans Jazz and Heritage Festival, died Friday at his New Orleans home of two diseases that destroyed his nervous system. He was 71.

A man of boundless energy who devoted himself to the culture he chronicled, Mr. Smith seemed to be everywhere at whatever event he was shooting. Fellow photographers joked that every good Jazzfest picture they took included the back of Mr. Smith's head.

Mr. Smith's subjects included Mahalia Jackson, Irma Thomas, James Booker, Harry Connick Jr., Professor Longhair and the Neville Brothers, as well as anonymous mourners, strutters and Indians whom Mr. Smith always managed to capture caught up in the moment.

"I don't think there's another photographer who has more sensitively documented very significant aspects of the second half of 20th century New Orleans culture," said Steven Maklansky, a former curator of photographs at the New Orleans Museum of Art."

The biography of him on his website, www.michaelpsmithphotography.com notes the many honors he earned. "In the last few years, Mike Smith has been honored with numerous awards. He received a Lifetime Achievement Award from the Louisiana Endowment for the Humanities in 2002 and was named Music Photographer of the Year by Offbeat magazine. In 2004, he received a Mayor's Arts Award from the Arts Council of New Orleans and a Clarence John Laughlin Lifetime Achievement Award from the New Orleans/Gulf South chapter of the American Society of Media Photographers (ASMP). In 2005, he received the Delgado Society Award (New Orleans Museum of Art), the first photographer to be so honored."

In Spring, 2007, the collection of his negatives and copyright to his work was transferred to the New Orleans Collection. The collection was over 500,000 negatives, most of which have never been printed and the New Orleans Collection intends to make more of his work available in the future. Smith's photographs are also in the permanent collections of the Bibliotheque National in Paris, the Metropolitan Museum of Art, the Smithsonian Institution and, locally, the New Orleans Museum of Art, the Ogden Museum of Southern Art, and the Louisiana State Museum.

His work has not only entertained my eyes but enriched my understanding and love of the music of New Orleans. I know that I am not alone with this sentiment.

A brief sample of his images can be downloaded from the website of The Historic New Orleans Collection. One can download issues of the newsletter, THNOC Quarterly at http://www.hnoc.org/publications/publications-quarterly.php#. It is the Spring 2008 issue.

2008 JazzFest Day 3

Continuing my write-up of the music I saw in New Orleans the last week of April, 2008, here is the portion devoted to Day 3. The earlier days were all covered in the prior two blog entries. This whole account can be found in the June 2008 Jazz & Blues Report which you can download as a pdf file from that publication's website.


The weather forecast Sunday was even less promising than Saturday, but the morning was sunny, so I ventured back to the Fairgrounds where my first stop was Lionel Ferbos, who made it and led his band through several vintage numbers including the old classic ballad, 'Try a Little Tenderness,’ that was refreshing to hear in its pre-Otis Redding form. On the way to the Blues Tent, the Paulin Brothers Brass band kept alive the legacy of their day, Doc Paulin, who died relatively recently. Into the Blues Tent to catch Little Freddie King who was getting down with his boogie and tend a bit of hot zydeco from Willis Prudhomme on the Fais do Do stage before catching pianist and songwriter David Egan (he has written for so many, and has a gritty vocal style). I stopped in Economy Hall to hear the excellent group led by clarinetist Tim Laughlin that included Tom McDermott (a marvelous ragtime rooted pianist who is a superb Jelly Roll Morton interpreter) and cornetist Connie Jones for some first class music, and with the clouds gathering, I headed to the blues tent to catch Larry Garner, with special guest Henry Gray. Garner’s music, full of wit and irony was delivered in his convincing, understated style before he brought the former Howlin’ Wolf pianist Gray who perhaps carries on the legacy of Big Maceo better than anyone still alive. One last musical stop for me to catch Leroy Jones, trumpeter with Harry Connick and others with an entertaining set. With the crowds getting ominous, I left. regretfully I missed Tab Benoit and the Voices of the Wetlands All Stars with r. John and Cyril Neville amongst others as well as Davell Crawford’s New Orleans Rhythm and Blues Orchestra, perhaps the two acts I would have wanted to see the most. The rains likely dampened some enthusiasm but after I headed back to my hotel, the music continued with such names as Irma Thomas, Nicholas Payton and Pete Fountain holding forth and the closing acts that day (for those hardier than I) included Tim McGraw, Elvis Costello & Allen Toussaint, Al Green and Beausoleil. Even this shortened day did not prevent me from getting a good sampling of music.


I have been told that the weather was better the second weekend and among the performers for those four days included Bonerama, Widespread Panic, Randy Newman, Deacon John, Donald Harrison, Mem Shannon,Bettye LaVette, Steve Riley, C.J. Chenier, Papa Grows Funk, Art Neville, Stevie Wonder, John Prine, Trombone Shorty, John Boutté, The Lee Boys, John Hammond, Belton Richard, D. L. Menard, Terence Blanchard, The Subdudes, Jimmy Buffett, Diana Krall, Steel Pulse, The Bad Plus, John Mooney, Pinstripe Brass Band, Geno Delafose, Ivan Neville’s Dumpstafunk, Santana, Maze Featuring Frankie Beverly, Galactic, The Radiators, Dianne Reeves, Jonathan Batiste, Snooks Eaglin, Derek Trucks, and The Neville Brothers. My protestations of the booking major pop acts does not change the fact that there is so much still to enjoy of the culture and food of New Orleans and Louisiana.

2008 JazzFest Day 2

Continuing my travelogue (sort of to speak) of my 2008 New Orleans vacation, here is my recollections of the Second Day of JazzFest. As I noted before, it can be found in its entirety in the June 2008 issue of Jazz & Blues Report which can be downloaded as a pdf file at that publication's link.


Saturday, April 26, the weather forecast was for showers midday and while the rains came midway and shortened the performances that day, some of the best performances I saw were before the showers. My day began in Economy Hall where I saw several numbers by a fine traditional cornet player, Connie Jones who has a marvelous new CD on Arbors with pianist Tom McDermott. On the way to the Blues and Jazz tents I stopped for a bit of The Black Seminoles Mardi Gras Indians with there chants, songs and dancing. Rockie Charles, a fine singer with a touch of Al Green in his delivery impres me with his soulful blues style. He had an excellent album on Orleans Records a decade ago that is worth searching out. I had not seen the exuberant contemporary cajun sounds of Wayne Toups and the Zydecajun who rocked the Acura Stage with their strong music. Then a chance to see Carol Fran whose recording career stretches back to the sixties and who made two really memorable recordings for Black Top with her late husband Clarence Holliman. She suffered a stroke a few years ago, but that did not stop her from even sitting at the piano and weaving her spell on the audience. She remains a marvelous singer, although one limitation is that a good portion of her set was standards. Still it was wonderful to see her sound so vibrant. From her set I drifted to the jazz Tent to finally see Germaine Bazzle, one of New Orleans most beloved jazz singers and she did not disappoint me with her song selection and her marvelous singing. The charm and joy of Economy Hall beckoned for Greg Stafford’s Young Tuxedo Brass Band which had the crowd, including a sizable contingent from Lillestrøm, Norway, to second line in the tent.

Legendary honker Big Jay McNeely celebrated his 80th Birthday a bit over a year ago, but his performance in the Blues Tent showed the tenor saxophonist with the vitality of someone much younger as he wailed on sax and sang fairly strongly. After several excellent numbers by him I headed to Congo Square where Walter ‘Wolfman’ Washington and the Roadmasters were holding forth with his solid funky blues including a couple numbers from his new Zoho release, “Doin’ the Funky Thing.’ With long-time bassist Jack Cruz and saxophonist Jimmy Carpenter, the Wolfman has one of the tightest bands that can really kick the groove around. After several numbers I headed to the Fais Do Do stage to catch Eddie Bo, New Orleans legendary pianist and songwriter (His ‘I’m Wise’ was a hit for Little Richard as “Slippin’ and Slidin.’” In exuberant form he led his band through some solid performances. As he was performing, the rain started getting heavier and I returned to the Blues Tent to meet my wife. I had been hoping to catch Astral Project in the Jazz tent and Dr. John on the Acura stage, but with the rain I settled in for the entire set by James Cotton and his excellent band marked by the terrific guitarists Tom Holland and Slam Allen, with his longtime bassist Noel Neal anchoring things. Allen warmed the tent audience up with several strong vocals and both guitarists are marvelous players. Cotton finally came up, and while he doesn’t sing anymore, Mr. Superharp was wailing on the Mississippi saxophone. He does not fail to satisfy. With the heavy rain, we caught a bus back to the hotel, Billy Joel cut his two-hour set early at 6:15 I understand, but I would have passed on him. I caught on WWOZ a broadcast of the Ponderosa Stomp Revue and the Count Basie Band was in the jazz Tent, but weather shortened all the closing sets. While the weather limited who I had the opportunity to watch, it was an exhilarating afternoon.

That night, my wife and I went to the Palm Court to have dinner and hopefully see 95-odd year old cornet player Lionel Ferbos and the Palm Court Jazz Band. We trekked in the very rainy streets till we reached there and stayed to hear the band even though Mr. Ferbos was unable to get out of his home because of flooded streets. The Palm Court has marvelous food and offers terrific traditional jazz nightly and the band, most of whom would play with Ferbos at the Festival on Sunday, were excellent. After dinner and the music we headed back to our hotel, although stopping at Margaritaville to catch some lively blues & R&B by veteran New Orleans guitarist Irving Bannister, who have a regular no cover gig at Jimmy Buffett’s New Orleans establishment.

JazzFest Still Rocks Despite the Rain - Day 1

This is the first part of my write-up of the 2008 New Orleans Jazz & Heritage Festival and other events I saw at the end of April in the Crescent City. You can also read the entire article with more pictures by downloading the June 2008 Jazz & Blues Report.

The New Orleans Jazz & Heritage Festival has evolved over the decades into one of the major popular music events. Increasingly over the past decade or so, tensions have risen over the Festival as a celebration of the music and culture of Louisiana and its increasing status as a major music festival. And ticket prices continue to increase so that it now costs $50 a day to attend, and purchasing advance tickets does not save money when one adds in TicketMaster's ridiculously high fees. Every day the festival brings in major pop icons and headliners whose connection to Jazz & Heritage increasingly seems remote. My frustration is while they spend the money to book a Billy Joel, they do not spend the money to bring in say Sonny Rollins, who last appeared at JazzFest in 1995 (the first year I went to JazzFest). They did bring in the Bad Plus, Lizz Wright, the Count Basie Orchestra, and Cassandra Wilson, along with Terence Blanchard, performed with the Louisiana Philharmonic in the Jazz Tent, but I was told that at least one prominent New Orleans trumpeter (not Wynton Marsalis) turned down the Festival's offer as too low. Ellis and Jason Marsalis both appeared, but neither Bradford nor Wynton were performers this year. Prior to Katrina I saw a marvelous Coltrane Tribute band anchored by McCoy Tyner, and while this year's festival sported a tribute to Max Roach with Jason Marsalis and others, they could have booked the amazingly still youthful Roy Haynes, or Chico Hamilton. For a Jazz Festival, they could do better.

This year, I attended the Festival's first weekend and, for the first time since Katrina, the second weekend expanded to four days. The weather was not cooperative this weekend, affecting the Saturday and Sunday of the first weekend. I understand that the weather was better the second weekend. For the first time since the nineties, my wife was with me for the Festival, exploring different performers than I do, such as spending a bit more time at the Fais Do Do stage than I did. I did try to catch and shoot as many different performers, although the weather and other circumstances limited my ability to see some of them.

Arriving at the New Orleans Fairgrounds, Friday April 25, after getting a spicy sausage poorboy, I went to the Economy Hall Tent for a group led by June Gardner, a drummer who once anchored the bands of Sam Cooke, Lou Rawls and Lionel Hampton as well as having spent five years on the road with Roy Good Rockin' Tonite' Brown. They played some nice, traditionally styled New Orleans Jazz. After enjoying several numbers, I stopped by the always-full gospel tent for the Voices of Distinction, one of the many groups, famous and not famous, that stir the soul over the two weekends. Then to the Blues Tent where I got to see Rufus 'Rip' Wimberly and the Dreamers playing some nice low-down blues. After a few numbers I went to the Acura Stage where Sheryl Crow would close that day for Susan Cowsill. A surviving member of the band the Cowsills, she has emerged as a well-regarded singer-songwriter. Before and after her I caught some performances from the local Delgado Community College Jazz Ensemble, a big band that sported crisp, energetic musicianship and had a pretty darn good singer as well.

They were followed by a solid modern jazz band from Holland led by pianist and composer, Amina Figarova, whose interesting compositions were matched by the fine ensemble work. After several numbers I wandered to the blues tent to see the fine Baton Rouge harp player and vocalist, J'Monque'D who certainly delivers his blues with wit backed by an excellent band supporting him, and it was real treat to hear him again in his annual JazzFest performance. A bit of brass band music from the Real Untouchables was up on the Jazz & Heritage Stage followed by a visit to the jazz Tent to catch the mix of modern and contemporary jazz from The James Rivers Movement, one of the Crescent City's most visible saxophonists, before I transversed across the Fairgrounds to hear the cross between New Orleans R&B and Tex-Mex Conjuncto music that characterizes The Iguanas on the Gentilly Stage. From there it was Congo Square Stage for Big Sam's Funky Nation, one of the highlights this day for me with their mix of Brass band horns with a deep funk groove mixed in with some blues seasoning that was exuberantly received. I missed Dwayne Dopsie on the Fais Do Do Stage, but did see Jamil Sharrif's New Orleans Jazz Professors in Economy Hall mixing in the older New Orleans repertoire with some swing before seeing a wonderful singer, Leah Chase singing some Dinah Washington and other classic songs in the Jazz Tent.



One of the few headline acts that interested me were the pairing of Allison Krauss (who as a young prodigy toured with the likes of Claude The Fiddler' Williams and others) with rock legend Robert Plant who really exhibited their considerable empathy and unique musical gumbo. I would have loved to see Leo Nocentlli and His Rare Funk gathering with folks from Living Colour and P-Funk, but the opportunity to see Ellis Marsalis took precedence and his marvelous quartet (vibes, piano, bass and drums) allowed him to explore some of his own underrated compositions as well as that of Monk (his most recent recording is centered on Monk's music) as well as Tab Benoit, whose thoughtful, muscular guitar is matched by a rare expressiveness as a vocalist. My Monday ended split between some marvelous singing from Lizz Wright in the Jazz Tent and Buckwheat Zydeco's strong set in the Blues Tent. The big stages closed that day with Sheryl Crow, Ozomatti and Burning Spear, the latter group being one aggregation I would have liked to see, but circumstances did not permit.

That night after the Festival, we visited Club 300, a jazz bistro where we had dinner and enjoyed some nice jazz from saxophonist Tony Dagradi, whose band backed up the vocalist Mary Jane Ewing, a vivacious ebullient vocalist. Weekdays the Club hosts the likes of Delfeayo Marsalis and Marlon Jordan, Jason Marsalis, and Steve Masakowski. It was an enjoyable dinner and music but the room was not full.