New Orleans Jazz Fest fans did not let wet weather rain on their parade.
The grey sky welcoming music lovers on the second day of the 2023 New Orleans Jazz & Heritage Festival presented by Shell was a marked contrast from the crystal blue of the previous day. But like the music it showcases, the differences often make it unexpectedly enjoyable. The predictions of wet weather did not deter many of the festival's performers or audience Saturday morning.
THE MORNING LINE
The first patrons entering on the western side of the Fair Grounds Race Course & Slots where the festival takes place were greeted with the joyful noise of voices praising God for the overcast day spilling out of the Gospel Tent. The Coolie Family Gospel Singers sang Alleluia in thanks for the life, music, and ability to gather together, reminding all that water was the source of life coming from above.
One of the formidable inspirations for Jazz music and the foundation for many of music's biggest superstars, Gospel music has been an integral part of Jazz Fest from the start, and the group's thundering voices was a reminder of that for those entering. Whether it was the singers' message, their music, or just being back at Jazz Fest, smiles were infectious for those passing by the tent.
At the Jazz & Heritage Stage, the Creole Wild West Mardi Gras Indians were looking mighty pretty in bright orange feathered costumes accented with elaborate beading. The tribe's heart pounding rhythms had people dancing, anticipating a day of eclectic music, New Orleans culture, and a whole lot of fun.
AFTERNOON DELIGHT
Maggie Koerner dominated the Festival Stage at 12:30 p.m., setting a tone wearing bright red, and launching into a reservoir of fan favorites. Her passion for her songs flowed through her powerful voice, and her fans cheered their approval. Seemingly unable to contain her excitement and enthusiasm, she was at times literally bouncing up and down on stage, and the early afternoon crowd, milder at first, began to flood the infield during her performance.
In sharp contrast at the Shell Gentilly Stage, Mia Borders performance was more soothing and mellow. The melodies were largely lyrical, strategically reserving her voice for lyrics that she chose to have more power. Her voice was as strong as ever, but seemed to take on a maturity and wisdom beyond her years, indicating even further growth and maturity interacting with her audience, and as an artist.
New Orleans-native Charmaine Neville and her band were playing to a packed house in the Blues Tent. She belted out Jazz standards incluidng the Louis Armstrong favorite, "What a Wonderful World," while also doing an impressive Satchmo impersonation, creating an audio duet with the late bluesman. In her rendition of Louis Jordan's "Is You Is or Is You Ain't My Baby" she also included Armstrong-like vocals for emphasis.
Tonya Boyd-Cannon took Congo Square Stage giving shout-outs to her students in the cowd immediately, thrilling young music lovers and their parents. An artist who clearly loves what she does, Boyd-Cannon voice carried over the audience surrounding the large stage. Complemented by two back-up singers and a talented instrumentals, she relished the stage and may have been having more fun than her audience, which is to say, quite a lot.
Raindrops teased fans during her performance around 1:30 p.m., and many took the warning as a good time to grab concessions for lunch and seek shelter.
More than a few found their way from outdoor stages into the WWOZ Jazz Tent to catch Alexey Marti. The Cuban-born percussionist played to a packed venue enjotying a Carribebean beat. Vocal about his belief that Jazz is the most sophisticated music of the twentieth century, it was clear his accompanying band and vocalists were up to the challenge.
After one especially impressive conga drum solo, Marti let his group take the lead. The result was their turning an enthusiastic audience into a raucous crowd, capped with the entire tent singing:
" I know what you want
I know what you need
I know what you like
The way you look at me."
MUSICAL IMPROVISATION
Like Jazz itself, improvisation can sometimes be fun for some, annoying for others, but always interesting. Just before 3 p.m., the festival began to embody all of that.
Word went out that the Revivalists cancelled due to an illness. Scheduled for 3:10 p.m. on the Festival Stage, their slot was quickly filled by Samantha Fish featuring Jesse Dayton delayed until 3:30 p.m. In turn, her 3:50 p.m. set on the Shell Gentilly Stage was now scheduled to be filled by SOUL Brass Band, whose move to the larger platform closed the paddock's intimate Lagniappe Stage early.
While the nimble scrambling of the Jazz Fest operations team was professional, effective, and impressive, improvisation—seemingly random—is often filled with unexpected complexity and beauty. Just as Quint Davis introduced Samantha Fish onto the Festival Stage, a deluge of rain poured over the Fair Grounds. But the soggy surroundings did not dampen many spirits.
The race track's infield was still filled with throngs of people under shelters, umbrellas, hat, ponchos, or just truly soaking it all in. Fans were determined to not let a little water rain on their Jazz Fest parade. Gleeful patrons embraced the downpour by dancing in the mud, splashing in puddles, or going on as if the weather hadn't changed. Others enjoyed the spectacle, but from under whatever cover they could find.
Not to be confused with a rapper with the same monikor, Taj Mahal led exuberant spectators through an hour of blues and Cajun country classics. Close to his scheduled end time, some began leaving to head to the evening showstoppers. As if on cue, the Grammy award-winnng bluesman introduced a guest Grammy award-winning vocalist to join him on stage—and out stepped Rickie Lee Jones. People hurried back. Jones joined Taj Mahal for some duets, and was visibly happy to be performing in her adopted city.
A TALE OF TWO STAGES
As Ed Sheeran closed out the Festival Stage with a 5 p.m. set, while Steve Miller Band took the Shell Gentilly Stage on the opposite side of the Fair Grounds at 5:30 p.m. In past festivals, headliners appealing to similar demographics have been scheduled at the same time. The resulting fan FOMO could draw fans from one performance halfway through to go see the remaining half of the other. Or worse, if one is more current or popular in the moment, a larger segment of the audience pool may be drawn to go see one over another. Although they both have broad appeal, the fan base of Sheeran and Miller are distinct enough that they are generally not competing for the same audience.
This significant scheduling maneuver was even more beneficial to the fans who are too often conflicted between appealing groups. With this, each band played to their core audience and, in turn, their audience could be focused and invested in them.
Speculation surrounded the appearance of Sheeran at Jazz Fest. In the midst of a plagiarism suit by Marvin Gaye's estate, the redheaded British sensation had been in a New York court earlier in the week. Some wondered if fighting allegations he used music from Gaye's "Let's Get It On' when composing "Thinking Out Loud" would impact his performing in New Orleans. Based on the smile on his face at seeing the excited crowd welcoming him, the welcome he received may have meant more to him than his being here meant to them. So much so, he continued his set well past the festival's hard stop at 7pm—he clearly didn't want to leave.
Steve Miller Band met their fan base head on and did not disappoint. With hit after hit from a decades deep treasure trove, the fans roared their approval and seemed to know the words even better than the group.
The other seven stages all closed the day with music lovers both loyal and curious drawn to acts reflecting more locally based culture bearers. And the New Hope Baptist Church Mass Choir ended the Saturday as the Gospel Tent began it: Thanking God for another blessed day.
It might not be a bad way to start Jazz Fest on Sunday morning, too.
Author's Note:
With a dozen stages, all with simultaneous schedules collectively offering around 70 performers per day, it is impossible to absorb and experience all the talent showcased at the New Orleans Jazz & Heritage Festival presented by Shell. So while this largely reflects main stage performances, attempts to cover smaller and more intimate stages and associated performers are made to the fullest ability. Apologies to any and all that are not attributed—It is not for a lack of interest or quality, but rather limited time and space. The hope is to resolve this challenge as soon as time travel is perfected.
