New Orleans Jazz Fest rolled out its massive seven-day lineup, covering every major popular music genre with marquee names, standout first timers and long-time festival favorites.
The festival claims it's "deepest overall mix of rhythm & blues, rock, jazz, country, blues, gospel, world beat, and more in the 39-year history of the event." Looking over the names it is hard to argue.
First time performers include Stevie Wonder, Billy Joel, Tim McGraw, Sheryl Crow, and Keyshia Cole.
Among returning festival favorites, look for The Neville Brothers, Jimmy Buffett, Santana, Widespread Panic, Maze featuring Frankie Beverly, and Diana Krall.
Notable collaborations include Robert Plant and Alison Krauss; Elvis Costello and Alain Toussaint; Bobby McFerrin and Chick Corea.
Besides the Nevilles, who are returning to the festival for the first time since Katrina, other New Orleans acts include Dr. John, The Radiators, Beausoleil, Preservation Hall Jazz Band and many more.
Despite the festival's name, it has always been strongest in the R&B category. In addition to names already mentioned, R&B performers include Al Green, Keb' Mo', Dianne Reeves. Delbert McClinton, James Cotton, Henry Butler, Irma Thomas and many more.
More names in rock include The Raconteurs, Cupid, Richard Thompson, Derek Trucks and Michael Franti; in roots, John Prine, Del McCoury, The Sparrow Quartet and Carolina Chocolate Drops; and in jazz, Cassandra Wilson, Terence Blanchard, the Count Basie Orchestra featuring Patti Austin, and Randy Newman (since I don't know where else to include him).
The festival runs seven days, April 25-27 and May 1-4, at the Fair Grounds Race Course in New Orleans. Performances take place on 11 stages running from 11 am to 7 pm each day.
A full list of performers by festival day is here at the festival web site. The precise stage schedule will be released later.
Thursday, January 24, 2008
Jazz Fest lineup covers every genre
Monday, November 19, 2007
San Diego Thanksgiving Dixieland Jazz Festival
This annual Thanksgiving festival has served as the flagship event for the America's Finest Dixieland Jazz Society since 1980, giving birth to monthly concerts, workshops, and an adult jazz camp, among other programs. This year, there are over 30 bands, which won't just be playing traditional jazz, but rockabilly and blues, among other styles. Tickets for this collection of nationwide talent range from $75 for a three-day badge to $85 for a five-day badge.
Video by tdub1941
Thursday, November 15, 2007
Nevilles returning to Jazz Fest
The Neville Brothers will return for their traditional festival closing role at New Orleans Jazz & Heritage Festival for the first time since Hurricane Katrina. The festival will also return to its prior format of presenting seven days of music over two long weekends, April 25-27 and May 1-4, 2008. The two post-Katrina festivals had been cut back to six days.
In an announcement of the 2008 festival highlights, producer Quint Davis said, "The return of Aaron, Art, Charles and Cyril Neville to New Orleans and to Jazz Fest is as powerful a statement as possible about the return of our culture to the city. They're back, which means we're back."
The full artist lineup will be announced in January. Today the festival announced only a few names. In addition to the Neville Brothers, country music star and Louisiana native Tim McGraw and New Orleans soul group Maze featuring Frankie Beverly were named as 2008 performers.
The festival also announced its ticket pricing, including introducing a new category of VIP ticket called a Grand Marshall VIP Pass. Individual day passes are $35 per day if purchased before January 23, $40 after that, and with the gate price to be announced. Admission for the added seventh day of the event, Thursday, May 1, is less—$25 early bird and $30 thereafter.
The festival has been offering a special Big Chief VIP package in recent years. It includes access to raised and covered private viewing areas at the two main stages, semiprivate viewing areas at three other stages and a VIP hospitality lounge with beverage service. This year, Big Chief passes are priced at $750 for the first weekend and $800 for the second weekend, or $50 per day more for each with daily reserved parking.
For VIPs who want to get as close to the stagefront as possible, a new ticket option this year is the Grand Marshall VIP Pass, which allows exclusive access to standing room only areas directly in front of the three main stages. Grand Marshall pricing is $450 for the first weekend and $500 for the second weekend, or $50 per day more with reserved parking.
All tickets went on sale today and can be purchased online at www.nojazzfest.com and Ticketmaster, or at the Jazz Fest ticket office at the Louisiana Superdome.
Wednesday, October 17, 2007
Video: FP reports from Monterey Jazz
Festival Preview's Dan Ruby reports from the grounds of the Monterey Jazz Festival. After the rain let up Saturday morning, MJF musicians and attendees had clear skies for the rest of the 50th anniversary weekend. Among those featured: Sonny Rollins, Dave Brubeck, Terence Blanchard, Nnenna Freelon and more.
Monday, October 15, 2007
Jason Moran
There's definitely a method to Jason Moran's ivory-jumping madness, but it's hard to figure out exactly what it is. The pianist, hailed by the New York Times as "one of jazz's greatest new artists," and his ensemble, the Bandwagon, jump from bluesy-numbers to ballads, all marching to some abstract beat, but they keep that secret shrouded under skippy chords and ambushing rhythms, which makes for less boredom, and therefore more listening. Thus, Moran's strategy makes him even more suitable for his exploration of a 1959 concert given the master of planned unexpectedness, Thelonious Monk, at this year's SF Jazz Festival.
Personnel (w/the Bandwagon): Jason Moran (pianist), Nasheet Waits (drums), Tarus Mateen (bass), Marvin Sewell (guitar)
Upcoming: San Francisco Jazz Festival October 17-November 30, Earshot Jazz Festival October 19- November 4
Some Advice From Jason About What It's Like To Be Jazz Musician
Video by SESAC1
Earshot Jazz Festival
October 19- November 4, Seattle WA
Various Venues
The Earshot Jazz Festival has been described as "Seattle's most important annual jazz event," and this year's edition will no doubt add tons of critical weight to that assessment. There will be over 50 performances spread throughout Seattle during the festival's run this year, in addition to films, master classes, panel discussions, and other goodies to go along with the music. It's fine if none of these features seems to be a novel idea considering the fact that we're talking about a jazz festival-- Earshot simply does things bigger and better than about 95% of jazz festivals in the U.S. today.
Headliners: Ahmad Jamal, John Zorn, Cedar Walton, Toots Thielemans, Dee Dee Bridgewater, Jean-Michel Pilc
Jay Thomas & The East/West Jazz Alliance Performing At The 2006 Festival
Video by PonyBoyRecords
Wednesday, October 3, 2007
Monterey honors its roots in 50th anniversary festival
In the hip bebop jazz world of the 1950s, a new cool jazz culture was forming in California. Musicians like Dave Brubeck and Stan Kenton led bands that embodied the new style out of San Francisco and Los Angeles, but it was somewhere in between--Monterey, Calif.--that became the place most closely identified with that school of jazz.
Opening October 3, 1958, the first Monterey Jazz Festival brought together luminaries from New York like Louis Armstrong and Billy Holiday with Brubeck and others from the West coast. Last week, the festival celebrated 50 years in the same location in a blowout festival that broke attendance records and brought back many old favorites.
Among those who had been at both the first and the fiftiest Monterey festivals were Brubeck, the epitome of West coast jazz, saxophone legend Sonny Rollins, vocalist Ernestine Anderson and comedian Mort Sahl.
For the first time ever, the festival sold out of all arena and grounds tickets before the opening night. The festival reported that 45,000 people attended the three-day event at the Monterey County Fairgrounds, in the same location since the beginning.
The weekend got off to a soggy start, when a rare September rainstorm doused the grounds. Umbrellas went up in the fairgrounds arena, while John McLaughlin and Isaac Delgado carried on. Many fans made for the two main covered venues, The Nightclub, where artists like Jim Hall, Terence Blanchard and Anthony Wilson were playing their first of several festival sets, and Dizzy's Den, where New Orleans night was underway with the great brass band Bonerama and Ivan Nevelle's group Dumpstaphunk.
The excursion to New Orleans was one of several subthemes in the program meant to expand the festival's appeal beyond pure jazz. Saturday afternoon was blues day, with British blues rocker James Hunter, the Otis Taylor Band, and Latin rockers Los Lobos taking over the arena. Sunday had a family day theme with an emphasis on young talent. 
On the main stage, the theme was ensemble playing and special collaborations. Guitarist Jim Hall was the featured soloist with the Brubeck Quartet. Kenny Burrell was special guest with the Gerald Wilson Orchestra. Opening the Sunday night program, the MJF All-Stars featured vocalist Nnenna Freelon.
Overshadowed in all the festival highlights was an exuberant set by another jazz legend, Ornette Coleman, playing in an unusual three bass ensemble. That left all the highs for Coleman's saxophone and violin. With the violin, it was an electric swing band, not unlike a Bela Fleck and perfectly accessible.
The two big headliners were Diana Krall on Saturday and Sonny Rollins on Sunday. This was this first time back for Krall in seven years, and one of her first performances since recently having twins. She pleased the crowd with her stylish piano and vocal chops, and with a mini three-song Nat King Cole tribute.
Sonny Rollins closed the festival on Sunday night and he did not disappoint. He's still a hip cat with his shades and beard, and he still delivered that richly lyrical tone from his saxophone that makes him instantly recognizable.
Two special compositions were showcased. The festival's commissioned work was Gerald Wilson's song suite "Monterey Moods," which he performed in the arena Saturday night with his orchestra and special guest Kenny Burrell.
The second, by 2007 MJF artist-in-residence Terence Blanchard, was a moving "Requiem for Katrina," his search for the soul of his home city, performed with his quintet and a jazz chamber orchestra. After the solemn tone of the Katrina suite, I was glad Blanchard ended with an upbeat "Congo Square," celebrating the birth of jazz in New Orleans.
The festival introduced several innovations in its layout this year. A new dance tent dubbed Lyons Lounge became the ninth program venue, with DJ Logic and Vinnie Esparza working the turntables. Another new feature named for the festival founder was Lyons Lane with informational displays about the history of the festival.
In addition to lots of great music, the festival included a focus on jazz films and on panel discussions with figures associated with the festival. Comedian Mort Sahl, who emceed in 1957, was featured as in a staged interview format. Filmmakers Clint Eastwood and John Sayles sat on a panel to discuss jazz in movies. Eastwood, who has been associated with MJF for many years, was also honored with the presentation of an honorary doctorate from Berklee School of Music.
Monday, October 1, 2007
Comedian Mort Sahl returns to Monterey
Mort Sahl was a young comic just breaking through when he emceed part of the first Monterey Jazz Fest in 1957. Over the next years he was a fill-in host on The Tonight Show, a presidential speechwriter in the Kennedy administration, and the host of frequent comedy specials on NBC. 
Living in Los Angeles, Sahl was closely associated with the West Coast jazz scene and with jazz greats like Dave Brubeck, Stan Kenton, Paul Desmond, Maynard Ferguson and others.
Sahl, now 80, was back in Monterey last week for the anniversary festival. He emceed the Sunday night program, dropping a few political one-liners but mainly introducing performers including Brubeck and Sonny Rollins. He had more to say Saturday afternoon at a staged Q&A, where he reminisced about musicians and the festival.
He said the real birthplace for the fusion of jazz and comedy was not the festival but a concert two years earlier at the Sunset Auditorium in nearby Carmel CA. When Jimmy Lyons and Ralph Gleason pulled off the first festival, Sahl flew in overnight from Chicago. He recalled that Billy Holiday was there but was "juicing" and was pretty far gone.
"Only Lester Young could talk to her. Lester was so hip, even we couldn't understand him," Sahl said. He also said that he didn't get paid for his 1957 appearance.
Sahl first hooked up with the Kenton band in San Francisco, where he would be playing at the Hungry i and Kenton was on the bandstand at the Blackhawk. Sahl said Stan Kenton was a father to him and that Paul Desmond was his best friend.
"I'm a big band guy. I like construction, with holes for solos," he said.
He had great stories to tell about many of the jazz greats. Artie Shaw advising him never to marry an actress or start a big band. Buddy Rich dropping Lana Turner on the side of the road. He talked about his contemporaries--Lenny Bruce, Woody Allen, George Carlin.
He doesn't have much use for most of today's comedians. "They are vulgar because they are not clever," he said.
He also touched on the social and political issues of the day--the blacklists, racial segregation, Vietnam, Nixon. He feels that most people who run for president do not allow themselves to dream, as Kennedy did.
"Listening to jazz reminds you of a time you felt better about your future," he said.
Among other pursuits, Sahl teaches a course about critical thinking at Claremont College and believes that the way to reverse the decline in the culture is to expose young people to honest music. They need to know the difference between jazz and jive, he said.
Observations from Monterey
The 50th Monterey Jazz Festival provided more than great music and a historic vibe, Here are some random observations:
After the week before in Telluride for a virtually all-white blues festival, Monterey served up as integrated an audience as I've seen at any music festival. Jazz is one of the few places in our culture where whites, blacks, Asians and others interact naturally. For that reason alone, let have more jazz festivals.
The festival broke records for attendance, selling out of arena and grounds tickets before the festival started--for a total attendance of 45,000 for the three days of the festival. A lively resale market took place out on Fairgrounds Ave. away from the entry gate. Supply and demand were fairly equal and it seemed like arena tickets could have been had for face value.
Terence Blanchard was everywhere as the artist in residence--with his quintet, the MJF chamber orchestra, the MJF "next generation" orchestra, and the MJF 50th anniversary all-stars. Most moving was his suite of Katrina compositions, "In Time of Need," "The Water" and "Dear Mom."
It's a conundrum. If jazz music is so wonderful, why is it not more recognized by music consumers? In separate panel discussions, Clint Eastwood and Mort Sahl gave the same answer--the decline of the culture, the dumbing down by the media, jazz not getting heard by young audiences.
Maybe it was the anniversary thing, but you came away with the distinct feeling that a generation of great jazzmen is near to dying off and the worry that there will not be players of the same stature to replace them. I pondered this more as I read some of the press clips on display by decade in Lyons Lane. An 1968 article SF Examiner article by jazz writer Philip Elwood expressed that same concern about the relevance of jazz to youth culture. Does the Chronicle even employ a jazz critic today? I doubt it.
As the festival progressed, I heard the Next Generation Jazz Orchestra and I took in some of the high school bands being showcased in the Nightclub, which gave some reassurance about young talent coming into the genre. Plus, there were plenty of younger sidemen playing alongside the aging greats in the arena.
Newport wasn't pure and neither was Monterey. To broaden the appeal, Saturday afternoon is blues day. This year, British blues rocker James Hunter, the Otis Taylor Band and Los Lobos played the arena at the Monterey Jazz Festival. That's a lineup that would have made perfect sense a week earlier at Telluride Blues. To me, it didn't really fit on the hallowed stage at Monterey.
It turns out that blues day is one of the innovations by the current festival director, Tim Jackson, who has been in charge since 1992. One insider I talked with said Jackson gets the credit for expanding the audience for the festival. Years ago, there was a battle between "the hard-bop crowd" and those that wanted a more crowd-pleasing lineup. Jackson seems to have accomplished both. You certainly can't fault the jazz bonafides of a lineup with people like Jim Hall, Kenny Barron, Kenny Burrell, Dave Holland, Ornette Coleman, Dave Brubeck and Sonny Rollins. Diana Krall was the perfect Saturday night closer--absolutely accessible but still with solid jazz chops as a pianist and singer.
In the Jazz Theater, a film by Ralph Gleason about the 10th Monterey Jazz Festival was showing. In the film, festival founder Jimmy Lyons talked about the biggest bane for the festival. "We've tried everything but anti-aircraft guns about the airplanes," he said. The approach for landing planes to Monterey Airport is directly overhead the fairgrounds. Festival veterans don't notice it anymore.
After 50 years, you would expect a festival to have developed a full program of services, and Monterey did not disappoint. Almost any festival amenity that you can think of is offered here. Everything runs smoothly, even when thrown a curve like a rain-drenched opening night. The one thing I would ding them on is the need for a better portable schedule.
Because the day and night sessions are sold separately, the program pretty much shuts down for a few hours between 6 and 8 pm. For people staying all day, that makes for a relaxed dinner hour (with lots of food choices) or for checking out the crafts and other booths in the midway. It was too relaxed for me. I would have liked live music on at least one stage at 6 pm.
Festival presenting sponsor Verizon, which has been associated with MJF for many years, was said to have invested $3 million in the event. Overall its marketing was perfectly tasteful. Other brands that sponsored some part of the festival included Bose, Jet Blue, Yamaha, Korbel, Macy's and Borders. For example, Borders sponsored the artist signing booth, as it also did last month at Newport. Bose got substantial tent real estate for a showcase of its products, so it must have really shelled out for that. CNN was broadcasting live reports from an elaborate stage set in its booth. iTunes distributed cards with a download code for a 15-song sampling of festival artists.
50 years in America
Monterey Jazz Festival celebrated its 50th anniversary a couple of weeks early. The first festival opened on October 3, 1957 and featured Louis Armstrong, Billy Holiday, Dizzy Gillespie, Harry James and many more. Three musicians who were featured at the first festival--Dave Brubeck, Sonny Rollins, and Ernestine Anderson--were also on hand this year for the big anniversary.
The next day, the Soviet Union shocked the world by launching Sputnik, the first manmade satellite in Earth orbit. It had been the week before, September 25, when Eisenhower sent federal troops to desegregate a school in Little Rock. A week before that, the New York Times had reviewed Kerouac's On the Road and called it a great work of art. A week following the festival, Dodger owner Walter O'Malley would break hearts in Brooklyn in announcing the team's move to Los Angeles.
In some ways, 50 years is a long time. In others, just yesterday.
