To contact us Click HERE
I bought a ticket that day, on my way to the fest. I got there at 2am and they got started at around 2:30/2:45. They did all Old School covers and a couple of Johnny Vidocavich originals. It was a great show. George had played with the Original Meters at Howlin Wolf earlier, so he was pretty tired. I only know because at around 4:00 or so, he said he had one more in him. It was a great show.
I haven't listened to this yet, but here is the show minus the first 10 minutes:
http://web1.archive.org/details/JVT2012-05-05.JVT2012-05-05
http://nola.livemusicblog.com/2012/05/02/preview-house-of-blues-parish-room-a-m-sessions-on-may-5th-technically-the-6th/
WHO: Marco Benevento, George Porter Jr., Eric Krasno, and Johnny Vidacovich
WHEN: Late Night Saturday, May 6 @ 2 a.m.
WHERE: House of Blues Parish Room – 229 Decatur Street
TICKETS: $30 (Buy)
WHY: Last year Benevento and George Porter Jr. got together for an early May late nighter (along with Brian Stoltz and Adam Deitch), the show was THE culmination of Jazz Fest, and this too will undoubtedly appeal to hardcore fans and casual music listeners alike. I’d take a ticket to this supergroup over The Avengers any day. Simply put, magic happens when Benevento and George Porter Jr. get together. A year ago that magic took the form of some mind-blowing improvisations as well as a wide range of jam-worthy covers including Hendrix’s “Fire,” Cee-Lo’s “Fuck You,” and War’s “Why Can’t We Be Friends.” This year Eric Krasno (of Lettuce and Soulive) and Maple Leaf legend Johnny Vidacovich will be grooving on guitar and drums. Plus, Johnny V’s family is known to bring cookies and share with the audience. I can not think of a better way to round out a Jazz Fest experience. See you in the Parish Room.
Here's my post from last year, which I admit was even better than this year
http://terrismusicblog.blogspot.com/2011/05/marco-george-brian-adam-parish-5611.html
30 Mayıs 2012 Çarşamba
Jazzfest Leg 1 @ Fairgrounds 5/5/12
To contact us Click HERE
I started with the phenomenal Roland Guerin in the Jazz Tent. I've only ever seen this great bass player in NOLA. I would think he would tour with someone at some point. He plays with the likes of Jason Marsalis and Shannon Powell. Hisown ensemble is really good.
Roland Guerin, bass
Kyle Roussel, piano
Quamon Fowler, sax
Ashlin Parker, trumpet
Joe Dyson, drums
?, guitar
jazzfest listing:
Roland Guerin grew up in a musical family. He first learned music from his mother, a bass player who taught him that you can’t make it in music without a strong groove and feeling.
Roland studied Marketing at Southern University in Baton Rouge, where he joined legendary jazz educator Alvin Batiste’s Band, The Jazztronauts. He later began to tour the world as a member of jazz guitarist Mark Whitfield's band. During that time Guerin explored the jazz genre; which ultimately proved to be an avenue toward success. He had the opportunity to perform with such greats as George Benson, Jimmy Scott, Frank Morgan, Vernel Fournier, and Gerry Mulligan. In the meantime, he also participated to the recording of several albums with other artists including Ellis Marsalis, Marcus Roberts, and Allen Toussaint.
In 1991, Guerin explored his spiritual side, as he was given a vision to build a new instrument. The result: a one-of-a-kind acoustic hollow bodied, arched top and back, six string bass guitar, crafted by luthier Salvador Giardina. This instrument enables Roland to write music for an entire spectrum of genres including pop, rock, R&B, classical, folk, and country.
Roland made his debut as a bandleader in 1998 with The Winds of the New Land, a record acclaimed for its innovative style of composition and arrangement. He released four successful albums in the next decade (see discography), recently followed by A Different World in September 2011. This new album features Terrence Higgins (d), Mike Esneault (p), Khris Royal (s), Shane Theriot (g), Denis Williams (s) and Bill Summers (perc).
From 1994 to 2010 Roland was a member of the Marcus Roberts Trio, with which he had the opportunity to perform at the 2002 Winter Olympic Games. They also regularly performed as a jazz trio enhanced by symphony orchestras.
When he is not performing with his band, Roland Guerin tours and performs with Allen Toussaint and also enjoys occasional performances with the Brian Blade Fellowship Band. In the late summer of 2009, Guerin had the pleasure to tour with John Scofield and the Piety Street band, with fellow New Orleanians Shannon Powell and Jon Cleary. They made audiences groove to revisited Gospel tunes in Israel, Japan, Switzerland, etc...
When he is not touring, Roland is very active on the New Orleans music scene, where he performs in all genres with such artists as Herlin Riley, Dr. Michael White, Germaine Bazzle, Shannon Powell, Leah Chase, and Ellis Marsalis.
http://www.nola.com/jazzfest/index.ssf/2012/05/bassist_roland_guerin_stepped.html
I enjoyed a little country from Sam Doores & the Tumbleweeds.
jazzfest listing:
Sam Doores & The Tumbleweeds (from New Orleans, Louisiana) reach a bit further back into Americana history to earlier blues, gospel, folk, and country. Here you’ll find the call and response style field song (“I Got Found”) to foot stompin’ country (“Passing Through”), to 60’s folk style with a doowappin’ guitar (“Depression Blues” – based on “I’m So Depressed” by Abner Jay). This is modern day honky tonk stylings at its best.
http://www.offbeat.com/2012/04/06/youtube-du-jour-sam-doores-and-the-tumbleweeds/
I also loved the Voices of Peter Claver in the Gospel Tent. I loved the rhythm.
http://clarionherald.info/clarion/index.php/news/latest-news/155-breaking-news/1167-voices-of-peter-claver-uplifts-spirits-at-jazz-fest
Davina & the Vagabonds in the Blues Tent were good.
I started with the phenomenal Roland Guerin in the Jazz Tent. I've only ever seen this great bass player in NOLA. I would think he would tour with someone at some point. He plays with the likes of Jason Marsalis and Shannon Powell. Hisown ensemble is really good.
Roland Guerin, bass
Kyle Roussel, piano
Quamon Fowler, sax
Ashlin Parker, trumpet
Joe Dyson, drums
?, guitar
jazzfest listing:
Roland Guerin grew up in a musical family. He first learned music from his mother, a bass player who taught him that you can’t make it in music without a strong groove and feeling.
Roland studied Marketing at Southern University in Baton Rouge, where he joined legendary jazz educator Alvin Batiste’s Band, The Jazztronauts. He later began to tour the world as a member of jazz guitarist Mark Whitfield's band. During that time Guerin explored the jazz genre; which ultimately proved to be an avenue toward success. He had the opportunity to perform with such greats as George Benson, Jimmy Scott, Frank Morgan, Vernel Fournier, and Gerry Mulligan. In the meantime, he also participated to the recording of several albums with other artists including Ellis Marsalis, Marcus Roberts, and Allen Toussaint.
In 1991, Guerin explored his spiritual side, as he was given a vision to build a new instrument. The result: a one-of-a-kind acoustic hollow bodied, arched top and back, six string bass guitar, crafted by luthier Salvador Giardina. This instrument enables Roland to write music for an entire spectrum of genres including pop, rock, R&B, classical, folk, and country.
Roland made his debut as a bandleader in 1998 with The Winds of the New Land, a record acclaimed for its innovative style of composition and arrangement. He released four successful albums in the next decade (see discography), recently followed by A Different World in September 2011. This new album features Terrence Higgins (d), Mike Esneault (p), Khris Royal (s), Shane Theriot (g), Denis Williams (s) and Bill Summers (perc).
From 1994 to 2010 Roland was a member of the Marcus Roberts Trio, with which he had the opportunity to perform at the 2002 Winter Olympic Games. They also regularly performed as a jazz trio enhanced by symphony orchestras.
When he is not performing with his band, Roland Guerin tours and performs with Allen Toussaint and also enjoys occasional performances with the Brian Blade Fellowship Band. In the late summer of 2009, Guerin had the pleasure to tour with John Scofield and the Piety Street band, with fellow New Orleanians Shannon Powell and Jon Cleary. They made audiences groove to revisited Gospel tunes in Israel, Japan, Switzerland, etc...
When he is not touring, Roland is very active on the New Orleans music scene, where he performs in all genres with such artists as Herlin Riley, Dr. Michael White, Germaine Bazzle, Shannon Powell, Leah Chase, and Ellis Marsalis.
http://www.nola.com/jazzfest/index.ssf/2012/05/bassist_roland_guerin_stepped.html
I enjoyed a little country from Sam Doores & the Tumbleweeds.
jazzfest listing:
Sam Doores & The Tumbleweeds (from New Orleans, Louisiana) reach a bit further back into Americana history to earlier blues, gospel, folk, and country. Here you’ll find the call and response style field song (“I Got Found”) to foot stompin’ country (“Passing Through”), to 60’s folk style with a doowappin’ guitar (“Depression Blues” – based on “I’m So Depressed” by Abner Jay). This is modern day honky tonk stylings at its best.
http://www.offbeat.com/2012/04/06/youtube-du-jour-sam-doores-and-the-tumbleweeds/
I also loved the Voices of Peter Claver in the Gospel Tent. I loved the rhythm.
http://clarionherald.info/clarion/index.php/news/latest-news/155-breaking-news/1167-voices-of-peter-claver-uplifts-spirits-at-jazz-fest
Davina & the Vagabonds in the Blues Tent were good.
Jazzfest Leg 2 @ Fairgrounds 5/5/12
To contact us Click HERE
The Blues Tent listed Mac Arnold & the Plate Full of Blues but what drew me in was Joe Krown, Russell Batiste, and Walter Wolfman Washington. They were scheduled for the next day. I don't know what happened, because I found a youtube video of Mac Arnold, so they played a different slot. Washington/Batiste/Krown were great.
The Joe Krown Trio featuring Walter “Wolfman” Washington and Russell Batiste Jr. (Funk/R&B) This allstar, New Orleans group with Krown on organ, Washington on guitar and vocals and Batiste on drums and background vocals digs into some grooves. Each a leader of their own fine groups, they offer a different blend in this configuration.
Latest album: Triple Threat.
Mariachi Jalisco caused me to pause at the Jazz & Heritage Stage for a little bit. I was especially caught by the violin. Aha, I see from the jazzfest listing there some Cuban elements.
El Mariachi Jalisco born in the city of Baton Rouge, Louisiana, last year in the entire state of louisiana mariachi not exist until then, its members decided to start again a musical work they did in his native Cuba,
All of its members with more than 10 years of experience in the traditional Mexican genre began presentations, social events, festivals and parties after the Latin Festival in Baton Rouge and fundamental social events in the area.
All its members are graduates of different conservatories in Havana City, Cuba, and all are descendants of Jalisco Mariachi Havana Cuba, this mariachi in Havana began its work with Mexican music on your resume this part 10 times the International Mariachi Festival in Guadalajara City, a video with the famous singer Placido Domingo, as well as television appearances in Cuba, Mexico and broadcast in different countries of Latin America and the United States.
Currently working on recording his first CD where Mexican music also intended to record music a fusion of Latin music and traditional jazz of New Orleans
http://www.wrkf.org/batonrouge&newsID=2916
I love Kora Connection. I was thinking about going out to St. Claude that night to catch a night show. I didn't end up making it out to any more night shows, but this jazzfest portion was great.
Kora Konnection is an exotic blend of West African mandinka music and jazz improvisation. The band is led by two griots (oral historians): Morikeba Kouyate, kora (African harp) master from Senegal, and Thierno Dioubate, balafon and djembe master from Guinea.
Kora Konnection is also blessed to have the two finest jazz musicians in the city of New Orleans,Tim Green saxophone and James Singleton acoustic bass. Kora Konnection's architect and African percussionist, Jeff “Papafrog” Klein is the heartbeat of the ensemble. A combination of traditional West African music and Acoustic Jazz, Kora Konnection’s unique sound spans the cultures of two continents.
http://www.youtube.com/watch?v=D_BGHuw7EuI
http://www.youtube.com/watch?v=XIEfSMaqoq8
Anders was good for a bit. I've really enjoyed his club shows lately, and the part I saw at the fest wasn't quite as good. It was nice to see him with Eric Bolivar, though. I missed the strings portion, which looked great on that 3rd youtube video below.
http://www.youtube.com/watch?v=8apdhk8hxJE
http://www.youtube.com/watch?v=KEfdDdg20Vs
http://www.youtube.com/watch?v=ae4iVSWntjE
Big Sam' Funky Nation had me dancing for a bit.
I loved Tommy Sancton's N.O. Legacy Band. I read a little about them in Where Y'at when I got back. I like how he's working with younger musician and keeping trad jazz fresh.
jazzfest listing:
The New Orleans Legacy Band is a group with strong roots in the past and a reach towards the future. Three of us, Clive Wilson, Lars Edegran and myself, learned to play traditional jazz at the feet of the old masters: the legendary group of elderly black musicians who led the so called jazz “revival” centered around Preservation Hall and Dixieland Hall in the 1960s. We were the eager apprentices of such greats as George Lewis, Kid Howard, Kid Thomas, Sweet Emma Barrett, Billie and Dede Pierce, Percy and Willie Humphrey, Papa French, and, of course, Harold Dejan and his Olympia Brass Band. Today we are in our sixties, roughly the age group of our mentors of yesteryear. But lest anyone despair over the future of this music, the successor generation is well represented on this album in the persons of Jason Marsalis, 33, Ronell Johnson, 34, and Kerry Lewis, 37. Our band illustrates the power of New Orleans music to reach out and touch people around the world. Young Clive Wilson heard its call in London, via Bunk Johnson’s 1940s recordings. Over in Stockholm, Lars Edegran was turned on to the New Orleans sound by his father and brother, both jazz musicians, and by friends who introduced him to the American Music sides recorded by Bill Russell. Like many other young Europeans in those years—I call them the “jazz pilgrims”—they came to New Orleans to learn at the source. They hung out at the jazz halls, ate red beans at Buster’s, sat in with Dejan’s Olympia Band on countless parades and funerals, and were welcomed onto the homes and hearts of the old masters they had come to learn from. Unlike most of the “pilgrims” who eventually returned home, Clive and Lars put down roots here and, in time, became active members of the local jazz scene. My own story is a little different. I grew up here—an uptown, middle-class white boy who, in those Jim Crow days, had little contact with the African American community that had created this wonderful music. That all changed one summer night in 1962: my father took me to Preservation Hall and opened my eyes and ears to the artistry of the veteran jazzmen who played there. I was smitten with the sound of George Lewis’s clarinet and decided to try to play like him. I took lessons with George, trumpeter Punch Miller, and banjoist Creole George Guesnon , sat in with them at the Hall, played parades with the Olympia and learned the trade as they had learned it: master to apprentice. The only problem was that I was virtually alone among young local musicians. It seemed that no one of my generation, white or black, was interested in traditional jazz in those years. And without a successor generation, the music of New Orleans—as we knew it—was headed for extinction. Fortunately, some younger members of the African American community finally became aware of their own musical heritage. Three of them, Jason, Ronell and Kerry, now play regularly with us at Preservation Hall and the Palm Court Jazz Café, and add their considerable talent and energy to this album. Drummer Jason Marsalis is the youngest scion of a famous jazz family, headed by jazz pianist and educator Ellis Marsalis, that also includes trumpeter Wynton, saxophonist Branford and trombonist Delfeayo. Kerry Lewis, a First Lieutenant in the Louisiana National Guard, is one of the city’s most in-demand bassists and tuba players. Trombonist Ronell Johnson, like Kerry a graduate of Saint Augustine High School, is a multitalented musician who also plays trumpet, tuba, piano, organ, sings—and has even impersonated Santa Claus at the Riverwalk shopping center!
http://www.nola.com/jazzfest/index.ssf/2012/05/tommy_sanctons_new_orleans_leg.html
"Although Sancton (clarinet) and bandmates Clive Wilson (trumpet)and Lars Edegran (piano) are now in their sixties, they have recruited "thenext generation" - drummer Jason Marsalis, trombonist Ronell Johnson andbassist Kerry Lewis, all thirtysomethings - to play in the Legacy Band andcarry on the New Orleans jazz tradition."
The Blues Tent listed Mac Arnold & the Plate Full of Blues but what drew me in was Joe Krown, Russell Batiste, and Walter Wolfman Washington. They were scheduled for the next day. I don't know what happened, because I found a youtube video of Mac Arnold, so they played a different slot. Washington/Batiste/Krown were great.
The Joe Krown Trio featuring Walter “Wolfman” Washington and Russell Batiste Jr. (Funk/R&B) This allstar, New Orleans group with Krown on organ, Washington on guitar and vocals and Batiste on drums and background vocals digs into some grooves. Each a leader of their own fine groups, they offer a different blend in this configuration.
Latest album: Triple Threat.
Mariachi Jalisco caused me to pause at the Jazz & Heritage Stage for a little bit. I was especially caught by the violin. Aha, I see from the jazzfest listing there some Cuban elements.
El Mariachi Jalisco born in the city of Baton Rouge, Louisiana, last year in the entire state of louisiana mariachi not exist until then, its members decided to start again a musical work they did in his native Cuba,
All of its members with more than 10 years of experience in the traditional Mexican genre began presentations, social events, festivals and parties after the Latin Festival in Baton Rouge and fundamental social events in the area.
All its members are graduates of different conservatories in Havana City, Cuba, and all are descendants of Jalisco Mariachi Havana Cuba, this mariachi in Havana began its work with Mexican music on your resume this part 10 times the International Mariachi Festival in Guadalajara City, a video with the famous singer Placido Domingo, as well as television appearances in Cuba, Mexico and broadcast in different countries of Latin America and the United States.
Currently working on recording his first CD where Mexican music also intended to record music a fusion of Latin music and traditional jazz of New Orleans
http://www.wrkf.org/batonrouge&newsID=2916
I love Kora Connection. I was thinking about going out to St. Claude that night to catch a night show. I didn't end up making it out to any more night shows, but this jazzfest portion was great.
Kora Konnection is an exotic blend of West African mandinka music and jazz improvisation. The band is led by two griots (oral historians): Morikeba Kouyate, kora (African harp) master from Senegal, and Thierno Dioubate, balafon and djembe master from Guinea.
Kora Konnection is also blessed to have the two finest jazz musicians in the city of New Orleans,Tim Green saxophone and James Singleton acoustic bass. Kora Konnection's architect and African percussionist, Jeff “Papafrog” Klein is the heartbeat of the ensemble. A combination of traditional West African music and Acoustic Jazz, Kora Konnection’s unique sound spans the cultures of two continents.
http://www.youtube.com/watch?v=D_BGHuw7EuI
http://www.youtube.com/watch?v=XIEfSMaqoq8
Anders was good for a bit. I've really enjoyed his club shows lately, and the part I saw at the fest wasn't quite as good. It was nice to see him with Eric Bolivar, though. I missed the strings portion, which looked great on that 3rd youtube video below.
http://www.youtube.com/watch?v=8apdhk8hxJE
http://www.youtube.com/watch?v=KEfdDdg20Vs
http://www.youtube.com/watch?v=ae4iVSWntjE
Big Sam' Funky Nation had me dancing for a bit.
I loved Tommy Sancton's N.O. Legacy Band. I read a little about them in Where Y'at when I got back. I like how he's working with younger musician and keeping trad jazz fresh.
jazzfest listing:
The New Orleans Legacy Band is a group with strong roots in the past and a reach towards the future. Three of us, Clive Wilson, Lars Edegran and myself, learned to play traditional jazz at the feet of the old masters: the legendary group of elderly black musicians who led the so called jazz “revival” centered around Preservation Hall and Dixieland Hall in the 1960s. We were the eager apprentices of such greats as George Lewis, Kid Howard, Kid Thomas, Sweet Emma Barrett, Billie and Dede Pierce, Percy and Willie Humphrey, Papa French, and, of course, Harold Dejan and his Olympia Brass Band. Today we are in our sixties, roughly the age group of our mentors of yesteryear. But lest anyone despair over the future of this music, the successor generation is well represented on this album in the persons of Jason Marsalis, 33, Ronell Johnson, 34, and Kerry Lewis, 37. Our band illustrates the power of New Orleans music to reach out and touch people around the world. Young Clive Wilson heard its call in London, via Bunk Johnson’s 1940s recordings. Over in Stockholm, Lars Edegran was turned on to the New Orleans sound by his father and brother, both jazz musicians, and by friends who introduced him to the American Music sides recorded by Bill Russell. Like many other young Europeans in those years—I call them the “jazz pilgrims”—they came to New Orleans to learn at the source. They hung out at the jazz halls, ate red beans at Buster’s, sat in with Dejan’s Olympia Band on countless parades and funerals, and were welcomed onto the homes and hearts of the old masters they had come to learn from. Unlike most of the “pilgrims” who eventually returned home, Clive and Lars put down roots here and, in time, became active members of the local jazz scene. My own story is a little different. I grew up here—an uptown, middle-class white boy who, in those Jim Crow days, had little contact with the African American community that had created this wonderful music. That all changed one summer night in 1962: my father took me to Preservation Hall and opened my eyes and ears to the artistry of the veteran jazzmen who played there. I was smitten with the sound of George Lewis’s clarinet and decided to try to play like him. I took lessons with George, trumpeter Punch Miller, and banjoist Creole George Guesnon , sat in with them at the Hall, played parades with the Olympia and learned the trade as they had learned it: master to apprentice. The only problem was that I was virtually alone among young local musicians. It seemed that no one of my generation, white or black, was interested in traditional jazz in those years. And without a successor generation, the music of New Orleans—as we knew it—was headed for extinction. Fortunately, some younger members of the African American community finally became aware of their own musical heritage. Three of them, Jason, Ronell and Kerry, now play regularly with us at Preservation Hall and the Palm Court Jazz Café, and add their considerable talent and energy to this album. Drummer Jason Marsalis is the youngest scion of a famous jazz family, headed by jazz pianist and educator Ellis Marsalis, that also includes trumpeter Wynton, saxophonist Branford and trombonist Delfeayo. Kerry Lewis, a First Lieutenant in the Louisiana National Guard, is one of the city’s most in-demand bassists and tuba players. Trombonist Ronell Johnson, like Kerry a graduate of Saint Augustine High School, is a multitalented musician who also plays trumpet, tuba, piano, organ, sings—and has even impersonated Santa Claus at the Riverwalk shopping center!
http://www.nola.com/jazzfest/index.ssf/2012/05/tommy_sanctons_new_orleans_leg.html
"Although Sancton (clarinet) and bandmates Clive Wilson (trumpet)and Lars Edegran (piano) are now in their sixties, they have recruited "thenext generation" - drummer Jason Marsalis, trombonist Ronell Johnson andbassist Kerry Lewis, all thirtysomethings - to play in the Legacy Band andcarry on the New Orleans jazz tradition."
Jazzfest Leg 3 @ Fairgrounds 5/5/12
To contact us Click HERE
I loved Bombino of Niger at the Blues Stage. I remember nothing about it but I put a star next to it on the schedule.
Omara "Bombino" Moctar, whose given name is Goumar Almoctar, was born on January 1st, 1980 in Tidene, Niger, an encampment of nomadic Tuaregs located about 80 kilometers to the northeast of Agadez. He is a member of the Ifoghas tribe, which belongs to the Kel Air Tuareg federation. His father is a car mechanic and his mother takes care of the home, as is the Tuareg tradition. Bombino was raised as a Muslim and taught to consider honor, dignity and generosity as principal tenets of life.
It looks like I'm not alone in giving it a star:
http://www.nola.com/jazzfest/index.ssf/2012/05/bombino_of_niger_unleashes_gui.html
http://www.youtube.com/watch?v=fzWBow0OAeA
I saw a little more of Mariachi Jalisco (from Leg 2) in the Kids Tent. I thought it was a good idea to have them there.
I saw a little of Steve Earl & the Dukes at the Fais Do-Do Stage. It was quite crowded. Good music, though.
I finished the day with the phenomenal Guitar Masters at the Lagniappe Stage. I got the feeling it was a replacement for Twangarama and I need to investigate (see below).
Guitar Masters feat. Jimmy
Robinson, John Rankin, Phil
DeGruy, and Cranston Clements
(Rock) Phil DeGruy, who plays the frankensteined “guitarp;” Jimmy Robinson, whose influences run from country to flamenca; John Rankin, master of “fingerstyle” playing; and bluesmaster Cranston Clements join forces to form the New Orleans Guitar Masters, a synthesis of stringed virtuosity.
http://www.nola.com/jazzfest/index.ssf/2012/05/new_orleans_jazz_fest_unites_g.html
Yes, it looks like the same guys as Twangorama, but they aren't just twanging. It was awesome!
http://www.twangorama.com/Press%20.html
Twangorama has become well known throughout New Orleans over the past several years. Its members, however, have not only been known, but respected and sought after for much longer. Jimmy Robinson, leader of the progressive rock band Woodenhead, formed string-heavy Twangorama in the late 90s. Robinson partnered with his friend Cranston Clements, and then teamed up with Phil deGruy. Any one of these gentlemen is arguably the best guitarist in the city, but together, they are indisputably the best collection of string pickers in the South. The band’s talent doesn’t end there, as it is rounded out with Robinson’s Woodenhead bandmates bassist Paul Clement and drummer Mark Whitaker.
The band’s performances have been described in blogs as a “guitorgy,” which may be one of the more apt descriptions. The collective virtuosos compose and arrange original work, but also take over classics from the Beatles to Led Zeppelin. Even their “covers” are inventive and original. Meticulously coordinated melodies and synchronized harmonies of the guitars will stun even the most particular of guitar aficionados. Twangorama’s originality extends to their instruments as well. Phil deGruy occasionally plays a 17-string guitar/harp hybrid.
Don’t be surprised if a special guest or two shows up to join Twangorama’s set. Guest artists are frequent at the band’s Thursday night Carrollton Station shows, including Dave Malone and Camille Badouin of the Radiators, Astral Project’s Tom Dagradi, and guitarist June Yamagishi. Clement alone has performed with artists such as Dr. John, Boz Skaggs, George Porter, Jr. and Irma Thomas, to name a few. In a nutshell, New Orleans born and bred Twangorama should be on every guitar lover’s must-see list for Jazz Fest.
–Rick Stedman
I loved Bombino of Niger at the Blues Stage. I remember nothing about it but I put a star next to it on the schedule.
Omara "Bombino" Moctar, whose given name is Goumar Almoctar, was born on January 1st, 1980 in Tidene, Niger, an encampment of nomadic Tuaregs located about 80 kilometers to the northeast of Agadez. He is a member of the Ifoghas tribe, which belongs to the Kel Air Tuareg federation. His father is a car mechanic and his mother takes care of the home, as is the Tuareg tradition. Bombino was raised as a Muslim and taught to consider honor, dignity and generosity as principal tenets of life.
It looks like I'm not alone in giving it a star:
http://www.nola.com/jazzfest/index.ssf/2012/05/bombino_of_niger_unleashes_gui.html
http://www.youtube.com/watch?v=fzWBow0OAeA
I saw a little more of Mariachi Jalisco (from Leg 2) in the Kids Tent. I thought it was a good idea to have them there.
I saw a little of Steve Earl & the Dukes at the Fais Do-Do Stage. It was quite crowded. Good music, though.
I finished the day with the phenomenal Guitar Masters at the Lagniappe Stage. I got the feeling it was a replacement for Twangarama and I need to investigate (see below).
Guitar Masters feat. Jimmy
Robinson, John Rankin, Phil
DeGruy, and Cranston Clements
(Rock) Phil DeGruy, who plays the frankensteined “guitarp;” Jimmy Robinson, whose influences run from country to flamenca; John Rankin, master of “fingerstyle” playing; and bluesmaster Cranston Clements join forces to form the New Orleans Guitar Masters, a synthesis of stringed virtuosity.
http://www.nola.com/jazzfest/index.ssf/2012/05/new_orleans_jazz_fest_unites_g.html
Yes, it looks like the same guys as Twangorama, but they aren't just twanging. It was awesome!
http://www.twangorama.com/Press%20.html
Twangorama has become well known throughout New Orleans over the past several years. Its members, however, have not only been known, but respected and sought after for much longer. Jimmy Robinson, leader of the progressive rock band Woodenhead, formed string-heavy Twangorama in the late 90s. Robinson partnered with his friend Cranston Clements, and then teamed up with Phil deGruy. Any one of these gentlemen is arguably the best guitarist in the city, but together, they are indisputably the best collection of string pickers in the South. The band’s talent doesn’t end there, as it is rounded out with Robinson’s Woodenhead bandmates bassist Paul Clement and drummer Mark Whitaker.
The band’s performances have been described in blogs as a “guitorgy,” which may be one of the more apt descriptions. The collective virtuosos compose and arrange original work, but also take over classics from the Beatles to Led Zeppelin. Even their “covers” are inventive and original. Meticulously coordinated melodies and synchronized harmonies of the guitars will stun even the most particular of guitar aficionados. Twangorama’s originality extends to their instruments as well. Phil deGruy occasionally plays a 17-string guitar/harp hybrid.
Don’t be surprised if a special guest or two shows up to join Twangorama’s set. Guest artists are frequent at the band’s Thursday night Carrollton Station shows, including Dave Malone and Camille Badouin of the Radiators, Astral Project’s Tom Dagradi, and guitarist June Yamagishi. Clement alone has performed with artists such as Dr. John, Boz Skaggs, George Porter, Jr. and Irma Thomas, to name a few. In a nutshell, New Orleans born and bred Twangorama should be on every guitar lover’s must-see list for Jazz Fest.
–Rick Stedman
Jazzfest Leg 1 @ Fairgrounds 5/6/12
To contact us Click HERE
It's nice how the schedule was filled with so many local NOLA bands.
I started with a little Lynn Drury as I was curious. It was good although I wouldn't need a whole set.
http://www.youtube.com/watch?v=k4XdWbXY154
I went by Supagroup, which I've always wondered about. It's not my thing.
Mem Shannon & the Membership Band are always great NOLA Blues.
Mem Shannon & the Membership Band (Blues)
A musician since childhood, Mem Shannon hung up his guitar and clarinet after his father died in 1981; he began driving a cab to help his family pay bills. But in 1995, he got his break and recorded A Cab Driver’s Blues, which includes snippets of taxicab confessions from his long career.
Gregory Agid was enjoyable in the Jazz Tent.
I enjoyed a bit of Tanya & Dorise.
Tanya & Dorise (Acoustic/Fusion)
These noted street performers have gained a following thanks to Tanya Huang’s mesmerizing electric violin. She and guitarist Dorise Blackman have released several guitar and violin duo albums and perform regularly on the famed Royal Street in the French Quarter.
It's nice how the schedule was filled with so many local NOLA bands.
I started with a little Lynn Drury as I was curious. It was good although I wouldn't need a whole set.
http://www.youtube.com/watch?v=k4XdWbXY154
I went by Supagroup, which I've always wondered about. It's not my thing.
Mem Shannon & the Membership Band are always great NOLA Blues.
Mem Shannon & the Membership Band (Blues)
A musician since childhood, Mem Shannon hung up his guitar and clarinet after his father died in 1981; he began driving a cab to help his family pay bills. But in 1995, he got his break and recorded A Cab Driver’s Blues, which includes snippets of taxicab confessions from his long career.
Gregory Agid was enjoyable in the Jazz Tent.
I enjoyed a bit of Tanya & Dorise.
Tanya & Dorise (Acoustic/Fusion)
These noted street performers have gained a following thanks to Tanya Huang’s mesmerizing electric violin. She and guitarist Dorise Blackman have released several guitar and violin duo albums and perform regularly on the famed Royal Street in the French Quarter.
23 Mayıs 2012 Çarşamba
Regina Carter @ Fairgrounds 5/3/12
To contact us Click HERE
This was my absolute favorite. Regina is so impressive. I remember when she and John Zorn were the 2 recipients of an experimental music grant. I didn't know much about her and never really followed up my curiosity until now. I see why they give her grants and awards.
This ensemble was phenomenal. I loved having a kora for many songs. There was also Will Holtzhouser on accordion. I was surprised to discover the CD came out in 2010. I still haven't gotten a hold of it, but soon.
http://lineup.nojazzfest.com/band/regina-carter
When preeminent violinist Regina Carter made the decision to record an album primarily
of African folk tunes, she created a great challenge for herself: how do you take beautiful
traditional music and infuse it with a contemporary feel while remaining true to its past
— and then, not compromise its beauty? Her newest release, Reverse Thread, due out on
E1 Entertainment on May 18th brilliantly responds to the challenge.
To achieve the uplifting and stirring result, Regina added an accordion and kora—the
West African harp traditionally played by village storytellers—to her longstanding
rhythm section. Kora virtuoso Yacouba Sissoko was brought on board to help recreate the
spirit of passing stories from generation to generation. The result—unlike anything
previously heard—is a haunting and beautiful compliment to Regina’s sumptuously
seductive violin.
Without the support of the prestigious MacArthur Foundation, which “awards
unrestricted fellowships to talented individuals,” Reverse Thread might never have been
realized. As a MacArthur Fellow — a recipient of what is commonly known as the
“genius grant” — Carter was armed with the funds and the freedom to follow her muse.
Regina turned to the World Music Institute in New York City, in which she found a
diverse and inspirational resource for material, including ethnographic field recordings.
Regina looked not just to the music, but also the accompanying sounds and nuances of
everyday life from anthropological and sociological perspectives which informed the
spirit of the new arrangements.
“There is an immense amount of amazing music coming from all around the world, much
of which is barely accessible,” emphasized Regina. “Reverse Thread gave me the
opportunity to explore and celebrate a tiny portion of music that moved me.”
Both "Hiwumbe Awumba" and "Mwana Talitambula" are based on field recordings from
the Ugandan Jews, a community in eastern Uganda who although are not genetically or
historically Jewish, practice the Jewish religion. Setting the inspirational tone for the
album, the first track “Hiwumbe Awumba” originates from a field recording of a group
singing, “God creates and then He destroys.” Although the title is dark, the uplifting
quality and spirit of the voice on the recording inspired Regina, and the final arrangement
is a paean to the resiliency of the human spirit.
Using the field recording of a woman singing “Mwana Talitambula” as a departure point,
Regina’s bass player Chris Lightcap split the melody between the violin and bass with a
hypnotically emotive result.
Reverse Thread also embraces music of the African Diaspora. As but one example, “Un
Aguinaldo” skillfully layers the rhythmic aspects of African music with harmonies
originating in India and Puerto Rico.
Through her albums, incessant touring and various guest appearances and collaborations,
Regina has developed into a distinctly diverse musical personality. She has repeatedly
toured throughout the world, was the first jazz artist and African American to play
Niccolo Paganini’s famed Guarneri “Cannon” violin, has been featured with several
symphony orchestras and performed with artists as diverse as Aretha Franklin, Lauryn
Hill, Billy Joel, Kenny Barron and Mary J. Blige.
With Reverse Thread, Regina takes a giant step forward by making a meaningful musical
contribution on her own terms.
http://www.npr.org/2011/08/09/139050231/newport-jazz-2011-regina-carters-reverse-thread-live-in-concert
This was my absolute favorite. Regina is so impressive. I remember when she and John Zorn were the 2 recipients of an experimental music grant. I didn't know much about her and never really followed up my curiosity until now. I see why they give her grants and awards.
This ensemble was phenomenal. I loved having a kora for many songs. There was also Will Holtzhouser on accordion. I was surprised to discover the CD came out in 2010. I still haven't gotten a hold of it, but soon.
http://lineup.nojazzfest.com/band/regina-carter
When preeminent violinist Regina Carter made the decision to record an album primarily
of African folk tunes, she created a great challenge for herself: how do you take beautiful
traditional music and infuse it with a contemporary feel while remaining true to its past
— and then, not compromise its beauty? Her newest release, Reverse Thread, due out on
E1 Entertainment on May 18th brilliantly responds to the challenge.
To achieve the uplifting and stirring result, Regina added an accordion and kora—the
West African harp traditionally played by village storytellers—to her longstanding
rhythm section. Kora virtuoso Yacouba Sissoko was brought on board to help recreate the
spirit of passing stories from generation to generation. The result—unlike anything
previously heard—is a haunting and beautiful compliment to Regina’s sumptuously
seductive violin.
Without the support of the prestigious MacArthur Foundation, which “awards
unrestricted fellowships to talented individuals,” Reverse Thread might never have been
realized. As a MacArthur Fellow — a recipient of what is commonly known as the
“genius grant” — Carter was armed with the funds and the freedom to follow her muse.
Regina turned to the World Music Institute in New York City, in which she found a
diverse and inspirational resource for material, including ethnographic field recordings.
Regina looked not just to the music, but also the accompanying sounds and nuances of
everyday life from anthropological and sociological perspectives which informed the
spirit of the new arrangements.
“There is an immense amount of amazing music coming from all around the world, much
of which is barely accessible,” emphasized Regina. “Reverse Thread gave me the
opportunity to explore and celebrate a tiny portion of music that moved me.”
Both "Hiwumbe Awumba" and "Mwana Talitambula" are based on field recordings from
the Ugandan Jews, a community in eastern Uganda who although are not genetically or
historically Jewish, practice the Jewish religion. Setting the inspirational tone for the
album, the first track “Hiwumbe Awumba” originates from a field recording of a group
singing, “God creates and then He destroys.” Although the title is dark, the uplifting
quality and spirit of the voice on the recording inspired Regina, and the final arrangement
is a paean to the resiliency of the human spirit.
Using the field recording of a woman singing “Mwana Talitambula” as a departure point,
Regina’s bass player Chris Lightcap split the melody between the violin and bass with a
hypnotically emotive result.
Reverse Thread also embraces music of the African Diaspora. As but one example, “Un
Aguinaldo” skillfully layers the rhythmic aspects of African music with harmonies
originating in India and Puerto Rico.
Through her albums, incessant touring and various guest appearances and collaborations,
Regina has developed into a distinctly diverse musical personality. She has repeatedly
toured throughout the world, was the first jazz artist and African American to play
Niccolo Paganini’s famed Guarneri “Cannon” violin, has been featured with several
symphony orchestras and performed with artists as diverse as Aretha Franklin, Lauryn
Hill, Billy Joel, Kenny Barron and Mary J. Blige.
With Reverse Thread, Regina takes a giant step forward by making a meaningful musical
contribution on her own terms.
http://www.npr.org/2011/08/09/139050231/newport-jazz-2011-regina-carters-reverse-thread-live-in-concert
Fairgrounds Final Leg 5/3/12
To contact us Click HERE
On my way from Henry to Regina I kept getting caught by the sounds coming from the Dirty Dozen Brass Band at the Acura stage. I was walking around the racetrack to get there. I kept having to stop and dance as I was making my way. They were incredible.
Esperanza Spalding was very late getting started. I finally realized I needed to come back for her. I did stop back later and reinforced that her music isn't for me, or at least not this album.
http://lineup.nojazzfest.com/band/esperanza-spalding
http://www.nola.com/jazzfest/index.ssf/2012/05/grammy_winner_esperanza_spaldi.html
I got to see a little more of Cheick Hamala Diabate at the Lagniappe stage. Recall he was at the Jazz & Heritage Stage way back in leg 1.
I love Astral Project. I only got a little but it was awesome.
Astral Project (Modern Jazz)
Offering great modern jazz for the last 32 years, Astral Project boasts an all-star membership with saxophonist Tony Dagradi, bassist James Singleton, drummer Johnny Vidacovich and guitarist Steve Masakowski. Always a stunning set in the Jazz Tent.
I walked by Jimmy Buffet's acoustic set and I liked it. I was surprised because a work friend made me a Buffet mix CD a few years ago - the 1st time he played Jazzfest since I've been going (11 fests for me now). I didn't like that CD so much.
I briefly walked by Florence and the Machine out of curiosity. I don't get it.
I was wearing out when I heard great drumming coming from the Kids Tent. I had to go in and dance for a bit. There were no stilt walkers at that time but it was listed as African Dance Company and Stilt Walkers. The drummers were all adults.
Culu Childrens Traditional African Dance Company has performed at The New Orleans Jazz and Heritage Festival for the past 21 years!!!! A FAVORITE of Young as well as Old, Culu brings to the stage TRADITIONAL AFRICAN FOLKLORE featuring their teachers who are born and raised in Africa!!!! This is an ALL CHILDREN PERFORMING FOLKLORE COMPANY.
It was so good to be back!
On my way from Henry to Regina I kept getting caught by the sounds coming from the Dirty Dozen Brass Band at the Acura stage. I was walking around the racetrack to get there. I kept having to stop and dance as I was making my way. They were incredible.
Esperanza Spalding was very late getting started. I finally realized I needed to come back for her. I did stop back later and reinforced that her music isn't for me, or at least not this album.
http://lineup.nojazzfest.com/band/esperanza-spalding
http://www.nola.com/jazzfest/index.ssf/2012/05/grammy_winner_esperanza_spaldi.html
I got to see a little more of Cheick Hamala Diabate at the Lagniappe stage. Recall he was at the Jazz & Heritage Stage way back in leg 1.
I love Astral Project. I only got a little but it was awesome.
Astral Project (Modern Jazz)
Offering great modern jazz for the last 32 years, Astral Project boasts an all-star membership with saxophonist Tony Dagradi, bassist James Singleton, drummer Johnny Vidacovich and guitarist Steve Masakowski. Always a stunning set in the Jazz Tent.
I walked by Jimmy Buffet's acoustic set and I liked it. I was surprised because a work friend made me a Buffet mix CD a few years ago - the 1st time he played Jazzfest since I've been going (11 fests for me now). I didn't like that CD so much.
I briefly walked by Florence and the Machine out of curiosity. I don't get it.
I was wearing out when I heard great drumming coming from the Kids Tent. I had to go in and dance for a bit. There were no stilt walkers at that time but it was listed as African Dance Company and Stilt Walkers. The drummers were all adults.
Culu Childrens Traditional African Dance Company has performed at The New Orleans Jazz and Heritage Festival for the past 21 years!!!! A FAVORITE of Young as well as Old, Culu brings to the stage TRADITIONAL AFRICAN FOLKLORE featuring their teachers who are born and raised in Africa!!!! This is an ALL CHILDREN PERFORMING FOLKLORE COMPANY.
It was so good to be back!
Fairgrounds Leg 1 5/4/12
To contact us Click HERE
I thoroughly enjoyed Big Al Carson & the Blues Masters. He was actually the 1st musician I saw my very first trip to NOLA in Sept 2001. It was a work trip and my colleague and I were checking out Bourbon St looking for music. I hadn't learned how to find music yet. A few days later I saw a band with the word "funk" in it, Papa Grows Funk playing at the Maple Leaf and I got some other colleagues to come out with me. THAT was a great night.
I also enjoyed the Kumbuka African Dance & Drum Collective. They had some Mardis Gras Indian type attire.
Kumbuka African Drum & Dance Collective is Louisiana's premiere African dance company. Kumbuka is dedicated to the preservation, presentation, documentation and research of traditional African and African American folklore. Kumbuka performs regularly with schools, festivals, prisons, and special events. Kumbuka celebrated its 30th Year Anniversary Concert in November at the Contemporary Art Center. Kumbuka's repertoire includes Dance de Calinda (Dances of Congo Square) Haitian dance, West African dance and dances of the Black Indians of New Orleans.
I thoroughly enjoyed Big Al Carson & the Blues Masters. He was actually the 1st musician I saw my very first trip to NOLA in Sept 2001. It was a work trip and my colleague and I were checking out Bourbon St looking for music. I hadn't learned how to find music yet. A few days later I saw a band with the word "funk" in it, Papa Grows Funk playing at the Maple Leaf and I got some other colleagues to come out with me. THAT was a great night.
I also enjoyed the Kumbuka African Dance & Drum Collective. They had some Mardis Gras Indian type attire.
Kumbuka African Drum & Dance Collective is Louisiana's premiere African dance company. Kumbuka is dedicated to the preservation, presentation, documentation and research of traditional African and African American folklore. Kumbuka performs regularly with schools, festivals, prisons, and special events. Kumbuka celebrated its 30th Year Anniversary Concert in November at the Contemporary Art Center. Kumbuka's repertoire includes Dance de Calinda (Dances of Congo Square) Haitian dance, West African dance and dances of the Black Indians of New Orleans.
Fairgrounds Leg 2 5/4/12
To contact us Click HERE
This was a very enjoyable hour. I was in Bliss with Baritone Bliss in the Jazz Tent. Shannon Powell was on drums. Mari Watanabe was on piano. It was phenomenal.
Baritone Bliss (Jazz) Conceived
by Dirty Dozen Brass Band cofounder Roger Lewis, the shows bring together saxophone masters Lewis, Tony Dagradi, Calvin Johnson and Tim Green, each on a baritone and Dan Oestricher on bass sax.
http://www.nola.com/jazzfest/index.ssf/2012/05/low_down_and_luscious_--_barit.html
That was followed by my favorite of the day, John Lawrence & Ven Pa'Ca Flamenco Ensemble. I'm pretty sure I saw them last year and loved it just as much. I really need to try to find them somewhere else. I found the usual suspects on Leticia Jimenez, the dancer's website. I didn't realize that great sax was Robert Wagner.
VEN PA' CA (featuring John Lawrence, Leticia Jimenez, Dave Sobel, and Rob Wagner)
http://www.youtube.com/watch?v=7RRJUgapVfY
This was a very enjoyable hour. I was in Bliss with Baritone Bliss in the Jazz Tent. Shannon Powell was on drums. Mari Watanabe was on piano. It was phenomenal.
Baritone Bliss (Jazz) Conceived
by Dirty Dozen Brass Band cofounder Roger Lewis, the shows bring together saxophone masters Lewis, Tony Dagradi, Calvin Johnson and Tim Green, each on a baritone and Dan Oestricher on bass sax.
http://www.nola.com/jazzfest/index.ssf/2012/05/low_down_and_luscious_--_barit.html
That was followed by my favorite of the day, John Lawrence & Ven Pa'Ca Flamenco Ensemble. I'm pretty sure I saw them last year and loved it just as much. I really need to try to find them somewhere else. I found the usual suspects on Leticia Jimenez, the dancer's website. I didn't realize that great sax was Robert Wagner.
VEN PA' CA (featuring John Lawrence, Leticia Jimenez, Dave Sobel, and Rob Wagner)
http://www.youtube.com/watch?v=7RRJUgapVfY
Jazzfest Leg 3 @ Fairgrounds 5/4/12
To contact us Click HERE
I met someone at the Flamenco set who loved it as much as I did. He mentioned he might not be able to follow Marcia Ball after that. I realized that was true for me, too. So I went to Bruce Hornsby & the Noisemakers and loved it. At first, I was just going to walk through slowly. But, it sounded really good and then the Bonerama Horns came on and I found a spot on the lawn by some friends. I moved on when the horns did.
The Noisemakers consists of bassist J.V. Collier (who has played with Hornsby 17 years), keyboardist/organist John “JT” Thomas (21 years), saxophonist flutist Bobby Read (18 years), guitarist/mandolin player Doug Derryberry (13 years) and drummer Sonny Emory (the relative newcomer of the bunch, nine years). Released eleven years after Here Come The Noisemakers, a double-CD live document of the group’s early years (with original drummer Michael Baker), Bride Of The Noisemakers is a powerful expression of how the group sounds today.
http://www.youtube.com/watch?v=yTKWeP0tzI4
http://www.youtube.com/watch?v=PVHjwRRaWY8
http://boneramamusic.com/2012/05/07/bone-of-the-day-bruce-hornsby/
I did go by the Pedrito Martinez Group. They were good. I just know I can see them in NY, so I wasn't compelled to stay too long.
Wanda Rouzan & a Taste of New Orleans was good in the Blues Tent.
Wanda Rouzan & A Taste of New Orleans (New Orleans R&B)
Hailed as the “Sweetheart of New Orleans,” Rouzan is one of the Crescent City’s premier vocalists and musical ambassadors, both as an educator and leader of the group A Taste of New Orleans. With a career spanning 50 years, she fuses jazz and blues, funk and soul into a “jump-on-your-feet and sing-along” music revival.
I also enjoyed a little of Bruce Daigrepont Cajun Band at the Fais Do Do Stage.
THE BRUCE DAIGREPONT CAJUN BAND--comprised of accordion, fiddle and a tight rhythm section--mixes traditional Louisiana French music with original Cajun and Zydeco material. Both New Orleans natives and tourists alike catch Bruce and his band at the legendary Tipitina's for the Sunday evening Fais Do Do.
I met someone at the Flamenco set who loved it as much as I did. He mentioned he might not be able to follow Marcia Ball after that. I realized that was true for me, too. So I went to Bruce Hornsby & the Noisemakers and loved it. At first, I was just going to walk through slowly. But, it sounded really good and then the Bonerama Horns came on and I found a spot on the lawn by some friends. I moved on when the horns did.
The Noisemakers consists of bassist J.V. Collier (who has played with Hornsby 17 years), keyboardist/organist John “JT” Thomas (21 years), saxophonist flutist Bobby Read (18 years), guitarist/mandolin player Doug Derryberry (13 years) and drummer Sonny Emory (the relative newcomer of the bunch, nine years). Released eleven years after Here Come The Noisemakers, a double-CD live document of the group’s early years (with original drummer Michael Baker), Bride Of The Noisemakers is a powerful expression of how the group sounds today.
http://www.youtube.com/watch?v=yTKWeP0tzI4
http://www.youtube.com/watch?v=PVHjwRRaWY8
http://boneramamusic.com/2012/05/07/bone-of-the-day-bruce-hornsby/
I did go by the Pedrito Martinez Group. They were good. I just know I can see them in NY, so I wasn't compelled to stay too long.
Wanda Rouzan & a Taste of New Orleans was good in the Blues Tent.
Wanda Rouzan & A Taste of New Orleans (New Orleans R&B)
Hailed as the “Sweetheart of New Orleans,” Rouzan is one of the Crescent City’s premier vocalists and musical ambassadors, both as an educator and leader of the group A Taste of New Orleans. With a career spanning 50 years, she fuses jazz and blues, funk and soul into a “jump-on-your-feet and sing-along” music revival.
I also enjoyed a little of Bruce Daigrepont Cajun Band at the Fais Do Do Stage.
THE BRUCE DAIGREPONT CAJUN BAND--comprised of accordion, fiddle and a tight rhythm section--mixes traditional Louisiana French music with original Cajun and Zydeco material. Both New Orleans natives and tourists alike catch Bruce and his band at the legendary Tipitina's for the Sunday evening Fais Do Do.
17 Mayıs 2012 Perşembe
CHANGE OF PACE
To contact us Click HERE
I've been in a bit of a linocut burn-out phase after cutting and printing many of my linocuts from my recent trip to Chiang Mai. I've also been craving doing some color work and some painting, so I broke out the acrylic paints and brushes and did this quick little "sketch". If you've been keeping track of my recent linocuts, you'll have seen a similar image printed of this same subject. What I've learned to do over the years is to always photograph the image I am drawing on to lino when i am traveling and doing an on-site lino drawing. The reason for this is to have a refer4ence shot of whatever it is I'm looking at just in case I decide to add color to the lino or I have trouble understanding what I drew.This is my friend Phra Kritsada Prueprong, a 20 year-old Buddhist Monk I met and became friends with in Chiang Mai.
I've been in a bit of a linocut burn-out phase after cutting and printing many of my linocuts from my recent trip to Chiang Mai. I've also been craving doing some color work and some painting, so I broke out the acrylic paints and brushes and did this quick little "sketch". If you've been keeping track of my recent linocuts, you'll have seen a similar image printed of this same subject. What I've learned to do over the years is to always photograph the image I am drawing on to lino when i am traveling and doing an on-site lino drawing. The reason for this is to have a refer4ence shot of whatever it is I'm looking at just in case I decide to add color to the lino or I have trouble understanding what I drew.This is my friend Phra Kritsada Prueprong, a 20 year-old Buddhist Monk I met and became friends with in Chiang Mai.
"GEORGE" - The Process
To contact us Click HERE
Because I do not have the ability to do one thing at a time, I was taking pics of my progress last night on this portrait of my friend George Berberian and texting them to him as I was working on the piece.
Part of the conversation that ensued is contained below. It will give you a little insight into what the brain of a Virgo Artist is doing when he's walking along the street, or sitting on the subway, visiting a foreign land or hanging out with one of his favorite people. I have been blessed in so many ways with having the ability to relay what I see visually, but I've also been condemned with the ability to never take things for their surface appearances. In my minds eye, there isn't just a blue sky, a pretty orange flower, or a beautiful set of eyebrows.
TEXT
George: Far be it for me to criticise the artist...
tho I do think my eyebrows are too thick...
George: You're doing it so quickly, and with paint... impressive
David: Lol. I told you I wasn't done fool!!!.
Besides, what do you think a Virgo Artist sees first, second, third and fourth when he looks at you?
George: Uhhh... different shades of color?
Is that a rhetorical question...
David: And I had already adjusted the eyebrows before you texted.
I'm challenging myself by using one size brush.
David: Not for me it isn't (in reply to george asking if my question was rhetorical)
My job in life is to observe.
And appreciate.
MY REFERENCE MATERIALS
Because I do not have the ability to do one thing at a time, I was taking pics of my progress last night on this portrait of my friend George Berberian and texting them to him as I was working on the piece.
Part of the conversation that ensued is contained below. It will give you a little insight into what the brain of a Virgo Artist is doing when he's walking along the street, or sitting on the subway, visiting a foreign land or hanging out with one of his favorite people. I have been blessed in so many ways with having the ability to relay what I see visually, but I've also been condemned with the ability to never take things for their surface appearances. In my minds eye, there isn't just a blue sky, a pretty orange flower, or a beautiful set of eyebrows.
TEXT
George: Far be it for me to criticise the artist...
tho I do think my eyebrows are too thick...
George: You're doing it so quickly, and with paint... impressive
David: Lol. I told you I wasn't done fool!!!.
Besides, what do you think a Virgo Artist sees first, second, third and fourth when he looks at you?
George: Uhhh... different shades of color?
Is that a rhetorical question...
David: And I had already adjusted the eyebrows before you texted.
I'm challenging myself by using one size brush.
David: Not for me it isn't (in reply to george asking if my question was rhetorical)
My job in life is to observe.
And appreciate.
MY REFERENCE MATERIALS
"JOSHUA AT THE DOG PARK"
To contact us Click HERE
Being the type of person who doesn't make friends, true friends, all that easily or all that often, I've learned over the years that people like Joshua Paprika Fennell are a rare find in my life. The type of person that I know I was meant to meet and meant to know for the rest of my life.
We met a few years ago at the dog park down the street from where I live and as I discovered not too far from where he lives as well. It just so happens that Joshua has a Jack Russell Terrier, the same breed of dog as my, "Mimzy", and he's also an aspiring self-taught Artist with a passion for life that is evident in everything he does. Joshua is what I refer to as my, "Brother from another Mother", or "Sister from another Mister", depending on the mood and his behavior.
"JOSHUA AT THE DOG PARK" - Acrylic 4.5" X 4.5"
Being the type of person who doesn't make friends, true friends, all that easily or all that often, I've learned over the years that people like Joshua Paprika Fennell are a rare find in my life. The type of person that I know I was meant to meet and meant to know for the rest of my life.
We met a few years ago at the dog park down the street from where I live and as I discovered not too far from where he lives as well. It just so happens that Joshua has a Jack Russell Terrier, the same breed of dog as my, "Mimzy", and he's also an aspiring self-taught Artist with a passion for life that is evident in everything he does. Joshua is what I refer to as my, "Brother from another Mother", or "Sister from another Mister", depending on the mood and his behavior.
"JOSHUA AT THE DOG PARK" - Acrylic 4.5" X 4.5"
CORNER OF 52nd & 10th, NYC - AKA: THE VORTEX
To contact us Click HERE
This is the apartment I live in at the corner of 52nd Street and 10th Avenue in a little place called Manhattan in a little neighborhood called "Hell's Kitchen".
At 17 years this year, It's the only place I've lived longer than the home that I was raised in. With my studio located in the front corner room, (count up 2 windows from the corner of the building). Over the years, it's become the center of my Universe. I've seen a couple roommates come and go, a couple boyfriends come and go, a couple dogs come, (The Mimz is still here.... and well, one ex is still here), but most importantly, I'm still here watching the world from my little corner.
Below are a few of the steps I go through to finish one of these itty-bitty, little 5" X 5" paintings.
This is the apartment I live in at the corner of 52nd Street and 10th Avenue in a little place called Manhattan in a little neighborhood called "Hell's Kitchen".
At 17 years this year, It's the only place I've lived longer than the home that I was raised in. With my studio located in the front corner room, (count up 2 windows from the corner of the building). Over the years, it's become the center of my Universe. I've seen a couple roommates come and go, a couple boyfriends come and go, a couple dogs come, (The Mimz is still here.... and well, one ex is still here), but most importantly, I'm still here watching the world from my little corner.
Below are a few of the steps I go through to finish one of these itty-bitty, little 5" X 5" paintings.
A GREY DAY IN SOHO, NYC
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Finally finished my Soho painting. Not particularly thrilled with it. Way too many details and lots of stop and go between when I started it and when I finished it. These little paint projects are supposed to be "sketches", the idea being that I take reference shots from my day and paint them as documentation, a visual journal of my life, the people I love, the things I see. Unfortunately with subject matter like buildings in Soho on a gray day, there isn't a lot of emotion attached to the reference. Actually looking forward to moving on to the next, a portrait of my friend Chad Pace. Far more interesting. But I have a crazy work week lined up and I want to avoid the whole stop and go thing this time.
Here's the process for the Soho Painting. Start to finish.
Finally finished my Soho painting. Not particularly thrilled with it. Way too many details and lots of stop and go between when I started it and when I finished it. These little paint projects are supposed to be "sketches", the idea being that I take reference shots from my day and paint them as documentation, a visual journal of my life, the people I love, the things I see. Unfortunately with subject matter like buildings in Soho on a gray day, there isn't a lot of emotion attached to the reference. Actually looking forward to moving on to the next, a portrait of my friend Chad Pace. Far more interesting. But I have a crazy work week lined up and I want to avoid the whole stop and go thing this time.
Here's the process for the Soho Painting. Start to finish.
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