[JPL] New Orleans Jazz Festival

Bradley M. Stone bstone at science.sjsu.edu
Wed Feb 15 23:04:53 EST 2006


Jim,
 
I'll second the motion on that crawfish etouffe!
 
Brad

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From: jazzproglist-bounces at jazzweek.com on behalf of Jim Wilke
Sent: Wed 2/15/2006 7:55 PM
To: Jazz Programmers Mailing List
Subject: Re: [JPL] New Orleans Jazz Festival



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Thanks for the clarification, Philip.  I haff'ta tellya, I sure came
away a fan of some music I was only lukewarm to before and a half dozen
groups I'd knew nothing about before hearing them in one of the tents
or clubs.  Unlike the big pop acts, I'd never have heard these people
any place else. ...  an' man, now I'm hungry for some crawfish etoufee!

Jim


On Wednesday, February 15, 2006, at 07:39  PM, philip booth wrote:

> Jim:
> They actually cut out those big fest-affiliated evening shows last
> year.
>
> And when they were going strong, some of those evening shows weren't
> all pop shows. I remember going to a Miles Davis/BB King show at the
> Municipal Auditorium some years ago, and, if I'm remembering this
> correctly, a Miles/Wynton double bill one year when they were still
> doing the shows in the big River Tent. Seems like I saw a Linda
> Ronstadt/Neville Brothers double bill at the River Tent, although I
> could be mixing up a couple of years.
>
> At any rate, yes, longtime fest fans do consider the Fair Grounds
> shows the "real" fest. And second to that is the amazing lineup of
> homegrown and national talent that invades the clubs over the 10-day
> period -- at places like Snug Harbor, Donna's, Funky Butt, Maple Leaf,
> Jimmy's Carrolton Station, Mid-City Lanes Rock 'n' Bowl, Dragon's Den,
> Tipitina's, House of Blues, and in-store performances at Louisiana
> Music Factory and Tower Records.
>
> Not sure if all of these clubs are back in action or not.
>
>
>
>
>
> ----- Original Message ----- From: "Jim Wilke" <jwilke123 at comcast.net>
> To: <jazzproglist at jazzweek.com>
> Sent: Wednesday, February 15, 2006 10:28 PM
> Subject: Re: [JPL] New Orleans Jazz Festival
>>
>> Jae,
>>
>> I don't think the first promo this year is particularly different
>> than past years.  The last few years that I've been following it (and
>> attending one year), it seems that the stress is on the big pop names
>> who usually play downtown venues, not the Fairgrounds Race Track on
>> weekend days where all the different stages are, each with a
>> different kind of music .
>>
>> Without examining a balance sheet, I'd guess they make a lot of money
>> from the big ticket events downtown in large arenas. They probably
>> use that income to help support the many stages at the Fairgrounds
>> which most regular Jazz Fest folks would say is the REAL Jazz Fest
>> ... the other stuff just sort of occurs at the same time.
>>
>> I've only been there for Jazz Fest once a couple of years ago, but it
>> was a real treat.  The food, the people, the marching bands, the
>> different kinds of music.   There were big name pop acts playing
>> downtown and at a large stadium facility out by the Fairgrounds Race
>> Track, but I just ignored those crowds and enjoyed all the other
>> stuff, mostly jazz and crawfish six different ways!
>>
>> Your new CD is excellent, Jae .... I'm playing it regularly on Jazz
>> After Hours, even though it leaves less time for pop acts!   (wink,
>> wink)
>>
>> Jim Wilke
>> Jazz After Hours, PRI
>> www.jazzafterhours.org
>>

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IN THE FEB. 13 ISSUE: Bruce Lundvall returns for part two of his Q&amp;A with music editor Tad Hendrickson this week. The president of EMI Jazz &amp; Classics discusses the future of the Blue Note label and of jazz in general. And he dispells part of a long-running urban legend. In the news, grants from Higher Ground are closing in on $3 million; ASCAP has announced its Young Jazz Composer winners; the New Orleans Jazz &amp; Heritage Festival has announced dates; J at LC is saluting Philly; and there's more news in this week's news briefs. Reviews include the latest from the Mary Lou Williams Project; guitarist Oscar Castro-Neves; harpist Carol Robbins; pianist and composer Manuel Valera; and a retooled Sergio Mendes.

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