The aromas of boiling crawfish, sweet beignets stuffed with pralines, curry, pecan catfish meuniere, fried soft shell crabs and so much more blew over the fairgrounds pulling you in along with the music of Alex McMurray and His Band playing on the Gentilly Stage. The 47th New Orleans Jazz and Heritage Festival was underway!
Running for two consecutive weekends (always the last weekend of April and the first weekend of May) the festival offers up a gumbo of musical genres, cultural activities and mouth watering dishes that help make New Orleans one of the top food destinations in the world. This year welcomed a thirteenth stage to the festival, the music of Cuba. With the easing of political tensions, Quint Davis (CEO of Festival Productions) welcomed Cuban Ambassador, Jose Ramon Cabanas, to the festival along with New Orleans Mayor, Mitch Landrieu; former U.S. Senator Mary Landrieu; and Jazz and Heritage Foundation President Donna Santiago. Continue reading First Weekend of the 47th New Orleans Jazz and Heritage Festival→
To elaborate, the Spirit of the Suwannee Music Park is a 500+ acre, premier campground and music park located on the banks of the Suwannee river with accommodations for any type of camper, ranging from primitive sites for those who like to truly rough it, to rental cabins for those who like to camp with all of the modern creature comforts at hand. A campground of this nature provides a venue for even those who shiver in dread at the word ‘camping’ to enjoy a music festival. The Spirit of the Suwannee Music Park does it’s level best to provide everything that a guest could need while camping, so that the guest can get on with the business of relaxing and enjoying the many musical offerings to be found on their four stages over the course of four days.
At around four in the afternoon on Thursday, the Florida-grown Lee Boys took the stage at the Amphitheater and kicked things off under a clear, blue Florida sky. Their unique, ‘sacred steel’ music is a form of Gospel music with deep roots in blues, but which also embraces and beautifully blends soul, funk, rock, jazz, country, and hip-hop. Their style of music was the perfect way to begin the festival as it faultlessly embraced the core message of Magnolia Fest; All Are Welcome. After the warm festy welcome by the Lee Boys eight more bands would keep the music flowing between the Amphitheater stage and the Porch stage; the Ivey West Band, Band of Heathens, Parker Urban Band, The Congress, The Corbitt Brothers, The Motet, Nikki Talley and Lake Street Dive until 1:30 in the morning.
By ten in the evening the temperatures had dropped thirty degrees from the daytime highs in the mid 80’s to the low to mid 50’s but did little diminish the enthusiasm of festival-goers as The Motet, a disco-funk revival band out of Colorado, laid down a sound that blew away any thoughts of being chilly and installed a single, musical imperative in their place: You Must Boogie! Children new to this sound danced alongside folks in their sixties and seventies who were remembering younger days in the Age of Funk and Disco as decades-old muscle-memory awakened within them and drove them to shake their aged-yet-still-funky booties. Joy suffused the faces of fans as The Motet put every effort into shaking the leaves from the trees of the outdoor theater with their mighty sound. Bass, two-piece brass, drums, keyboards, percussion, guitar, and vocals all came together flawlessly to create a modern tapestry of those musical elements that made the Disco-Funk era great, while leaving behind those elements that made it cringe-worthy.
Following The Motet, western North Carolinian Nikki Talley kept things rolling from eleven to midnight on the Porch Stage, offering a more intimate country duet set with herself and husband Jason Sharp playing and harmonizing sweetly, allowing guests to cool off without going cold.
At midnight, the final set of the night was performed by Lake Street Dive back at the Amphitheater Stage. The three-piece, four member band makes up for any possible lack of sound they might have compared to larger bands by adding their voices to the mix in precise harmonies that work to supplement and support the drums, double-bass, and guitar and/or trumpet, all of which work together to provide a framework for the strong lead vocals. Taken as a whole, the artists provide a cohesive sound where every part exists in a musical symbiosis and no element offers discord by trying to outshine its fellows. All fancy talk aside, Lake Street Dive laid down a sound big enough to keep festival-goers dancing until 1:30 in the morning.
By noon on Friday, the temperatures were back up in the 80’s where they would stay for the rest of the day, with the light clouds and mild breezes typical of a Florida fall day. The first full day of the festival was in swing as all of the park’s four stages came to life. Merchants and food vendors were fully operational and ready to greet ever increasing numbers of attendees who arrived throughout the day that hurriedly set up camp and then made their way to the main festival area. Here the festival-goers wandered back and forth between the three outdoor stages and the refreshingly dark and air-conditioned Music Hall, catching the bands that they had come to see as well as becoming fans of bands that had been, until now, unknown to them. With twenty-one bands playing on four stages in a thirteen-and-a-half hour time frame, it would be just as impossible to not find a band that tickled your fancy as it would be to see every single performance, though there were those who certainly made a valiant effort at doing the latter. Artists performing bluegrass, country, blues, rock and roll, Cajun, funk, and endless variations of all of the above could be found all day and night throughout the park.
Of the many great artists to be seen performing on Friday, one absolute, not-to-be-missed set was that of The Del McCoury Band. At 76 years of age, Del is the epitome of the classic, classy bluegrass performer. He and his band, including sons Ronnie and Rob, took the Meadow Stage at six in the evening. Dressed in suits and ties in spite of the 84 degree heat they played in the finest bluegrass tradition with the sun kissing their faces as it sank below the cypress.
More often than not, in spite of having the expanse of the massive Meadow Stage on which to perform, the band clustered closely together in a tight knot, singing into a single mic in much the same way as Bill Monroe and the Blue Grass Boys did seventy years prior. To see Del perform is to see a man who appears to be the happiest man in music. In spite of the heat and the sun shining in his eyes and the gnats in his face – several of which he claims to have swallowed while singing, “…they went down pretty easy, though…” he complained not at all, but rather grinned his infectious grin and laughed like the possessor of the world’s funniest joke. Singing songs about being sad and blue while seemingly tickled pink at life, Del McCoury looks to be the living example of the person that we all wish that we could be: the person who has found the thing they love to do the most in the world, and then got paid to do it.
The sun set as the Del McCoury Band played the last songs of their set. The heat fell away while fans smiled and tapped their feet to the music or danced in happy abandon. The dust kicked up by feet mingled with the smoke of campfires while the evening mist of the cooling humid Florida air worked to soften the view of the meadow. Happy festy folk danced and smiled as dragon flies flew overhead while Del continued his set. Children and families played without care or concern, content to exist in the moment as night fell and Del and his band bowed and left the stage. There were moments throughout the weekend that perfectly crystallized the nature and intent of what Magnolia Fest was meant to be, and this was certainly one of them.
Though the Del McCoury Band set might seem like the perfect ending to a great day, there were still six and a half hours of shows left to be enjoyed, starting with The London Souls on the Porch Stage. The New York City based power-duo turned the page as day became night and their music filled the vending area with a massive sound that was surprising in its strength for having been made by only two men. Doyle Bramhall II took to the Meadow Stage and The Congress filled the Music Hall with their sound, each band doing their part to remind attendees that, though the sun was down, the day was far from over. Then the Amphitheater Stage was mounted by The Travelin’ McCourys with guest musicians, Roosevelt Collier (pedal steel) and Earl Walker (drums) of The Lee Boys as well as Ronnie McCoury’s eldest son, Evan, on guitar. As an additional special guest, Del McCoury took the stage in order to lend his talents to the performance of ‘My Love Will Not Change’.
After the Travelin’ McCoury’s, the Tedeschi Trucks Band took over the Meadow Stage for a two hour set. The twelve member band filled the night with their southern-style rock and Gospel sound. The superb skills of Susan Tedeschi and Derek Trucks were generously supported by a fat brass section, a trio of backup singers, keyboards, bass, and, not one, but two drum kits, all orchestrated in such a way that never was the sound cacophonous or overwhelming, but always a perfect mix of the right sound in the right place.
By 11:30, many festival-goers thought themselves spent for the night and ready to return to their camps until The Motet began their second set of the weekend. People who thought themselves depleted of energy found themselves recharged and ready to shake to the funk for the next two hours. Finally, at 1:30 in the morning, the music on the main stages came to an end. As attendees made their way back to their campsites the gentle picking of Slopry Land would divert their attention and call to them to enjoy the late night festivals throughout the campground.
Saturday was another beautiful fall Florida day with highs in the low 80’s. Attendees marveled at how early noon comes when you stay up until the wee hours of the morning the night previous, but put on their happy faces and were present in respectable numbers when the first of twenty-two bands to play that day took their places on the stages. It would be another thirteen-and-a-half hour marathon with some bands like Berry Oakley’s Skylab, Col. Bruce Hampton, Steep Canyon Rangers and more giving repeat performances, much to the relief of many fans who had been forced to choose between seeing these bands and others who were only playing on Friday.
Fans that missed the performance of Steep Canyon Rangers on Friday were able to catch them on the Meadow Stage Saturday afternoon. The sextet thoroughly entertained the crowd with a modern bluegrass sound which is still firmly rooted in its ancestral soil. To the joy of many present, they invited Jeff Austin and two of his band members to join them on stage to play, demonstrating one of the key elements of bluegrass; a love of playing and picking with friends.
One of the most notable moments of the Steep Canyon Rangers’ set was when fiddle player, Nicky Sanders, left the stage to come down to play along the rail where he was given a bear-hug by an enthusiastic fan. Upon extracting himself, Sanders backed up and tripped over the stairs leading back up to the stage. Though stumbling, Sanders managed to keep his feet without doing himself an injury or dropping a single note in his furious fiddle playing.
Adding another musical element to the festival, the Rebirth Brass Band took the Meadow Stage and filled the evening air with a prime example of New Orleans jazz brass. Fans in the know danced energetically while waving hankies, scarves, bandanas, or just index and middle fingers held together in the air to signal their approval of the sounds this band of thirty-two years was laying down.
Jeff Austin Band returned to the stage with his band for his scheduled set at 7:30 pm, giving fans another example of solid, jam-grass. The thing that distinguishes Jeff Austin from so many other excellent bluegrass musicians is the obvious punk-rock soul that seems to seethe just beneath the surface and which influences both the lyrics and the beat of many of his songs. The overall feel of much of his music speaks of a vision of the world that is greyer and less ‘bright and shiny’ than traditional bluegrass and watching him perform is like watching a bluegrass version of Angus Young as he shreds on his mandolin. As always, it is an exhilarating performance.
The headliners of the night were The Avett Brothers with a much expanded lineup, taking the stage at 9:30 pm to the joy of their adoring fans. A crowd of smiling, upturned faces reflected stage light back at the band as music spilled across the meadow and drew the greatest number of fans for any performance of the weekend. In spite of chilly temperatures in the upper 50’s, fans in shorts and t-shirts would sooner have sawn off a limb than leave for warmer clothes and risk missing a single minute of the two hour set. Their love of the band would be enough to keep them warm.
Finally, rounding off the evening back at the Amphitheater Stage, Donna the Buffalo, a core band of Magnolia Fest, played their first set of the weekend. They lead festival-goers out of the last hours of Saturday and into the first hours of Sunday with their distinctive sound that had fans, as always, dancing almost nonstop.
Scattering outward into the darkness after the last notes of Donna The Buffalo had faded away, many a camper drifted back to their respective campsites to wind down before turning in, but no small number of people made their ways through the darkness to seek out the many islands of sound that drew them in back into Slopery Land like moths to an audible flame. Here, musical guests and festival attendees alike played long into the small hours of the morning, keeping the music going on a lower key, though with no less earnestness than any of the performances which had come before.
Sunday dawned cool and breezy and had a distinct, ‘the party is winding down’ feeling to it. It was the kind of morning that encouraged one to enjoy breakfast slowly and to linger over hot, fragrant coffee while mulling over the events of the preceding days and nights. Only a single stage, the Amphitheater Stage, would be in use by five bands for a piddling eight-and-a-half hour day of music. O, what luxurious and relaxing bliss does a lazy Sunday bring!
Looking out over the meadow where the now-silent Meadow Stage stood, one was given sight of yet another of those moments that perfectly crystallized the core notion that Magnolia Fest was founded on. Children laughed, played and giggled with the pure abandon that is the sole province of the innocence of youth, while adults looked on and smiled to see such beauty in the world. Here was a moment in time where the grinding concerns of life could be set aside momentarily and one could embrace the joy to be found in a world of music and the camaraderie one finds in the company of others in whose souls also dwells an appreciation for beauty in all its varied forms.
At noon the music started off with Big Cosmo, followed by Grandpa’s Cough Medicine and Jim Lauderdale, all of whom drew solid attendance and put out enough energy to keep exhausted festival-goers, if not dancing outright, smiling and tapping their feet at the very least. Unsurprisingly, the majority of those folks dancing on Sunday were aged roughly 12 and below, as they seem tapped into an energy source to which the rest of us have long since lost access.
By 4:00 in the late afternoon when Keller Williams’ Grateful Gospel took the stage, the batteries of most of the adults had recharged enough that they were able to dance along with the tireless children. The previously clear air of the day is now dissected by shafts of sunlight because of the amount of dust kicked into the air by happy feet. Bubbles float lazily overhead, hula-hoops are enthusiastically, if not always professionally, spun, little children are bounced on the shoulders of parents, hammocks rock, and fans sing along as Keller plays.
Last, but not least by any stretch, Donna The Buffalo takes the stage once again for the final set of the day, giving fans two more hours of music with which to enfold their spirits before taking their leave of the Spirit of the Suwannee Music Park and picking back up their burdens of daily life. Though the music of Magnolia Fest has come to an end for another year, the memory of the music and the joyful festival-goers and the perfect weather will linger on in our minds and, in times of need, hopefully be a balm to our souls when we are sometimes battered by the casual indifference of daily life. It is in the memory of joy and beauty that we find the strength to straighten our backs and smile when we might otherwise bow our heads and let the innumerable little burdens of life break us down. It is for those memories that Magnolia Fest exists, and we hope next year to see you there, so that next time, You, dear reader, are the one who can begin the story with, ‘Here’s what you missed…’
The 500+ plus acre campground of Spirit of the Suwannee provides one of the most unique festival experiences a festivarian can have. The beautiful wooded floodplain surrounded by upland pine woods and maturing hardwood forests draped in thick lush Spanish moss bestows one of the finest backdrops imaginable. The mystic of the antebellum era can be felt as one hikes through the 12 miles of trails.
Magnolia Fest will kick off on Thursday, October 15th with the American sacred steel ensemble, Lee Boys. The Florida based band’s unique sound has attracted musical such as Bob Weir of the Grateful Dead, The Allman Brothers Band, The Black Crowes, Los Lobos, Michelle Shocked, Gov’t Mule, Derek Trucks Band w/ Susan Tedeschi, The North Mississippi Allstars, Hill Country Revue, Umphrey’s McGee, Ivan Neville’s Dumpstaphunk, Oteil & Kofi Burbridge, The Dirty Dozen Brass Band, Toubab Krewe, Victor Wooten, The Del McCoury Band and The Travelin’ McCourys- all of whom have played with the Lee Boys and/or invited them to tour with them. The Amphitheater and Porch stage will host acts throughout the day from Ivey West Band, Band of Heathens, Parker Urban Band, The Congress, The Corbitt Brothers, The Motet (who will also close out the evening on Friday), Appalachian singer song writer Nikki Talley. The evening is set to close with Massachusetts based band, Lake Street Drive known for their split difference between Motown soul, sixties pop zip and British invasion swagger.
The lineup for Friday continues the introduction of some world’s finest performers in Americana, Roots Rock, Acoustic Blues, Singer/Songwriter, Bluegrass & Newgrass, Cajun/Zydeco with opening acts Grits and Soul and Bonnie Blue. Friday also sees the addition of two stages, an expansive Meadow Stage and the Music Hall. Performances will include Mojo Gurus, Applebutter Express, Berry Oakley’s Skylab. The Lee Boys, The Corbitt Brothers, Nikki Talley and The Congress will take to the stages once again for those who missed out on the Thursday sets. The lineup continues with Cedell Davis, Habanero Honeys, Lost Bayou Ramblers, Col. Bruce Hampton, Grammy award winning bluegrass favorites the Del MCoury Band, Quartermoon, The London Souls and Doyle Bramhall II whose been on tour with Tedeschi Trucks Band. The Travelin’ McCourys with the front man for the Lee Boys Roosevelt Collier will play a set before the headline for the evening Tedeschi Trucks Band. The Colorado impro funk band The Motet will wrap up the performances on the stages. Late night campfire pickin’ will continue into the wee hours of the morning by attendees and performers alike.
Saturday’s lineup packed to the gills with goodness will include Steve Pruett’s Back from the Brink, Bryce Alastair Band, This Frontier Needs Heroes, Quartermoon, Berry Oakley’s Skylab, The Corbitt Brothers, Flagship Romance, Whetherman, JacksonVegas, Col. Bruce Hampton, Steep Canyon Rangers, Sloppy Joe, Jerry Joseph and the Jackmormons, Quebe Sisters, Rebirth Brass Band, Grits and Soul, Grandpa’s Cough Medicine, Jeff Austin Band, Jim Lauderdale, New Orleans Suspects. The multi Grammy award winning Americana folk rock band, The Avett Brothers, will headline the Meadow Stage Saturday evening. Donna the Buffalo the amazing zydeco, folk rock band will close out the evening.
The low key Sunday schedule gives attendees the opportunity to explore the wonderful Spirit of the Suwanee Park. The shady banks of the historic Suwannee River provide an excellent picturesque paddling experience with canoe rentals or wandering the trails by bike or foot. The lineup for Sunday starts at noon on the Amphitheater stage with Big Cosmo, Grandpa’s Cough Medicine, Jim Lauderdale, Keller William’s Grateful Gospel and will close with a set from Donna the Buffalo.
Tickets are on sale in advance and at the gate. Tickets are $200 until October 14th; and $210 at gate. All weekend tickets are inclusive of all taxes and fees, and include 4 days of primitive camping and music. Kids under 12 are invited to join for free. Fans can also upgrade their experience with VIP tickets for $400 which includes dinner, discounts, VIP Lounge, festival poster, & other perks. Single day tickets are available. Student and Military tickets are $180 and $210 at the gate. The Live Oak Music And Arts Foundation (LOMAF) will have a booth with raffles to raise money for the local music and art programs in the area.
SOSMP is located between Jacksonville, Florida & Tallahassee, Florida about 30 minutes south of the Georgia State line, about 45 minutes north of Gainesville. For RV hook ups, cabin rentals and golf cart rentals, please visit the park’s web site at www.musicliveshere.com call SOSMP at (386)-364-1683. For further information and tickets, please visit →www.magnoliafest.com/tickets.
Thereâ€™s a chill in the air, and the sounds of the season are everywhere. Christmas, you ask? No, youâ€™re in New Orleans, and itâ€™s Carnival time â€” Meet Me at Mardi Gras. From every radio, bandstand, bar and coffee shop, the songs associated with Mardi Gras (especially perennial favorites such as Al Johnsonâ€™s â€œCarnival Timeâ€ and the ReBirth Brass Band anthem â€œDo Whatcha Wannaâ€) announce the month of parades and balls that will culminate with the nationâ€™s biggest citywide party.
The 12-song set Meet Me at Mardi Gras, toÂ be released on January 10, 2012,presents many of the best Mardi Gras songs on Rounder Records (a division of Concord Music Group), which, for decades, has been the pre-eminent label recording the music of New Orleans.
Also included are two classic songs from the Specialty catalog (Rounderâ€™s sister label in the Concord Music Group). The album was compiled by Rounderâ€™s Grammy-winning VP of A&R, Scott Billington.
Meet Me at Mardi Gras will serve as a suitable soundtrack for any Mardi Gras party. The Soul Rebels strike a funky note with â€œSay Na Hey,â€ a brand new song written by Leo Nocentelli, the guitarist for the crucial New Orleans funk band The Meters. In contrast, several of these songs reach back more than 50 years. Pianist Joe Liggins was not from New Orleans, but his â€œGoinâ€™ Back to New Orleansâ€ has become a standard, covered by both Dr. John and Deacon John. Larry Williamsâ€™s â€œJockamo a.k.a. Iko-Ikoâ€ is a rocking version of the traditional Mardi Gras Indian chant.
Speaking of which, Bo Dollis of the Wild Magnolias (these tribes are African Americans who mask as outrageously plumed â€œIndiansâ€ on Mardi Gras and on Saint Josephâ€™s Day) takes the lead vocal on Professor Longhairâ€™s timeless â€œTipitina.â€ The Professor himself is featured on a 1960s version of his anthem â€œGo to the Mardi Grasâ€ with its signature New Orleans parade beat.
While Cajun music originates in the French-speaking parishes south and west of New Orleans, youâ€™ll often hear it in the Crescent City. â€œMardi Gras Mambo,â€ originally recorded by Art Nevilleâ€™s early band, The Hawkettes, is performed here by Cajun rocker Zachary Richard, while Steve Riley and the Mamou Playboys play the minor-key â€œLa Danse de Mardi Gras,â€ which youâ€™ll hear at every Cajun dance at this time of year, for Cajuns have their own Mardi Gras.
For reasons not entirely known (but probably not difficult to decipher!), Jimmy and Jeannie Cheathamâ€™s â€œMeet Me With Your Back Drawers Onâ€ has become a New Orleans standard, especially as performed by vocalist Chuck Carbo, a veteran of the vocal group The Spiders. Rounding out this set are pianist/singer Marcia Ball, with her song based on a Zulu character â€” the Big Shot with his bowler hat and big cigar â€” and the New Orleans Nightcrawlers, who offer a funky twist on the melody of â€œLiâ€™l Liza Jane,â€ long a brass band staple.
In the week before Mardi Gras, the evening parades are family affairs, filled with the aroma of barbeque and the sound of laughter. Chair-topped stepladders are set up along the streets as perches for children to be better positioned to catch the beads thrown from each float. Spectators shout out to kids and cousins in the high-stepping high school marching bands. And you can bet that the music on this album will be emanating from someoneâ€™s front porch, beckoning all to the party.
1. The Soul Rebels â€”Â â€œSay Na Heyâ€
2. Joe Liggins & the HoneydrippersÂ Â â€” â€œGoinâ€™ Back to New Orleansâ€
3. Zachary RichardÂ â€” â€œMardi Gras Mamboâ€
4.Â New Orleans NightcrawlersÂ â€” â€œFunky Lizaâ€
5. Steve Riley & the Mamou PlayboysÂ â€” â€œLa Danse de Mardi Grasâ€