The Legendary Rocks of Harmony helped bring the New Orleans Jazz & Heritage Festival back to life.
At 11:15 a.m. Friday, the Rocks, decked out in matching navy suits and red ties, rang in resurrection in the gospel tent.
“With all the things that are going on in this world, we could all have been dead and gone!” gushed Andrew Jackson Sr., part of the family that has run the New Orleans Gospel Institution for more than 70 years.
After two years of cancellation due to the pandemic, Jazz Fest returned under sunny skies. The location was mostly, but not entirely, the same as before the pandemic. The big green grandstands have disappeared from the back of the main festival – formerly Acura – stage field. The grandstands near the Congo Square Stage have been downsized.
Getting Jazz Fest up and running — and actually getting into the festival — wasn’t without its challenges and frustrations. For the first time, the festival used axs.com, not Ticketmaster, to process its ticketing, which included weekend ribbons. Some ticket buyers reported problems with timely delivery and delivery of their wristbands.
New Orleans Jazz Fest 2022 opened Friday not just as a return, but as a “rebirth.” Read the story here.
And early arrivals could expect to wait anywhere from 30 minutes to more than an hour to enter the festival’s Sauvage Street gate on Friday. At one point the line meandered down Fortin Street.
The opening day of any festival is likely to have snafus. An opening day after a three-year break is likely to be more complicated.
“The first few hours of putting this thing together and trying to get it working is the hardest thing of the year — you haven’t done it in a year,” Jazzfest producer Quint Davis said a few hours after the gates were opened. “Trying to get it working after three years is unprecedented. There are all kinds of challenges.
“There are millions of moving parts and small details. Getting this all up and running again after three years is a testament to the people who built it and the musicians, the food people and the artisans.”
“Done my round”
Davis, who wore a face mask as protection against COVID during the festival, was as happy as anyone to see the 51st edition in action.
Opening day on the first weekend of the New Orleans Jazz & Heritage Festival on Friday (April 29). A celebration of music, food, art and…
“I’ve done my rounds. Everything that should play, plays, and on time. The whole live music engine of this festival is running.”
Yes, it was.
On the Sheraton Fais Do-Do Stage, Cajun accordionist Steve Riley fronted a converted Mamou Playboy powered by his 12-year-old son Burke on drums. Co-founder Fiddler David Greeley has rejoined the Playboys.
The band, Riley noted, has been in existence for 34 years and has played Jazz Fest for most of the time. “Something happened in the last two years and we couldn’t pull it off,” he said in what may be the day’s driest allusion to the pandemic. “We’re glad we’re back. We’re glad you’re back.”
horns and sing along
Ceelo Green and PJ Morton, who competed on the stages of the festival and Congo Square respectively, were on similar terrain. Green led a big band of horns, backing singers and dancers, all dressed in red, for his lavish tribute to James Brown. He was sweating through his shirt and “Get up, I feel like a sex machine,” then lost momentum as his set slowed.
Local favorite PJ Morton had Mayor LaToya Cantrell sing along in Congo Square. Morton also used a large, horn-heavy band with groovy grooves, but without the right attire.
Morton, the keyboardist for Maroon 5 when he’s not pursuing his solo career, released his latest album, Watch the Sun, on Friday.
It was clear that he was playing in front of a home crowd. He praised a “New Orleans Girl” and praised his alma maters, St. Augustine High School and Holy Name of Jesus. Of the latter, he remarked, “I was the only black guy in the class when I first walked in.”
Seattle alternative rock band Death Cab for Cutie wasn’t the most obvious choice for a Gentilly stage closer. But black-clad frontman Ben Gibbard’s melodic musings about death translated well outdoors, from the hushed “I Will Follow You Into the Dark” to the shaky acoustic guitars and bassline of “Soul Meets Body.”
“It blows my mind,” said Gibbard. “You could be watching Lionel Richie right now.”
Musical comfort with a smile
Forty minutes earlier, Richie had arrived on the festival stage in a sparkling orange jacket with the words “All Night Long” written on it.
“You’re all only going to see that jacket for two more songs,” he said after the opening of “Running With the Night.” “Then I’ll get out of this damn thing. But I had to look cute.”
Richie is nothing but a pro. Granted, he’s been telling the same anecdote about the New Orleans pronunciation of “Lio-NEL” for at least 20 years. But you can count on him to serve musical comfort with a smile.
A typical example: the Commodore classic “Easy Like Sunday Morning”. Accompanying himself on the piano, Richie smoothly navigated the song while his guitarist cut out the signature solo.
It went down, yeah, just like Sunday morning.
Or just like a sunny Friday afternoon at Jazz Fest.
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