NEW ORLEANS JAZZ & HERITAGE FESTIVAL
WEEKEND 1 – THURSDAY APRIL 24 – SUNDAY APRIL 27, 2025
It has been two years since my last JazzFest but some things about it never change. The range of acts on offer across both weekends Festival is still quite amazing. Literally thousands of musicians mainly from America with a special emphasis on making this the biggest annual showcase of local Louisiana talent. This year the annual international focus is on Mexico, organised long before the federal election last year.
Complementing all the music is a range of food stalls that also highlight the unique character of this most foreign of American states.
Set at the Fairgrounds racetrack, a 15-minute bus ride out of the French Quarter, the festival has large arena areas at either end of the track with other in-field stages that you can access by wandering past the 150 or so food, craft and merch stalls. There are Jazz, Blues and Gospel tents along on the outfield near the Grandstand which offers a cool respite and also hosts food displays, exhibits, a Q&A stage, plus the Lagniappe stage in the centre.
The festival’s organisation is impeccable: all of the acts start and end on time; access to the festival is fairly smooth given the numbers (up to 100,000 a day at times); access to the stage areas is good (if crowded at times); and there is almost no visible security, nor is it seemingly needed.
The vibe, as they say is always great. Chilled. People here are more likely to share than shout out you, no matter how annoying you might be. (Despite the prevalence and popularity of beer stalls I can only ever recall one occasion when I saw someone slightly drunk!) Everyone is here for the same reason: because they love music.
Lining up for our tickets on the first morning resulted in multiple conversations with people giving us tips on who to see. I have found people here to be incredibly friendly. Get on the bus to or from the festival and you cannot avoid a chat. Did I mention that Americans still love Australians. ‘I love your accent,’ is a frequent refrain. Thanks, Bluey.
This year’s event felt different to me for several reasons. First, the crowd numbers seemed down on my recent Jazz Fests. I was not here for last year’s event which featured The Rolling Stones, possibly the biggest headliner here ever; and, while the crowd number was restricted for that particular day, the knock-on effect on other days was considerable. This year without a similar headliner, yet keeping the 8-day format, it was inevitable that ticket sales would be lower. The benefit for punters was obvious from the first day. Usually, Thursday was the least crowded anyway, but it was easier to get around, easier to get served at food stalls and easier to get a seat in the Jazz and Blues tents.
The other reason this felt different for me is that I have encountered limited mobility compared with other years I have been here. I curse a broken femur, the effects of which linger. I had to use a walking stick last time but people said I was like a gazelle! Also, I don’t find it as easy to sit out in the sun anymore, even wielding an umbrella for shade. So, I am mainly in the tents. There are some acts on the infield stages that I am going to miss. (The good news could be that things might improve for me next weekend).
The headliners for the first weekend included on various main stages: John Fogerty, Goose, Seun Kuti & Egypt 80, Delfeayo Marsalis & The Uptown Jazz Orchestra, Shemekiah Copeland and Sam Bush on Thursday. Friday featured Kacey Musgraves, Cheap Trick, Gladys Knight, Stanley Clark and Walter Trout. Saturday’s headliners were Tank & The Bangas, Lil’ Wayne & The Roots, Harry Connick Jr, babyface, Diana Krall and Taj Mahal & The Phantom Blues Band. Sunday’s headliners included the Dave Matthews Band, HAIM, Burna Boy, Bill Frisell, The Branford Marsalis Quartet and Eric Gales. This, of course, is but a fraction of the acts appearing across the weekend on the dozen performance stages, so you can image the choices you might have to make.
Thursday April 24. The weather was perfect. Cloud covering for most of the day with a tiny smattering of rain. We headed straight for the Crawfish Monica stall to have our first bowl for two years. Spiral pasta with crawfish in a creamy sauce. US$13. It is only available at the festival, and it is still just as delicious.
Then it was off to the Blues tent to see John Mooney & Bluesiana give a dynamic performance. I wonder why Mooney is not better known and celebrated but you could say that about many acts you see here. Then it was across to the Jazz Tent for Stanton Moore along with David Torkanowsky and James Singleton in a funky hour of jazz. The trio is great and Singleton’s upright bas playing is exceptional. Karl Denson’s Tiny Universe, who will be doing a tribute to the Stones Exile album in a theatre here next week with special guest, rocked the Congo Square stage.
Across to the Gentilly stage at the opposite end of the arena to the Jazz venue for a band called Goose, from Connecticut. Now, I had never heard of them before and probably would not have seen them except for a conversation I had with two of their fans while lining up in the morning to collect our tickets. They have been going for eleven years and have 4 albums out. Shows you how bands can slip by you. I thought they were terrific – great lead singer and guitarist. A little in the jam band mould but more melodic and focused. Reminded me of Lukas Nelson. First great discovery of the festival.
In comparison to Goose, John Fogerty and his band, who are on tour celebrating the songs of Creedence Clearwater Revival, were a bit lacklustre. Fogerty’s voice didn’t quite make it and was covered by the harmony vocals of one of his sons. I arrived to hear ‘Who’ll Stop The Rain’ and ‘Looking Out My Back Door’ but the set list deteriorated with a song to his wife and a song from his first band the Golliwogs. It picked up with a version of Rockin’ Sidney’s ‘My Toot Toot’ that featured Rockin’ Dopsie Jr in a nod to Louisiana and then ‘Keep On Chooglin’.
On Friday I swapped between the Blues and Jazz Tents for the Johnny Sansone Band, Astral Project and then Carolyn Wonderland, the great Texan guitarist that I interviewed in Austin on Monday.
On Saturday it was all Blues for me. Chris Thomas King, Louisiana bluesman who you might remember from Oh Brother Where Art Thou?
James Andrews & The Crescent City Allstars next up had the audience rocking with a bracket of traditional New Orleans songs and then had them following him around the tent for a Second Line. Marcia Ball with Carolyn Wonderland and Shelley King on backing vocals for some songs. Taj Mahal & The Phantom Blues Band closed the day, and Taj is just as feisty as ever. Despite the fact that he has to sit now, his voice is still great, and his playing of various instruments was as adept as ever.
By Sunday I had recovered energy somewhat but wanted to get to the Jazz Tent to make sure I got a seat for Bill Frisell.
First, Judith Owen and her JO Orchestra, featuring David Torkanowsky (who will be touring Australia with her) gave an energetic performance of some classics that won the audience over completely. Lawrence Sieberth’s Special Edition featuring China Moses followed with some jazz funk.
Then, Bill Frisell Trio and his trio raised the bar a lot higher. With Brian Blade on drums and Thomas Morgan on sax, Frisell launched into several long improvisational compositions before closing with Jackie De Shannon’s ‘What The World Needs Now Is Love.’ It was sublime.
The Branford Marsalis Quartet closed the day in fabulous fashion and there are quite a few who might have made comparisons the John Coltrane. The tone Marsalis is able to get on either of his saxes is beautiful.