A Tale Of Ill Will May 14, 2009Posted by Mark Folse in Toulouse Street.
Tags: A Tale of God's Will, Louisiana Philharmonic Orchestra, Terence Blanchard
Dear Louisiana Philharmonic Orchestra,
You don’t get it, do you.
Earlier this week I got emails from You Tube informing me that your organization requested two very-low-fidelity excerpts of the 2008 Jazz Fest performance of Terence Blanchard’s A Tale of God’s Will be taken down.
Both ere posted there so that I could embed them in two blogs posts, one as an update to a post pimping Terence Blanchard’s performance with the LPO while I worked on a second post, a glowing personal review of the event.
It’s sad that an organization that has struggled terribly in the recent past would essentially waste time chasing down my crappy little camera videos, which I had put up on You Tube only so I could embed them in posts promoting and praising your collaboration with Terence Blanchard.
Some people just don’t get this new media thing, and cling to the Digital Millennium Copyright Act and other protections like someone cowering behind a triple locked door thinking that will solve the crime problem outside, thinking it will save their little corner of the music industry. It will not. Instead, you spurned my small act of promotion for your participation in this event.
Hell, you’re not even the copyright holder. If Terence Blanchard had complained, I would feel a bit better, but would probably write to ask him why. He probably has more sense that to yank my two tiny, tinny recordings out of what is otherwise a glowing review of the event.
If the Jazz & Heritage Festival had done it, well, I’ve said enough bad things about their management, and using my $100 camera to capture two minutes excerpts of Jazz Fest performances explicitly violates their policies. I would not be surprised even though they would also be spurning free publicity from the one part of the public media that is actually growing in reach year by year while television, radio and the prints shrivel.
Fine. I have removed the embeds for these, and I repeat myself, very low fidelity video excerpts (placed per my statement of Fair Use below on the right) from the posts We Will Drown the Bitch in Beauty and A Tale of God’s Will and replaced them with more of my own still photography which is explicitly allowed by the New Orleans Jazz and Heritage Festival. And I will remove any references to the LPO from those posts, lest you come after me for the unauthorized reproduction of your name.
If you and the RIAA and others (the Associated Press comes to mind lately) think you can quash reasonable fair use by bloggers, good luck with that. The Internet was designed to survive a nuclear war. I think we can survive you.
The Big Scary Blogger Trying To Steal Your Soul with a $100 Canon
Last Act at the Private Street Stage May 6, 2008Posted by Mark Folse in cryptic envelopment, Dancing Bear, New Orleans, NOLA, Rebirth, Recovery, Sinn Fein, Toulouse Street, We Are Not OK.
Tags: Carlos Santana, Jazz Fest, Jazz Fest 2008, Jim Hendrix, Jimmy Buffet, Neville Brothers, New Orleans Jazz and Heritage Festival, power of love, Terence Blanchard
By Sunday, I was done in. The combination of days treading through treacherous, treacly mud pits and an unballasted wallet left me walking like a sailor just back from the Horn, with a Odd swinging gait and a permanent list to windward. I was burned without and within by too much sun and too much fun and could in no way contemplate another day at Jazz Fest.
Somehow I drug myself out of bed that sunny morning and managed to plow through all the necessary chores for a weekend: laundry done and my shirts ironed, something cooked easy to serve up for the week, a trip to K-Mart for some necessities, a blog post written up. After all that I was beat, but managed to find the energy to replace my back bicycle tire. I was determined that I was not going to let the last of April, first of May pass without hearing Carlos Santana. His is an almost quintessential Jazz Fest act, combining jazz, rock and Latin rhythms in a way an Orleanian can digest as easily and with as much relish as a crock of creme brulee: an almost impalpable richness and sweetness touched with fire.
It is not just the sheer beauty of straight ahead guitar jazz like Europa or the cathartic drum rite of a perfect Black Magic Woman that drew me there, but something elemental like the Odd forces that hold atoms together, a species of the Strong Force. Santana is one of the generation of musical bodhisattvas: a line of musicians running back to jazz artists of the 1960s like John Coltrane, Pharoah Sanders and Rahsaan Roland Kirk, powerful jazz innovators who expressed a profound spirtuality through their music. Somewhere along the line musicians with that sort of overtly spiritual inclination seem to have vanished. Perhaps they were all sucked into one of the many marketing arms of the Cult of the Gospel Inerrant, that peculiar religio-business that has replaced Christianity in much of America, to pop up as acts like Jars of Clay or Third Day.
Santana is one of the last of a different breed. To hear him is not to experience the happy, corporate pop of what little I have heard of popular “Christian” music. The instrumental second part of Black Magic Woman is not some toe-tapping, feel-good cant. It is what was called in the decade from which Santana emerged An Experience. What comes through is not the gentle spirit of the shyly-smiling blond guy with a lamb on his lap. It is instead music that could be the song in the head of the demiurge as he raised the first roaring volcanoes out of a chaotic ocean, and then tossed the burning sun into the sky, the frenetic rites of the first peoples upon discovery of the drum and the dance.
And so while my tired wife napped in the sun with the pretense of a book in her lap I applied myself to the bicycle pump and set out to find a spot where I could at least hear Santana’s mid-afternoon performance. I pedaled up the narrow cul-de-sac streets between St. Louis No. 3 and the west side of the Fairgrounds, and found myself on the corner of a quiet residential street abutting the Fairgounds and a narrow strip of asphalt with a city street sign reading Private, right behind the port-o-lets west of the Acura stage, not fifty feet from where I’d turned the corner the day before to go buy a beer and some food over by the Jazz Tent.
Private was an apt name for the place. I had pedaled over expecting to either be disappointed that I could not find a good spot or instead that I might find one that would look like Frenchman Street on Mardi Gras night. Apparently the world is divided into people who plop down their $50 and go in the gate to Jazz Fest and people who find something else to do. Except for one fellow in sleevless black smoking Marlboro’s back propped against the fence and a handful of the people who lived back there sitting out in lawn chairs, Private was very nearly just that: my own personal place to listen.
There’s not much more I can say about Santana that I haven’t already said. I was so tired that I can no longer remember the entire play list, only highlights: an ecstatic Black Magic Woman and rocking versions of Oye Como Va and No One To Depend On, Maria Maria, a John Contrane number my tired brain can’t recall two days later. There was a long speech on politics that I silently applauded, not for its overt electioneering, or even for the long list of activists and musicians Santana cited as being in the tradition he tries to uphold (it was long and I couldn’t recreate it without notes). Instead, what wowed me was the way Santana wrapped it up with Jimi Hendrix’s famous aphorism: “We are about the power of love, not the love of power.”
Oddly enough, I had picked up a button with Jimi’s picture on it and the same saying just two days earlier when passing the Save Our Wetlands table. I visualized the button laying atop my muddy poncho on the porch back home, and immediately connected the three note base line and the simple, whammy bar guitar riff that goes with it, the one common to Hendrix’s Third Stone from the Sun and Santana’s Black Magic Woman (listen hard in your head; you know the one). “We are about the power of love.” The phrase is still ringing in my head days later even as the discrete events of Jazz Fest retreal into a blur.
That is what this last Jazz Fest was about: a healing that during the last two we were not ready to receive, an experience no Big Chief from Kansas City could possibly understand. There is enough distance now for healing, and the line up was perfect. Jimmy Buffet was my touchstone to the Gulf Coast during my cold years of exile, and the party that life here can be if you so choose. Terence Blanchard was It, The Thing, distilled into music of such emotional power that it lifted you past The Event and into the place that healing can begin. And finally Santana: the ineffable essence of beauty Keats once found on an old urn and which I found at the corner of Verna and Private; a rollicking tribal celebration with drums and fire of the Power of Love; the love of this place that brings us home, that drags us out of our tired patio chairs and back to this lonely corner of Mid-City because we need cannot get enough, the power of the love of those who have come home to stay and rebuild New Orleans.
I left before the Neville Brothers played.
A Tale of God’s Will May 3, 2008Posted by Mark Folse in 504, 8-29, Federal Flood, Flood, Jazz Fest, je me souviens, New Orleans, NOLA, Toulouse Street, We Are Not OK.
Tags: 2008, 504, A Tale of God's Will, Hurricane Katrina, Jazz Fest, Jazz Tent, New Orleans, NOLA, Requeim for Katrina, Terence Blanchard, WWOZ
Today Terence Blanchard led his quintet, with faces as solemn as morticians’, in a joyful noise together with a backing orchestral group selections of his A Tale of God’s Will (A Requiem for Katrina). It was an Odd moment for Jazz Fest (and so perhaps our favorite here on Toulouse Street). I saw two tributes so far, one for Willie “Tee” and Earl Turbington and a show featuring young students of Alvin Batiste. Both were joyful celebrations of the musicians honored, music interspersed with stories and spoken word tributes. They were perfectly in the tradition of a city where, once we have buried the deceased, the parade begins.
Blanchard’s recital this afternoon was of another character altogether. It was more like the full funeral package, with all of the the sadness and solemnity of the service and the recession from the church and march to the cemetery. The Reverend-esque Blanchard spoke of the deceased and offered an excellent homily.There was his tale of boat rescuers, of people being taken out told to be quiet so the people left behind that trip might not hear them, told to cover their children’s eyes as they passed through an area full of dead bodies, introduced the piece “Funeral Dirge”.
His homily was on the importance of Lee’s film, When The Levees Broke. He told the tale of his mother asked by Spike Lee to let him film her first return to her ruined home, of how he warned her what having a full film crew following her might mean at such a difficult and delicate moment, of how proud he was that she insisted. People, his mother told him, need to know what happened down here. This led into the piece “Dear Mom”.
When they were not playing, Blanchard and his group were as serious as their subject, and as the music they composed. It seemed fitting for the piece of music a friend of mine told me before the show was the one he would put on when he felt compelled to escape his home on the sliver by the river to drive around Gentilly, sometimes checking on homes he had gutted to see if any have made progress. When he does this, he said, he will sometimes bawl like a baby.
At the first orchestral passage, Blanchard reached up to his face and wiped with his fingers just beneath his glasses as if to wipe away tears, a motion I last saw on a jazz stage at a Red Cross benefit in Fargo, N.D., after New Orleans trumpeter Marc Braud spoke of recovering his instrument as the rest of that band played “Do You Know What It Means”.
The audience I could see (and I was rapt and could not turn my head away from the stage) were just as transported. The WWOZ DJ who sat in front of me was not the outgoing, crowd-working celebrity I had seen in the tent and up on stage announcing the rest of the day, but sat solemn as a sphinx. The other stage announcer, a man in a red t-shirt and dreadlocks, sat at the foot of the stage looking not at the musicians but stared straight ahead into some private place. A woman came and sat beside him and put her arm around him.
As Blanchard spoke and the musicians played, the rain that had held off all day finally broke in torrents, as if the music had moved not just a few thousands in this tent on this day but had seized the hearts of the heavenly host and moved them to tears as well as they considered the Odd mix of pain and beauty that is God’s Will.
It was also, as I promised Friday, a time of joy. As the band wailed through the beautiful Ashe and the straight ahead jazz numbers that ended the concert, the orchestra musicians who had sat at attention in their best, serious concert poses, began to be transported by the music as well. The first violin began to show a shy smile, and to bob her head in time as members of the audience around me did. An incredulous cello in a John Brown beard divided his attention between an incredible bass solo and watching the drummer. When Blanchard called on the audience to help him by taking of the chant “This is a tale of God’s will” from the album’s opening cut, we were all transported without moving to the Gospel Tent and the moment of redemption many of us had come for arrived at last.
As I had hoped, Blanchard’s quintet had drowned the bitch in beauty and flooded the streets with tears of joy.
Also, don’t miss the podcast interview which Blanchard’s team (he mentioned bringing in his personal sound man and tour manager to run the boards) had put up the very same evening.
N.B. Fixed numerous typos. Must not try to post when dead tired and trying to rush out the door to the Fairgrounds. Thanks G.P.
Last update: here’s another camera video of an excerpt of Ashe’.
Update 5-12-09 Based on a notice from You Tube that the Louisiana Philharmonic Orchestra objected to these small, low-fidelity excerpts I shot with my $100 Cannon from 100 feet away, I’m removing the video. In fact, I’m going to go back and edit out references crediting the LPO with participation in this performance and will simply refer to them as “the orchestra”.
We Will Drown the Bitch in Beauty May 1, 2008Posted by Mark Folse in 504, 8-29, Dancing Bear, Federal Flood, Hurricane Katrina, Jazz, Jazz Fest, je me souviens, levee, New Orleans, NOLA, Rebirth, Recovery, Remember, Sinn Fein, Toulouse Street, We Are Not OK.
Tags: 504, Jazz Fest, LPO, New Orleans, NOLA, Requiem for Katrina, Terence Blanchard, WWOZ Jazz Tent
“I told you I would be here.
It was important that I came.
I’m leaving but I’ll be back again.
Will you be here?”
— Shelton Alexander
Terrence Blanchard. Requiem for Katrina. Tomorrow at Jazz Fest
We will drown the bitch in beauty and flood the city with tears of joy.
Will you be there?
Update: Replacing generic Terence Blanchard YouTube with a camera video shot May 2, 2008 at Jazz Fest, an excerpt from Funeral Dirge from Blanchard’s A Tale of God’s Will (A Requiem for Katrina), featuring Blanchard’s Quintet and the —————- —————— Orchestra.
Update 5-12-09 Based on an objection from the Louisiana Philharmonic Orchestra, I have removed this brief, low-fidelity excerpt which I had posted pursuant to fair usage for comment and criticism. Apparently they don’t appreciate free promotion. I will also remove any references to the LPO from this piece as well.