New Orleans got love from the New York Times in the last few days. In Jon Pareles’ Bonnaroo wrap-up, Allen Toussaint was singled out for his version of “Whole Lotta Shakin’ Goin’ On,” and Ben Ratliff reported on the Marsalis family’s visit to the White House, including the workshop they gave to students, including some from NOCCA.

               

This passage by David Freedman from WWOZ’s “OZone” newsletter was brought to my attention this morning:

Why does WWOZ go on the road for these remote live broadcasts [at Bonnaroo and Telluride Jazz Festival]? It’s our relentless support of live music, in our desire to showcase the likes of Dr. John, the Nevilles, George Porter, Henry Butler, Trombone Shorty, the Dirty Dozen, Wolfman, Big Sam — at their most spontaneous, creative New Orleans best, direct from festivals and clubs around the world. It’s our desire to help publicize these remote outposts that give our musicians work and additional audiences. It’s our commitment to deliver to our listeners a multitude of magical memories and to spend time with all those who have New Orleans in their heart. We find them everywhere — Detroit, California, the Virgin Islands —everywhere.

First, doesn’t it seem like shows that present the musicians at their most creative and spontaneous would be here, where there’s no schedule, no closing time, familiar audiences, and the music is integrated into their daily lives?

… and publicize Bonnaroo? Is a visit from the WWOZ mobile broadcast unit really the thing necessary to help this junior league, word-of-mouth festival hit the big time? Does ‘OZ really think the festival with musical and professional roots in New Orleans will suddenly forget about us if not for the intrepid mobile unit to the rescue? Considering what a good market Colorado has been for New Orleans music, It’s similarly hard to believe that bookers at Telluride were on the fence about whether or not to book Dr. John and the Neville Brothers, and needed a shout-out from WWOZ’s mobile wagon to tip the scales and remind them to keep booking area talent in the future.

There’s a lot to chew on in this – the wisdom of sending a mobile unit to Bonnaroo and Telluride in the summer when a gallon of gas is four dollars-plus, whether or not this is the best way to spend Jazz and Heritage Foundation money, and whether or not these broadcasts are spreading the gospel of New Orleans music or a limited vision of it – one that is working hard to recreate the cultural product of a culture that no longer exists. 

               

An OffBeat staffer who went to Bonnaroo asked, “Does Essence know what it’s getting itself into?” Yahoo reports that Kanye West didn’t go on until until 4:30 a.m. for a host of reasons:

West was originally set to kick things off at 8:15 p.m., but because he wanted to make the most of his Glow-in-the-Dark Tour’s lighting show, the hip-hopster’s camp asked to push back the gig to 2:45 a.m. following Pearl Jam’s show.

However, the Seattle grunge rockers’ gig lasted an hour longer than planned, with Eddie Vedder and bandmates not wrapping until 1:15 a.m. Then there was an extended break while Pearl Jam’s roadies disassembled the band’s stage and West’s crew set up his own elaborate backdrop, a glow-in-the-dark spaceship along with undulating black platform and raised video screen.

Our staffer left Bonnaroo with a slightly different take. He was watching Phil Lesh and Friends’ late night set – one that often goes until sunrise – and reports that Lesh announced some time after 3 a.m. that the next song would be their last because West wouldn’t perform while other bands were onstage.