"Do you know what it means to miss New Orleans?" Well, a record setting 618,000 people will have their own answers to the rhetorical question posed in that classic song. Louis Armstrong, whose 100th birthday was celebrated in grand style all over the fairgrounds, sang the best-known version of the tune, and perhaps would still feel at home in his native city. From ten year-old Cajun fiddle wizard Amanda Shaw, who left mouths agape at the Kids tent, to the seemingly ageless sounds of Paul Simon, B.B. King and Alan Toussaint , boundaries that enclose age, race and musical styles came close to crashing down over the two weekend long New Orleans Jazz & Heritage Festival. That element of Jazzfest alone should bring a smile to Pops' face, wherever he may be.

It was impossible to ignore the importance of Armstrong while at the fairgrounds. His smiling mug looked out from the official festival T-shirts and posters, coffee mugs, key chains and just about every type of merchandise one could imagine. A special pavilion was set aside to house a series of lectures and exhibits honoring the legacy of Louis. From a musical standpoint, artists whose sets were specifically prepared to honor Pops included Jon Faddis' Carnegie Hall Jazz Orchestra "Tribute to Louis Armstrong", which also featured legendary trumpeter and vocalist Clark Terry. Clarinet master Dr. Michael White revisited Armstrong's classic Hot Five and Hot Seven groups, which placed trumpeter Nicholas Payton in the unenviable position of having to fill some pretty big shoes. To wit, Payton shrugged, "It is an honor to even play this music, especially in the company of Dr. White . . . To place myself anywhere near Louis . . . man, you have got to be kidding . . ." Payton, whose "Dear Louis," a musical tribute to Armstrong is just out on Verve, also lead his own "Armstrong Centennial Celebration."

In learning about Armstrong's life, his love of New Orleans culture and especially, Creole and Cajun food, one could see the connection between honoring Armstrong's legacy by eating some shrimp etoufee, and enjoying the beats of acts as different as the Ebenezer Baptist Church Choir and Buckwheat Zydeco. Did he not end his letters with the phrase "red beans and ricely yours?" If shrimp isn't your thing, there's always some jambalaya, or the fried potato po-boy, or some Vietnamese spring rolls.

Again, Lady Luck brought some warm weather (low to mid-Eighties each day), which contributed to the record-breaking attendance figure. Along with summer-like temperatures, other trends from past Jazzfests continued, in particular the act of the "sit-in" where a member or two from one band jams with another group on stage. This was played out in what was essentially a love-fest between the various jam bands playing in the clubs and at Jazzfest proper. Last year, during Lenny Kravitz's set saxophonist Karl Denson sat in and wailed to a screaming crowd. This year, Kravitz returned the favor by making a guest appearance during Densen's late night set on Saturday May 5th (actually May 6th). The sit-ins didn't stop there. Ben Ellman, the saxophonist from the New Orleans-based funk outfit Galactic, seemed to be enjoying himself while sitting in with the New Orleans Klezmer All-Stars at the Lagniappe Stage during the final weekend at the fairgrounds. DJ Logic guested with String Cheese Incident at the Saenger, Jamie Masefield of the Jazz Mandolin Project sat in with Moe at Tipitina's Uptown, and Widespread Panic welcomed the Dirty Dozen Brass band during their fairgrounds gig. Galactic held sway at the Saneger and got onstage visits from saxophonist Skerik (from Critters Buggin'), and guitarist Warren Haynes on a short break from Phil Lesh's band and his own Gov't Mule.

The ability of bands to show some flexibility amidst all the Jazzfest mayhem is to be complemented. There was some confusion regarding when String Cheese was to start their gig at the Saenger Theater on the 4th. Since there were so many people outside waiting to go in, SCI guitarist Billy Nershi delighted those already in the house with a solo acoustic rendition of "Uphill Climb." He was then joined for a few more numbers by other members of the band, resulting in a laid back and very fun atmosphere. Paul Simon put on a brilliant performance on Friday the 4th at his show, which closed the fairgrounds for the day. Playing out of a book of newer material from his recent You're the One, and dipping into cherished tunes written thirty-five years ago and infusing them with his now trademark infectious beat, Simon and his air-tight band left few disappointed. However, for those wishing to hear Dave Matthews Band the next afternoon at the fairgrounds, the reality was that they are too big for the main (Acura) stage. The majority of the 160,000 people who flocked through the fairground gates were there for DMB, but very few would actually be able to see or hear their favorite band. Was that Paul Simon who joined them for a tune or two? Who knows . . .

Despite all the attention paid to the jam-band elements of Jazzfest's musical personality, having a lineup of masters such as drummers Elvin Jones and Max Roach surely satisfied those who wished to see straight ahead jazz in the intimate confines of the jazz tent. In addition, a highlight of the numerous evening gigs around town had to be reedman Joshua Redman's tight, almost telepathic group. Redmans working group, which consists of pianist Aaron Goldberg, bassist Reuben Rogers and drummer Gregory Hutchinson displayed a rare balance of chops and interplay during their two night run at Rosy's Jazz Hall. That was not the end for Redman.

On the last night of Jazzfest, at the Saenger Theatre, Redman shared the stage with bassist Me'shell Ndegeocello , drummer Carter Beauford of the Dave Matthews Band, keyboardist John Medeski of Medeski, Martin and Wood and the impossible to define guitarist Marc Ribot for this year's version of Superfly Productions' "SuperJam" series. Last year, the Superjam consisted of Oysterhead, a group made up of ex-Police drummer Stewart Copeland, Primus bassist Les Claypool and Phish guitarist Trey Anastasio. That group has just finished recording a record at Anastasio's Vermont studio, but it seems doubtful that this year's lineup will do the same.

Sunday the 6th, while rocking and rolling as usual, felt a little reflective, as evidenced by a walk through the overflowing Rhodes Gospel tent. As the Rocks of Harmony wailed away, people danced, cried, held hands and walked out with that little bit of juice needed to finish out the festival on a high note.

While the Superjam and Aaron Neville's annual Gospel performance were among the final gigs during the Jazzfest occupation of New Orleans, the last notes really came at 7:45 a.m. on Monday the 7th. Guitarist Steve Kimock's band played Tipitina's Uptown and raged until the sun was not only rising but also shining. "Is it really day?" asked twenty-eight-year-old Jessica Brainard, who traveled from Colorado. "How can I possibly go back to work after the past ten days? I will never be the same."

On a sad endnote, sixty-nine-year-old Zydeco bandleader Boozoo Chavis died on Saturday, May 5th. For many years, Chavis lead his band, the Magic Sounds, and watched as his band and Zydeco rose in popularity in recent years. He recorded his first hit, "Paper in My Shoes," in 1954. That song, which Chavis sang in both French and English, tells a heartbreaking story of a poor youth who had to stuff paper in his shoes because his socks had been worn out. Chavis retired from the music business for twenty years before returning in 1984 when he discovered that someone was impersonating him at concerts and making money. Chavis just wanted his crowd to experience him. He was scheduled to play the Sheraton Fais Do-Do- Stage on Friday the 4th, but his son, accordionist and singer Poncho Chavis handled the gig.

ROBERT MARGOLIS
(May 8, 2001)