Elvis at New Orleans Jazz & Heritage Festival, May 5 & 6, 2022

Pretty self-explanatory
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Elvis at New Orleans Jazz & Heritage Festival, May 5 & 6, 2022

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Last edited by sweetest punch on Fri Feb 11, 2022 2:40 am, edited 6 times in total.
Since you put me down, it seems i've been very gloomy. You may laugh but pretty girls look right through me.
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Re: Elvis & Imposters, New Orleans Jazz & Heritage Festiival, October 16, 2021

Post by bronxapostle »

jmm called it!!
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Re: Elvis & Imposters, New Orleans Jazz & Heritage Festiival, October 16, 2021

Post by MOJO »

Killer lineup. Beach Boys, El Gran Combo and so much more. Wish I could go to this.
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Re: Elvis & Imposters, New Orleans Jazz & Heritage Festiival, October 16, 2021

Post by jmm »

Hoping 1st weekend so for my b-day!!!

Checking with “informed sources”
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Re: Elvis & Imposters, New Orleans Jazz & Heritage Festiival, October 16, 2021

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2nd weekend it is
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Re: Elvis & Imposters, New Orleans Jazz & Heritage Festival, October 16, 2021

Post by ice nine »

Elvis and Imposters play Oct 16. Elvis also will be a part of tribute to Dave Bartholomew on the 15th.
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Re: Elvis & Imposters, New Orleans Jazz & Heritage Festival, October 16, 2021

Post by sweetest punch »

https://www.nojazzfest.com/music/

FRIDAY OCT. 15

Tedeschi Trucks Band, The Beach Boys, Nile Rodgers & CHIC, Boz Scaggs, The Dirty Dozen Brass Band’s Tribute to Dave Bartholomew featuring Elvis Costello and Al “Lil Fats” Jackson,
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Re: Elvis at New Orleans Jazz & Heritage Festival, October 15 & 16, 2021

Post by And No Coffee Table »

https://www.nojazzfest.com

JAZZ FEST 2021 WILL NOT OCCUR IN OCTOBER DUE TO COVID-19 CONDITIONS

2022 JAZZ & HERITAGE FESTIVAL SET FOR APRIL 29 – MAY 8

As a result of the current exponential growth of new COVID cases in New Orleans and the region and the ongoing public health emergency, we must sadly announce that the 2021 edition of the New Orleans Jazz & Heritage Festival presented by Shell, scheduled to take place October 8 –17, 2021, will not occur as planned. We now look forward to next spring, when we will present the Festival during its traditional timeframe. Next year’s dates are April 29 – May 8, 2022.

Ticketholders for both Festival weekends (including those that rolled over their tickets from 2020) will receive an email this week with details about the ticket refund and rollover process. All Wednesday, October 13 tickets will be automatically refunded.

In the meantime, we urge everyone to follow the guidelines and protocols put forth by public health officials, so that we can all soon experience together the joy that is Jazz Fest.
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Re: Postponed - Elvis at New Orleans Jazz & Heritage Festival, October 15 & 16, 2021

Post by bronxapostle »

Super spreader events should be scratched....Central Park should be next to be shelved
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Re: Postponed - Elvis at New Orleans Jazz & Heritage Festival, October 15 & 16, 2021

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Elvis at New Orleans Jazz & Heritage Festival, May 2022

Post by Man out of Time »

So the New Orleans Jazz and Heritage Festival 2021 did not happen due to the pandemic. But it is planned to take place in April/May 2022.

During his spell as DJ at Defend Vinyl in Liverpool on January 15, 2022, Elvis mentioned that he and the Imposters would play the Jazz and Heritage Festival in May this year.

No programme has yet been published, but this could be a one-off date before the UK tour in June. Elvis was also due to play a show with the Dirty Dozen Brass Band at the Jazz and Heritage Festival. Whether that is also planned this year, remains to be seen.

MOOT
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Re: Postponed - Elvis at New Orleans Jazz & Heritage Festival, October 15 & 16, 2021

Post by sweetest punch »

https://www.nojazzfest.com/

https://www.nojazzfest.com/music/

Image

Elvis is scheduled twice on the second weekend: with the Imposters and on “The Dirty Dozen Brass Band’s Tribute to Dave Bartholomew with guests Elvis Costello and Al “Lil Fats” Jackson”.
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Re: Elvis at New Orleans Jazz & Heritage Festival, May 6 - 8, 2022

Post by jmm »

Hope it can actually happen this time!!

And hope to be there!
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Re: Elvis at New Orleans Jazz & Heritage Festival, May 6 - 8, 2022

Post by ice nine »

I may have to miss Elvis this time. The Who and Randy Newman is weekend one while Elvis is weekend two.
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Re: Elvis at New Orleans Jazz & Heritage Festival, May 6 - 8, 2022

Post by jmm »

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Re: Elvis at New Orleans Jazz & Heritage Festival, May 6 - 8, 2022

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https://www.nola.com/gambit/music/artic ... 3228b.html

May 5: The Dirty Dozen Brass Band's Tribute to Dave Bartholomew with guests Elvis Costello and Al "Lil Fats" Jackson

May 6: Elvis Costello and The Imposters
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Re: Elvis at New Orleans Jazz & Heritage Festival, May 5 & 6, 2022

Post by ice nine »

The cubes have come out today. The cubes are the times all the artist are performing. Elvis and the Imposters are on stage at the same time The Black Crowes are on the main stage, Busta Rhymes on the Congo stage, and Southside Johnny & The Asbury Jukes in the Blues tent.
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Re: Elvis at New Orleans Jazz & Heritage Festival, May 5 & 6, 2022

Post by sweetest punch »

ice nine wrote:The cubes have come out today. The cubes are the times all the artist are performing. Elvis and the Imposters are on stage at the same time The Black Crowes are on the main stage, Busta Rhymes on the Congo stage, and Southside Johnny & The Asbury Jukes in the Blues tent.
https://www.nojazzfest.com/music-schedule/
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Re: Elvis at New Orleans Jazz & Heritage Festival, May 5 & 6, 2022

Post by And No Coffee Table »

Elvis Costello Talks Back
April 27, 2022
by Steve Hochman

Elvis Costello & The Imposters will perform at Jazz Fest on Friday, May 6, at 5:30 p.m. on the Gentilly Stage.

Elvis Costello will participate with The Dirty Dozen Brass Band’s Tribute to Dave Bartholomew on Thursday, May 5, at 3:35 p.m. on the Gentilly Stage.


When Elvis Costello arrives in New Orleans ahead of his two Jazz Fest appearances, before he rehearses with the Dirty Dozen Brass Band for their tribute to the late New Orleans writer-producer-trumpeter Dave Bartholomew, who died in 2019 at age 100…before he rehearses with his own band, The Imposters, for their first performance since December…before he does rounds of post-pandemic catching up with the many friends he has in town, bonds formed over decades of visits, including his stints filming guest roles (as himself) in the HBO series Treme, before anything else, he has a pilgrimage to make.

“I’ve got a joyful assignment,” he says, on a Zoom chat from the Vancouver home he shares with his wife, Diana Krall, and their 15-year-old twin sons. “I’m going straight from the airport and going to drive to the crossroads. I want to see the sign on the corner. I want to see Allen Toussaint Boulevard.”

The recent renaming of Robert E. Lee Boulevard for the late songwriter-musician-producer has special meaning for Costello on a cultural level of course, but much more so on a deeply personal one. Toussaint was a friend, mentor and collaborator. Their album, The River in Reverse, was made in 2005 while New Orleans was still largely ravaged following the federal levee failures in the aftermath of Hurricane Katrina—the first album made in the city after the flood.

“Oh yeah! I want to see it with my own eyes,” he says. “Enough of that other past. They’ve had their day. We cannot exhaust ourselves trying to correct the past, but we can be aware of it. And when you’ve got something that’s a cause of only celebration, why not do that? Sing those songs. Be of hope. So that’s the first thing I’m going to do.”

This first-stop mission echoes one he made when arriving for the River sessions, when he went straight to one of the busted levees so he could see the damage for himself.

“That put the whole of making that record in focus—if it even needed it,” he says. “I didn’t just want it to be what I’d seen on the news. I wanted to see and sense what it felt like and imagine what it would feel like if that was my hometown.”

It’s not his hometown, but he has clearly come to feel at home in New Orleans. Costello engaged in a typically generous, free-flowing, cheerfully tangent-filled conversation. He talked of the joys of listening to Louis Armstrong 78s on a Victrola, of learning to appreciate and love great brass music from hanging around the dance band his father led, of his own new album, the vibrant The Boy Named IF, made with The Imposters—keyboardist Steve Nieve and drummer Pete Thomas, both with him since 1978, and bassist Davey Faragher, who came on board 20 years ago, all working in pandemic-imposed isolation, yet sounding remarkably together. (Guitarist Charlie Sexton has since been added for the tour.)

But mostly Costello spoke of Bartholomew, New Orleans music and culture and his excited anticipation of this return.

Let’s talk about Dave Bartholomew. How did you first become aware of him?

Well, the same as with Allen, although Allen started in the late ’50s and Dave started working in the late ’40s. I was aware [of Dave], even if it was via other people doing Fats Domino sounds. I’d heard Fats Domino. I don’t think I was aware of many Dave Bartholomew records growing up in England. I think mostly as I learned more about rock ’n’ roll—in the same way you know Sam Phillips was the man responsible for Elvis Presley and Jerry Lee Lewis—you kind of learned that Dave Bartholomew was the man working the gears behind Fats Domino. All that sound.

And then, little by little, I learned what records he had produced other than those and then I heard his own—a lot of the instrumental records. Basin Street Breakdown [from 1949] is my favorite. I could play that guitar solo. Give me a couple of notes and play them over and over and over and over and over and over and over, over and over and over again. I’m pretty good at that. Going up and down the neck? Not so hot. I couldn’t play you any Eddie Van Halen solos. I’m Basin Street Breakdown, for sure. That’s right in my attitude.

It’s exciting that you’ll be doing the tribute with the Dirty Dozen.

We haven’t been on stage together since we were on stage with Dave at Madison Square Garden [for a post-Hurricane Katrina benefit concert in 2005].

The video of that, you doing “The Monkey Speaks His Mind,” is wild.

Kind of a crazy video. I mean, amazing. What nobody saw was that there was massive panic that was going on. [Concert host and newscaster] Ed Bradley was speaking and, in his earpiece, obviously they were saying, “For God’s sake, fill!” Because there was a technical disaster on stage. We had no monitors. That wouldn’t scare us if we were in a club or medium-sized hall. Madison Square Garden—you want to be able to hear yourself. There were technicians running all over the stage, and we were helpless. And we had 10 seconds to go when the monitors sprang to life. And I’ll be honest, I think it panicked us into a tempo that we would never, ever play that song at again. It’s pretty swift, isn’t it?

We had rehearsed with the Dozen and Dave [Bartholomew] a couple of days earlier in just a little rehearsal space, and both my wife and I were there because she was playing “I’m Walkin’” with the Dozen. And of course, Dave heard her warming up. That was the best because he said, “Oh, somebody can play changes!” Then he didn’t want to rehearse any more. He wanted to play “Body and Soul,” he just wanted to play trumpet. So next thing, there’s this duet between Diana and Dave going on.

That was the first time you met him?

Yeah. People who don’t quite know the city’s musical history don’t know that there’s two classes of New Orleans musicians. There’s the Louis Armstrong class who start in the city and basically act like evangelists for the music everywhere in the world. Ambassadors. And then you’ve got the many people who have been writing and producing records in the city, and the reputation of those records and the impact of them is so great upon many musicians around the world. Dave Bartholomew was one of those people. I don’t know of him producing so many people from outside the city, do you? I don’t think people sought him out in the same way as in the ’70s people did with the next generation—Frankie Miller or Paul McCartney, Robert Palmer [all working with Allen Toussaint].

But it’s as if the stack of records that he made was so influential that a resonance of him—even though some of them were made in 1951—we were still hearing him. We’re still decoding them, and they sound superficially simple. Try playing any of those things and get them to sound as good as they do. You can play the changes, but you won’t get that feel.

And the studio factored into that, Cosimo Matassa’s J&M.

In some ways, New Orleans is more connected to the way in which music is conceived in Kingston [Jamaica] than in Chicago, in that there’s a recognizable disposition in a lot of the music, even though the styles of the producers are so different. But there’s something distinct from the rest of America in the same way as, you know, music from Trinidad is very different to music from Jamaica. As somebody who learned almost everything from records, I puzzle the records out of New Orleans the same way I puzzle the records out of Kingston. “What are they doing?” It’s not just that the beat is different. It’s everything is different. The sound, the approach to sound is different. The approach to harmony is different. The intonation of horns and voices is distinct to cities. And for myself, because I grew up around brass players in a dance band that my dad was with, I can tell you in two seconds whether a record’s made in England or America. I can tell from what town.

We don’t want to overlook your new album. There’s a thread to it, a through line, some real storytelling.

There generally is. I made it more because they told me there was not going to be any vinyl. So, I wanted to make a physical object. If we don’t preserve that as part of telling stories, gatherings of songs, we’ll gradually see everything swept away on the stream. In this case I made a storybook. You may have seen the drawings that I did, these cartoons, whatever you want to call ’em. And the stories that I wrote leading in and out to the songs just gave it a sense of what I found, like almost by accident I had written this stack of mostly major-key songs about different occasions in life from childhood to a later age, catastrophes, and disasters and, you know, temptations that we all pass through and what we make of them.

And I really enjoyed recording the way we did. It was strange, being isolated from each other and just letting fly. I think we played with more abandon on this record than we’d done on the last record. We were definitely not trying to make a record that was consciously reminiscent of anything we’d done before—people will make that comparison, the minute they hear the Vox Continental [the keyboard played by Nieve that remains a signature of early Costello work] and Pete has got a particular dynamic on the snare drum, and people go, “Yeah, he’s doing that thing again.” Or my voice in a certain register and a certain word delivery is kind of…you don’t want to hide everything that’s reminiscent about tour characteristics, about yourself. You’re not twisting yourself in knots to be, you know, this is all brand new. But I don’t think this is in any way a nostalgic record either, musically or lyrically, even though it looks back. I try to look clear-sighted and unsentimentally at those things. And there’s some quite upsetting details in the songs if you listen hard.

I hope you take this as a compliment because it certainly is meant that way. On some of the new songs, the way you present characters and stories brought to mind an Englishman who actually lived in New Orleans for a little while, Ray Davies.

Ray. Well, I’d take that as a compliment if I was ever writing on Ray’s level. Ray’s best songs are as good as anything anybody ever wrote. If you could write a song as perfect as “Waterloo Sunset” your place would be assured. It’s a masterpiece of storytelling, everything about it. And Dave Davies sort of invented that kind of guitar riff. The Who also made use of those. I didn’t go to any colleges. Most of those English rockers went to college or university or something. I didn’t do that. I was playing, just working. I don’t have their education.

Oh, don’t sell yourself short.

No, I really don’t! But yeah, I take that as a compliment if you hear that in it. I think definitely [the song] “Penelope Halfpenny,” that’s kind of like a cross between the Hollies and the Kinks.

Are you going to get to spend more time in New Orleans this trip?

Not a tremendous amount of time. We immediately leave town for Tulsa, because we are one of the number of artists playing in the days leading up to the opening of the Bob Dylan Center, which is very exciting, particularly to be in the company of Mavis Staples and Patti Smith. When they sent me the [lineup] and you look at all the people, it’s like for Jazz Fest. We’ve waited two years to raise a glass and throw a hat in the air to Dave [Bartholomew], and other things have happened. The Stones were on the [Jazz Fest] bill in 2020, and Charlie [Watts] is not there anymore. So, it happens. There are other musicians that have passed what we cherish. So, we must take every opportunity to celebrate now, being together, playing. It’s only right.
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Re: Elvis at New Orleans Jazz & Heritage Festival, May 5 & 6, 2022

Post by ice nine »

The first weekend of JazzFest has ended and it was great! It is always a good time no matter who is playing. You have local brass, funk, Cajun, and rock bands playing. There are big name national acts, too If you don’t like one type of music you just move onto another. The Who and Chili Peppers were great. The weather was perfect. High 70s, low 80s. Wish you were here. (I took pictures, but I don’t know how to post them.)

https://www.youtube.com/watch?v=OT9VCBTbXsM
https://www.youtube.com/watch?v=CI_y6qYIYIc
https://www.youtube.com/watch?v=VHEA6wQjyzY
https://www.youtube.com/watch?v=TOAn4fb-sXk
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Re: Elvis at New Orleans Jazz & Heritage Festival, May 5 & 6, 2022

Post by verbal gymnastics »

ANCT - thanks for posting that terrific interview. I learned a lot from it.
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Re: Elvis at New Orleans Jazz & Heritage Festival, May 5 & 6, 2022

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https://pajaronian.com/ksqd-to-broadcas ... tival/?amp

KSQD to broadcast jazz festival from New Orleans
By Staff Report - May 3, 2022

SANTA CRUZ—Santa Cruz community radio station KSQD 90.7 FM will broadcast and stream three days of the internationally-acclaimed New Orleans Jazz and Heritage Festival this weekend.

The broadcast and stream will begin Friday 11am-4pm, continue on Saturday noon-5pm and end Sunday 11am-5pm. Artists include Chris Isaac, Boz Scaggs, The Preservation Hall Jazz Band, Elvis Costello, Stevie Nicks, Erykah Baydu, Melissa Ethridge, Jimmy Buffet, Willie Nelson, Norah Jones, Buddy Guy and more.

The festival will also be available to listen to online at ksqd.org.

KSQD is a nonprofit station licensed by Natural Bridges Media, broadcasting on a 24/7 basis by mostly volunteers. Since the start-up launched in February 2019, its sole means of financial support has been donations from individual listeners, educational grants and underwriting.

For information about the New Orleans Jazz and Heritage Festival, and a complete schedule of performances visit nojazzfest.com.
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Re: Elvis at New Orleans Jazz & Heritage Festival, May 5 & 6, 2022

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And No Coffee Table wrote:“I’m going straight from the airport and going to drive to the crossroads. I want to see the sign on the corner. I want to see Allen Toussaint Boulevard.”
Image

https://twitter.com/ElvisCostello/statu ... 7541967872
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Re: Elvis at New Orleans Jazz & Heritage Festival, May 5 & 6, 2022

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Since you put me down, it seems i've been very gloomy. You may laugh but pretty girls look right through me.
sweetest punch
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Re: Elvis at New Orleans Jazz & Heritage Festival, May 5 & 6, 2022

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Since you put me down, it seems i've been very gloomy. You may laugh but pretty girls look right through me.
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