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  • #91
    In 2003, three of the BNA's were LL COOL J, and Lil Romeo, and Ben Harper. All black.

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    • #92
      2001 had Mystikal

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      • #93
        Originally posted by thebluesdoctor View Post

        I too have wondered who books the artists in each of the genres or stages. Because it seems like in my particular genre of interest, zydeco, there is almost no imagination in the bookings. Every year it's the same people, not that I don't like them, because I do. It's just that there are so many others who never get the chance. [/SIZE]
        Gregory Davis (Dirty Dozen trumpeter) has booked the jazz tent for the past 20 years or so, but I believe the national acts are booked by an agency in California with input from Gregory, Quint, and, in least in the past, George Wein. I think I know who books the cajun/zydeco but I am not certain so I won't say. While there are differences (no nationally booked c/z acts as far as I know) I think the problems are similar, and they come down to inertia, nepotism, and lack of accountability. No one is judging the talent buyers on their curatorial smarts or imagination, and they have all been on the job forever and tend not to look far beyond their own personal circle. If you can pencil the same people in year after year (while making no demands on them to do anything special or different to distinguish one year's performance from another,) your work as a booker is far easier.

        I have often remarked that I have seen Gregory Davis once (!!!!) at a jazz gig when he wasn't performing in over 30 years of hearing music many nights a week. In my experience he never checks out what is an ever evolving scene. I contrast this to the programming committee of the Chicago Jazz Festival, most of whom I know solely form going out to hear music in Chicago during their jazz fest week over the past 18 years. It it a different sort of festival, but it is refreshing that it is programmed by people deeply committed to experiencing and representing the breadth of jazz in all its forms on offer in the vast city. They certainly don't (and can't) book everyone who plays jazz in Chicago every year at their festival, but they certainly know who everyone is and what they offer. [I can unequivocally state this not the case in New Orleans.] And they almost never book the exact same act or project twice! And of course they are far more knowledgable than Davis and Davis about the national and international jazz scene.

        The N.O.J. & H. Festival and Foundation together serve as the de facto gatekeeper of Louisiana cultural "authenticity," at least in the mass media and culture at large, so I find this dereliction of what I see as their duty in this regard deeply problematic. And I blame the Foundation for abrogating what I see as their obligation to provide direction and oversight and for allowing a market driven approach (just give the punters the same old same old until they stop coming back year after year) to usurp their stated purpose of nurturing the culture of New Orleans and the surrounding area. The festival has become so dependent on the BNA's to drive the gate receipts that it makes almost no difference to the bottom line what they do at the smaller stages (as long as they stay within the budget.) As I see it, they have no good reason not to do a much better job with the smaller stages and the local programming. What better time than a 50th anniversary to blast away their inertia and recommit to their (stated) purpose. I am not holding my breath . . .

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        • #94
          More Third World acts. African. South American. Caribbean. All very New Orleansian, in that they provided influence on NO and Louisiana music.

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          • #95
            Originally posted by Kemp View Post

            Fred can be over the top, but he does have some good songs. I usually can't do a full set of Cowboy Mouth, but I like some of their music and have heard some very good players in that band. I'm okay if I never hear anybody else do the "Somebody Scream!" bit again, but Fred is not the only New Orleans musician guilty of that. Somebody don't scream!
            I agree, they do have a bunch of good songs. Many were written by Paul Sanchez when he was with the band, but Fred's On The Avenue is one of my favorite Katrina songs.



            "Somebody Scream" does get old, but the main reason I only catch them once every few years is that their show varies so little from one time to the next.
            Visit my Jazzfest advice site: http://jazzfest.swagland.com/

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            • #96
              Originally posted by swag View Post

              I agree, they do have a bunch of good songs. Many were written by Paul Sanchez when he was with the band, but Fred's On The Avenue is one of my favorite Katrina songs.



              "Somebody Scream" does get old, but the main reason I only catch them once every few years is that their show varies so little from one time to the next.
              Just terrible. A testament to the fact that we dont all have the same tastes here.

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              • #97
                Thanks for the response Belyin. It makes a lot of sense.

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                • #98
                  Originally posted by kyfester View Post
                  More Third World acts. African. South American. Caribbean. All very New Orleansian, in that they provided influence on NO and Louisiana music.
                  Yes, I fully agree. New Orleans is heavily influenced by the "Third World".

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                  • #99
                    Originally posted by Canine Horror View Post

                    Yes, I fully agree. New Orleans is heavily influenced by the "Third World".
                    I believe the proper term is “shithole countries.”

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                    • Originally posted by Lit View Post

                      I believe the proper term is “shithole countries.”
                      True. But I thought this was a family board.

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                      • Originally posted by kyfester View Post

                        True. But I thought this was a family board.
                        Fuck no.

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