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Data Zone Trailblazer of the Month Pierce Hosts Free Concert Ron Gardner Page 5 Page 6 Photos by Victor Holt Lighting The Road To The Future Page 4 DataZone History of the New Orleans Jazz Festival “The People’s Paper” April 17 - April 23, 2010 44th Year Volume 28 www.ladatanews.com Page 2 Data Zone Trailblazer of the Month Pierce Hosts Free Concert Ron Gardner Page 5 Page 6 Photos by Victor Holt Page 2 April 17 - April 23, 2010 Cover Story www.ladatanews.com ‘TREME’ Do you know what it means? Antoinne Batiste (played by Wendell Pierce) is a struggling trombonist in post-Katrina New Orleans. The new HBO series ‘Treme’ features several New Orleanian musicians and artists in this authentic production. From David Simon, creator of HBO’s The Wire, the debut series “It all began in New Orleans . ‘Treme’ set in New Orleans, chronicles the rebuilding of our unique American culture after devastation . In New Orleans, it comes from here, “Down in the Treme it’s me and my baby, we’re all goin’ crazy, but jumpin’ and havin’ fun”… . The melody rings out as the much antici- pated new series launched on small screens in living rooms across it all flows from here ”. America . And with the first episode – ‘Do you know what it means to miss New Orleans?’ America soon got an idea of what it means . - Blake Lehey, Music Supervisor, ‘Treme’ “There’s pride on Bourbon Street”, several musicians suggest in the show which premiered on Sunday . Continued next page. DATA NEWS WEEKLY 616 Barrone Street, Suite 584, New Orleans, LA 70113 INSIDE DATA Phone: (504) 821-7421 | Fax: (504) 821-7622 editorial: [email protected] | advertising: [email protected] Terry B. Jones Contributors CEO/Publisher Edwin Buggage Glenn Jones Cheryl Mainor VP Advertising New Orleans Jazz & Cover Story . 2 Trailblazer . 6 & Marketing Heritage Festival Foundation Cheryl Mainor Managing Editor Photos HBO Edwin Buggage NOJHF Inc. Editor Dionne Character Art Direction & Production Arts & Entertainment Editor MainorMedia.com Data Zone . 4 Newsmaker . 7 Melanie Mainor Editorial Submissions Copy Editor Intern [email protected] June Hazeur Advertising Inquiries Accounting [email protected] Please call (504) 309-9913 for subscription information. Dated material two weeks in advance. Not responsible for publishing or return of unsolicited manuscripts or photos. www.ladatanews.com Cover Story April 17 - April 23, 2010 Page 3 Cover Story, Continued from previous page. ‘Treme’ begins in the fall dysfunctions and pulls no of 2005 three months after punches in addressing them Katrina Set at that time most but does so with subtlety, remember as dark, but filled “There is a dark undercurrent with hope, ‘Treme’ celebrates to New Orleans, and it’s what the soul and spirit of New Or- makes the art of the place leanians, while it quietly in- so intense,” Simon said to a dicts the systems which failed group of TV critics, comment- us before and after Katrina ing on our lack of good public world . ‘Treme’ takes us be- ness outsiders have come to built on a bedrock of pride . and the flood . The drama schools and contrasting that yond the tourist’s view, beyond view as the reality of New Or- (Next week part 2, New follows a group of intercon- with our magnificent Carni- the canned performances and leans, and into the soul of our Orleanians make ‘Treme’ an nected struggling musicians val, he said, It may be pos- the noxious world of Big Easi- uniquely fragile American city, authentic work of art) and locals including Antoine sible that you can’t have both . Batiste (Wendell Pierce) a What makes New Orleans trombonist, Ladonna Batiste- great in one sense also makes Williams played by Khandi it problematic in another . But Alexander is a bar owner who that’s to be examined .” And is struggling with her hus- examine it ‘Treme’ does . The band and sons living in Ba- show weaves a wondrous ton Rouge and her husband’s tapestry of visual images set disapproving Creole family . amidst an incredible montage Other stories intertwine with of music staring at our own lo- the Batiste storyline, Albert cal artists . They pepper the Lambreaux played by Clark screen, from Kermit Ruffins; Peters is a displaced Mardi to Allen Toussaint many of Gras Indian Chief who re- our “Greats” are featured in turns to his devastated neigh- the show, giving the highest borhood determined to stay level of authenticity to the fla- and rebuild his way of life, vor of our city . “They should and Tulane Professor Creigh- expect to learn a lot about ton Burnette, played by John New Orleans flavor, culture, Goodman becomes an outspo- foods and the way we live and ken critic of the government’s how we could come back as response to the devastation . a whole after a big disaster, The underlying premise Katrina,” says Kermit Ruffins of the show is that if “There about the show . is Pride on Bourbon Street”, Audiences can expect to see then there is Pride every- great performances by many where in the real New Or- of our best players includ- leans; the moldy, mud-caked ing, Bruce Sunpie Barnes, war zone that was our beloved Karen “Juicie” Ruffins, the Crescent City . And ‘Treme’ late Bunchy Johnson, Henry brings to the forefront the “Simply “ Griffin, Dr John and music and people which make the Rebirth Brass Band . this city great, and brought it ‘Treme’ features a lineup back to life when all outside of New Orleanians with lots were betting on her forever of hope, trying to get along demise . ‘Treme’ is about us . outside of the normalcy of life While ‘Treme’ is a celebra- due to the intensity of circum- tion of our glorious jazz his- stances they find themselves tory, it is also critical of our enduring in a post-Katrina Page 4 April 17 - April 23, 2010 Data Zone www.ladatanews.com The New Orleans Jazz & Heritage Festival The Historic Journey to Today By: N.O.J & H. F. Foundation The decade of the 1990s saw the Mahalia Jackson, often called the greatest gospel appeal of Jazz Fest and the Festival’s singer, returned to her hometown to appear at the first significance as a cultural symbol New Orleans Jazz & Heritage Festival in April of 1970 . soar . The New York Times would While attending the Louisiana Heritage Fair in Con- note that the Jazz Festival had “be- go Square (then known as Beauregard Square), she come inseparable from the culture and Duke Ellington, who also appeared at the event, it presents .” The Festival added fea- came upon the Eureka Brass Band leading a crowd tures like the Thursday that kicks of second-line revelers through the Festival grounds . off the second weekend (1991); George Wein, producer of the Festival, handed Ms . an International Pavilion that cel- Jackson a microphone, she sang along with the band ebrates other cultures (Haiti, Mali, and joined the parade…and the spirit of Jazz Fest was Panama, Brazil, Martinique, and in born . 2004, South Africa); and the Native This spontaneous, momentous scene—this meet- American stage and area . ing of jazz and heritage—has stood for decades since In 2001, the Festival celebrated as a stirring symbol of the authenticity of the celebra- Louis Armstrong’s centennial, tion that was destined to become a cultural force . and the total attendance eclipsed From the very beginning, the New Orleans Jazz 650,000, shattering records for vir- & Heritage Festival was envisioned as an important tually every day of the Heritage event that would have great cultural significance and Fair, including the all-time single- popular appeal . The Festival was the culmination of day attendance record of 160,000 . years of discussions and efforts by city leaders who Wein’s prediction that New Orleans wanted to create an event worthy of the city’s legacy as would become the first city of jazz the birthplace of jazz . A couple of other festivals were festivals had clearly come true . held in the years leading up to the first New Orleans With 12 stages of soul-stirring Jazz & Heritage Festival, but those events, different in music—jazz, gospel, Cajun, zydeco, format, did not take hold as the Jazz & Heritage Fes- blues, R&B, rock, funk, African, tival would . Latin, Caribbean, folk, and much In 1970, George Wein, jazz impresario behind the more—the New Orleans Jazz & Newport Jazz Festival and the Newport Folk Festi- Heritage Festival is a singular cel- val (begun respectively in 1954 and 1959) was hired ebration . The event has showcased to design and produce a unique festival for New Or- most of the great artists of New Or- leans . The New Orleans Jazz & Heritage Foundation, leans and Louisiana of the last half a non-profit organization, was established to oversee century: Professor Longhair, Fats the Festival . Domino, The Neville Brothers, Wein’s concept of the Louisiana Heritage Fair— Wynton Marsalis, Dr . John, Bran- a large daytime fair with multiple stages featuring a ford Marsalis, Harry Connick Jr ,. wide variety of indigenous music styles, food booths Ellis Marsalis, The Radiators, Irma of Louisiana cuisine, and arts and crafts booths, along Congo Square 2010: “Say Uncle”. A Portrait of Lionel Batiste by Terrance Thomas, The Preservation Hall with an evening concert series—formed a construct Osborne . Second in the Congo Square Parade Series. Visit art4now. Jazz Band, Allen Toussaint, Buck- com for more information or to pre-order this poster. Poster TM & © 2010 that would prove vastly appealing and enduring . N.O.J. & H. F. Inc. Used by permission. All rights reserved. wheat Zydeco, The Dirty Dozen In announcing the first Festival, scheduled for April Brass Band, Better Than Ezra, Er- 22 – 26, Wein said, “The New Orleans Jazz & Heri- nie K-Doe, Vernel Bagneris, The tage Festival represents a new and exciting idea in For the 1972 Festival, the event moved to the infield Zion Harmonizers, Beausoleil and many others .
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