Acura Legend 1993

Louisiana and New Orleans Online Music Resource

There is not much one can add to the discussion of Robert Plant’s career or his fantastic set closing out the Acura Stage. However, when he dove into Led Zeppelin’s “Misty Mountain Hop,” the wide smiles of his bandmates let the audience know how special this was. It was as if each one of them were relishing the fact that, after playing this song in countless bar bands and empty dives, they were finally grooving on it with the man who sang it and wrote it. (DK)

Which was weirder: Wyclef Jean finishing his show with a DJ set that included Motown and Nirvana, or Plant seemingly shouting-out to Billy Joel by telling the audience, “Don’t go changin’” as he left the stage? (AR)

Wyclef Jean has made a career of collaboration with a wildly eclectic list of artists, but instead of collaborating with someone at Jazz Fest (Trombone Shorty was everywhere), he turned the set over to his DJ, who played studio recordings of “Hips Don’t Lie” and “Guantanamera,” Wyclef’s duets with, respectively, Shakira and Celia Cruz. He didn’t even sing his own parts, choosing instead to tell the crowd how to clap (really!) while the band he had brought with him stood around. Wyclef is such a magnetic performer that this sustained him for awhile, but after I voted against it with my feet, the crowd that remained voted with full-throated boos when his DJ perplexingly switched to playing, among others, “I Want You Back” and “Smells Like Teen Spirit.” Wyclef can get away with a lot, but that doesn’t mean that he should. (JL)

Heard what I thought was a brass band second line into the Haiti Pavilion, only to walk inside and find RAM with a feverish crowd circling to the beat of our Caribbean bond. People filled in the spaces between tables, many of them chanting along in Creole. For a minute there, we were in some fantastic Glass House relocated to an intergalactic, restored Port-Au-Prince. As long as they need us, Haiti should have a featured place at Jazz Fest. (BB)

Jazz vibraphonist Stefon Harris went through an elaborate introduction to “Langston’s Lullaby,” a quiet bedtime song for his young son. When he raised his mallets to begin the tune, the roar from Wilco’s set at the Fess Stage washed through the Jazz Tent. Harris told his band that they would do an uptempo improvisation instead.

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