Though it defies logic, jazz funerals often seem to come in bunches. After Friday’s celebration of life, another New Orleanian was honored on Saturday afternoon. Though it was short and sweet and attended only by family members, the send-off for Champagne-Williams had a unique aspect. Her family and friends danced with clear umbrellas under a clear blue sky.

On Friday, June 5, the members of the Good Fellas Social Aid and Pleasure Club celebrated the life of Albert “Chui” Clark along with members of various Black liberation organizations. The club members wore red, black and green carnations and one gentleman carried a large flag with the same symbolic colors.

The procession, led by the TBC Brass Band, left the Gertrude Geddis Willis Funeral Home on Jackson Avenue in Central City and headed uptown on Lasalle Street before U-turning on Washington Avenue and heading back to the start.

As the procession rounded the corner of Washington, the horse-drawn hearse paused while the club members danced around it as the band jammed out.

When the parade returned to the funeral home, the horse-drawn hearse pulled into the driveway, I’d never seen that before, before transferring the coffin to the car hearse. Then the club members had one final chance to say goodbye.

The connections among the old-line Creole families of New Orleans never cease to amaze me. Not only was the deceased related to “Fats” Pichon, but his father-in-law Joseph Misshore, Jr., was the grand nephew of Gertrude Geddes Willis, the namesake of the 100-year-old funeral home in Central City, and he was the president of the uptown institution when he died in 2008.

His father-in-law was also elected King of the Zulu Social Aid and Pleasure Club in 1979 and his daughter, Belva, was selected as queen. But their reign was cut short by the infamous police strike that year, which cancelled all the major Carnival parades.

The Original Royal Players Brass Band, featuring Anthony Bennett on bass drum, Kirk Joseph on tuba, Revon Andrews on trombone, Andrew Baham on trumpet, Johnny Darby on tenor and Lee Shezby, Benny Jones’ brother-in-law, on snare provided the music.

They played all traditional tunes including “In the Sweet By and By,” “Over in the Gloryland, “By and By” and “Lord, Lord, Lord” as they paraded with a small group of family and friends out St. Phillip Street to N. Claiborne Avenue.

The procession ended at Esplanade Avenue where the pallbearers transferred the coffin from the horse-drawn caisson to take him to his final resting place in St. Louis #3 cemetery. The band finished up on the neutral ground with “I’ll Fly Away.”

“The notes that he played were always the most perfect ones, always perfect,” said Craig Klein in a phone interview when asked why he organized a tribute to fellow trombonist Waldren “Frog” Joseph. Klein went on to wax eloquently about one of his musical heroes in the same mix of reverence for the performer and deep knowledge of traditional jazz that he uses as a programmer on WWOZ radio.

There may not have been a 20^th century musician from New Orleans who was more versatile than “Frog.” Though best known today as a traditional jazz trombonist, and for being the father of sousaphonist Kirk Joseph and trombonist Charles Joseph, he played a wide variety of styles going back to his teenage years in the late 1920s.

Joseph was born in 1918 and a bout with polio as an infant left him with a lifelong limp that limited his involvement in marching bands. But he came from a musical family, both his father and brothers were professional musicians, and he took immediately to both piano and drums. His versatility came early when he added trombone to his repertoire and he quickly began playing gigs as a teenager.

In the 1930s, he joined the storied Joe Robichaux’s orchestra, playing trombone in the horn section. One of the highlights of his time with Robichaux was a fifteen-day excursion to Havana, Cuba and a ground-breaking performance by a New Orleans band at the island capital’s National Theatre. Jelly Roll Morton was credited with saying New Orleans jazz has that “Spanish Tinge,” but Joseph actually played in Cuba and undoubtably was influenced by the music he heard.

By the 1950s, Joseph had shifted styles again. He earned his rhythm and blues credentials touring with another New Orleans legend, tenor saxophonist Lee Allen, supporting his smash hit from 1958, “Walkin’ With Mr. Lee.” He also recorded with other greats from the era including Big Joe Turner, Earl King and Smiley Lewis.

By the time traditional jazz began to make a commercial comeback in the late 1950s and 1960s, Joseph was an in-demand touring musician and recording artist. He was a featured player with leaders like by Paul Barbarin, Louis Cottrell and “Albert “Papa” French and made numerous trips to Europe.

Though you may have to dig to find them, recordings and videos of Joseph circulate including a live record, Frog and His Friends at Dixieland Hall. There are also other recordings of Joseph as a sideman with bassist Placide Adams and trumpeters Thomas Jefferson and Sharkey Bonano.

In the 1980s and early 1990s, Joseph stayed close to home, playing with Clive Wilson’s Original Camillia Jazz Band. He also played most Sunday nights at Preservation Hall with the Olympia Brass Band.

Klein said, “His style was melodic, but he was funky in the way he played his notes. Every single note he played meant something. It wasn’t fast and it wasn’t real furious, (but) he was swinging his ass off.”

He continued to elaborate enthusiastically about what made Joseph’s style so special, “He didn’t play like a bebop (musician)…there weren’t a lot of notes, but the notes were intentional and really soulful and really specific. It just fit in the pocket of what the other horns were doing. He never overplayed. Sometimes he would play a harmony part with the trumpet, but a lot of times he played that style of ‘tailgate,’ which is what we call what we do here (in New Orleans).”

I asked Klein how he picked the other trombone players that will appear at the tribute. “Of course,” he said with a chuckle, “Charles Joseph has to be on the gig since he’s a Joseph and he’s a trombone player.” He almost laughed when I asked about Ronell Johnson of the Preservation Hall Jazz Band, “Of course Ronnel, what do you say about Ronell? He just knows, he’s a master.” Johnson is also one of the most ebullient performers on the scene today.

Haruka Kikuchi is a “Frog” disciple from Chiba Prefecture outside of Tokyo, Japan. Klein said, “Haruka is in that vein, she loves the style of “Frog” Joseph… she’s focusing on New Orleans music and being true to it. She’s done her homework, she’s very studied…she knows the music and she plays it right.” She is also another lively player on the scene around town.

In a phone interview from her home in New Orleans, Kikuchi explained her connection to Joseph that began half way around the world, “The very first time I heard him (in high school), it was so joyous, I just wanted to dance.”

The music she heard was on albums that were brought back to Japan by a group of Japanese musicians, the New Orleans Rascals, that actually played at the New Orleans Jazz and Heritage Festival way back in 1980. The musicians donated the LPs they bought in New Orleans to the jazz club.

She continued expounding about Joseph’s sound, “It’s really unique…he played this music with his own character. He made it his own through his slide.”

The rest of the tribute band features musicians that have been in and out of Klein’s musical orbit for years and they all have their own unique sound. Klein said, “When you listen to “Frog” he always played with trumpet and clarinet. They were always part of the composition of the music he played. So, I have Bruce Brachman on clarinet and Kevin Louis on trumpet.” The two additional horns will appear on stage with the four trombones whenever the song calls for it.

Drummer Gerald French has an even more intimate connection since his uncle Bob and his grandfather, Albert “Papa” French, were traditional jazz leaders going back many decades and both played with Joseph. Bassist Mark Brooks and pianist Paul Longstreth round out the band.

Waldren “Frog” Joseph died in 2004 at 86 years old. He was feted with a massive jazz funeral featuring at least forty musicians including his two sons and Klein. His career spanned most of the 20^th century and his legacy will live on forever.

The percussionist Michael Skinkus took the name for Moyuba, his sacred drum and song ensemble, from the Yoruba word meaning, “I pay homage to” or “I salute you.” He led the band performing the sanctified songs of the orisha since its beginnings as a trio playing for young audiences in the late 1990s. Skinkus passed away in January and this year’s Jazz Fest performance will be a tribute to his life’s work.

Sula Spirit, the longtime lead vocalist of the group, explained the origins of the group, “I moved here in 1996; we started playing music together in 1998. He was already singing some orisha songs and playing batádrums with (the late) Hart McNee and Dave Sobel. That led to the start of Moyuba.” She chuckled as she recounted their immediate connection, “We sang so well together that he said, ‘I can’t do this without you, you’re my singing wife’.”

Skinkus had already traveled to Cuba once to learn the traditional songs and drum patterns from teachers including the late master percussionist Regino Jimenez on the island. Sula said, “He chose the songs. The band is his creation.”

When singer Margie Perez, who has Cuban roots, moved to town, she joined Skinkus and Sula on vocals and they expanded the band to include other musicians. In 2003, Moyuba began a long run of performing on opening day at Jazz Fest almost every year.

The orisha is a family of spiritual entities, essentially forces of nature, that are central to Yoruba religious practice in west Africa. They crossed the Atlantic Ocean with the enslaved, along with drums and other elements of African culture including foodways, and became central to spiritual expression in Cuba, Brazil and Haiti, as elements of Santería, Candomblé and Voudou, respectively.

The three traditions are closely related and developed through syncretic religious worship, blending West and Central African spiritual systems with elements of Catholicism in the Americas. Despite regional differences, all three use music as a central means of communication with the spirit world.

While Santería centers on batá drumming, Candomblé uses ensembles of atabaque drums and agogô bells to support layered rhythmic grooves accompanying the dances. In Vodou, two different styles of drumming produce complex polyrhythms and vocal refrains that guide spirit possession ceremonies and create a ritual atmosphere.

Across all three traditions, drumming, song and dance form an interrelated ritual language connecting African cosmologies to New World religious practice. The enslaved Africans in all three places were able to continue worshiping the orisha by hiding the identities of the spirits behind the Catholic saints of the enslavers.

Sula explained Skinkus’s connection to the music and sacred expression. “This music was a strong healing force in his own life (and playing the music) was a true calling. He wanted to start this band to personally give thanks to them.” She explained how deep the relationship is for believers, “We have parents in this world; these are your spiritual parents.”

For the Moyuba tribute show at Jazz Fest, many of the musicians who played with Skinkus over the years will be joining the singers Sula Spirit and Margie Perez. Brent Rose will play saxophone, flute and shekere and Sam Price will be on bass. The rhythm section is a who’s who of talent with Alexey Marti on congas and Gabriel Velasquez on timbales with Scott Messersmith, Dave Sobel and Logan Schutts playing the central roles on batá drums. Sobel played in Los Vecinos, Skinkus’s first Latin band in the city, and Messersmith was a longtime friend and a fellow student with Skinkus in their youth.

Batá drums are intrinsic to the sound of this band. They are shaped like an hourglass and have goat skin heads on each end. Before the enslaved Africans were kidnapped and forced to live in Cuba, the ceremonies were played with five drums, going back for centuries in Nigeria.

The music and the technique for playing the drums changed over the many years in the New World. But the basic concept of playing music to attract and praise the orisha did not.

Messersmith, who traveled to Cuba with Skinkus to study, explained the basics of this ancient and complex art form, “All three drums communicate with each other (through the hands of the musicians). The largest Iyá, is known as ‘mother,’ Itótele, the middle sized, is the ‘father’ and Okónkolo, the smallest drum, is the ‘baby.’”

The singer chooses the songs and the rhythmic pattern played on the three drums changes based on which orisha is being honored. During a formal religious ceremony, the singer is actually calling forth the orisha, but during a performance, in which the drums are not consecrated, the notion is to evoke the vitality and spirit of each deity and share it with the audience. They will play songs for Oshun (mother of love and the sweet river waters), Eleggua (the road opener) and other members of the orisha pantheon.

For audience members, particularly with the energy of opening day at the Fairgrounds in the air, hearing Moyuba will be a profound experience. The drums cast their hypnotic spell, Rose sets his sax aside to rattle his shekere, the beads around the gourd adding to the rhythm, while the bass sings out to the crowd to dance. The vocalists sing in a call and response style and the three bata players in the front of the stage respond to the voices. It’s ethereal and earthy at the same time, connecting the sky and the land.

Though orisha music was central to Skinkus’s musical identity, it was far from the only musical style in his repertoire. Over his long career in New Orleans, he played with numerous Latin music ensembles including Otra, Freddie Omar con su Banda, Muévelo and Los Vecinos.

He recorded with the likes of Dr. John, Irma Thomas and Johnny Adams and played with eclectic musicians like Michael Ray and the Cosmic Krewe, Seguenon Kone and Ensemble Fatien and cellist Helen Gillet. He also was the longtime percussionist for the New Orleans rock band, the Radiators.

I expect many of his other musical friends will be honoring the memory of Michael Skinkus at the Jazz Fest. Though he was a prolific performer at the festival, on stage with countless acts over the years, Moyuba was the only act billed with his name attached over the course of his career.

As one of his longtime African-American collaborators acknowledged in a social media post, “I can honestly say that the community has lost a valued keeper of the culture, even though his melanin may not have reflected the origins of the traditions he so deeply respected. Still, his heart, his hands, and his commitment bore witness to the power of the music and the spirit it carries.”

Sula Spirit concluded, “It’s going to be beautiful. He’s a powerful angel.”

For more of my writing about the life of Michael, search the archive at jaymazza.substack.com.

Composer, pianist and producer Lawrence Sieberth has appeared with an enormous number of musicians over the course of his fifty-year career and has performed in virtually every setting, from appearing on television with Willie Nelson, to international festivals and intimate concert halls. Through it all, he has remained dedicated to new styles of music and working with new musicians.

Because Sieberth grew up in the musically fertile 1960s, he was influenced by everything from classical composers like Ravel and jazz musicians to Jimi Hendrix and the Doors to soul like Earth, Wind and Fire. In a phone interview he explained, “I have always been influenced by the entire history of music and I have been influenced by all of the styles that I have listened to.”

He continued, “My mother was a piano teacher and my father was a pianist and a composer; I grew up where the music room was the sanctuary and from very early on, I realized that music was made by people, actual humans, but the music came from somewhere else.”

Besides piano, Sieberth also played clarinet and bassoon as a young man. He’s been a composer since high school in Baton Rouge when a band director inspired him to write. He explained, “In high school, I was composing material for the jazz band and the concert band and small groups and I was playing in rock bands and we would do original material in the rock genre.”

After studying with the acclaimed educator and clarinetist Alvin Batiste at Southern University, he relocated to New Orleans and began playing on the scene as well as touring with Clarence “Gatemouth” Brown. In his early career he played with some of the most adventurous musicians in the city including bassist Ramsey McLean (the composer of Lil Queenie’s “My Darlin’ New Orleans”) and saxophonist Earl Turbinton.

Sieberth also began a long stretch, which continues to this day, playing piano for some of our greatest vocalists including Germaine Bazzle, Topsy Chapman and Charmaine Neville. Astoundingly, he was in a band with the drummer Herman Ernest, the bassist David Barard and the saxophonist Amadee Castenell before all three joined Dr. John’s band.

Sieberth has always had a wholistic approach to music. He said, “Sometimes I target a specific type of music for certain events and sometimes music just kinda comes to me. My solo piano repertoire can come from anywhere. Personally, I notice the connections to the influences that I have garnered…but I try to…coalesce it into something that is identifiable as my own music.” One of his musical partners called those musical passages, “Sieberth-isms.”

He also has a deep understanding of the role music plays as both art and entertainment. He said, I’ve seen great music at the Jazz Fest, but it doesn’t always have that wow factor to hold the audience.” Over the years he has been the bandleader for a wide variety of shows at the festival and I would argue they all have the “wow” factor. He said, “All the things I do for Jazz Fest, are designed for Jazz Fest.”

Consider his 2013 set called “Blended Voices.” He had vocalists Germaine Bazzle, Phillip Manuel and Leslie Smith backed with an eight-piece horn section with saxophonists Brent Rose and Derek Douget, trumpeter Barney Floyd and trombonist Mark Mullins to name just half of the musicians. The drummer was Herlin Riley.

With his Estrella Banda booking in 2016, 2017 and 2024, the only act he’s presented more than once at Jazz Fest, he had salsa dancers along with horn players and percussionists, including Cuban great Alexey Marti and ace Latin drummer Ricky Sebastian.

This year, Sieberth has dubbed his project, “Da Groove.” He has enlisted two musicians from out of town that may be not on everyone’s radar, yet—guitarist Dave Fiuczynski and percussionist Danny Sadownick. Sieberth says they have a unique approach to music. They play together in a band called Screaming Headless Torsos, which Billboard magazine described as, “…a tight band that comfortably weaves jazz, reggae, salsa, and metal, (the) band deserves and demands attention.”

The rest of the band for his Jazz Fest performance features drummer Doug Belote, saxophonist Brad Walker and bassist Max Moran, which he calls his “New Orleans quartet.” Sieberth said, “I always use Doug on funk/R&B songs when I need that dynamic.”

He explained, “Some of the songs (we are going to play) have very minimal amounts of written material. But I keep impressing on (the musicians) that the groove has to be hypnotic. I’m a big fan of people like Bootsy Collins…that’s what I’m going for. I’m designing this so there’s written material and unwritten material…I’m really wanting to explore sonic textures and more harmonic material. In fact, one of the songs is based on a Wild Magnolias-type groove, but it’s got a very contemporary approach to it.”

He continued talking about the latest project and the looseness of his approach, “I don’t want it to be totally restrictive, it’s not like I’m writing for a big band or an orchestra. Here’s the written material, but we fortunately don’t know exactly how this is going to turn out and that’s what I’m really hoping for, to kind of fuse some of the things that I’ve done over the years…(I’m) relying on the musicality and the creativity of the musicians that are on stage, creating a collective musical force.”

Lawrence Sieberth still retains and maintains his youthful fascination with music of all kinds. He’s also still an adventurous listener and engages with much younger musicians. He stays on the cutting edge of music today and insists you have to stay current. He said, “The technology has created a lot of the new genres in music. There are so many—dub step, bass and drums…” But even as he has embraced the latest sounds throughout his career, he is still one of a kind.

After two days of rough weather, cancelled acts and early closings, festers woke on Saturday to a near-perfect day with cool temperatures and low humidity. I started the day with singer/songwriter Mia Borders. She augmented her band with a horn section featuring Brad Walker on saxophone, Ashley Shabankareh on trombone and Katie Rogers on trumpet.

Corey Henry and the Tremé Funktet followed Borders and close watchers of the brass band/Mardi Gras Indian subculture were in for a treat when retired Big Chief Fi Yi Yi (Victor Harris) of the Mandingo Warriors, made a lively appearance in one of his unique, African-inspired suits with two other Indians for “Ooh Na Ney.”

Veteran Jazz Festers love the idea of accidently walking into an incredible scene. I call this a “stumble” and it happened on Saturday afternoon when I was in the Grandstand. Susan Cowsill (pictured above with bassist Rene Coman and drummer Russ Broussard) was putting on one her characteristically wry performances when she introduced two of her former bandmates in the Continental Drifters—Vicky Peterson and Robert Mache. Peterson was also the guitarist in the Bangles and Mache tours currently with singer Dayna Kurtz.

They performed “The Rain Song” and then Susan’s brother, John Cowsill, joined them for “The Mississippi” with Mache on mandolin. It was a sublime moment on the Lagniappe stage.

Another great stumble was coming across the Jamaican parade with the Kaya Jonkunni Band, while crisscrossing the paved path. Only one character stopped to be photographed, but they were a sight to see in costumes that resembled outfits worn for the Cajun Mardi Gras.

The Midnite Disturbers are one of those only-at-Jazz Fest acts that are a must-see for fans of brass band music. Trombonist and singer Glen David Andrews exhorted the crowd as Big Chief Juan Pardo and Spy Boy Eric Gordon of the Golden Comanches “played Indian” on stage while the big horn section roared, sousaphonist Matt Perrine blasted elephant calls and Stanton Moore and Mike Dillon rhythmically pounded the drums.

Yet another great stumble occurred late in the day when I wandered into the Grandstand again and discovered Spy J, aka J’wan Boudreaux, sitting in with singer Robin Barnes. The Lagniappe stage is truly where the musical magic happens.

With the Fair Grounds so packed for the Eagles that organizers halted walk-up ticket sales, I opted to avoid the crowds and headed to see the Hard Head Hunters for the closing set on Saturday. This Ninth Ward tribe is led by Big Chief Otto “Fiyo” Dejean (pictured at top and below).

Readers with long memories will remember him from his appearances in the HBO series Tremé. He came out with a full funk band featuring Danny Abel on electric guitar and a brass band. They played Meters classics like “Ain’t No Use” and “Fiyo on the Bayou.” It was a slammin’ end to another beautiful day at Jazz Fest.

Sunday dawned and everyone knew the weather was going to be perfect. After a set which found the Original Pinettes Brass Band begging “Mr. Soundman” to turn on their vocal microphones, I headed for the historic Chiefs of the Indian Nation performance.

This super-tribe featured Big Chiefs Terence Mitchell of the Creole Wild West, Juan Pardo on the Golden Comanches, Shaka Zulu of the Golden Feather Hunters, Troy Young of the Algiers Warriors (pictured below in order) and Otto Dejean of the Hard Head Hunters. They opened with the Black Indian prayer song, “Indian Red” with everyone singing, before each chief took a turn on lead vocals on other classics from the Indian canon. It was an amazing display of solidarity among occasional rivals.

The Radiators were without their longtime percussionist, Michael Skinkus, who passed away earlier in the year. Their set was also reportedly the last-ever for a band that began in 1978 and theoretically retired back in 2011 (it turned out they just retired from touring). They opened with a blues tune, which was uncharacteristic for such a big occasion, and continued with a set of mostly covers. During Leadbelly’s “Out on the Western Plains” bandleader and vocalist Ed Volker (photo below by Dennis Woltering) loudly exclaimed during an understated percussion break, “Skink where are you?!”

I ended the day back at the Jazz and Heritage stage where a small crowd was highly entertained by the Pinstripe Brass Band’s feisty rendition of “Stand By Me.” Over at the Festival stage, Troy “Trombone Shorty” Andrews featured his uncle Jenard Andrews and his group, The New Breed Brass Band, bringing the family vibe full circle and closing the 2026 festival with a big bass drum bang.

I would like to thank my subscribers and readers for all the feedback both in person, on the socials and on the website. It’s very rewarding to hear from you and I appreciate people appreciating the work that I do. I will have a few more posts in the coming days of my articles that appeared in OffBeat magazine’s Jazz Fest Bible before taking some time off to work on my new book. Keep supporting independent journalism, keep supporting New Orleans music and culture and please keep in touch. Seriously. E-mail me. Like and share—spread the word. Thank you!

The weather forecast early last week was foreboding for the second weekend of the New Orleans Jazz and Heritage Festival. When Thursday arrived, the organizers of the annual event made the difficult decision to cut the day short and move the headlining acts up on the schedule. This caused numerous bands to have their sets cut short or cancelled outright.

The Forgotten Souls (pictured at top—trombonist Revon Andrews and saxophonists Jason Mingledorff and Orlando Gilbert) made good use of their time on stage, presenting material from their new album, Yeah Ya Right, and showcasing some special guests. Cuban-born, now-local percussionist Alexey Marti added congas to the Fela Kuti song, “Eko Ile” and faced off with sousaphonist Kirk Joseph in an adventurous jam.

Spy Boy J, aka J’wan Boudreaux (below, at left), the grandson of Golden Eagles Big Chief Monk, played tambourine and sang Mardi Gras Indian-style on two cuts. Later in the set, trumpeter Kenneth Terry ( below, middle), a founding member of the band, joined in as a special guest.

The Cultural Exchange Pavilion was the place to be for a variety of Jamaican acts since the Caribbean island was this year’s featured country. The Rising Suns are a trio that play upbeat, reggae-inspired original music in a stripped-down format with just acoustic guitar, a small, djembe-like drum and minimal keyboards. They had the crowd fully engaged, splitting the audience in two to sing each part of the chorus, “Learn,” “and Grow.” It was big fun.

Charlie and the Tropicales put on a great set in the same tent. Towards the end, Charlie Halloran (pictured below), the band’s namesake leader and trombonist, made a bittersweet announcement—Jazz Fest is closing soon, but we get another 20 minutes! Though the festival has shut down early in the past due to inclement weather, I’ve never heard of a band getting extra time at the usually super-punctual event.

They made the most of it with saxophonist Brent Rose tearing it up, shown with bassist Pete Olynciw and guitarist Nahum Zdybel along with Cesar Bacaro on congas and Jafet Perez on drums.

Friday’s weather forecast looked no better, so fewer people were surprised when Jazz Fest closed early again. After a great set by Tony Hall and the New Orleans Soul Stars paying tribute to James Brown, I wasn’t sure which stages had changed set times. So, I hustled over to the Jazz and Heritage stage in time to catch a few songs from Muévelo. I was happy to see Yusa, another Cuban now living in New Orleans, adding acoustic guitar and backing vocals to a high-powered finale featuring Brent Rose on saxophone and Margie Perez on lead vocals.

When I got to the Jazz Tent intent on seeing trombonist Stephen Walker’s set, the sign indicated Cuban pianist, now local resident Victor Campbell, was actually up next. The fester in a neighboring seat informed me that I missed Walker and he only got to play 20 minutes or so. My loss was also my gain, as Campbell played an exuberant set, including a dancing interlude with a keytar (pictured below), with Yusa, now on electric bass, visiting Cuban drummer Oliver Valdez and Ghanian percussionist Weedie Braimah on congas and djembe.

The next act in the Jazz Tent was a must-see, Lawrence Sieberth Presents “Da Groove” with special guests David Fiuczynski & Danny Sadownick, since I interviewed the pianist for a story in OffBeat magazine’s Jazz Fest Bible. It did not disappoint. The two special guests are in a band called Screaming Headless Torsos. Though I saw no zombies or other dismembered bodies, I did witness some fabulous, controlled screaming from Fiuczynski’s double-necked guitar and killer percussion from the hyper-focused Sadownick. Saxophonist Brad Walker, bassist Max Moran and drummer Doug Belote were the local support team.

Tomorrow- Part Four of my Jazz Fest Recap

Ah, the final day! Are you exhausted? Excited? Maybe a bit of both? As always, I recommend getting there early. Dex Daley & Jam-X play an interesting blend of Caribbean sounds focusing on reggae. But they add a special twist—Daley plays the steel drum. The band also features drummer Ethan Shorter, a local player known for his work with the Honey Island Swamp Band’s Sam Price’s solo project, the True Believers. They start things off in the Cultural Exchange Pavilion at 11:30 AM.

Since the Mardi Gras Indians are famously confrontational and competitive, it’s rare for Big Chiefs to appear together. Back in the day, Big Chief Larry Bannock of the Golden Star Hunters, would be on the rail at every Indian performance at Jazz Fest, mercilessly critiquing his peers. So as far as I know, the act billed as The Chiefs of the Indian Nation, will be the first time Jazz Fest has presented multiple chiefs as part of one performance. Expect to see Big Chief Juan Pardo of the Golden Comanche, Big Chief Shaka Zulu (pictured below) of the Golden Feather Hunters and Terence Mitchell of the Creole Wild West among others. Fun Fact—as far as I know Shaka Zulu has never appeared at the Jazz Fest in his Indian suit. They hit at 12:40 PM on the Jazz and Heritage stage.

Lila Iké (pictured at top) is another one of the next generation of reggae artists being presented by the Jazz Fest. Born Alecia Tameka Grey in 1994, she was nominated for a Grammy for her debut album, Treasure Self Love, and performed at this year’s ceremony. In keeping with the inclusive nature of this new generation, the DJ and producer, Protoje, who headlined last weekend and spun yesterday for Yaadcore, was featured on her first single. She plays on Congo Square at 2:10 PM and then at 5 PM in the Cultural Exchange Pavilion.

Years before the legendary pianist, producer and songwriter Allen Toussaint passed away unexpectedly while on tour in Spain, he released a jazz album, Going Places, under the name, Allen Toussaint’s Jazzity Project. Some of the musicians he recorded that 2005 album with have kept the energy of the undertaking alive. I expect to see bassist Chris Severin and Kyle Roussel playing the ever-important piano parts. They hit in the WWOZ Jazz Tent at3:50 PM.

You have a lot of options in the last time slot including just sticking around in the jazz tent for Herbie Hancock, checking out Kermit Ruffins’ Tribute to Louis Armstrong, Mavis Staples, the Tedeschi Trucks Band or New Orleans’ own headliner, Troy “Trombone Shorty” Andrews and Orleans Avenue. But I would recommend heading to the Fais Do Do stage for Steve Earle featuring Anders Osborne. Earle is one of the founding fathers of the Americana music movement and is the newest member of the Grand Ole Opry. HIs solo acoustic tour this summer is being billed as “51 Years of Songs and Stories,” and will feature our own Osborne singing songs and playing guitar for this stop. The set starts at 5:40 PM.

Next Week- Second Weekend Recap!

We are in the home stretch and today is going to be packed with people. Get there early, get your food in immediately and hope to mostly avoid the lines. Mia Borders is one of those only in-New-Orleans acts. She writes great, original songs, plays mean guitar and is backed up by one of the best jazz bassists in the city. She kicks things off on the Gentilly stage at 11:20 AM. She plays again with her acoustic trio at 3:25 PM in the Rhythmpourium tent.

If you checked out reggae star Protoje last weekend per my suggestion and liked it, I suspect you will enjoy Yaadcore. Born Rory Cha in 1989, he is Protoje’s DJ as well as a singer and producer. He’s also the co-founder of the multinational reggae party Dubwise Jamaica, while leading the future of Jamaican music with his own unique vision. He plays immediately before the Skatalites in the Cultural Exchange Pavilion at 12:40 PM.

I have no clue why a legendary group like the Skatalites is not playing on a bigger stage. All I can do is recommend getting there early if you want to check them out. Their set starts at 2:05 PM. It will be intimate, but jam-packed.

Former child star and mandolin player Sierra Hull (pictured at top) is part of the new generation of bluegrass stars. She was signed to Rounder Records at 13 and released her first album three years later. Alison Krauss, another bluegrass prodigy, was her mentor and role model. Now 34 years old, she has won numerous awards including best mandolin player six out of eight times between 2016 and 2023. She played with Bela Fleck two years ago at Jazz Fest. Her latest album, A Tip Toe High Wire, was released last year and was nominated for four Grammy awards. She plays on the Fais Do Do stage at 4:20 PM.

If brass jams are more your thing, don’t miss the Midnite Disturbers. This all-star band has been a fixture, one day a year, at the Jazz Fest since 2008. The group is anchored by Stanton Moore of Galactic on drums and features his bandmate, Ben Ellman on baritone sax as well as members of the Rebirth, Dirty Dozen and other standout brass band players. Troy “Trombone Shorty” Andrews has played with them in the past. They hit on the Jazz and Heritage stage at 4:25 PM.

The last time slot is jam packed with talent, ensuring that the Fair Grounds will be packed as well. With the Eagles on the Festival stage, T-Pain on Congo Square, Alabama Shakes on Gentilly and Little Feat in the Blues Tent, where might a crowd-phobic fester land? Delfeayo Marsalis and the Uptown Jazz Orchestra (pictured above) play good time music, like an old fashioned, 1940s big band. They hit in the WWOZ Jazz Tent at 6 PM.

But your best bet is out on the infield at the Jazz and Heritage stage for the Hard Head Hunters Mardi Gras Indians. Led by Big Chief Otto “Fiyo” DeJean, this downtown tribe creates some of the most fantastic suits. They will sing the age-old songs, chant about rival gangs and have you up and dancing from the get-go. They hit at 5:40 PM.

Tomorrow- Day Eight Picks!

Muévelo is a band made up of local musicians that started as a tribute to the great Cuban singer Celia Cruz. The group features Margie Perez, an American with Cuban roots on lead vocals, and features Brent Rose on saxophone and flute. They are more fun than most bands on the scene today with a proclivity for filling the dance floor at every gig. They kick of the Jazz and Heritage stage at 11:20 AM.

I haven’t been highlighting enough jazz through all my picks, so today I want to recommend three of the bands playing in the WWOZ Jazz Tent. Trombonist Stephen Walker plays in the Dirty Dozen Brass Band and as a solo artist. He is also a prolific youtuber and creates great videos to help keep traditional jazz alive. Since he’s playing in the Jazz Tent and not Economy Hall, don’t expect trad, but a mixture of originals and some standards with an eight-piece horn section. His set is at 12:35 PM.

Immediately after Walker is an appearance by the great Cuban pianist Victor Campbell. Since moving to New Orleans several years ago, he has been soaking up the local sounds and playing with the cream of the crop of local jazz musicians. He is a phenom and has managed in a short period of time to add our idiosyncratic stylings, from Professor Longhair to James Black, into his repertoire. His set begins at 2 PM in the WWOZ Jazz Tent.

Unfortunately, Campbell plays at the same time as another of my local favorites. Los Güiros (pictured at top—I took the photo!) play psychedelic cumbia music, the dance style that is all the rage in Columbia and other parts of the Latin music world. Corina Hernandez, is the bandleader and front woman, playing the group’s namesake instrument. The band also features Shaye Cohn, the cornetist for Tuba Skinny, on accordion and synth. They play on the Jazz and Heritage stage at 1:45 PM.

Original Koffee, born Mikayla Victoria Simpson in 2000, is a Grammy award-winning Jamaican vocalist. She won in 2019 for her debut, Rapture. She is the youngest person to win “Best Reggae Album” in the history of the Grammy category. Besides being a singer, she also plays guitar and raps. I expect a young crowd ready to enjoy some modern reggae sounds on the Congo Square stage at 3:40 PM.

Local pianist and composer Lawrence Sieberth puts together a special program for all of his Jazz Fest performances. This year he presents “Da Groove” featuring David Fiuczynski & Danny Sadownick. He elaborated on the concept in an expansive interview with yours truly that appears in OffBeat magazine’s Jazz Fest Bible. Read it here. Expect to hear loose interpretations of original material written specifically for this band, which feature the two musicians from Screaming Headless Torsos with an all-star local band. They play in the WWOZ Jazz Tent at 3:40 PM, directly opposite Original Koffee.

The last time slot offers something for everyone from country star Lainey Wilson to reggae royalty Ziggy Marley and blues blisterers, the Black Keys. I’m recommending checking out Big Chief Juan & Jockimo’s Groove. Juan Pardo (pictured above) is the Big Chief of the Golden Comanche Mardi Gras Indians. He represents the next generation to keep the age-old tradition alive and vital.

Tomorrow- Day Seven Picks!

The second weekend starts with a strong lineup on what we used to call “Slacker’s Day,” since you had to take off work twice in one week if you were a local planning on attending Jazz Fest every day. So, start Thursday with a local act.

The SOUL Brass Band has an unusual backstory. The musicians in the group, which is led by drummer Derrick Freeman and saxophonist James Martin, originally came together for a hip hop video shoot. Freeman actually hired the the musicians to play musicians, not necessarily to play music. Since those days, the band has coalesced around some of the best brass players in the city. They hit on the Gentilly stage at 11:20 AM.

In keeping with the brass band vibe, head over to the Jazz and Heritage stage for an intimate performance, no VIP area separating the crowd, by the Forgotten Souls. This is a New Orleans super group that only comes together once a year. Anchored by sousaphonist Kirk Joseph of the Dirty Dozen Brass Band and featuring standout players on every instrument including members and former members of the Rebirth Brass Band, the group has a new album out called Yeah Ya Right, which features innovative covers of acts as varied as Fela Kuta, the Allman Brothers and Freddie Hubbard. They are hitting on all cylinders and play at 12:25 PM.

Jessie Royal (pictured below), born Jesse David Leroi Grey in Kingston, Jamaica in 1989, is one of the featured performers as Jazz Fest highlights the island nation this year. He is a part of the roots-reggae revival that began in the last couple of decades to counteract some of the misogyny in dancehall and hip hop. He plays right after the Forgotten Souls on the Jazz and Heritage stage at 1:50 PM.

At approximately the same time, there’s always conflicts at Jazz Fest, one of my favorite local bands, Charlie and the Tropicales, is playing in the Cultural Exchange Pavilion. Led by trombonist Charlie Halloran, the group plays many of the different styles of music of the Caribbean diaspora. They will feature special guest vocalist and violinist Mireya Ramos (pictured at top).

The Rising Sons are an American reggae band that has been playing around the east coast since 1993. They have won several awards in the Washington D.C. area. The band’s leader said, “Our sound is trying to pay homage to the vintage reggae style, foundation style but there are also new, modern influences that we love.” They play on the Lagniappe stage at 3:40 PM.

Given the huge time slot allotted to Widespread Panic, it’s easy to catch some of the veteran jam band and squeeze in some other acts as well. Frank Waln is an indigenous hip hop artist, born in 1989, from the Sicangu Lakota nation in South Dakota. He has released award-winning albums and appears with his band, Nake Nula Waun. They hit on the Jazz and Heritage stage at 4:30 PM.

Leela James is a soul and R&B singer from Los Angeles. She has worked with a wide variety of musicians including opening for the Black-Eyed Peas and Macy Gray early in her career. Her fourth studio album, Loving You More... In the Spirit of Etta James, is a fabulous tribute album recorded shortly after the great blues woman’s death. She has since recorded three more albums of mostly original material. I don’t actually know what to expect, but I believe she will be in the Jazz Fest spirit since she is making her Fair Grounds debut in the closing slot. She plays the Congo Square stage at 5:35 PM.

Tomorrow- Day Six Picks!

I started the first Saturday of the 2026 New Orleans Jazz and Heritage Festival with the Creole Wild West Mardi Gras Indians. The first tribe to ever form on the cultural landscape of the city is led by a new big chief, Terence Mitchell (pictured above). He had dozens on Indians on stage including several children all dressed in yellow.

Dr. Nativo is a such a natural for Jazz Fest it’s kind of shocking he has never appeared before despite playing in New Orleans numerous times. The singer from Guatemaya (his preferred spelling of the Central American country) is an energetic performer that had the whole audience at the Fais Do Do stage in the palm of his hand. His trumpeter took some standout solos. His masked bass player and drummer are sisters.

Lutan Fyah was one of the pure roots reggae singers performing this year. He brought a great horn section and two amazing backing vocalists.

Cristina Kaminis sings in at least four languages and her songs range from torch tunes from the likes of Edith Piaf to bossa nova from Brazil. She had bassist Nick Benoit in her ace trio.

The festival got a bit of a late start on Sunday due to some thunderstorms in the area. After a great set by River Eckart in the Blues Tent, I went to the Cultural Exchange Pavilion for a set by Topp Brass of Jamaica. With three horn players out front, they played ska at the highest level with the Island Federation Band backing them. Each horn player took solos and their ensemble work was impeccable.

84-year-old Big Chief Monk Boudreaux of the Golden Eagles has had some health problems of late. But his family and tribe rallied around him for his set on the Jazz and Heritage stage. His grandson J’wan led the band until Monk made an appearance about half way into the set. Monk played his tambourine and sang with vigor.

At the end of the set, J’wan invited any of the chiefs in the audience to join them on stage for a traditional tambourine-only song. Big Chief Tyrone Casby of the Mohawk Hunters and Big Chief Victor “Fi Yi Yi” Harris of the Mandingo Warriors are pictured with Monk below. It was a beautiful, poignant ending to a great first weekend.

Tomorrow—second week picks!

The first day of the 2026 New Orleans Jazz and Heritage Festival began with a tribute to the late percussionist Michael Skinkus by his long-running band, Moyuba. Lead singer Sula (pictured above with his photo) invoked his presence numerous times as the band ran through a program of songs to the orisha. Bata player Scott Messersmith sings below with Margie Perez.

At first I thought the conga drums on stage were set up to honor Skinkus since they were one of the many percussion instruments he played, but it turned out Cuban percussionist Alexey Marti was a special guest.

The Rhythmpourium Tent is the most intimate stage on the Fair Grounds. It proved to be perfect for a sweet set by rock steady band, 007. Led by Jeffery Clements of G. Love and Special Sauce on drums and vocals, the band also includes bassist Joe Cabral and guitarists Alex McMurray and Jonathan Freilich.

Nidia Góngora (pictured below) of Columbia wove a spell with her powerful voice. Her band featured a marimba player who also doubled on clarinet, a keyboard player, a conga player and a drummer. Her music is from the pacific coast of the South American nation and mixes African and indigenous sounds with elements of Spanish music.

Friday’s schedule was packed with great acts, but as usual I sought out new and different sounds especially from this year’s featured country, Jamaica. Guitarist and vocalist Papa Mali’s Shantytown Underground is a local group, but their music digs deep into the history of Jamaican music. He featured vocalist Lynn Drury on about half the tunes.

The highlight of the band was the ace horn section of Satoru Ohashi on trumpet, Jason Mingledorff on tenor sax, Colin Myers on trombone and Dominic Grillo on baritone sax pictured with guitarist Jonathan Freilich. Ohashi was particularly impressive taking a long solo using a plunger mute on his horn.

The percussionist added plenty of texture and I was excited to find out when he was introduced that he was none only than the legendary Wally Ingram.

When writing my preview, I was hoping that the Silver Bird Steel Orchestra would bring their full complement of steel drums to the festival from their home in Jamaica. They sure did with six steel drums, three big bass drums made from oil cans, a killer trap set drummer and three smaller drums. The group was highly energetic and fully engaged the audience, bringing several members on stage to dance. At the end of their set, a few of the drummers demonstrated very impressive gymnastic skills with flips, handstands and one-armed planks while the others kept the music rolling.

The ShowJam Mento Band plays an older, acoustic style of Jamaican music. They demonstrated the connections between the island country and New Orleans with a spirited rendition “Hold ‘Em Joe,” a song sung by many Mardi Gras Indian tribes. They also performed a spell-binding version of the classic, “Many Rivers to Cross,” which was famously performed by our own Neville Brothers.

Tomorrow—Part Two of my Jazz Fest Recap

It’s a marathon, not a sprint as we finish up the first four days of the New Orleans Jazz and Heritage Festival. Start your day with the Fi Yi Yi & the Mandingo Warriors Mardi Gras Indians. Though Big Chief Victor Harris is retired after over 50 years of making his trademark, African-inspired suits, the tribe is still going strong with a new generation led by his son. They also put on a compelling set, with music from the drum-centric warriors and call-and-response vocals. They hit at 11:20 AM on the Cultural Exchange Pavilion.

Nomfusi of South Africa (pictured at top), born in 1988 as Nomfusi Gotyana, is a singer and actress best known for playing the great South African vocalist Miriam Makeba in a movie about Nelson Mandela called Mandela: Long Walk to Freedom. Her singing career took off in 2009 and she has won numerous awards. This is her first time playing at Jazz Fest and I expect a spirited performance with lots of energy and dancing. Her set is at 12:45 PM on the Congo Square stage. She also plays in the intimate Cultural Exchange Pavilion at 5 PM.

Ska music would not be ska without a horn section. It pretty much defines the sound. That’s why I am psyched to see Topp Brass. This four-piece group is known for backing some of the best Jamaican artists with precision horn parts and great soloing. They play at 2:10 PM in the Cultural Exchange Pavilion.

Guitar hero/indie sensation St. Vincent, born Annie Clark in 1982 (pictured above), may be an unusual musical collaborator with Talking Heads frontman David Byrne given their age and stylistic differences, but her 2012 album Love This Giant featured the new wave legend. So, it’s fitting that she precedes him on the Gentilly stage at 3:40 PM. Perhaps they will reprise their partnership?

The last time slot is a conundrum as it always is, but be aware that Leftover Salmon, one of the first bands to tap into the modern-day bluegrass/jam band scene back in the day, has never played at Jazz Fest. They are on the intimate Fais Do Do stage, so get there early. The set starts at 5:20 PM, giving them the longest time slot of the day, which rivals fellow jam band veterans, Widespread Panic’s long set next Thursday.

Next Week- Recaps and Picks for Week Two!

EDIT: WITH THIS MORNING’S MAJOR THUNDERSTORM EXPECT GATES TO OPEN LATE DEPENDING ON CONDITIONS ON THE GROUND

It’s rare that I look at the Jazz Fest schedule, especially on the busiest days, and see an act I have never heard of. It’s even rarer for that act to turn out to be local musicians. So, I am excited to check out the Gizinti Trio. This group plays gypsy jazz-inspired music and is led by Scottish expatriate and New Orleans resident Leo Forde on guitar. The other players are rhythm guitarist John Rodli and bassist Nobu Ozaki. They both play in the Hot Club of New Orleans. Check them out at noon in the Rhythmpourium tent.

Then, head right over to the Jazz and Heritage stage for the Creole Wild West Mardi Gras Indians. This tribe is the oldest in the city, dating back to the late 1800s. They always come with a huge group of Indians, resplendent in their handmade suits, including a lot of children who are keeping the venerable tradition alive. They hit at 12:25 PM.

Doctor Nativo (pictured at top) is a Guatemalan musician with some American roots. He last played Jazz Fest in 2019 and put on a high-energy show, mixing Mayan cultural traditions with reggae, Latin sounds and hip hop. He has played in New Orleans since then and finally returns to Jazz Fest where he’s a natural, given his world music focus and positive vibe. He plays at 12:50 PM on the Fais Do Do stage and at 5 PM in the Cultural Exchange Pavilion.

For fans of traditional jazz, please consider checking out Craig Klein presents “A Tribute to Frog Joseph” featuring Charles Joseph and Haruka Kikuchi because this is going to be a special set. “Frog” was a legend in this town and all across Europe for his unique approach to the trombone. For this set, Klein of the New Orleans Nightcrawlers and the Storyville Stompers, brings out three other standout trombone players including one of Frog’s musical sons. I interviewed Klein and Japanese trombonist Kikuchi for a story in OffBeat magazine’s Jazz Fest Bible. Click the link to read it! They hit in Economy Hall at 3:05 PM.

For pure roots reggae with a spiritual element check out Lutan Fyah. Born Anthony Martin in 1975 in Spanish Town, Jamaica, he actually was a professional soccer player before embracing Rastafarianism and music. He has released fifteen albums and numerous singles. He plays at 2:10 PM in the Cultural Exchange Pavilion and again at 4:45 PM on the Jazz and Heritage stage.

Saturdays are by design the biggest crowds at Jazz Fest. Some other writers have suggested that with Stevie Nicks on the Festival stage, Nas on Congo Square and Tyler Childers on the Gentilly stage, this year could set a crowd record. My suggestion is to avoid all that and check out Rhiannon Giddens (pictured above) in the Blues Tent. Initially known for her work with Carolina Chocolate Drops, she has come into her own as a leader in Black Americana music. With a grammy award, Pulitzer prize and McArthur “genius” grant, she is not to be missed. She hits at 5:25 PM.

Tomorrow- Day Four Picks!

Start your day by checking out Bon Bon Vivant on the Gentilly stage. This band has been in the New Orleans musical trenches for years, playing a compelling mix of original pop songs with a jazzy sensibility. I recently saw them at the Wednesday at the Square concert series in Lafayette Square and was impressed with their stage presence and musicality especially the interplay between the saxophonist and trombonist. They play at 11:20 AM.

Sevana is an up-and-coming singer and actress from Jamaica. She takes the many styles of the island nation and blends them into a sound that is part modern dancehall and part R&B in the style of the Anita Baker and Celine Dion. She is best known on the silver screen for playing Judy Mowatt, one of Bob Marley’s backing singers in the biopic, One Love. She plays at 12:45 PM on the Gentilly stage. She plays again at 3:35 PM in the Cultural Exchange Pavilion.

Los Skarnales (pictured at top) is a Mexican-American ska band from Houston. Their name loosely translates to “Brothers of ska.” The group is a high-energy ensemble making their Jazz Fest debut. Though they are not from Jamaica, they take as inspiration such bands as the Skatalites and British Two-Tone bands with a punk edge like the Specials. They play at 1:55 PM on the Jazz and Heritage stage. They also play again at 5 PM in the Cultural Exchange Pavilion.

At about the same time, the ShowJam Mento Band plays in the Cultural Exchange Pavilion. This group plays one of the earliest styles of Jamaican music. Mento is usually considered folk music, played with acoustic instruments and was popular in the 1940s, predating later styles like rock steady and ska as well as reggae and dancehall. They also play later in the day at 4:40 PM in the intimate confines of the Rhythmpourium tent.

Protoje (pictured above) is the stage name for Jamaican reggae singer Oje Ken Ollivierre. Born in 1981, he comes from a musical family. His mother had a hit single in 1972, “Breakfast in Bed,” and his father was a well-regarded calypso singer. He has received two Grammy Award nominations in the Best Reggae Album category, most recently in 2020, and was covered in a story in the New York Times about his role in the roots reggae revival movement earlier this month. He plays at 3:50 PM on the Congo Square stage.

Shockingly for regular readers of my picks, I haven’t mentioned any Mardi Gras Indian performances over the first two days. So don’t miss Spy Boy J & Thee Storm. J’wan Boudreaux is the spy boy for the Golden Eagles tribe, founded by his grandfather, Big Chief Monk Boudreaux. He brings the Mardi Gras Indian sound into the 21^st century. They play at 4:40 PM on the Jazz and Heritage stage.

There are plenty of great bands playing in the last slot including New Orleans’ own Jon Batiste, dancehall great Sean Paul and indie singer-turned-superstar Lorde. But for an intimate good time, stick around the Jazz and Heritage stage for Conjunto Tierra Linda. This local group mixes up Latin sounds like salsa and son for a danceable blend. I saw bits of their sets the last two years and found them a welcome antidote to the huge crowds at the main stages. They play at 5:55 PM.

Tomorrow- Day Three Picks!

Welcome to my annual Jazz Fest Picks! In anticipation of tomorrow's opening day, I am sending this out early. For the rest of the fest, look for them in your in-box at 9 AM. If you like what you read and discover some under-the-radar acts, please share and encourage your fellow festers to subscribe. Happy Festing!

Jamaica is the featured country at the 2026 New Orleans Jazz and Heritage Festival, so kick off the first day with Rik Jam and The Island Federation. This relatively new band first toured the U.S. in 2024. They present a contemporary take on reggae with a roots focus. They perform at 11:10 AM on the Congo Square stage. They also play later in the day, at 2:30 PM in the Cultural Exchange Pavilion.

I’m going to wait and catch Rik Jam later in the day, because I don’t want to miss Moyuba: A Tribute to the Spirit of Michael Skinkus. Skinkus was a local percussionist and led this band for decades. He passed away recently and I expect this to be a very emotional set. You can read about him and his career backing up a who’s who of New Orleans music in a piece I wrote for Offbeat magazine’s annual Jazz Fest Bible. It’s available on the new Jazz Fest Concierge app or here.

If you’re new to my picks and/or Jazz Fest, the Cultural Exchange Pavilion is one of the best spots to check out many of the acts from different countries that the festival hires besides New Orleans acts and the main stage headliners. Head over for Nidia Góngora of Colombia. Her sound is a mix of Afro-Pacific influences with indigenous and Spanish music from the South American country. She performs at 12:55 PM in the Cultural Exchange Pavilion. She plays again at 4:15 PM on the Jazz and Heritage stage.

007 is a mostly local band led by drummer Jeffrey Clemens of G. Love and Special Sauce. The group plays a mix of early Jamaican styles focusing on rock steady. They play in the Rhythmpourium Tent, another intimate spot on the Fair Grounds, at 11:30 AM. Expect to see local favs Alex McMurray, Joe Cabral and Jonathan Freilich.

Jamaica is world famous for reggae and known for many precursor styles including the aforementioned rock steady as well as ska, dancehall and mento. But who knew they also have steel bands? Jazz Fest knew. The Silver Birds Steel Orchestra is a versatile group that can be configured with between one and eight steel drums. Let’s hope they bring the full orchestra. They perform at 3:45 PM in the Cultural Exchange Pavilion.

There’s lots of great music during the last time slot including Bob Marley’s son, Stephen Marley, and Jamaican jazz pianist Monty Alexander. But the sleeper act is Austin, Texas’s own Shinyribs (pictured at top). This band is, according to their web site, “a sonic melting pot of Texas blues, New Orleans R&B-funk and horn-driven Memphis soul.” They have played a lot around New Orleans (full disclosure—I wrote their press release for their first local show at Chickie Wah Wah), but this is their first time playing at Jazz Fest. They perform at 5:45 PM on the Fais Do Do stage.

Check back every day for my picks!

The expanded footprint of the French Quarter Festival was a rousing success from all reports. I spent the majority of my time exploring the new Goldring Woldenberg Riverfront Park and saw some excellent music. The sound was superb and the crowds enjoyed grooving to the breeze off the river.

I also caught the Riverbenders (pictured at top and below) on the Loyola Made in the Shade stage by the Old U.S. Mint. Guitarist Jake Eckart, mandolin and guitar player Aaron Wilkinson and bassist Miles Weeks were joined by Russ Broussard on drums, River Eckart on keyboard and Susan Cowsill on backing vocals.

Muévelo (pictured below), the Celia Cruz-inspired Cuban music dance band, was packed with ringers including Victor Campbell on piano, David Navarro on trumpet and vocals, Brent Rose on saxophone and Chris Butcher on trombone. The ever-effervescent Margie Perez was ebullient on lead vocals.

Amigos do Samba also had the audience grooving to their tight sound. Flautist Victoria Doutón sang from the center of the stage to the dancing crowd.

For longtime followers of my picks at both the FQF and Jazz Fest, you might recall my motto on the most crowded days—go where they’re not. Here’s a look at some of the acts that may not have the biggest crowds, but will have some of the best music as the festival expands to its full twenty stages.

SATURDAY

The Secret Six Jazz Band flies under the radar among neo-trad jazz bands in New Orleans despite releasing close to an album a year over the past decade (full disclosure—I have reviewed several of their releases for OffBeat magazine). Led by bassist John Joyce, the band excavates the ancient mines of jazz and blues for great old songs, some of which haven’t been heard in decades. The French Market Traditional Jazz stage has a cool dance floor for your jitterbugging pleasure.

The stages on Royal Street, which are only open on the weekend, have great acts both Saturday and Sunday. John Mahony is a retired trombone professor at Loyola University. For decades he fronted a big band with talented musicians playing his original compositions. He hits with his “Little Big Band” at 2:30 PM in the 400 block of Royal Street.

Walk two blocks when that set ends to the 600 block of Royal and catch Aurora Nealand and the Royal Roses (pictured at top). Nealand is a saxophonist, clarinetist, accordion player and vocalist. This band plays mostly traditional jazz and is stocked with some of the best players in town. Nealand is an effervescent front woman and a vocalist with a subtle, wry style.

For the complete opposite of Nealand, check out James Andrews and the Crescent City Allstars (pictured above) when they close out the Neworleans.com stage in Jackson Square. Known as the “Satchmo of the Ghetto” since he was a young man, Andrews is a charismatic trumpeter and vocalist with his musical soul deep in the heart of the historic Tremé neighborhood. Expect to hear some trad jazz, R&B and blues.

SUNDAY

Since my recommendations yesterday focused on traditional New Orleans jazz, I’m going to suggest some other styles of music for Sunday. Jason Mingledorff is a Loyola University saxophone professor who also plays all over town with bands like the Nightcrawlers and Funk Monkey (full disclosure—I reviewed one of his albums in Offbeat magazine.) He kicks off in the 500 block of Royal Street with a program of original tunes that walk the line between modern jazz and funk.

Alex McMurray (pictured above) is a singer/songwriter and first-rate troubadour known for writing songs about the incongruities of living below sea level in the Crescent City. One of his best-known tunes proclaims, “you’ve got to be crazy to live in this town.” With an ace band, his act is honed to perfection.

The two new stages in the park on the site of the former Governor Nicholls wharf have two great acts opposite each other in the afternoon. Los Güiros plays psychedelic cumbia and chicha music from South America. They will have the crowd up and dancing. On the other stage, Big Chief Joseph Boudreaux, Jr. leads the Rumble (pictured below—photo by yours truly). Ostensibly a Mardi Gras Indian band, they bring the fire and the funk with great horn solos and killer keyboard work. The last time I saw them, their vocal harmonies really impressed.

Long-running modern jazz band Astral Project is always my choice for the last act of the day on the New Orleans Jazz Museum’s Made in the Shade stage. Though known since the 1980s for their original compositions, these four masters manage to make the songs new every time.