All language subtitles for Jazz.Fest.A.New.Orleans.Story.2022.1080p

Let's start right here.

One, two, three four.

- Introduce myself?
- Hello, everybody. I'm Tom Jones.

- Ellis marsalis, junior.
- Hi, I'm Jimmy buffett.

Big freedia, the queen diva.
You're best to believe her.

- I'm verdine white.
- Eric orph�e gnikpo.

- Dwayne dopsie.
- Band name is the revivalists.

- Tank and the bangas.
- Earth, wind and fire.

Irma Thomas,
the soul queen of New Orleans.

Stella chico pitbull, Mr. 305,
better said Mr. Worldwide.

Armando Christian Perez.

Welcome to 50 years of jazz fest,
everybody!

There's nothing like playin' the
New Orleans jazz and heritage festival.

Nothing in the world.

J� who came to party? J�

All the best musicians from around
the world descend upon the city.

7,000 musicians on 14 stages
over eight days.

How y'all doin' out there, jazz fest?

We all know the jazz fest is a place
where you go and see legends.

Somebody! Way in the back,
back there, say, "yeah!"

Yeah!

Wow! This is the real stuff.

Greetings, New Orleans!

I can just tell you one word: Magical.

Are you still havin' a good time, y'all?

To play jazz fest is like
being a part of the playoffs.

Jazz fest meant that you made it.

Everywhere we play around the world,
people go, "I saw you at jazz fest."

Are you ready? Are you ready?

Whoo!

You might call itjazz,
but you know, you got rock,

you got R&B, you got soul.

Well, it never was only jazz.

I love looking at the names of bands
I've never heard of that I wanna go see.

You hear Terence Blanchard, then turn
around, you might hear Tony Bennett.

You crazy?

And then you can go and see 93-year-old
dooky chase

cook her famous gumbo z'herbes
in your face!

Whoo, ooh!

It's kind of like havin' the city
of New Orleans in New Orleans.

Music and cultures, sounds and flavors.

The air is thick, and not with just
humidity, it's thick with culture.

That's jazz fest, like, there ain't no
festival like this one, I'm telling you.

Life is happening at a high frequency
for these two weeks.

You're going to the jazz fest,
you're going to a New Orleans party.

The world's greatest,
you know, backyard barbecue.

The most kick-ass party in the world.

I'm in.

We're gonna go out there and jam.
We'll see y'all out there tonight.

George wein, the creator
of the Newport jazz festival,

he was brought to New Orleans
and said New Orleans has something

that no one else in the world can ever
claim, and that's the birthright ofjazz.

This is called
"wrap your troubles in dreams."

I got a call from someone with
the hotel corporation of america,

and they wanted me to come down here
in 1962 to do a Newport-type festival.

And of course, you couldn't do a festival
in '62 because of the Jim crow.

They couldn't have white musicians

and African musicians
on the stage at the same time.

And I was married to an African-American
lady, my wife, Joyce.

So I said, look, you know,
maybe things will change.

80 things changed,
and they called me to come back.

The heritage, the backgrounds ofjazz,
started right here in New Orleans.

And so I just feel that the way we're
going to create a festival down here

that the whole world will come to
will be to really hit the heritage

of what the people of Louisiana
and New Orleans have.

New Orleans has the only
really unique culture in america

that belongs to itself,

and I said the festival must be
a reflection of New Orleans

and Louisiana culture.

I remember the very first jazz festival.

George wein came in town and I was asked

if I would identify musicians
that should be on the festival.

So I went to everybody that I knew

and helped to spearhead
in the direction of George.

Ellis was working across the street
in al hirt's club,

and we'd hang out at nights.

And then I found quint Davis.

Quint was a kid.
He knew nothing about festivals,

but he was very excited about doing
anything that had to do with music

and had to do with New Orleans music.

I mean, I don't know,
it's like if you were a kid

and you collected baseball cards,
and you get a call saying,

"the world series is here,
we need you to come to yankee stadium

and pitch one of the games."

George would just trust you.

I just took quint and threw him
in the water and let him swim.

It was to see if he could either drown me
or I could be of use.

I insisted in the first year,

only New Orleans groups,
or Louisiana groups.

That brought mahalia Jackson,
who was born here, and Duke Ellington.

And that was the first festival.

There you go.
Here she is, ladies and gentlemen.

Mahalia Jackson.

I wanna show 'em how they supposed
to sing up north,

and where George wein came from,
you know what I mean.

He is a great king
and he's done such marvelous work

in bringing this real American music
to the people all over.

But he's down here in the briar patch.

We gon' show him where it was created for,
and who is the author ofjazz, Louisiana!

New Orleans, give yourself a big hand,
and see me Friday night!

Thank you so much!

Yeah!

When jazz fest started, it was like we
were presenting this culture to the world.

There's cajun music,
there's blues, there's funk,

there's gospel,
that was the original festival.

There was a lot of reasons
that everybody thought we would fail.

One of 'em was bringing Latin people
and black people

and cajun people all together
at the same place.

And I was like, "well, everybody eats
and everybody dances,

so if we can get people together
and see what they eat

and see what they dance to,
you know, I think that could work."

When it was all put together in one place,
it was stunning to the local people.

You know, they were amazed at themselves
and they felt a tremendous pride.

And I knew that we had something special.

Today will forever be the first day

of the 50th New Orleans jazz
and heritage festival.

It rained today, it rained hard.

Rain is an element of our planet.

We are a planet of elements, like
the earth, like the wind, like the fire.

Those elements are here with us today!

Earth, wind & fire!

J� hey, hey, hey, heyj'

is there a party over here?

J� hey, hey, hey, heyj�

is there a party over there?

New Orleans, where's the party, y'all?
Where's the party, y'all? Whoo!

J� do you remember
21st night of September? J�

j� love was changing the mind
of pretenders j�

j� while chasing the clouds away j�

j� our hearts were ringing j�

j� in the key that our
souls were singing j�

j� as we danced through the night
remember j�

j� how we knew love was here to stay j�

j� come on, everybody, sing! J�

j� hey, hey, heyj�

j� say, do you remember? J�

j� dancing in September j�

j� never was a cloudy day j�

you're playing in New Orleans,

which has a tremendous amount
of history for music,

and you feel it when you're on stage.

J� see you
only blue talk and love, remember j�

j� how we knew love was here to stay j�

it's great to be in a place where
the music is still alive and evolving.

J� only blue talk and love, remember j�

j� knew love was here to stay j�

j� hey, hey, heyj�

j� say, do you remember? J�

j� dancing in September j�

j� never was a cloudy day j�

Earth, wind & fire has lost nothing.

They're fantastic performers,
and it was their 50th anniversary too.

We are coming up on 50 years, and I have
to tell you, it's been quite an adventure.

Party people in the house,
let's jump, come on!

Fifty years, you know, we've probably
come here most of our 50.

So, wow, as an artist and a festival,
we go way back.

J� do you remember
never was a cloudy day j�

it's a blessing to be able to still
do music this long, on this level,

and there will be a lot of
young people today

that probably are first discovering
earth, wind & fire.

All of New Orleans,
party people, now scream!

J� whoa j�

One thing about the festival is,
it's handmade.

It's still handmade, all of it.

It's what we call blades of grass.

You go somewhere
and there's nothing there.

And you have to build everything.

Happy jazz fest! How y'all doin'?

Everybody needs a chair!
Get your chair here.

Every year I come, I look, I say,
"I can't believe this."

It's like we've created
our own world here.

We create a little city out there
for seven days.

On a really big day,
if we have close to 100,000 people,

we're the sixth-largest city in Louisiana.

Mdou moctar from Niger!

Welcome to New Orleans
jazz and heritage festival.

Please hold your own ticket and open
all bags, which are subject to search.

When your physical body
is at jazz fest,

you're gonna hear something playing
within 500 feet.

And when you're walking to get
your crab-stuffed beignets,

you're gonna see the flash of the
lively feathers, and you're gonna walk,

you're gonna see what happens,
and so the exploration

that we sort of lose in this digital era,

that exploration is back when you're there
and you're on your own two feet.

Are you ready?

Let's go!

That's something
that is inside of all of us,

like, we want to explore,
we wanna be surprised.

And in the most celebratory of ways,
there's something around the corner

at jazz fest that you physically
can't help but run into,

thanks in large part to
the way the site is laid out.

You can't walk from one stage to another
without seeing another stage.

And in the meantime,
whether you want to or not,

you're gonna experience something

that your computer
wouldn't have put in your feed.

There's wide gaps,
and there's enormous difference

in tempos and style and delivery.

But it's all under
this beautiful umbrella,

this gorgeous music and cultural village
that is created

with a single-minded purpose:

Good music, culture, food,
by way of jazz fest.

Cold beer, Rose!

Cold beer, Rose!

You're listening to 90.3, kexp.

An extremely special day here,

'cause with me is the legendary
preservation hall jazz band.

And if you're all ready, take it away.

It's called preservation hall.

Day and night,
the purists come and hear jazz,

played by old-timers like sweet Emma.

New Orleans has a long history
of music halls.

Every neighborhood had an entertainment
space that was attached to the church,

and that is where weekend dances
would take place.

My father and my mother created
preservation hall,

and because of the energy
and the love that he and my mother

gave to the community, they became
an important piece of the community.

I don't know a New Orleans
before jazz fest.

I was born in 1971.

I'm actually a jazz fest baby.

I was born January 26.

You know, count back nine months,
it's pretty much jazz fest, you know?

I'm not the only one.
There's a lot of January babies.

"Preservation," to me, means "protection."

The name "preservation hall"
really captured

what they were doing at that moment,

which was protecting
this community of musicians,

and that was jazz fest,
this idea to create preservation hall

for New Orleans music
and New Orleans culture.

Everybody! One more time!

Hands up!

- Jazz fest!
- New Orleans!

In the early plantation days,

there was a need for entertainment
of one sort or another.

And after slaves had worked
for long periods of time,

it made sense to a benevolent master,

I suppose, to let them
entertain themselves.

Well, they had a very definite pulse,
which was African in origin.

What makes New Orleans unique,
musically and culturally,

the slaves,
they were able to praise and worship

and to beat their drum in Congo square.

The drum calls in the spirit.

They were allowed to do that.

They were allowed to worship
and call in their god.

And that's where we get
all these rhythms and these rhymes.

That drum has just carried on from
generation to generation to generation.

That's what's kept the music
and the culture so thick and so rich.

Jazz fest 2019!

Give it up, y'all,
for Mr. Julian Addison on the drums!

When that bass drum start,
it's like the heartbeat.

When the tuba starts pumpin', that's that
blood flowin' through the body.

So once the blood starts to flow
with the heartbeat,

it takes the kidney, which is the
snare drum to push you fonnard,

and the horns come in,
which is everything else.

We start movin' and pumpin' and give
the audience that vibe and energy,

we see they enjoyin' it, that makes us
enjoy it more, so we give them more.

So it's exchange, exchange, exchange.

There are people who come from
around the world to look for drummers

from New Orleans because
there's a certain beat

that drummers play here that
no other drummer is able to play,

and that second line beat
with that extra beat to the drums,

it's hard to teach someone.

They have to feel it in order
to be able to execute it.

The second one is the syncopated beat
that's central to all New Orleans music.

Second line band initially
was done for funerals.

Was to march real slow
on the way to the funeral.

That's how you lay the dead away,
with a band.

First of all, the jazz funeral,
who wouldn't want one, right?

J� dearly walkin' close to thee j�

j� let it be j�

j� dear lord, let it be j�

to be honored in such a way,
where musicians from all genres

of New Orleans and Louisiana music,
we all come together.

We put on our best dress
to say goodbye to our loved one.

J� I'll be satisfied just as long j�

we march, we honor you,
we tilt our hats.

We rare back.

J� dear, dearly walkin' close to thee j�

we have a period of mourning,
but right after that,

we celebrate the life
and remember the good things.

We leave the cemetery...

And we strike up what we consider
a lively number,

to make the people forget their griefs
and their sorrows

and take their minds off of
what has just happened.

It brings the community back together.

It ties the person's legacy
to our community.

That's the celebration of a jazz funeral.

In america, I don't think any city
has a better relationship

with death than New Orleans.
It goes hand in hand.

The suffering and the joy
are right along next to each other.

In New Orleans, there's
a lot of what they call "'oie de vivre,"

joy of living.

It's kind of like the idea
of enjoying life

with everything you can while you can.

It's celebration almost in defiance
of the odds.

We celebrate when a child is born

and we also celebrate
when someone leaves the earth.

There's a deep spirituality in that.

That's what it's all about.

It's not, "they're gone,"
but, "they're still with us in spirit."

The resurrection of spirit and will,

and a choice to live
and live with great expression.

It is now audience-participation time!

Did ya bring your handkerchief
or your napkin?

For the benefit of those folks who have
never participated in an audience before,

we are about to do what we call
the outdoor second line!

And I want you to get out
your handkerchiefs, umbrellas,

napkins, hats, whatever you got.

And I want you to wave your handkerchief
or napkins in the air.

And I want you to put your backfield
in motion.

I was lucky to be born at a time
when music was very, very prevalent

and they used music
to get over everything.

When you were sad, you sung,
when you were happy, you sung.

Are you ready out there?

Are you ready out there?

Play one!

We're one of the few port cities where all
the immigrants who have music to share,

we intertwine it within the music
that we're playing.

There is no such thing as
separation of culture in New Orleans.

It's all blended together.

J� yeah, my spyboy told your spyboy j�

j� sitting by the fire j�

j� my spyboy told your spyboy j�

j� I'm gonna set your flags on fire j�

j� talkin' 'bout hey now
hey now j�

j� hey now
hey now iko iko a nae j�

j� jock-a-mo fee lo an da de j�

j� jock-a-mo fee na ne j�

my very first jazz fest was in 1974,
and I have not missed one since that time.

J� anybody say hey, hey, hey j�

j� hey, pocky way j�

j� yeah, hey, hey, hey
hey, pocky way j�

j� right on j�

j� uptown rulerj�

j� just get on down j�

j� oh, boogie on j�

Everywhere you walk
in New Orleans, you're walking in history.

Jazz, it's our music.

You know, it's indigenous
to the United States.

New Orleans is sacred ground ofjazz.

Ellis marsalis himself
is a great jazz master,

but he's also a teacher,

and his greatest teaching
was mentoring his four sons.

We're talking about wynton marsalis,

branford marsalis,
Jason and delfeayo marsalis.

I have six sons,
four of which are musicians.

I remember my first jazz festival,
it was 50 years ago.

We would go every year,
and some years my dad played.

I wouldn't really go to hear my dad.
I hear him all the time.

Jazz fest was the first time
I actually met miles Davis.

It was weird. I knew who he was,
but a part of me didn't really care

because I was maybe 8 years old.

So, you know,
he signed his picture for me,

and I think I was running around
and dropped it.

I went to the first jazz fest. I remember
there was shrimp in the jambalaya.

I remember how soulful it was.

I remember walking into a tent
and James booker was there,

and I had no idea who he was.

He had the patch over his eye
and he looked up at me,

and I just ran out of the tent.

My earliest musical influences
was my family,

from my father to my older brothers,

because I was actually listening
to the records that they were putting out.

I don't remember the first time
I played at jazz fest,

but I suspect it was my dad
throwing wynton and I out there

because he believes that everybody
should get fed to the lions.

He thinks that it makes you
a better player.

He's right about it.

But I had fun playing with dad.

I can remember playing at the jazz fest
when I was in high school.

That was like a highlight of the year,
every year we would...

We couldn't wait to play in the tent,
andlwas14, 15,16.

That was a big deal.

It was funny, even back then,
when we walked onto the stage,

he ceased being my dad.

He was the leader of the group.

On the bandstand, it's about
trying to make the music sound good.

Can't remember the last time all five
of us played, we almost never do it.

This may be the last time
that we ever do it.

Dad's 84.
It's not gonna happen a lot more.

This one in particular is one where we're
all like, "yeah, we need to do this."

It's nice to be wanted without
being in the picture in the post office.

Yeah, there's no one style of music.

Jazz started in the churches
down here around New Orleans.

Each afternoon there's gonna be
six hours of music,

and we're only charging two dollars
for adults and a dollar for kids.

To have a festival in the
home field of the sacred ground ofjazz

is to bring people in to
the very wide umbrella ofjazz.

So much stylistically
has been borrowed from jazz.

I think jazz can welcome

all of its children back to its festival.

Rock, soul, singer-songwriters, blues,

all of them can come on back to,
in a way, the parents of this music.

J� tell everybody b.B. King's in town j�

j� got a dollar and a quarter
just rarin' to clown j�

j� but don't let nobody play me cheap j�

j� I got 50 cents more
that I'm gonna keep j�

j� 80 let the good times roll j�

j� let the good times roll j�

j� I don't care if you're young or old j�

j� get together, let the good times roll j�

It's no wonder that jazz
was born in this area

because the people are so enthusiastic.

In other words, musically,
they know it and they are part of it.

They produce it and they, I don't know,

they have that certain little something
that feeds a guy like me,

that makes me, oh, gosh, it nourishes me.

J� you got me trained
to sit on a stage j�

j� not show my rage for you j�

j� got my love, it's not enough
I need to prove it to you j�

j� what's the difference
what's the difference j�

j� what's the difference in me now? J�

j� I can change, I can change
I can change j�

I think we do everything

from blues to some of it's tinged
with R&B and rock 'n' roll.

J� I'm on my way out! J�

j� turn it on you
turn it on you j�

j� I turn it on you, yeah j�

j� you're bulletproof j�

j� turn it on you
I turn it on you j�

j� turn it on you
but you're bulletproof j�

hello, jazz fest!
Oh, bulletproof, baby!

I've been such a huge fan of New Orleans
blues, and, you know, music in general.

That's why I came here.
There's a soul in the city.

It's got angst. It's got a bite to it.

Blues is a universal language.
It goes really deep, goes to deep waters.

It's at the heart ofjazz
and rock 'n' roll and so much else.

And for that reason, the blues
speaks to people, and you can't help

but think about that with New Orleans
and the history of the city.

I think it's part of what makes it
so special.

The culture here has been
the anchor for me.

It's the first time I heard jazz
and R&B and second line,

was in the quarter,
and I never got over that.

You know, the rhythm is so infectious.

J� woke up this mornin'
feelin' round for my shoes j�

j� you know I have them mean ol'
walkin' blues j�

j� woke up this mornin'
look 'round for my shoes j�

j� you know I have them mean, mean ol'
walkin' blues j�

j� some people try to tell me
the blues ain't so bad j�

j� but it's the meanest thing I ever had j�

j� some people tell
lord, the blues ain't bad j�

j� but it's the meanest thing
I believe I ever had j�

J� gonna run to the ocean j�

I started out playing trumpet
when I was 10 years old.

Came at the guitar
with a different perspective,

more so as a wind instrument player.

Learning how to take a breath

when you play to fit that
into your melodic sensibility.

J� woke up this mornin'
feelin' 'round for my shoes j�

j� you know I had them mean ol'
walkin' blues j�

j� woke up this mornin'
feelin' 'round for my shoes j�

j� you know I had them mean, mean ol'
walkin' blues j�

j� I got to walk around j�

j� I got to walk around j�

people keep coming back
for a reason, you know?

And not only that, I mean, this happens
all the time, people move here.

Some never leave.

There's something about here
that you tap into that soulful quality.

You can't help but get some of that,

you know, either in the air
or the humidity or whatever.

Cold beer, cold beer, cold beer!

The general idea of being in the sun
for seven or eight hours

and only eating fried, cream-based food,

that is a distinctly New Orleans concept.

Let's rock and roll.
And we're cooking cracklins!

Cracklins is the skin,
fat and meat of a hog.

I think the food is a little bit more
important than people really understand.

It's not just New Orleans food, it's the
food from all over the state of Louisiana.

Now, if the music wasn't there,

I won't say that the same number of people

would be there, but a lot of people
would be there to eat this food.

Best food in the world!

We sell praline beignets,
crab meat beignets,

and the calas, which is a rice fritter.

Oh, we have 50,000 serving plus.

You get a beignet, you get a beignet,
you get a beignet! Nah, I'm just kiddin'.

Whoo, ooh!

Shrimp remoulade po' boy.

We'll go through a couple thousand
pounds of chicken,

couple thousand pounds of shrimp.

We tend to gain about ten pounds
at jazz fest.

I think all of our arteries
get clogged that day.

If it's cooked and it looks right
and it tastes good, I'll eat it.

And consequently,
I'm paying a price for that.

The cochon de iait has been to the
New Orleans jazz fest for 50 years.

We move about a couple thousand
sandwiches on a busy day.

I started to retain water.

And the doctor that I saw,
he said, "welcome to New Orleans."

We have a gourmet plate,
and on that plate is a crawfish stack,

an oyster Patty and crawfish beignet
with a white remoulade sauce.

I love to go get the stuffed crabs.

My favorite is the bread pudding.

- Jambalaya.
- Trout amandine.

Try some alligator, try some boudin.

We do a crawfish remoulade salad,
and also we sell boudin balls.

Which is fried.

So we go through
almost 200 cases of balls a weekend.

Don't leave the fest without your balls!
You know?

Let me tell you, I tried something that
blew my mind, which was fried oysters.

I hadn't had that yet.
I was like, whoa.

And this dish could get you
in some trouble.

You eat too many of those,
you might not make it on-stage.

Now, for everybody
that's represented here today,

I wanna let y'all know
I've been very blessed

to be able to travel the whole world,

and I get a chance
to be a part of something that's...

Something that brings everybody together.

Something that makes
the United States of America

the United States of America,
not the divided states of america.

Doesn't matter if you're black, white,
pink, purple, orange, hispanic, Asian.

We all speak music here today.

Why is New Orleans so special?

Because they know exactly
where they're from.

They know their roots.
They love their culture.

They represent it in their music,
in their food, in their style.

And that's why I feel that jazz fest
in New Orleans has that magic.

Now I need y'all to help me out
with this one.

And it says...

J� the roof, the roof
the roof is on fire! J�

- j� we don't need no water, let that... j�
-J� motherfucker burn! J�

j� burn, motherfucker, burn! J�

J� Mr. Worldwide to infinity
you know the roof on fire j�

j� we gon' boogie oogie oogie
jiggle, wiggle and dance j�

j� like the roof on fire j�

j� we gon' drink drinks
and take shots until we fall out j�

j� like the roof on fire j�

j� now baby give a Booty naked
take off all your clothes j�

j� and light the roof on fire j�

j� I tell her, tell her baby, baby
baby, baby, baby, babyj�

j� baby, baby, baby, I'm on fire j�

j� I tell her baby, baby, baby
baby, baby, baby, babyj�

j� baby, baby, I'm a fireball j�

let's go!

That's right!

J� I tell her baby, baby
baby, baby, baby, baby j�

j� baby, baby, baby, I'm on fire j�

j� I tell her baby, baby, baby
baby, baby, baby, baby j�

j� baby, baby, I'm a fireball j�

j� I saw, icame, I conquered j�

j� or should I say
I saw, iconquered, icame j�

j� they say the chico on fire
and he no liar j�

j� while y'all slippin'
he's runnin' the game j�

j� now big bang boogie j�

j� get that kitty little noogie
in a nice, nice little shade j�

j� I gave Suzie a little pat up
on the Booty j�

j� and she turned around and said
walk this way j�

-j� I was born j� -j� 3-0-5! J�

-j� in a flame j� -j� m-I-a! J�

j� mama said that everyone
would know my name j�

j� that's right! J�

-j� I'm the best j�
-j� that's right! J�

-j� you've ever had j�
-j� that's right! J�

j� if you think I'm burning out
I never am j�

-j� we on... j�
-j� I'm on fire j�

-j� everybody here, we on... j�
-j� I'm on fire j�

-j� jazz fest, we on... j�
-j� I'm on fire j�

j� I'm on fire j�

j� fireball j�

j� let's go! J�

being a Miami boy, my family's from Cuba.
I'm a first-generation Cuban-American.

The connection between New Orleans,
Cuba, and Miami,

it's almost like our own little
Bermuda triangle that we've got going on.

So we all basically love and stand
for the same things,

but it's art and music and food.

J� baby, baby, baby, baby, baby, baby
baby, baby, baby, baby, I'm on fire j�

j� tell her baby, baby, baby, baby, baby
where we goin', girl? J�

such a beautiful thing when you make
a mixture of so many different cultures,

what you come up with.

We call it una paella,
they call it a gumbo,

but it's basically the same concept.

J� we 're taking it, we 're taking it
we 're taking it down j�

that's what jazz fest is about, you know,
just all kind of different music

and cultures, sounds and flavors.

It brings everybody together.

So that is why, to be able to be a part
of something like this,

is something that's so powerful.

J� we 're bringing it, we 're bringing it
we 're bringing it back j�

j� fireball! J�

let's go!

That's right!

Get some!

J� fireball j�

J� I tell her baby, baby, baby
baby, babyj�

j� baby, baby, baby, baby, baby
I'm on fire j�

j� I tell her baby, baby, baby, baby
baby, baby, I'm a fireball j�

I would tell anybody, you know,

when you have a chance
to come to New Orleans,

also make sure you have
an extra few days to go down to Lafayette.

People think swamp people,
they're in New Orleans.

No, they in the swamp, you know,
and you gotta go out and check 'em out.

Get out in the swamp.

Well, I think that's always
a good thing to do,

just to see it and get a feel of it.

A lot of music that ends up in New Orleans
comes from the country.

It comes from, you know, rural areas.

I'm from eunice, Louisiana,
and I play cajun music.

It's a very small,
rural agricultural town.

It has a lot of very old families
that live there.

In fact, my children are the seventh
generation living on the same land,

which is not uncommon in our area.

People are very deeply rooted into their
culture and have maintained the language,

and the music, and the way of life.

Why change?
We have the best of everything.

The repertoire that we play, we've been
playing it ever since we were children.

I would call it a homemade music,
and it's straight from the heart.

It's very rhythmic music, and it was
developed for one reason: To dance to.

You had to get them dancin',
and that was what we always strive to do.

I mean, the seats at the places
were facin' the dance floor,

not facin' the band,
because the dancin' is the show,

where people would dance
all around in a circle.

People generally don't know the
difference between cajun and zydeco music.

First of all, one's basically Caucasian,
one is basically black.

Cajun music has a fiddle, an accordion,

a triangle, guitar, bass and drums,
sometimes pedal steel.

And it does this whole body
of traditional cajun songs.

Now, zydeco, zydeco is like
a freight train going through a tunnel.

J� it's been such a long time j�

j� since you said "I want ya" j�

j� it's been such a long time j�

in zydeco music, you've got an
electric accordion that's like that big.

Mother of Pearl coming down
with your name in it.

J� no matter how you feel
no matter how you do j�

j� no matter how you act
no matter what you buy j�

j� no matter how it is
no matter where you're from j�

j� don't you know that
I'm comin' right home to you j�

Then you always have a frottoir.

The frottoir is the metal-like washboard
that you wear on the front

over your shoulder, and there are points
in the song where you break it down,

and it's just the accordion
and the frottoir,

and the two of them are just, phew.

Old school.

Jazz fest is like where everybody wants
to come to see the talent of Louisiana,

of New Orleans, the surrounding areas.

If you play music and you from Louisiana,
this is where you wanna be.

My father's real name
is alton rubin senior,

but most people know him
as rockin' dopsie.

J� goodbye, Joe, me gotta go
me, oh, my, oh j�

j� me gotta go on the bayou j�

Rockin' dopsie was in
the generation with Clifton chenier,

and he called himself the king
and he wore a crown.

And just rocked the place,
just a rocket ship of energy.

J� dressed in style
go hog wild and dance j�

j� son of a gun, we 're gonna have fun
on the bayou j�

j� jambalaya, crawfish pie, fi/� gumbo j�

j� for tonight I'm gonna see
my ma Cher ami-o j�

j� pick guitar, fill fruit jar
and be gay-o j�

j� son of a gun, we 're gonna have fun
on the bayou j�

one more time, one more time!

Jimmy buffett is very,
very special to this festival.

I think you've earned
a ticket to margaritaville

by standing here all day,
are you ready?

Let's go!

He's been responsible
for drawing more people

to the New Orleans jazz and heritage
festival than maybe anyone else.

J� nibblin' on sponge cake j�

j� watchin' the sun bake j�

j� all of you parrot heads here
at jazz fest j�

j� strummin' my six-string j�

j� on my front-porch swing j�

I been to a bunch of 'em,
but I gotta say this looks like the best!

J� wastin' away again in margaritaville j�

j� searchin' for my lost shaker of salt j�

j� salt! Salt! Salt! J�

j� some people claim
that there's a woman to blame j�

who's got it? Who's got it?

J� but I know j�

j� it's nobody's fault j�

I grew up on the Gulf coast.

I was an 18-year-old virgin
jesuit altar boy,

and I came to New Orleans
to not be that.

J� I come here each season j�

we couldn't get to California,

so we kinda hippied out
right here in New Orleans.

J� but it's a real beauty j�

j� all these Louisiana cuties j�

I know I got a few that slid over
from Mississippi and got a clue!

Everything about the songs I heard,

the melodies and the rhythms that I love,
came out of here.

J� ...Again in margaritaville j�

looking good!

J� searchin' for my lost shaker of salt j�

j� salt! Salt! Salt! J�

j� some people claim
that there's a woman to blame j�

j� but I know j�

j� this could be my fault j�

maybe.

When I was headlining
the bayou room on bourbon street,

making $150 a week,
I thought I'd made it.

Cinco de Mayo!

Muchas gracias, mis amigos!

I couldn't wait to sing "margaritaville"
on cinco de Mayo, goddamn!

And Joseph Campbell said you gotta
have a little mythology in your life,

and I grew up in it,

and so I know that it is absolutely
a part of everything that I've done,

from writing shows to writing songs,

comes out of being
a child of the mardi gras.

Every year,
the city takes on new life

in preparation for its carnival time.

Mardi gras is a day
when people lose their inhibitions

and throw modesty to the wind.

New Orleans has what we call mardi gras.

Because we have mardi gras, we have
these huge school marching bands.

Every kid in high school
is given an instrument

and taught to play these songs and march
a couple miles through New Orleans.

In how many places does a kid,
in his 13s, 15s, 16s, want a trombone?

That's happening in New Orleans.

I saw that as a child,

I saw that brass band,
those jazz musicians was always clean.

Everybody shook their hand.

Family seemed to live a little better
than the average family in the 'hood.

Not a moment that I didn't wake up
that I didn't want to be a musician,

'cause that's what
I was surrounded around.

Let me hear you say...

J� I can do bad by myself j�

j� said I don't need nobody else j�

j� I can do bad by myself j�

j� well, I don't need nobody else j�

that's the thing about jazz fest.

I'm this little kid
from the 'hood, you know,

I just always wanted to play music.

Start clappin' right now!

J� early, early in the morning j�

to be a mardi gras Indian,
we are a bunch of grown men

walking around
and saying we're the prettiest.

You wanna be the best,
but at the same time,

you don't wanna lose why we do it.
We do it to pay homage.

The mardi gras Indian tradition
is a combination

of two cultures coming together,

both native American and African American.

During the time
of the underground railroad,

a lot of slaves
that were trying to escape,

the Indians allowed them to seek shelter,
and they took them into their tribes.

And the evolution of that is
today we have the mardi gras Indians

paying homage to the history of that.

You could walk around on mardi gras
looking for an Indian and never find one.

But the jazz fest gives us another day

to showcase the suits
on a much grander scale.

J� I'm just your fool, can't help myself j�

j� I love you, baby, and no one else j�

j� I ain't crazy, you are my baby j�

j� I'm just your fool j�

j� I'm just your fool, I must confess j�

j� I love you, baby
honey, I take your mess j�

j� I ain't iyin', no use jivin' j�

j� I'm just your fool j�

Thank you!

From day one, and we started
with a very small gospel tent...

But the pastors said, "oh, no,
our choirs are not going out somewhere

where people are wearing shorts
and drinkin' beer."

But then as they realized
that it was spreading the word,

people were getting it and feeling it,
eventually everyone came.

And it's grown and grown and grown.

Oh, yes!

Jesus is on the main line.

Call him up and tell him what you want.

I mean, we have over 1000
gospel singers alone.

J� everybody, everybody
everybody rejoice j�

j� rejoice with me
rejoice with me j�

j� rejoice with me j�

in the south, all young people
grow up in the church.

Church mothers would always tell me,

"if you don't use it for god...

He'll take it away from you."

J� rejoice with me
rejoice with me j�

The word "gospel"
is the good news of Christ.

And what better way to spread
good news than music?

-J� I got a feelin' j�
-j� got a fee/in'j�

j� everything is gonna be all right j�

j� oh, yeah j�

-j� got a fee/in'j�
-j� got a feelin" j�

There's something magical
in the gospel tent.

People that you wouldn't think
are all drawn to it, they all go.

Our gospel tent has exposed
traditional church gospel music,

which is a huge community
in New Orleans,

to more white people
than anything in history.

J� all right j�

you'll find me at jazz fest
in the gospel tent

with tears running down my face,

because the messages that are
happening in there are about forgiveness,

redemption, celebration and joy.

J� all right, all right j�

People are seeking acceptance
and they're seeking forgiveness,

and they find it here.

J� all right j�

Sit in the gospel tent for
45 minutes and watch what it do you.

You go walkin', you come out
and just throw your hands up,

walkin' out like that,
feeling the spirit is like...

J� something hit me
from the crown of my head j�

j� and went down to the sole of my feet j�

j� and I started runnin' j�

j� oh, yes, I did, now, nowj�

j� I started clappin' my hands j�

j� oh, yes, I did, nowj�

j� I said I wasn't gonna tell nobody j�

A! Green is maybe
the last ray Charles.

He's one of the greatest
rhythm and blues singers ever.

J� I told my father, I told my sister j�

j� I told my brother, I been redeemed j�

j� I been redeemed j�

And he is heavily tied to gospel.

I mean, he is reverend al green,
it's not a title.

In Memphis, he's got a church.

J� there's the blood of the lamb
and he's got all power j�

j� power, power, powerj�

j'ohlj�

j� power j�

you know, every Sunday he's there.

This is what I call gospel.

J� let's stay together j�

- Somebody say yeah!
- Yeah!

- Somebody say yeah!
- Yeah!

Somebody way in the back,
back there, say yeah!

The return of al green.
First public performance in seven years.

Let's stay together.

He was, like, reincarnated
as himself in his own lifetime.

Everybody sing.

J� whatever you want... j�

he was thrilled to be
singing these songs again.

J� you make me feel so brand-new j�

j� I want to spend my life with you j�

j� let me say that since
all right j�

-j� since we been togetherj�
-j� together, togetherj�

-j� lovin' you forever j�
-j� ever j�

j� ls what I need j�

j� oh, let me j�

J� I 'ii never be untrue j�

everybody sing.

J� let's stay together j�

j� lovin' you whether whether j�

-j� whether times are j�
-j� good or bad, happy or sad j�

what happens with a soul singer
who has crossed over into secular music,

they know how to come to that emotion

because they've been in a congregation
of people that,

in a way, you sang at the foot of god.

J� whyj�

-j� why do people break up? J�
-j� break up, break up j�

-j� turn around and make j�
-j� make up j�

Which is why
many of the greatest singers,

from nat king Cole
to Luther vandross to al green,

have come out of the gospel experience.

J� say let's j�

j� let's stay together j�

j� whether, whetherj�

-j� whether times are j�
-j� good or bad j�

j� happy or sad j�

j� let's stay together j�

somebody way back here now!

J� whether j�

j� whether good or bad j�

j� happy or sad j�

Katy Perry can do it too,
you know.

She often uses
the devices of gospel music.

It's hidden behind a lot of production,
but it's there.

-J� oh, happy day j�
-j� oh, happy day j�

-j� oh, happy day j�
-j� oh, happy day j�

-j� when Jesus washed j�
-j� when Jesus washed j�

-j� when Jesus washed j�
-j� when Jesus washed j�

-j� washed my sins away j�
-j� oh, happy day j�

-j� oh, happy day j�
-j� oh, happy day j�

-j� oh, happy day j�
-j� oh, happy day j�

-j� when he washed j�
-j� when Jesus washed j�

-j� when Jesus washed j�
-j� when Jesus washed j�

-j� oh, when my Jesus washed j�
-j� when Jesus washed j�

-j� he washed my sins away j�
-j� oh, happy day j�

-j� he washed 'em right away, yeah j�
-j� oh, happy day j�

-j� the past 34 years now j�
-j� oh, happy day j�

j� oh, yeah j�

j� oh, happy day j�

j� oh, happy day j�

-j� baby, you're a firework j�
-j� firework j�

can you do this?

When I was 5, the guy that was
preaching at the revivals,

he came up to me out of,
you know, a few thousand people

and said, you know, "you're gonna sing."

J� do you ever feel like a plastic bag
drifting through the wind j�

j� oh, happy day j�

j� do you ever feel, feel so paper-thin
like a house of cards j�

j� oh, happy day j�

j� do you ever feel already buried deep?
Six feet under screams, but no one j�

j� oh, happy day j�

j� do you know that there's
still a chance for you j�

j� 'cause there's a spark in you
you just gotta ignite j�

come on!

J� the light and let it shine j�

j� just own the night
like the fourth of July j�

j� 'cause, baby, you're a firework j�

I started singing in church
when I was 9,

and I loved "oh, happy day,"
and singing gospel music,

and I felt like that foundation
was really great.

J� boom, boom, boom j�

j� even brighter
than the moon, moon, moon j�

j� come on
it's always been inside of you j�

j� and now it's time to let it through
yeah j�

j� 'cause, baby, you're a firework j�

j� come on, let your colors burst j�

j� make 'em go, "oh, oh, oh" j�

j� you're gonna leave 'em all
in awe, awe, awe j�

j� boom, boom, boom j�

j� even brighter
than the moon, moon, moon j�

j� oh, boom, boom, boom j�

j� even brighter
than the moon, moon, moon j�

The cultural exchange is to
find cultures that relate to New Orleans.

These are the roots of the roots.

It's a tradition that we have inherited
from our ancestors.

I have to say there are lots of
afro-descendants here.

This resemblance touches our heart.

We see that we are the same.

It's just the ocean that separates us.

Music unites people.

The festival is traditional,
but when you think of heritage,

heritage isn't just a rearview mirror.

Heritage is looking out
the windshield too.

Are you good? Are you really good?

Are you really good out there?

Then you gotta hop with me.
It's gotta be like...

Where the keys at?

Where the keys at?

Somebody say, "we ready!"

We ready!

-J� all my people up plus the sky is up j�
-j� what's up? J�

j� I'm up, good luck to the ones
that thought I'd give it up j�

j� this my come up j�

j� coming up the stairs
I climb the charts j�

j� billboard's feeling close to home
dazed out on my mommy's porch j�

j� I got a gumdrop and a raindrop j�

j� and I do that cartwheel
like a Ferris wheel j�

j� I'm a spinning top j�

j� my world is the carousel
I look, look at my money... j�

back in the day when
you're talking about New Orleans,

you know, mardi gras, you know,
"show me those breasts,"

and "let's just listen to the jazz,"
and "where's the brass band?"

You know, like as if that's all we were.

I'm a part of the generation
that's always been going on here,

but has been more underground.

I call it the New Orleans now.

That's the spoken word,
the hip-hop artists, the soul artists,

the people at an open mic, freestyling,

underground places that
the tourists don't know about.

You know, I'm from that wave.

J� while the beat goes up like a meter j�

j� got a hummy, go, that's my guzzlerj�

j� look at me, I'm flying, cockpit
girl, I'm really high j�

j� I'm too lit, spaceship
and my new hit j�

j� look, look, look
all my money's in the air j�

j� I throw it up, watch it fall everywhere
look! J�

j� money j�

New Orleans is so special
because we do accept all walks of life,

no matter if you're black,
white, gay, straight.

J� it don't bounce, it don't bounce j�

j� I'm that queen that'll
make you bounce j�

j� that's where I'm from j�

j� big freedia queen diva
make ya getcha getcha j�

j� better walk to the beat
that's where I'm from j�

j� big freedia queen diva
let me see ya j�

freedom of expression and freedom
to do whatever they choose to do

and love whoever they choose
to love and to be themselves.

J� release j�

j� release j�

j� if you lean on me and I lean on you j�

j� we can put our backs together, baby
make a lean-to j�

j� if you lean on me and I lean on you j�

j� we can put our backs together, baby
make a lean-to j�

no one was aghast at the idea of showing
up to a show in curlers and lingerie.

They embraced it immediately.

J� stand by your man, I'ma lean on you
stand by your man, I 'ma lean on you j�

j� they say stand by your man
and I'ma lean on you j�

it makes us who we are
as people and as a city.

All the different people,
we make the flavor of New Orleans.

J� you shine like a starj�

j� you know who you are j�

j� you're everything beautiful j�

I was looking for a place to go to pursue,
you know, music,

and New Orleans just had
this deep soul underbelly

that you don't get
in these other musical cities.

J� show me the one I need the most j�

it's not a music-business city.
It's a music-culture city.

J� wish [knew you when I was young j�

j� we could've got so high j�

you know, and to see two strangers
going, "yeah, this is my song,"

and they're like, "yeah, me too,"
you know,

that's New Orleans, you know,
people coming together over music.

Come on, 'round the world, baby.
Come on.

J� oh-oh, oh-oh j�

j� oh-oh, oh-oh j�

j� oh-oh, oh-oh j�

j� I wish I knew you when I was young j�

New Orleans is nothing
without its people and its artists.

It's just sinking ground.

Literally.

Welcome to an early edition of "daybreak."

We 're watching hurricane Katrina as it
unleashes its wrath on the Gulf coast.

You know, after Katrina,

we almost lost not only our city,
but a way of life.

It is gaining strength again.

It is now stalking the Gulf coast.
This is the nightmare scenario

that many people have been
talking about for so many...

The city of New Orleans
under a mandatory evacuation.

We had reports
of a levee break earlier this morning,

up to nine feet of water
in some areas east of the city.

Major levees broke,

and slowly,
the city has filled with water.

The city is going to be essentially
uninhabitable for many days.

New Orleans is no longer there.

It's gone.

It's all undennater. There's no home.

I didn't know where to go, what to do.

J� I left home to never come back j�

j� but I want you j�

j� but I want you j�

I remember coming back after the storm
and not recognizing anything.

From the buildings to the trees,
street signs was gone, everything.

It was like somebody
had just dropped a bomb.

We're talking about
an entire city that was devastated.

So how do you begin to rebuild
from below zero?

J� you're the one that gave me life j�

j� by my bondage j�

I still long to be here.
I still have no place to live here.

It bothers me.

J� I got my eyes on you j�

j� no turning back j�

j� I'm gonna lay you down j�

j� I got my eyes on you j�

That was a defining moment for us

because none of us knew
how that story ended.

There was no playbook.
New Orleans had to come back.

That wasn't a question.
It was, how was it going to come back?

Katrina.
Boy, it's hard to know where to stop,

because what it took
to get the festival on...

I mean, this whole city
was falling off a cliff,

and trying to find something

that people could look at or be a part of
as being... having some normalcy to it.

After Katrina, there were people
in the congress

that said, "why rebuild that place?

It's just gonna flood again. Let it go."

We said, "no, we're not
gonna let this thing go down."

It was kind of an oxymoron, like,
you can't do it, but you have to do it.

There was no infrastructure at all.

Quint Davis literally broke down crying.

He said, "this is all we have
to keep this city from falling apart.

We gotta have it.

No matter who comes or what happens,
we have to put on jazz fest."

Within a week or two,
it was Jimmy buffett,

Irma Thomas, Dave Matthews Band,

Bruce Springsteen, the meters,
Paul Simon that were gonna come play.

People that love the city
and love the festival showed up,

and it was the thing
that pointed the arrow to the fact

that we could get through this
and come back.

So we're getting ready to open,

and we get a call from the police
saying we have a traffic problem.

There's people lined up.
They're cutting off esplanade.

And we're like, "oh, my god."

We open the gates,
and thousands of people come in.

And I can't figure out
how this could happen.

And I remember being on-stage and saying,
"I don't know, you know, who you are,

where you came from, and how you got here.

But, you know, we're here.
Thank god, we're here."

It was the first indication
that people would come to New Orleans.

It let the world know
that New Orleans was alive.

It was like a cleansing, you know.

You felt like the music
was cleansing the city

and just showing
everything's gonna be all right.

Jazz fest was like the crystallization
of bringing the world back to New Orleans

and New Orleans back to the world.
It's like, "we're back. We're here."

When we saw jazz fest was happening,

that was a sign
that we're gonna be all right.

Bruce Springsteen,
who had never played the festival before,

had just done this project
"the seeger sessions."

They were going to
premiere it at the festival.

So I wanna sing this and dedicate it

to the people
and the city of New Orleans tonight.

It was our very first show with that band.

It was one of the very first times

I can remember being frightened
before I played.

J� there's a blood-red circle j�

j� on the cold, dark ground j�

j� and the rain is falling down j�

j� the church door's thrown open j�

j� I can hear the organ's song j�

j� but the congregation's gone j�

j� my city of ruins j�

j� my city of ruins j�

"my city of ruins" was something
I originally wrote for asbury

when it was down and out and at its worst,

you know, and it just seemed to
sum up a lot of what New Orleans

was going through at that time.

J� the boarded-up windows j�

j� the empty streets j�

j� while my brother's down on his knees j�

j� my city of ruins j�

you were coming into
a city that had great need.

There was something to push up against,
which is when artists are at their best.

J� come on, rise up j�

j� come on, rise up j�

-j� come on, rise up j�
-j� rise up j�

-j� come on, rise up j�
-j� rise up j�

-j� come on, rise up j�
-j� rise up j�

There are certain moments during the night
when you meet your audience head-on,

and that's when the healing begins.

There's a part
in "city in ruins" where they...

Where it is... where he says,

"with these hands, with these hands,
now we'll rebuild."

J� now, with these hands j�

j� with these hands j�

j� with these hands I pray, lord
with these hands j�

So you have, you know,
100,000 hands in the air,

100,000 people crying.

J� and I pray to give me hope, lord j�

I mean, this is some of
the most devastated people,

that really had nothing.

And Bruce, in his power,
was ministering to them.

J� lord, ipray j�

j� yeah, I pray j�

j� oh, iprayj�

j� oh, yeah, lpray j�

By the time we hit
"city of ruins" at the end of the night,

something had happened,
and the crowd just sort of melted into it,

and it was one of the most beautiful
concert experiences I've ever had.

J� amazing grace j�

j� how sweet the sound j�

j� that saved a wretch j�

J�ioncej�

j� I once was lost j�

m found j�

j� oh, but now j�

j�iseej�

j� through many dangers j�

j� tolls and snares j�

j� I have, [have already, already come j�

j� 'twas grace j�

j� that brought me safe j�

j� this far j�

j� and grace shall lead me j�

j� home j�

Music has a way
of bringing us together.

Here in New Orleans, that's just so true.

J� when the
saints go marching in j�

j� oh, how I want to be in that numberj�

j� when the saints go marching in j�

j� oh, when the saints go marching in j�

j� oh, when the saints go marching in j�

We're closing the book on 50 years.

You know, over 50 years,
a lot of things have happened.

Life's to be enjoyed, not endured,
and there's a lot of that in New Orleans.

It's just a great festival experience
that can't be matched.

Jazz fest!

We say hey, hey!

Come on!

Everybody jump! Jump, jump! Come on!

You're not gonna get it
unless you get here.

You just gotta walk in, you know?

J� oh, yeah j�

You can't help but get caught up in it.

Once you walk through those gates,

you kinda forget about the rest
of the world.

All right, take me up there! Take me up!
Here we go!

Everybody, come on!

I need to see all your hands!

Come on!

Sleep is the cousin of death.

That's jazz fest, you know.
You can sleep when you're dead.

This can only happen in New Orleans.

That's the magic of the festival.

Happy 50th jazz fest!

We gotta keep it going another 50 years!

Right here in New Orleans!

Thank you! Don't forget, we love you!

J� I saw her today at the reception j�

j� a glass of wine in her hand j�

j� I knew she could make the connection j�

j� at her feet was her footloose man j�

let's do it!

J� you can't always get what you want j�

j� you can't always get what you want j�

j� you can't always get what you want j�

j� but if you try sometime j�

j� just might find j�

j� you get what you need j�

J� I saw her today at the reception j�

j� a glass of wine in her hand j�

j� I knew she could make her connection j�

j� at her feet was her footloose man j�

j� you can't always get what you want j�

j� you can't always get what you want j�

j� you can't always get what you want j�

j� but if you try sometimes j�

j� you might find j�

j� you get what you need j�

j� you get what you need j�

j� I went down to the demonstration j�

j� to get my fair share of abuse j�

j� singing
"we're gonna vent our frustration j�

j� if we don't
we 're gonna blow a 50-amp fuse" j�

j� you can't always get what you want j�

j� you can't always get what you want j�

j� you can't always get what you want j�

j� you can't always get what you want j�

j� you can't always get what you want j�

j� but if you try sometimes j�

j� you just might find j�

j� you get what you need j�