Sunday opened brightly if a touch windy. Dumping last night's empties into the bin I noticed brewers have become soothsayers. Take your hat off to a story worth sharing with a long, slightly nutty finish states James Squire's Nine Tales Amber Ale. Passing on this morning's choppy surf, I took the opportunity to catch up on some blog housekeeping and checked my notes. Write that down! was Jon's persistent cry whenever anything of note (or not) occurred. The result was a selection of dog-eared pieces of paper and napkin. It has just passed champagne o'clock and an early departure is planned.
Today's program card has been initially marked with New Orleans legend Allen Toussaint, being one of the performers I have most anticipated. The Bluesfest iPod app nails it for me with Elton John's quote Meeting Allen Toussaint is like meeting the Dalai Lama; he influenced the way I play the piano, he's a historical part of rock and roll. I have to agree, with Allen penning some of rock's greatest songs ~ Fortune Teller/Working in a coal mine/Ride Your Pony/Ruler of My Heart/Ooh Poo Pah Doo/Southern Nights etc. I'm heading up front I inform the others nursing drinks near the centrally located mixing desk at Crossroads.
Right in front a few metres from the stage, I step back to allow a smaller man to stake a spot. Thanks mate I appreciate it says Normie Rowe, I'm a big fan of his. Allen Toussaint, nattily attired in a smart blue suit, takes his place at the grand piano and kicks off the Mardi Gras with There's a Party Going On. You got it Allen! Next up straight into one of my favorites the bubbling A Certain Girl: Well there's a certain girl I've been sweet on since I met her. What's her name? We cry. I can't tell you! responds Allen. This segues into Mother-In-Law, Fortune Teller and Working In A Coal Mine before returning to A Certain Girl. Magic! With the exception of the smiling cool guitarist/multi-instrumentalist the band are grinning like crazy ~ How good are this crowd?
The funk continues as Allen reaches under the piano and brings out a party bag full of Noo Orlans artefacts. Normie turns and asks if I catch any of the treasures being thrown into the crowd can he have one? Sho 'nuff! Lipstick Traces On a Cigarette, Everything I Do Gonna Be Funky and Get Out of My Life, Woman complete the show. We are sweating up a storm as we make our way through the tent back to Kim, Paulette and Chris. Normie, this is my wife Kim. Kim - Normie Rowe. You should have seen the look on her face. It’s a bit of a cliché, but we enjoyed our brief brush with fame, telling Normie we had recently been playing some of his songs. He was pleased to hear I rated Tell Him I’m Not Home as a great pop song. That was a Bacharach and David composition he said. He was thrilled to hear Mavis Staples had introduced her performance of Shakin All Over as one of Normie’s songs. Following the obligatory photo, Normie asks where we are off to next. To catch Tony Joe White. Great idea, let’s go.
Leaving Normie we caught up with Chris and Paulette at APRA who had landed a primo position near the mixing desk. Not close enough for me I declared and moved up closer. A mixed-age group of groovers, including an old dude sporting a headband and a shark tooth pendant, were raising dust as Tony Joe and his drummer laid down some funky sounds. Steamy Windows, Polk Salad Annie and a newie titled The Organic Shuffle sounded swampy. The Organic Shuffle was inspired by an encounter I had with a lovely lady at a past Bluesfest. The audience reaction even raised a smile from the old swamp fox. Thank y’all!
Kim and Paulette started walking towards Jambalaya where Sweet Honey in The Rock were due to commence. I should have joined them, for a festival disappointment loomed. Jon Anderson presented a solo performance in the expanse of Crossroads that was more suited to an ensemble venue. The voice of Yes, one of the most recognisable in progressive rock, was still there, however his low-key solo performance did not cut the mustard in the vast Crossroads tent. His earlier stint in the Lotus Palace would have been better given its' intimate setting. Never having been a fan of Yes, I have been disappointed two years in a row by performances by this band's members in both group and individual formats. Catching up with Jon, a confirmed Yes fan, I reluctantly followed him to Mojo where Karise Eden, winner of TV's The Voice Australia, was singing. Despite Seal's endorsement of Karise as Australia's new Queen of Soul, I was not convinced and followed Jon based solely on his enthusiastic review of her album. I am prepared to admit she was good and could certainly belt out the blues. In fact Karise was surprisingly good. Maybe I'll borrow Jon's album for a listen.
There are some days at Bluesfest where you are more enthusiastic than others based on the day's offerings. For me, Easter Sunday was one of those days. Still enthusing after our taste of the Mardi Gras, Kim and I moved up front to the left of the stage for Supertramp's Roger Hodgson. Despite Punk's condemnation of Prog Rock as being played by dinosaurs, we had continued to play Crime of the Century, Crisis What Crisis, and Even in the Quietest Moments if only after dark and behind closed curtains. A guilty pleasure you could say.
The Crossroads stage had been prepped for something special with the keyboards, percussion and other instruments sharing space with a forest of palms. The crowd was an interesting mix including a fair representation of the younger generations. A smiling shaven Roger took his place behind the prominent keyboards and kicked off with The Logical Song. Good choice ~ straight away he had the crowd in the palm of his hand. As Supertramp's spiritual leader and one of the two songwriters, Roger was responsible for many of their timeless classics. Alternating between guitar and keyboards, Roger and his excellent band played recording standard renditions of many of our our favourites including Dreamer, School, Give a Little Bit and Breakfast in America etc.
Talk about a right singalong, the crowd chorused with every pause and inflection delivered perfectly. Continuing a 2013 Bluesfest feature, Roger's band included an amazing multi-instrumentalist who would have been great on his own. As many of the Supertramp classics had been composed by Rick Davies I was waiting for someone to request Bloody Well Right. In the face of the enmity existing between the two composers I thought Bloody Fat Chance!.
This was a Bluesfest highlight!
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