Jane Bunnett (photo by Rudy Lu)
Review by J Hunter
Photographs by Rudy Lu, Andrzej Pilarczyk, M. Cheri Bordelon, J Hunter
Ahhh, there’s no place like home – even if it is windy, chilly, and you’ve got to get there over an hour before showtime if you want to get a good view. The Shepard Park amphitheater was more crowded than usual at that time, and the “blame” goes to Mayor Bob Blais, who told the Lake George meter readers to stay home that day. With no need to park some distance from park, most of the good spots were taken by the time I rolled up. Some of those who weren’t able to lay their picnics out on the lawn the day before were already setting up lunch, and while I didn’t get my usual perch, the spot I did claim gave me a prime view of one of the most interesting afternoons I’ve ever spent at Jazz at the Lake.
Let’s start with Billy Martin’s Wicked Knee, whose 2013 release Heels Over Head went over my head completely. Maybe I’d been listening to too much Rebirth Brass Band at the time, so I just didn’t feel Martin’s unique variant on NOLA street music. But when I saw the group on stage, in full cry, it all came together for me. Watching Sexmob do its own wild thing the day before might have helped the process; having Sexmob leader Steven Bernstein playing alongside trombone legend Curtis Fowlkes and tuba player Marcus Rojas definitely helped matters. Either way, when that mammoth front line launched its first salvo, you could taste that spicy gumbo, and developing a taste for it was not hard.