From Sierra Green to Santana: Highlights from Jazz Fest on Thursday on Thursday

The second Thursday of Jazz festival Despite possible rain forecasts, was hot and moist. The fair terrain summed up with even more visitors than last week, and in the afternoon the lines for food and drinks handed over the huge venue. The heat felt more intensely under a cloudless sky, which replaced the airy, pleasant weather of the past week. Nevertheless, the air humidity remained manageable and never threatened that the sultry that lurked on the horizon was to become warmth.

Despite the amount and the rising temperatures, the spirits remained high. People navigated the terrain with good humor, and the festival kept its typical warmth and camaraderie. Mayor Latoya Cantrell came familiar and was tasted on the Big Screen from Congo Square to Shamar Allen.

The smaller tents proved to be a refuge for many, offered cooler rooms and the chance to discover aspiring artists. In the blues tent, the R&B singer Sierra Green and her band The Giants delivered an exuberant set. Green is a native native who grew up in the church and has cut his teeth as a buser in the Frenchmen Street. The crowd reacted enthusiastically and recognized her talent and her soulful depth.

Many were looking for the relentless sun, many went to the gospel tent, where they were treated by McDonogh 35 to an amazing performance -the first high school choir, which has ever occurred in the Gospel tent, a tradition that started in the 1970s. Decades later, they still raise voices and write history.

On the main stages, songwriting icon and guitar Virtuooso Anders Osborne, addressed by Dumpstaphunk – kept a coveted slot shortly before the headliners. Osborne and its experienced New Orleans crew opened with “Back on Dumaine”, a post -Katrina nod that set a reflective but energetic sound. You then tore “Really good dirt” in the 2024 Powerhouse jam and channel the raw performance of Crazy Horse. The local sax legend Brad Walker and the guitarist Eric McFadden exchanged fiery solos with Osborne and added intensity layers.

Osborne, loyal to shape, shared a lively anecdote about his early days in the Decatur Street. He remembered that he begged the owner of Checkpoint Charlie for a Tuesday window in the exchange of 20% of the bar income. This led to a warm reproduction of “Dark Decatur Love” from his villa from 2024 LP Picasso, in which he held the coarse -grained, soulful spirit of these days.

La Santa Cecilia brought a different taste on the site of the Fais do stage. Although they worked with Elvis Costello and Los Lobos, their roots are firmly in Mexican music. Your set has mixed cumbia, rancheras and acoustic melodies, which are driven by accordion and the power pack of Marisol “La Marisoul” Hernandez. An outstanding moment was the Cumbia style, which set “Strawberry Fields Forever”, an unexpected highlight that shows its versatile versatility. Later, the chubby wearer and the Bayou -Swamp -Band kept the Zydeco spirit alive with a lively “My Toot Toot” and encouraged dancing everywhere.

Damon Batiste's Nosaconn all injected all -stars injected into the festival at the Kongo Square stage. With David, Jamal, Ryan Batiste, Chantz Powell and others, the band paid homage to the late Russell and Paul Batiste, with Naimah and the Big Chief Shaka Zulu participating in a solemn number. Stimulus dancers added the festive atmosphere and created an authentic feeling of community and cultural pride.

Anticipation of the legendary Carlos Santana, who had been hospitalized with Covid last week. Fortunately, he appeared in good shape – even though he was sitting for part of the set, he rose and radiated his commanding presence. Between expanded guitar solos, he provided a mini sermon about positivity and unity. His performance of “incident in Neshabur” increased in her floating second half and shows guitar work as important and fiery as always. Although Ravi Coltrane's guest appearance did not come about, the absence was not reduced to reduce the effect.

Santana made hits like “Soul victim”, “Black Magic Woman”, “Evil Ways” and “Oye Como VA”, recharge the early arrangements. Deep -Cut fans became a welcome surprise and proof of Santana's diverse catalog with “hope that they feel better”, a powerful rocker from Abraxas who rarely appears in his live sets.

The drummer Cindy Blackman, a powerhouse supplement, revitalized Santana's sound. She kept the intensity of the full throttle for almost 90 minutes and provided a commander in the encore.

Cage the Elephant closed the day on the Gentilly stage and marked her jazz festival debut. Known for alternative rock hits such as “Ain't no break for the wicked” typed the band in nostalgia and pure energy. Front man Matt Shultz's audience – who stood the microphone and his guitar while “Come Little Closer” threw into the audience – drove her permanent attraction.

Jazz Fusion Legends the Yellow Jackets organized in the jazz tent. Her masterful mix of complex rhythms and accessible melodies was both a technical shop window and a pure joy for casual listeners.

Finally Morris Day & The Time completed the Kongo stage and brought the Old School radio to the fore. Jellybean Johnson's Mirror Gag for Morris Day was a classic showmanship. The band opened with “Cool” and delivered hits such as “777-9311” and “Jungle Love” the entire crowd – the fans on stage for “The Bird” and cemented the night as celebrated as the roots of Funk.

The start of the second week on Thursday offered a rich wall carpet – from Santana's legendary guitar to living Mexican rhythms, soulful gospel and classic radio. Despite the weather, the day remained warm and lively and set a high bar for the coming days. The mixture of renowned artists and aspiring talents showed the permanent attraction of the jazz festival: where various sounds and common community create unforgettable moments.