After the inept and tragic events of the past few weeks, it's time to deal with debacles of a musical nature. Good intentions and a sliding scale of talent is usually the genesis for an event like From The Big Apple To The Big Easy- a five hour plus concert to raise funds for the Victims of Katrina.
As expected, there were moments of brilliance punctuated by talentless turns from Hollywood dopes and bimbos. I opted for the pay-per-view package which included many cable-only questionable perks. Between songs I was bombarded with innumerable shots of approving, rich, white people partaking of the fancy seat festivities. So many of them were clapping out of time, that at one point they all actually found a groove for about three seconds. I kept thinking of Ross Perot doing his funky little Popeye dance to Crazy. They also threw in some public service messages from ex-president puppets Bush and Bubba, and it was a lot like when Moe Howard and Larry Fine used to drop by the Officer Joe Bolton Show.
Things actually got off to a good start with the Rebirth Brass Band. They marched through the VIP section, without any apparent hassle, and then up to the stage. If you ever get an opportunity to see these guys, don't miss it-they're amazing.
Next, the Inventor, Creator, Godfather, of modern New Orleans music, Allen Toussaint, took the stage and blasted out an impassioned version of his hit Southern Nights. Toussaint, who still puts on a tremendous show, will be performing this Sunday afternoon down at Joe's Pub in the Village, in yet another benefit show. Toussaint is a genius writer, arranger, pianist, singer, and luckily he stayed onstage for a good chunk of time backing up the other acts.
Before long, Lenny Kravitz and Elvis Costello took turns underwhelming each other. Luckily, Clarence "Frogman" Henry saved the day, and showed that a performer forty years past his prime is still better than a Costello or a Kravitz any Tuesday. Frogman stunned the Garden with a stellar Ain't Got No Home, complete with little girl and frog stylings. He segued into his I Gotta Go schtick, and down in N'awlins that act can last fifty-five minutes. With the off-camera hook lurking, Frogman's I Gotta Go routine was infused with a fresh sense of urgency.