How Can You POSSIBLY Describe Jam Cruise to Others? [Jam Cruise 21 review]

How Can You POSSIBLY Describe Jam Cruise to Others? [Jam Cruise 21 review]

[We’re still searching for a few photos, but eleventy billion thanks to Ariel Opal Feldman, Dave Vann, Gabby Barbieri,

Jason Myers, Jesse Faatz, Josh Timmermans, and Sadye Segal D for helping to making this review come to life!]

How can you describe Jam Cruise to muggles? YOU CAN’T. 

How can you describe Jam Cruise to people who’ve never been to a music festival? YOU CAN’T. Not very effectively, anyway.

OK, we’ve gotten that out of the way. How can you describe Jam Cruise to people who have been to music festivals (well, at least one) or who have gone to lots of concerts?

Opinions always range widely, but many on board would agree that Jam Cruise 21 was the best ever (of course, your mileage may vary). Here are some situations you might mention in describing the uniqueness of Jam Cruise (and I am very hesitant using the word unique):

Where else can you see MarchFourth on stage with Andy Frasco and The U.N.?

Where else can you see Chali 2na guesting with Lettuce, Galactic, and Snarky Puppy?

Where else can you see Nikki Glaspie play both sets with Snarky Puppy?

Where else can you see a cavalcade of stars join forces for a Prince/Bowie set?

Where else can you see The Nth Power with at least 14 other musicians joining them for their Earth, Wind & Power set? (OK, Jazz Fest. Fair enough.)

Where else can you witness the madness that took place in the Atrium — it looked like this:

The Sweet Lillies set in the Atrium. This was a microcosm of the entire Jam Cruise experience. Julie Gussaroff (bass) and Becca Bisque (fiddle) and the boys were joined by (sorry, missing names here) drummer, female vocalist, Joe Marcinek (guitar), Allie Kral, and two alto saxes. Sammi Garett ran off the main stage (after crushing “Slippery People” with Summer Zen and Shira) and helped belt the response to “Bust a Move” after Becca astonished with her hip hop abilities (astonished me, anyway). Then who should come up but THE Chali 2na (who had a brilliant jam talk earlier). Becca took the lead in romping through several Jurassic 5 tunes with 2na (and “Baby Got Back” in between). That was followed by George Porter Jr. and Steve Kimock with The Sweet Lillies. AND the first time George had played an upright base in 62 years!

There was so, so, so much more, and every person on the boat had his or her or their own musical experience. Before we talk further about the music, let’s heap praise on the sound engineers. Those familiar with my scribbling don’t usual see that in my missives. This year, my seventh, truly knocked me out.

The Pool Deck stage is problematic. They do want to boost the volume, and often the sound emerges muddy, with lyrics difficult to distinguish. On Deck 14, you are in a fishbowl unless you are right up front near the stage; the glass walls keep sound in. Although it’s farther away, listening on Deck 15 often has better results. It is what it is. Jake Funkmayor of FunkCity. net (and president of the Snarky Puppy Fan Club) correctly observed that the Pool Deck was a festival setting and the theater was a concert setting.

Everywhere else, however, the sound was outstanding. My benchmark: DO I NEED EARPLUGS? I take ear health and protection very seriously, but I never needed them this year. The Black & White in particular was drastically improved. They also had the Golden Jazz Lounge lounge dialed in perfectly, and the Brews at Sea stage and the Atrium were great. In the past, there were occasionally sets in the Pantheon theater that boomed too loud. I heard none of that! Kudos to all the crews for their extraordinary efforts making music sound good on a boat floating out in the Gulf of Mexico.

Assuming you want to maximize your music experience, you could either catch full sets of favorites or split time between two (or three!) sets or some combination of those. I missed several bands because I knew I would see them soon, such as STS9 (Resonate Suwannee) and Andy Frasco & The U.N. (Sunshine Get Down), or had seen them recently, such as lespecial. And of course, my “plan” was once again turned topsy-turvy with the “discovery” of The Psycodelics, Club D’Elf, and Mildlife.

As always, please be reminded that YOUR MILEAGE MAY VARY and almost certainly will. This is just one tour through 49 of the 84 sets on board.

THURSDAY, FEBRUARY 13 — Pre-party

The Jam Cruise Pre-party featured Lettuce at the Miami Beach Bandshell. There was also a later party hosted by Josh Schwartz with 

FRIDAY, FEBRUARY 14 — Sail-Away Day and Valentine’s Day

Everyone we spoke to would confirm that this was the quickest and easiest check-in ever! THANK YOU THANK YOU THANK YOU

The amount of equipment that needs to be craned up to the pool deck is massive. The reality is that those 6 p.m. or 7 p.m. sail-aways are gone. This time, the announcement was made that everything on the Pool Deck and the Brews at Sea stage would begin an hour later than scheduled. The original collides, conflicts, and overlaps now shifted as savvy patrons replotted their paths to nirvana.

We missed Jeremy Kaplan of Dogs in a Pile in the Atrium, then opted not to wait for Karl Denson’s Tiny Universe on the Pool Deck. We headed to the theater to see Pigeons Playing Ping Pong. Tour manager Bret Peretz is 100% correct saying this isn’t the same band from five years ago. Pigeons put on a brilliant performance, launching appropriately with “Sail On.”

Beyond their outstanding musical performance, they also understood the Jam Cruise protocol, with Adrian Tramontano joining them on percussion all set and inviting up The Horn Section, Mark Lettieri (Snarky Puppy), Sammi Garett and Shira Elias (Cool Cool Cool), and Kaplan (Dogs in a Pile), who was everywhere!

Erik Yates of Hot Buttered Rum had an enthusiastic bluegrass set roaring in the Atrium.

I just had this feeling about The Psycodelics, a Charleston funk band, playing in the B&W. I knew nothing about them before. I DO NOW. This, bar none, is the deepest R&B funk band I have ever seen on the boat. They were stunning. And it didn’t hurt that they were joined by Kanika Moore. Everyone I spoke to afterward couldn’t stop talking about them. They HAD about 700 FB followers before. That number is about to blow up. INCREDIBLE. 

STS9 got rave reviews for their Pool Deck set.

Meanwhile, I headed back to the theater. The sound was magnificent as Lettuce pumped out one of the greatest sets I’ve heard from them. NIGEL HALL WAS ON FIRE ALL SET. You knew we were in deep the moment Erick Jesus Coomes hit those first bass notes for “The Payback.” The set was so cohesive, in no small part due to the deep foundation dug by Coomes and Adam Deitch. Then Chali 2na strode on stage. PANDEMONIUM!

Club D’Elf was playing on the Brews at Sea stage. I had been intrigued by what little I had heard about this band. This group and The Psycodelics are precisely why I go to festivals and Jam Cruise: to “discover” astounding new music. I cannot top their FB self-description: “Moroccan-dosed psychedelic dub jazz collective.” Leader Mike Rivard on bass and Will Bernard on guitar and band blazed an amazing trail through numerous genres.

Ernie Johnson From Detroit are a truly fun band. They were throwing a dance party in the jam-packed B&W. Meanwhile, The Spot was already loaded for night one shenanigans and fun. The Sweet Lillies were there to lead the joyous music.

In all of the madness, I missed the Tank and the Bangas theater set. After The Psycodelics and Club D’Elf, my heart and head were full. Pink Talking Fish were playing the late Pool Deck set, but I was fading fast.  

Alex Wasily (trombone from Dumpstaphunk) was leading a real romp in the B&W Jam Room, with Nikki Glaspie and Ivan Neville in the early configuration. My last steps were to Galaxy Disco to check out DJ Brownie (Marc Brownstein) having a ball.

SATURDAY, FEBRUARY 15 — Day at sea

Hot Buttered Rum kicked off the day at sea with a fine bluegrass set for the early risers (well, it was after noon!).

Daily there were music-related events around the ship. This day had Name That Tune with Scrambled Greg Ormont and Sneezy, Live Karaoke Lounge with Pink Talking Fish, Beneath the Waves: Protect the MesoAmerican Reef, Instrumenthead Revisited with Michael Weintrob, Costume Contest with BERTHA, The Great Bingo Revival, and Frick Frack Blackjack.

I headed to the Atrium for JAMtalks with Chali 2na. Last year’s event with Adrian Belew and Jerry Harrison of Remain in Light was superb; this year’s was as well. The initial interview was great, and the questions from the packed audience were even better. Chali was humble, loving, and constantly reminding us to be kind and to support each other. My two favorite stories that he related:

Chali and the other members of the unnamed vocal group were working on their music, hoping to bridge the music from old-school hip hop and the current scene. Finally, they came up with their first recording. Chali took it home to “the mother of my son,” whom he considered a great and honest critic. He sat her in a room, put the song on, and closed the door. When it was over, he went back in. Her response: “That was dope. You want to sound like The Furious Five, but you sound like Jurassic 5.” BAM! That became the name.

“When I was a teen, I got $5 for cleaning the house. I would take it to the local record store. One day I came home with ‘Rapper’s Delight.’ When I put it on, my mom said, ‘Why did you buy that? We already have that record.’ When I asked her what she was talking about, she said, ‘That’s Chic!’”

The guitarists from The Heavy Pets, Mike Garulli and Jeff Lloyd, had the first set on the Garden Pool deck, a sun-drenched afternoon of great tunes. I was sorry to miss Brock Butler’s set there later in the afternoon.

Seattle’s Polyrhythmics finally made it back to Florida (they were Helene’d out of their appearance at Clearwater Jazz Holiday in October) for three great sets on Jam Cruise. They lit up the Pool Deck with a roaring horn-filled set including guests Skerik, some of the MarchFourth horns, and a Snarky Puppy percussionist.

ALO also enjoyed a fine Pool Deck set.

The Nth Power’s first set, also on the Pool Deck, featured their magnificent, positive vibes but was spoiled by blaring sound that obliterated the lyrics so important to their music.

Queen Kanika Moore had her first special set (in addition to dozens of sit-ins) with her & Friends set in the Atrium. Numerous musicians sat in at various times as Kanika displayed the depth and breadth of her range with songs such as “That’s Life,” “Tennessee Waltz,” and “Let’s Go Get Stoned.” Members of The Psycodelics were prominently featured throughout. Very special was her reading of “Street Life,” The Crusaders’ song with Randi Crawford; Kanika said she learned this from her parents’ album by Joe Sample and Lalah Hathaway. There was a wonderful version of “California Soul,” the Marlena Shaw version. Topping the setlist: a stunning take on Billie Holiday’s “Strange Fruit.”

I missed lespecial, ready to confront a huge triple-conflict. It began with Snarky Puppy on the Pool Deck. It was not a surprise that the sound for this set was very good. The Nth Power drummer and Masters Camp at Sea master Nikki Glaspie was at drum kit! This particular configuration of SP featured nine players assembled by leader and bass player Michael League, including Bobby Sparks on keyboards and Mark Lettieri on guitar.

From there I caught part of the Mildlife set at the B&W. The place was slammed, and conversations were loud, but we could hear, and video screens showed the band on stage. It was a very good set, but their later Pool Deck set would be legendary.

On to the Golden Jazz Lounge for the one and only Eric Benny Bloom, trumpeter extraordinaire, with a gorgeous set that began very lounge-like before streaking off in various directions. This was outstanding jazz, and all who were there can confirm.

I was intent upon seeing BERTHA, meaning I would miss STS9 and Andy Frasco and The U.N. It turns out that the “ladies” of BERTHA were eating dinner right where we were earlier, so we got a good look at their amazing makeup, hairdos, and dresses!

Simply put, BERTHA are one of the best Grateful Dead tribute bands you’ll hear (with nods to JRAD and others). Most in the B&W could not SEE the band — didn’t matter. Their harmonies soared, and the playing was top-notch. “Sugaree,” “Mr. Charlie,” and “It’s All Over Now” were excellent. Shira Elias guested on “Dire Wolf.” I was trying to sneak out when they kicked into “St. Stephen,” definitely worth the wait.

Next on the agenda: MarchFourth. Like BERTHA, they sound great whether you can see them or not, but seeing them is a real treat! Black-light paint enhanced the view of the eight horns, four percussionists, bass, drums, acrobat, stilt walker, and juggler. There was no band on Jam Cruise more powerful than MarchFourth, making appearances in the Southeast for the first time in ten years!

I was full. I missed Dogs in a Pile, the Sammi Garett Jam Room, and Mark Farina in the disco.

SUNDAY, FEBRUARY 16 — Welcome to Cozumel, Mexico

We docked early in Cozumel, and many got off the boat for a wide variety of activities. I was (Doodle-Oop) a little under the weather and used the time to catch up on some rest.

Other activities on board later featured Andy Frasco’s World-Saving Podcast Live Taping, Live Best Show Ever Live Taping with Cam Herdt, Brownie, and Frasco, The Great Bingo Revival, MarchFourth Circustravaganza, and Clown Glam Station.

We had not seen Dragon Smoke in some time, happy to welcome Eric Lindell, Ivan Neville, and Robert Mercurio and Stanton Moore of Galactic back, plus Moore’s running buddy, the ubiquitous Mike Dillon. One fascinating tune was an old Dyke and the Blazers track titled “Let a Woman Be a Woman, Let a Man Be a Man.”

George Porter Jr. joined them partway through, and later they offered a superb cover of “Nobody Wants You When You’re Down and Out” (Bobby Womack style). They played the King Floyd gem “Groove Me,” and Ivan extolled the virtues of the Cresent City in “New Orleans — Greatest Play on Earth,” joined by Tony Hall.

Zach Gill had the early Atrium set.

I headed to the theater and Karl Denson’s Tiny Universe pouring out funk and positive vibes, with the message “Stick Together,” acknowledging we were going to leave all the political nonsense back on land but that we must unite in love. Later, horns showed up — Greg Sanderson and Chris Brouwers of The Horn Section and Cool Cool Cool, Skerik, and a bari player to be named later as Karl D. romped through some of Rick James’ catalog.

On the Pool Deck, Summer Zen treated us to a magical set with George Porter Jr., Robert Walter, Steve Kimock, Lebo, and John Kimock. There was a Dead tune, “Fiyo on the Bayou,” and the Steve Kimock treat “Ice Cream.” Robert Walter reminded us of his spectacular keyboard skills on Hammond B3, electric piano, and clavinet. Sammi and Shira and Big Chief Donald Harrison (tenor saxophone) came up for for “The Promised Land” and a wicked version of “Slippery People” (Talking Heads). 

I ducked out, wanting to check out The Sweet Lillies in the Atrium before seeing Southern Avenue. As noted in the intro, that Atrium set covered Jam Cruise experience to a T. I missed Southern Avenue and Galactic, making sure Donna got to the theater for the Prince/Bowie set curated by Josh Schwartz (The Horn Section, JOSCH) before another Club D’Elf/Psycodelics doubleheader. 

The Club D’Elf set in the Golden Jazz Lounge was a righteous experience, as the band and various guests once again left us speechless (well, me, for one). Stunning jazz fusion something something. Robert Walter and Skerik joined in, and there was a fascinating cover of “New Speedway Boogie” hiding in the setlist!

Then on to the The Psycodelics, this time on the Brews at Sea stage, with more incredible funk and once again graced by Kanika Moore. I’ve seen her in many different settings, but for me this is the very best. In the midst of the set, they too covered Prince with a rockin’ “Controversy.”

I had little left in the tank. I did not see Sneezy, Thievery Corporation, Shawn Eckels in the Jam Room, The Spot, or DJ Brownie redux in the disco. I did see the beginning of the Lettuce set on the Pool Deck, which apparently turned out to be a powerfully emotional set.

MONDAY, FEBRUARY 17 — Welcome to Belize City

Those who went ashore did so by shuttles (tenders) since we were anchored at harbor. Sleep was on our schedule. This was an early railway afternoon.

Around the ship at various times were activities such as Sammi Eats, Lip Sync Battle with Dogs in a Pile and hosted by Cam Herdt, and the Lifer Happy Hour and Repeat Offender Party.

Tank and the Bangas got the party off to a colorful, positive start with an uplifting set of music, with Tank backed by an excellent band of Bangas. In the Stevie Wonder portion of the set, they teased (all too briefly) “Another Star” before playing the popular “Sir Duke.”

MarchFourth produced more magic on the afternoon Pool Deck set, albeit without the blacklight paint! They eased into the set, eventually exploding with ska, Afrobeat, and rock and roll. Never miss a chance to see this fine group.

Ricky James had an Atrium set, while Hot Buttered Rum was in the Golden Jazz Bar.

It was time for a BERTHA set where everyone could see them so beautifully adorned and becoiffed on the Pool Deck. An early “U.S. Blues,” “New New Minglewood Blues,” and lovely “Iko Iko” got us off to a great start. The wind was still hellacious; “this is the first time we’ve ever played in a wind tunnel!”

Steve Kimock stepped on stage for “Big River” in a beautiful dress and appropriately adorned. The dress belongs to Donna Jean Godchaux from the Dead’s 1978 Egypt tour. Ready more about that in this excellent story from Relix. Kanika Moore joined them for “Ramblin’ Rose.”

Lebo and his ALO bandmates bounced through an easy-going set in the theater. Lebo is a monster on his hollow-body guitar. Greg Sanderson and Chris Brouwers stepped in later in the set.

The Golden Jazz Lounge featured Skerik, another spectacular jazz outing, beginning with “A Love Supreme, Part 1: Acknowledgement,” including the iconic vocal refrain. Andy Coe was playing guitar, Nikki Glaspie on drums, and Michael League on bass to start. There was a B3 player as well. This set, like Benny Bloom’s and Club D’Elf, were truly glorious.

I enjoyed the Polyrhythmics’ B&W set even more than their Pool Deck outing. It got deeper, funkier, and groovier, according to me. They sounded great in that confined space!

I had noted previously that LP Giobbi was the only EDM artist at Suwannee Hulaween in October I truly enjoyed, so I was delighted that she was on the boat for two sets presenting Dead House. The Pool Deck was a wall-to-wall dance party as she wove the Dead canon in and out of those monster house vibes.

Snarky Puppy on the Pool Deck was good, but this show in the theater was where they had the chance to show their wares to full advantage. The nine-member band, with Nikki Glaspie again at kit, was sonically awesome. Then Michael League talked about his admiration for Chali 2na as the hip hop star strode on stage; the combination was magic. After a League solo, the full power of the band was on display. Then Skerik and Amy Bellamy joined for a Bobby Sparks song. League explained that the first time he ever hear “Take It” was on MySpace! Big Chief Donald Harrison guested, and Nikki Glaspie exploded over her drum kit. What a great show!

So glad I caught Pink Talking Fish the second time around. They were on fire with a sequence that went “Reba > Frankenstein > Slippery People > Happiest Days Of Our Lives > Another Brick In The Wall Part > Another Brick In The Wall Part 3.” No, “Frankenstein” is not P, T, or F, but it was perfect, featuring Phantom Of The Octave on keytar, and Adrian Tramontano helped propel the jam.

Sets I missed were from lespecial, Tikyra Jackson in the Jam Room, and Mark Farina.

And I know I will see Andy Frasco & The U.N. soon, but for sure I won’t see him with members of MarchFourth and dozens of others on stage. 

But Mildlife had the last Pool Deck set. The sound was near perfect, and they were absolute perfection. Lifer Bob Feckner (20 of 21 cruises) and I sat together trying to explain what was happening. I fell woefully short, but here goes. It began as half-speed trance meditation music, jazz fusion, deep tripping music. About halfway through, I said to Bob, “Well, now we know what they do.” At which point they did an about-face with drums and synths leading to dance disco space music, then funk! 

My heart was filled to overflowing.

TUESDAY, FEBRUARY 18 — Day at sea

One day to go. We’ve got this!

For the past three or four years, four musicians from Tampa have been paying their way onto the boat and then creating magical times: playing in the disco elevator and playing sunrise sets daily on the Garden Pool deck. We’ve known them for a decade but had never made it to the sunrise set. Finally, this morning, we did.

WOW! In addition to the four members of Displace (Chris Sgammato, Kyle Sareyani, Evan Thibeault, and Darryl “D Truth the Professional” McGowan Jr.), there were this morning players from Alabaster, Dogs in a Pile, MarchFourth, and more, including violin player Jesse James, who was also roped into elevator sets. Also in attendance, a hundred patrons enjoying the sunrise and the great vibes.

I know the talent buyers don’t feel that Displace has a regional or national presence (Sgammato runs a music school with a hundred students, and Sarayeni directs a 13-piece band), but GET OVER YOURSELVES! These people have brought far more joy and great vibes on board than they have taken. MAKE ’EM OFFICIAL ALREADY!

Sneezy provided complete entertainment: funny music, great playing, riotous stage antics, and pure enjoyment. 

Nick Cassarino had a wonderful Garden Pool set as many in the crowd floated in the back pool. Cassarino’s falsetto is lovely, an effective tool here and in The Nth Power sets. He balanced originals and covers, beginning with “Human Nature.” Shira Elias made it a duet for “Saving All My Love for You.” Later, his wife, Erin Boyd, joined him for some “Stormy Patch” songs, truly beautiful. “You’re All I need to Get By” was heart-melting. He closed with a really powerful tune called “Allegiance.”

Neville Jacobs drew an enthusiastic crowd to the Pool Deck for the great collab with Cris Jacobs and Ivan Neville with Tony Hall in tow.

I had intended to write extensively about the Masters Camp at Sea program, but catching up on rest kept me away from most of the action. The program features 40+ students of all ages and abilities instructed by masters Luther Dickinson, Nikki Galspie, Nigel Hall, Vaylor Trucks, Nate Edgar, Kanika Moore, Andy Frasco, Matt Butler, Benny Bloom, Ryan Zoidis, Alex Wasily, Melody Trucks, and Cliff Porter.

This final day presented first a performance by the students and then one by the masters. It was a truly righteous occasion.

Masters At Sea Camp Participants concert. Vaylor Trucks was the conductor, and Melody Trucks was the choir director. They offered up a nice version of “Dreams” (Fleetwood Mac), “Midnight Rider,” “I Know You Rider,” “Don’t Do It,” and a soaring “I Shall Be Released.” The campers had great opportunities to show what they learned.

Masters At Sea Camp Masters concert. I only caught the last two songs — stunning brilliance. First, “Unfunky UFO” (Parliament) and then (not a dry eye in the house) Stevie Wonder’s “Always,” with Melody Trucks leading a 40-person participant choir for those powerful choruses and Nigel Hall channeling Stevie. 

I got to see a good portion of Everyone Orchestra curated by MC Matt Butler. There were eventually dozens on stage, initially with The Horn Section, Shira Elias, Kanika Moore, Steve Kimock, Neal “Fro” Evans, Allie Kral, and numerous others. Butler indicates a mood or theme and directs one band member to get the song started. Josh Schwartz had first duty, and the collective came alive as Butler pointed to particular members or sections to contribute. This is always a special occasion.

Southern Avenue roared on the Pool Deck. Since my last time seeing them, the Memphis soul family affair has expanded from two Jackson sisters to three: Tierinii Jackson, vocals; Tikyra Jackson, drums, vocals; and now Ava Jackson, violin, vocals. Tierinii tore it up on Aretha’s “Dr. Feelgood,” and the set was loaded with positive messages including sisterhood and “Don’t Give Up.” It was a FeelGood set for sure.

The Jam Cruise wedding on the Brews at Sea stage featured, for me, the best set from Polyrhythmics, joined by Shira Elias. That was some deep funk!

I missed Summer Zen in the theater and Vote to the Boat winners Ernie Johnson From Detroit. I also didn’t see the Atrium set by 15-year-old pianist River Eckert, but I did catch a portion of his soundcheck. WOW!

Of all the times I was fortunate to encounter the force of nature that is Kanika Moore, I was least impressed by her Pool Deck Super Jam set. I can assure you I was in the incredibly slim majority here. Part of it was sub-par sound. She was joined by several members of The Psycodelics, Alex Wasily, and The Horn Section to begin. The setlist was fine: “Nothing from Nothing,” “I Can’t Get Next to You,” “California Soul” redux, and many more, with dozens of great players guesting. 

Somebody showed me information about a pop-up set in the Atrium curated by trombone player Jonathan Lloyd featuring Asheville players and friends. The three Atrium levels were packed in solidarity with the AVL fam and a solid set.

Galactic has traditionally played the last set in the theater, but this time they yielded to what The Nth Power had cooked up later. As always, Mike Dillon and Stanton Moore worked as a unit. Ben Ellman was crushing a harmonica tune, and Jelly Joseph sounded awesome. Then, as advertised, Chali 2na joined in the fun for a dynamic spin. More horn power appeared in the form of Josh Schwartz, Skerik, and Chris Brouwers. 

I made sure to drop in on those Dogs in a Pile in the B&W having a blast, later augmented by ubiquitous horns!

Rob Garza and Eric Hilton have spent decades honing their genre-defying project Thievery Corporation, and it was all on display on the Pool Deck. Kanika Moore guested early, followed by vocalists and rappers who took us on an around-the-world trip of soul, reggae, rap, funk, rock, eastern rhythms, and much more.

Allie Kral had a great collective assembled in the Atrium plus great guests such as Andy Frasco. 

I was fortunate to have encountered The Nth Power presenting Earth, Wind & Power severn years ago and was certainly looking forward to this set. Guests included six horns, several singers, keyboard players, Tony Hall, Kanika Moore, Mike Dillon, and Shawn Eckels, but be sure you understand that this set belonged entirely to Nikki Glaspie, Nate Edgar, Nick Cassarino, and the indelible legacy left by Maurice White and Earth, Wind & Fire. Cassarino, typically attired in black, was resplendent  in his white outfit, perfect for the occasion. Also perfect were the incredible voices of Glaspie and Cassarino, especially his signature falsetto, here honoring Philip Bailey.

Each time a new song was introduced, we all rejoiced: “Boogie Wonderland,” “Let’s Groove Tonight,” “Serpentine Fire,” “Fantasy,” “Can’t Hide Love,” “Getaway,” “Shining Star,” and many more. It came to a righteous close with a brilliant rendition of “That’s the Way of the World,” a perfect statement.

Going to Jazz Fest? Don’t miss The Nth Power reprising this amazing show!

I was drained, no energy for Pigeons Playing Ping Pong or George Porter Jr. in the Jam Room. I did poke my nose into the Galaxy Disco. Other nights there were perhaps a dozen or so dancers; LP Giobbi had this place slammed for some more great Dead House, the last event on board. (Except, of course, for one more sunrise set by Displace!)

WEDNESDAY, FEBRUARY 19 — Back to Miami

Well, OK, I guess.

Infinite thanks to Cloud 9, Positive Legacy, all of the musicians, the incredible crews (lighting sound, moving stuff everywhere), the MSC Divina staff and crew, and EVERY ONE OF YOU who made Jam Cruise 21 the best one yet!

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