Hello,
Today an American musician, songwriter/composer, record producer, and influential figure in New Orleans R&B. Many of his songs have become familiar through versions by other musicians. His piano and arrangements show up on hundreds of records during the early 1960s on records by Lee Dorsey, Chris Kenner, and scores of other artists. Starting in the 1970s, he switched gears to a funkier sound, writing and producing for The Meters, Dr John, and the Wild Tchoup Elkie itoulas Mardi Gras Indians tribe. He also began to work with non-New Orleans artists such as Robert Palmer, Willy DeVille, Brooks, Solomon Burke. He arranged horn music for The Band's 1971 album Cahoots, plus Rock of Ages and The Last Waltz film, in conjunction with arranging horn parts for their concert repertoire. Plenty of pedigree then ... N'joy
xxxxx xxxxx xxxxx xxxxx xxxxx
Producer, songwriter, arranger, session pianist, solo artist -- Allen Toussaint has worn all these hats over the course of his lengthy and prolific career, and his behind-the-scenes work alone would have been enough to make him a legend of New Orleans R&B. Thanks to his work with numerous other artists, Toussaint bore an enormous amount of responsibility for the sound of R&B in the Crescent City from the '60s on into the '70s. His productions kept with the times, moving from rollicking, earthy soul in the '60s to gritty, rambunctious funk in the '70s. As a composer, Toussaint proved himself a consistent hitmaker, penning more than a few gems that have since become R&B standards and been covered by countless artists working in many different styles. In keeping with that across-the-board appeal, Toussaint has worked in some supporting capacity for a wide variety of rock and blues legends, particularly from the '70s on. On top of all that, Toussaint waxed his own records from time to time, enjoying a creative peak in the '70s with several albums that highlighted his laid-back vocals and elegantly funky piano work. Even if he wasn't always the most visible figure, Toussaint's contributions to New Orleans music -- and to rock & roll in general -- were such that he earned induction into the Rock and Roll Hall of Fame in 1998.
Toussaint was born January 14, 1938, in New Orleans, and began learning piano at age seven, inspired by Professor Longhair; his style later grew to include elements of Fats Domino, Huey "Piano" Smith, and Ray Charles. As a teenager, he played in a band called the Flamingoes with bluesman Snooks Eaglin. Toussaint caught his first professional break at age 17, when Earl King tapped him to fill in for Smith at a live gig. Not long after, famed producer/songwriter Dave Bartholomew -- whose role in New Orleans R&B during the '50s was fairly analogous to Toussaint's later career -- hired him to lay down the piano parts at a Fats Domino recording session for which Domino himself was unavailable. Bartholomew made regular use of Toussaint, most notably on further sessions for Domino and Smiley Lewis, and demand for the young pianist's services grew quickly, especially after he first displayed his talent as an arranger on saxman Lee Allen's biggest hit, "Walkin' with Mr. Lee." In 1958, Toussaint recorded an instrumental album for RCA called The Wild Sound of New Orleans, under the alias Tousan; one of his original compositions for the record, "Java," went on to become a smash hit for Dixieland jazz trumpeter Al Hirt five years later. Toussaint also began writing under the pseudonym Naomi Neville, after his mother's maiden name.
In 1960, Toussaint was hired by Joe Banashak as an A&R man for the brand-new Minit label; in practice, he wound up masterminding most of the label's recording sessions. It was here that Toussaint truly began to build his legend. His first national success as a producer came with Jessie Hill's R&B Top Five smash "Ooh Poo Pah Doo" in 1960, and the classic hits came fast and furious after that: Ernie K-Doe's pop and R&B number one "Mother-in-Law" (a Toussaint composition), Benny Spellman's "Fortune Teller," and "Lipstick Traces (On a Cigarette)" (both Toussaint tunes written as Naomi Neville, with the former later covered by the Rolling Stones), Chris Kenner's original version of "Land of 1000 Dances," Lee Dorsey's "Ya Ya," and numerous sides with New Orleans soul queen Irma Thomas. Toussaint's singular touch on all these records redefined the sound of New Orleans R&B for a new decade. When Banashak left Minit to found another label, Instant, Toussaint went with him to fulfill much the same duties; he also freelanced elsewhere, most prominently with Dorsey's recordings for the Fury label, and cut a few low-profile singles of his own, mostly for Seville. In 1963, Toussaint was drafted into the military, during which time he recorded with his backing band the Stokes while on leave; one of their tunes, the Naomi Neville credit "Whipped Cream," was covered by Herb Alpert in 1965 for an instrumental hit, which was in turn later adopted as the theme for TV's The Dating Game.
Upon his discharge in 1965, Toussaint teamed up with fellow producer Marshall Sehorn to form a production company and record label, Sansu Enterprises. Sansu recorded the likes of Betty Harris, Earl King, Chris Kenner, and Lou Johnson, among others, often leasing their singles to larger labels for official release. Their most profitable association was with Lee Dorsey, who returned to the upper reaches of the R&B charts with Toussaint-penned hits like "Ride Your Pony," the oft-covered "Get Out of My Life Woman," the immortal "Working in a Coalmine," and "Everything I Do Gonh Be Funky (From Now On)" (covered by jazzman Lou Donaldson). In 1966, Sansu also engaged the services of a house band dubbed the Meters, who supplied backing for nearly all of the company's productions; after the Meters started making their own records in 1969 (produced by Toussaint), they developed into arguably the top instrumental funk ensemble of the '70s outside of the J.B.'s.
In 1971, Toussaint recorded his first solo album in over a decade for Scepter, calling it simply Toussaint (it was later reissued in the U.K. as From a Whisper to a Scream, after its best-known track). The following year, he moved up to Reprise for Life, Love and Faith, and he and Sehorn opened a state-of-the-art recording studio in New Orleans called Sea-Saint, which became the site for most of his subsequent projects. In addition to his solo records, Toussaint was getting more high-profile offers for outside work during the first half of the '70s. He did horn arrangements for the Band, Paul Simon, Little Feat, and Sandy Denny, and his continued work with the Meters was moving him into contemporary funk with a harder edge than his own albums. In fact, he wound up producing two of New Orleans' greatest funk records: Dr. John's Top Ten hit "Right Place, Wrong Time" and LaBelle's number one disco-funk smash "Lady Marmalade." In 1975, Toussaint released what many regarded as his finest solo album, Southern Nights; the title track went on to become a huge hit for country-pop superstar Glen Campbell, and "What Do You Want the Girl to Do?" was covered by Boz Scaggs, Lowell George, and Bonnie Raitt.
In 1976, Toussaint produced the Meters-related group the Wild Tchoupitoulas, whose self-titled debut was hailed as a classic of New Orleans funk. The record's experimentalism signaled a growing desire to branch out in the Meters camp, though, which would soon cause the band's split with Toussaint and, eventually, each other. The absence of their unerring sense of groove was noticeable on Toussaint's final solo LP for quite some time, 1978's Motion. Toussaint's activities tailed off in the years that followed; he still produced, arranged, and played piano on selected projects, which included albums by blues artists Etta James and Albert King, and rockers Elvis Costello and Joe Cocker, among others. In the meantime, his extensive song catalog was still mined regularly for cover material; the Lee Dorsey period was the most fertile, not just for "Working in a Coalmine" (Devo, the Judds), but lesser-known items like "Yes We Can" (the Pointer Sisters), "Sneakin' Sally Through the Alley" (Robert Palmer), and "Freedom for the Stallion" (the Oak Ridge Boys, among others). In addition, "Play Something Sweet (Brickyard Blues)" was a hit for Three Dog Night, and Bonnie Raitt cut a well-received version of "What Is Success." The Allen Toussaint Collection, a fine overview of his major-label recordings in the '70s, was released in 1991. In 1996, Toussaint formed a new label, NYNO, and recorded a full album of new material at his Sea-Saint studio titled Connected. Toussaint also began recording newer Crescent City artists in hopes of preserving the classic New Orleans sound. He was inducted into the Rock & Roll Hall of Fame in 1998 in the non-performer category. Going Places, attributed to Allen Toussaint's Jazzity Project, appeared in 2005, followed by the Joe Henry-produced The Bright Mississippi from Nonesuch Records in 2009. Four years later, the solo live album Songbook -- its performances dating from 2006 -- appeared on Rounder.
xxxxx xxxxx xxxxx xxxxx xxxxx
Producer, songwriter, arranger, session pianist, solo artist -- Allen Toussaint has worn all these hats over the course of his lengthy and prolific career, and his behind-the-scenes work alone would have been enough to make him a legend of New Orleans R&B. Thanks to his work with numerous other artists, Toussaint bore an enormous amount of responsibility for the sound of R&B in the Crescent City from the '60s on into the '70s. His productions kept with the times, moving from rollicking, earthy soul in the '60s to gritty, rambunctious funk in the '70s. As a composer, Toussaint proved himself a consistent hitmaker, penning more than a few gems that have since become R&B standards and been covered by countless artists working in many different styles. In keeping with that across-the-board appeal, Toussaint has worked in some supporting capacity for a wide variety of rock and blues legends, particularly from the '70s on. On top of all that, Toussaint waxed his own records from time to time, enjoying a creative peak in the '70s with several albums that highlighted his laid-back vocals and elegantly funky piano work. Even if he wasn't always the most visible figure, Toussaint's contributions to New Orleans music -- and to rock & roll in general -- were such that he earned induction into the Rock and Roll Hall of Fame in 1998.
When Allen Toussaint restarted his solo career in 1970 with Toussaint (aka From a Whisper to a Scream), he leaned heavily on songs he had written for other artists, as well as a couple of covers. It was a good way to jump-start his career, and with its elastic, elegant arrangements, it set the groundwork for 1972's Life, Love and Faith, his first album for Reprise/Warner. Toussaint seized the opportunity as a way to stretch out his sound, refining it and expanding it so it was grounded in New Orleans R&B but also encompassed hard funk and smooth soul. Though it was a soul album through and through, it also had the feeling of being part of Reprise's considerable singer/songwriter stable -- such artists as Randy Newman, Bonnie Raitt, Little Feat, and Joni Mitchell -- and if anything, Life, Love and Faith feels more of a piece with this group than it does with most music coming out of New Orleans in the early '70s because it also captures an eccentric genius pursuing his idiosyncratic vision. Here, it seems as if Toussaint has found every permutation of his signature sound, which is pretty much the sound of New Orleans R&B. He revives the classic, easy-rolling groove on "Soul Sister"; turns it seriously, deeply funky on "Goin' Down" and "Victims of the Darkness"; gets trippy on "Out of the City (Into Country Life)"; treads nimbly with a Philly soul variation on "She Once Belonged to Me"; and crafts a tremendous, dramatic ballad with "On Your Way Down," one of the finest songs he ever wrote. It's a textured, multi-layered record that may not be the purest dose of Toussaint, but is the one album that truly exhibits how deep and wide his talents ran.
Allen Toussaint - Life Love And Faith (flac 226mb)
01 Victims Of The Darkness 3:30
02 Am I Expecting Too Much 2:47
03 My Baby Is The Real Thing 3:03
04 Goin' Down 2:56
05 She Once Belonged To Me 2:49
06 Out Of The City (Into Country Life) 3:34
07 Soul Sister 2:47
08 Fingers And Toes 4:05
09 I've Got To Convince Myself 2:40
10 On Your Way Down 3:58
11 Gone Too Far 3:26
12 Electricity 2:29
Allen Toussaint - Life Love And Faith (ogg 85mb)
xxxxx xxxxx xxxxx xxxxx xxxxx
Allen Toussaint's name became synonymous with New Orleans music, even though he didn't seem to "do" the records his name was on as producer, arranger, or writer on records by artists such as Ernie K-Doe or Irma Thomas. This is his first studio album in at least a decade, and it is a very worthy effort of all self-penned songs that seem to be a mix of old and new (if not in age, at least in feel). He is supported by an extremely worthy cast of the finest New Orleans musicians. Funky material like "Funky Bars," "Ahya," and the rolling gait of "Oh My" stands next to much softer pieces that require a more versatile voice. There are times when his voice doesn't have that reaching pain, for instance, that Aaron Neville gave to "Wrong Number." On most cuts, his easy delivery is just what is called for, and his rollicking piano is always perfectly matched to the song. This is not a disc of memories, though it may bring up a few, it is fresh new funk and roll from the city where American music has always stretched to new levels.
Allen Toussaint - Connected (flac 369mb)
01 Pure Uncut Love 4:02
02 Do The Do 4:17
03 Computer Lady 3:34
04 Get Out Of My Life, Woman 3:40
05 We're All Connected 3:59
06 Sweet Dreams 4:32
07 Funky Bars 5:30
08 Ahya 4:18
09 If I Leave 4:06
10 Aign Nyee 4:02
11 In Your Love 5:37
12 Oh My 2:53
13 All Of It 3:52
14 Wrong Number 3:28
15 Rolling With The Punches 4:07
Allen Toussaint - Connected (ogg 138mb)
xxxxx xxxxx xxxxx xxxxx xxxxx
The Bright Mississippi stands alone among Allen Toussaint albums. Technically, it is not his first jazz album, for in 2005 he released Going Places on the small CD Baby-distributed Captivating Recording Technologies, a label run by his son Reginald, but for most intents and purposes -- and for most listeners -- The Bright Mississippi might as well be his first foray into jazz, since it's the first to get a major-label production and release as it's a de facto sequel to Toussaint's successful, high-profile, 2006 duet album with Elvis Costello, The River in Reverse. Like that record, The Bright Mississippi is produced by Joe Henry, who has a knack for a sound that's clean yet soulful, one that lets the music breathe but still has heft to it. Henry teams Toussaint with a cast of heavy hitters -- including clarinetist Don Byron, trumpeter Nicholas Payton, guitarist Marc Ribot and, on a track a piece, pianist Brad Mehldau and saxophonist Joshua Redman -- to support the pianist on a run through jazz standards ranging from Duke Ellington and Django Reinhardt to Louis Armstrong and Thelonious Monk, whose 1963 classic provides the album its title. Everybody has a little bit where they shine, but this is thoroughly Toussaint's showcase, a place where he can ease back and string together New Orleans jazz and R&B in his own elegant fashion. And what impresses most about Bright Mississippi is that although straight-out jazz is uncommon in Toussaint's work, this neither feels unfamiliar or like a stretch. His signature runs and smooth grooves can be heard throughout the album, but the relaxed nature of the sessions makes it easier than ever to hear what an idiosyncratic, inventive instrumentalist he is, and that is a quality that's more evident upon repeated plays. Upon the first listen, The Bright Mississippi merely seems like a joyous good time, but subsequent spins focus attention on just how rich and multi-layered this wonderful music is.
Allen Toussaint - The Bright Mississippi (flac 265mb)
01 Egyptian Fantasy 4:41
02 Dear Old Southland 6:19
03 St. James Infirmary 3:52
04 Singin' The Blues 5:40
05 Winin' Boy Blues 6:42
06 West End Blues 3:52
07 Blue Drag 4:22
08 Just A Closer Walk With Thee 5:11
09 Bright Mississippi 5:08
10 Day Dream 5:27
11 Long, Long Journey 4:51
12 Solitude 5:31
Allen Toussaint - The Bright Mississippi (ogg 124mb)
xxxxx xxxxx xxxxx xxxxx xxxxx
Today an American musician, songwriter/composer, record producer, and influential figure in New Orleans R&B. Many of his songs have become familiar through versions by other musicians. His piano and arrangements show up on hundreds of records during the early 1960s on records by Lee Dorsey, Chris Kenner, and scores of other artists. Starting in the 1970s, he switched gears to a funkier sound, writing and producing for The Meters, Dr John, and the Wild Tchoup Elkie itoulas Mardi Gras Indians tribe. He also began to work with non-New Orleans artists such as Robert Palmer, Willy DeVille, Brooks, Solomon Burke. He arranged horn music for The Band's 1971 album Cahoots, plus Rock of Ages and The Last Waltz film, in conjunction with arranging horn parts for their concert repertoire. Plenty of pedigree then ... N'joy
xxxxx xxxxx xxxxx xxxxx xxxxx
Producer, songwriter, arranger, session pianist, solo artist -- Allen Toussaint has worn all these hats over the course of his lengthy and prolific career, and his behind-the-scenes work alone would have been enough to make him a legend of New Orleans R&B. Thanks to his work with numerous other artists, Toussaint bore an enormous amount of responsibility for the sound of R&B in the Crescent City from the '60s on into the '70s. His productions kept with the times, moving from rollicking, earthy soul in the '60s to gritty, rambunctious funk in the '70s. As a composer, Toussaint proved himself a consistent hitmaker, penning more than a few gems that have since become R&B standards and been covered by countless artists working in many different styles. In keeping with that across-the-board appeal, Toussaint has worked in some supporting capacity for a wide variety of rock and blues legends, particularly from the '70s on. On top of all that, Toussaint waxed his own records from time to time, enjoying a creative peak in the '70s with several albums that highlighted his laid-back vocals and elegantly funky piano work. Even if he wasn't always the most visible figure, Toussaint's contributions to New Orleans music -- and to rock & roll in general -- were such that he earned induction into the Rock and Roll Hall of Fame in 1998.
Toussaint was born January 14, 1938, in New Orleans, and began learning piano at age seven, inspired by Professor Longhair; his style later grew to include elements of Fats Domino, Huey "Piano" Smith, and Ray Charles. As a teenager, he played in a band called the Flamingoes with bluesman Snooks Eaglin. Toussaint caught his first professional break at age 17, when Earl King tapped him to fill in for Smith at a live gig. Not long after, famed producer/songwriter Dave Bartholomew -- whose role in New Orleans R&B during the '50s was fairly analogous to Toussaint's later career -- hired him to lay down the piano parts at a Fats Domino recording session for which Domino himself was unavailable. Bartholomew made regular use of Toussaint, most notably on further sessions for Domino and Smiley Lewis, and demand for the young pianist's services grew quickly, especially after he first displayed his talent as an arranger on saxman Lee Allen's biggest hit, "Walkin' with Mr. Lee." In 1958, Toussaint recorded an instrumental album for RCA called The Wild Sound of New Orleans, under the alias Tousan; one of his original compositions for the record, "Java," went on to become a smash hit for Dixieland jazz trumpeter Al Hirt five years later. Toussaint also began writing under the pseudonym Naomi Neville, after his mother's maiden name.
In 1960, Toussaint was hired by Joe Banashak as an A&R man for the brand-new Minit label; in practice, he wound up masterminding most of the label's recording sessions. It was here that Toussaint truly began to build his legend. His first national success as a producer came with Jessie Hill's R&B Top Five smash "Ooh Poo Pah Doo" in 1960, and the classic hits came fast and furious after that: Ernie K-Doe's pop and R&B number one "Mother-in-Law" (a Toussaint composition), Benny Spellman's "Fortune Teller," and "Lipstick Traces (On a Cigarette)" (both Toussaint tunes written as Naomi Neville, with the former later covered by the Rolling Stones), Chris Kenner's original version of "Land of 1000 Dances," Lee Dorsey's "Ya Ya," and numerous sides with New Orleans soul queen Irma Thomas. Toussaint's singular touch on all these records redefined the sound of New Orleans R&B for a new decade. When Banashak left Minit to found another label, Instant, Toussaint went with him to fulfill much the same duties; he also freelanced elsewhere, most prominently with Dorsey's recordings for the Fury label, and cut a few low-profile singles of his own, mostly for Seville. In 1963, Toussaint was drafted into the military, during which time he recorded with his backing band the Stokes while on leave; one of their tunes, the Naomi Neville credit "Whipped Cream," was covered by Herb Alpert in 1965 for an instrumental hit, which was in turn later adopted as the theme for TV's The Dating Game.
Upon his discharge in 1965, Toussaint teamed up with fellow producer Marshall Sehorn to form a production company and record label, Sansu Enterprises. Sansu recorded the likes of Betty Harris, Earl King, Chris Kenner, and Lou Johnson, among others, often leasing their singles to larger labels for official release. Their most profitable association was with Lee Dorsey, who returned to the upper reaches of the R&B charts with Toussaint-penned hits like "Ride Your Pony," the oft-covered "Get Out of My Life Woman," the immortal "Working in a Coalmine," and "Everything I Do Gonh Be Funky (From Now On)" (covered by jazzman Lou Donaldson). In 1966, Sansu also engaged the services of a house band dubbed the Meters, who supplied backing for nearly all of the company's productions; after the Meters started making their own records in 1969 (produced by Toussaint), they developed into arguably the top instrumental funk ensemble of the '70s outside of the J.B.'s.
In 1971, Toussaint recorded his first solo album in over a decade for Scepter, calling it simply Toussaint (it was later reissued in the U.K. as From a Whisper to a Scream, after its best-known track). The following year, he moved up to Reprise for Life, Love and Faith, and he and Sehorn opened a state-of-the-art recording studio in New Orleans called Sea-Saint, which became the site for most of his subsequent projects. In addition to his solo records, Toussaint was getting more high-profile offers for outside work during the first half of the '70s. He did horn arrangements for the Band, Paul Simon, Little Feat, and Sandy Denny, and his continued work with the Meters was moving him into contemporary funk with a harder edge than his own albums. In fact, he wound up producing two of New Orleans' greatest funk records: Dr. John's Top Ten hit "Right Place, Wrong Time" and LaBelle's number one disco-funk smash "Lady Marmalade." In 1975, Toussaint released what many regarded as his finest solo album, Southern Nights; the title track went on to become a huge hit for country-pop superstar Glen Campbell, and "What Do You Want the Girl to Do?" was covered by Boz Scaggs, Lowell George, and Bonnie Raitt.
In 1976, Toussaint produced the Meters-related group the Wild Tchoupitoulas, whose self-titled debut was hailed as a classic of New Orleans funk. The record's experimentalism signaled a growing desire to branch out in the Meters camp, though, which would soon cause the band's split with Toussaint and, eventually, each other. The absence of their unerring sense of groove was noticeable on Toussaint's final solo LP for quite some time, 1978's Motion. Toussaint's activities tailed off in the years that followed; he still produced, arranged, and played piano on selected projects, which included albums by blues artists Etta James and Albert King, and rockers Elvis Costello and Joe Cocker, among others. In the meantime, his extensive song catalog was still mined regularly for cover material; the Lee Dorsey period was the most fertile, not just for "Working in a Coalmine" (Devo, the Judds), but lesser-known items like "Yes We Can" (the Pointer Sisters), "Sneakin' Sally Through the Alley" (Robert Palmer), and "Freedom for the Stallion" (the Oak Ridge Boys, among others). In addition, "Play Something Sweet (Brickyard Blues)" was a hit for Three Dog Night, and Bonnie Raitt cut a well-received version of "What Is Success." The Allen Toussaint Collection, a fine overview of his major-label recordings in the '70s, was released in 1991. In 1996, Toussaint formed a new label, NYNO, and recorded a full album of new material at his Sea-Saint studio titled Connected. Toussaint also began recording newer Crescent City artists in hopes of preserving the classic New Orleans sound. He was inducted into the Rock & Roll Hall of Fame in 1998 in the non-performer category. Going Places, attributed to Allen Toussaint's Jazzity Project, appeared in 2005, followed by the Joe Henry-produced The Bright Mississippi from Nonesuch Records in 2009. Four years later, the solo live album Songbook -- its performances dating from 2006 -- appeared on Rounder.
xxxxx xxxxx xxxxx xxxxx xxxxx
Producer, songwriter, arranger, session pianist, solo artist -- Allen Toussaint has worn all these hats over the course of his lengthy and prolific career, and his behind-the-scenes work alone would have been enough to make him a legend of New Orleans R&B. Thanks to his work with numerous other artists, Toussaint bore an enormous amount of responsibility for the sound of R&B in the Crescent City from the '60s on into the '70s. His productions kept with the times, moving from rollicking, earthy soul in the '60s to gritty, rambunctious funk in the '70s. As a composer, Toussaint proved himself a consistent hitmaker, penning more than a few gems that have since become R&B standards and been covered by countless artists working in many different styles. In keeping with that across-the-board appeal, Toussaint has worked in some supporting capacity for a wide variety of rock and blues legends, particularly from the '70s on. On top of all that, Toussaint waxed his own records from time to time, enjoying a creative peak in the '70s with several albums that highlighted his laid-back vocals and elegantly funky piano work. Even if he wasn't always the most visible figure, Toussaint's contributions to New Orleans music -- and to rock & roll in general -- were such that he earned induction into the Rock and Roll Hall of Fame in 1998.
When Allen Toussaint restarted his solo career in 1970 with Toussaint (aka From a Whisper to a Scream), he leaned heavily on songs he had written for other artists, as well as a couple of covers. It was a good way to jump-start his career, and with its elastic, elegant arrangements, it set the groundwork for 1972's Life, Love and Faith, his first album for Reprise/Warner. Toussaint seized the opportunity as a way to stretch out his sound, refining it and expanding it so it was grounded in New Orleans R&B but also encompassed hard funk and smooth soul. Though it was a soul album through and through, it also had the feeling of being part of Reprise's considerable singer/songwriter stable -- such artists as Randy Newman, Bonnie Raitt, Little Feat, and Joni Mitchell -- and if anything, Life, Love and Faith feels more of a piece with this group than it does with most music coming out of New Orleans in the early '70s because it also captures an eccentric genius pursuing his idiosyncratic vision. Here, it seems as if Toussaint has found every permutation of his signature sound, which is pretty much the sound of New Orleans R&B. He revives the classic, easy-rolling groove on "Soul Sister"; turns it seriously, deeply funky on "Goin' Down" and "Victims of the Darkness"; gets trippy on "Out of the City (Into Country Life)"; treads nimbly with a Philly soul variation on "She Once Belonged to Me"; and crafts a tremendous, dramatic ballad with "On Your Way Down," one of the finest songs he ever wrote. It's a textured, multi-layered record that may not be the purest dose of Toussaint, but is the one album that truly exhibits how deep and wide his talents ran.
Allen Toussaint - Life Love And Faith (flac 226mb)
01 Victims Of The Darkness 3:30
02 Am I Expecting Too Much 2:47
03 My Baby Is The Real Thing 3:03
04 Goin' Down 2:56
05 She Once Belonged To Me 2:49
06 Out Of The City (Into Country Life) 3:34
07 Soul Sister 2:47
08 Fingers And Toes 4:05
09 I've Got To Convince Myself 2:40
10 On Your Way Down 3:58
11 Gone Too Far 3:26
12 Electricity 2:29
Allen Toussaint - Life Love And Faith (ogg 85mb)
xxxxx xxxxx xxxxx xxxxx xxxxx
Allen Toussaint's name became synonymous with New Orleans music, even though he didn't seem to "do" the records his name was on as producer, arranger, or writer on records by artists such as Ernie K-Doe or Irma Thomas. This is his first studio album in at least a decade, and it is a very worthy effort of all self-penned songs that seem to be a mix of old and new (if not in age, at least in feel). He is supported by an extremely worthy cast of the finest New Orleans musicians. Funky material like "Funky Bars," "Ahya," and the rolling gait of "Oh My" stands next to much softer pieces that require a more versatile voice. There are times when his voice doesn't have that reaching pain, for instance, that Aaron Neville gave to "Wrong Number." On most cuts, his easy delivery is just what is called for, and his rollicking piano is always perfectly matched to the song. This is not a disc of memories, though it may bring up a few, it is fresh new funk and roll from the city where American music has always stretched to new levels.
Allen Toussaint - Connected (flac 369mb)
01 Pure Uncut Love 4:02
02 Do The Do 4:17
03 Computer Lady 3:34
04 Get Out Of My Life, Woman 3:40
05 We're All Connected 3:59
06 Sweet Dreams 4:32
07 Funky Bars 5:30
08 Ahya 4:18
09 If I Leave 4:06
10 Aign Nyee 4:02
11 In Your Love 5:37
12 Oh My 2:53
13 All Of It 3:52
14 Wrong Number 3:28
15 Rolling With The Punches 4:07
Allen Toussaint - Connected (ogg 138mb)
xxxxx xxxxx xxxxx xxxxx xxxxx
The Bright Mississippi stands alone among Allen Toussaint albums. Technically, it is not his first jazz album, for in 2005 he released Going Places on the small CD Baby-distributed Captivating Recording Technologies, a label run by his son Reginald, but for most intents and purposes -- and for most listeners -- The Bright Mississippi might as well be his first foray into jazz, since it's the first to get a major-label production and release as it's a de facto sequel to Toussaint's successful, high-profile, 2006 duet album with Elvis Costello, The River in Reverse. Like that record, The Bright Mississippi is produced by Joe Henry, who has a knack for a sound that's clean yet soulful, one that lets the music breathe but still has heft to it. Henry teams Toussaint with a cast of heavy hitters -- including clarinetist Don Byron, trumpeter Nicholas Payton, guitarist Marc Ribot and, on a track a piece, pianist Brad Mehldau and saxophonist Joshua Redman -- to support the pianist on a run through jazz standards ranging from Duke Ellington and Django Reinhardt to Louis Armstrong and Thelonious Monk, whose 1963 classic provides the album its title. Everybody has a little bit where they shine, but this is thoroughly Toussaint's showcase, a place where he can ease back and string together New Orleans jazz and R&B in his own elegant fashion. And what impresses most about Bright Mississippi is that although straight-out jazz is uncommon in Toussaint's work, this neither feels unfamiliar or like a stretch. His signature runs and smooth grooves can be heard throughout the album, but the relaxed nature of the sessions makes it easier than ever to hear what an idiosyncratic, inventive instrumentalist he is, and that is a quality that's more evident upon repeated plays. Upon the first listen, The Bright Mississippi merely seems like a joyous good time, but subsequent spins focus attention on just how rich and multi-layered this wonderful music is.
Allen Toussaint - The Bright Mississippi (flac 265mb)
01 Egyptian Fantasy 4:41
02 Dear Old Southland 6:19
03 St. James Infirmary 3:52
04 Singin' The Blues 5:40
05 Winin' Boy Blues 6:42
06 West End Blues 3:52
07 Blue Drag 4:22
08 Just A Closer Walk With Thee 5:11
09 Bright Mississippi 5:08
10 Day Dream 5:27
11 Long, Long Journey 4:51
12 Solitude 5:31
Allen Toussaint - The Bright Mississippi (ogg 124mb)
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1 comment:
could you re-up Connected lossless please?
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