Allen Toussaint Albums (10)
'The Bright Mississippi'
Release Date 4/21/2009
Tracks 12
Label Nonesuch
See Album Tracklist and Review
What The Critics Say
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. ~ Stephen Thomas Erlewine, All Music Guide
'Going Places'
Release Date 5/23/2005
Tracks 13
Label Captivating Recording Technologi
See Album Tracklist and Review
'A New Orleans Christmas'
Release Date 10/7/1997
Tracks 13
Label Nyno
See Album Tracklist and Review
What The Critics Say
Allen Toussaint is the epitome of the essence of New Orleans music; here he does Christmas songs with the two genres forming a perfect meld. We have some of the essentials -- "Silent Night, Holy Night," and "Winter Wonderland" (as done by Allen on solo piano), and "Jingle Bells" (with the New Birth Brass Band) -- and a few other standards done in non-sappy ways, along with several other not-so-familiar Christmas songs, all performed by the cream of New Orleans musicians. There are blues, Second Line, rhythm & blues, and jazz, all represented in a coherent manner, and newcomer Grace Darling acquits herself well. ~ Bob Gottlieb, All Music Guide
What The Critics Say
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. ~ Bob Gottlieb, All Music Guide
'From a Whisper to a Scream'
Release Date 11/20/1995
Tracks 11
Label Kent
See Album Tracklist and Review
What The Critics Say
Kent Soul has done an exceptional job in remastering and reissuing Allen Toussaint's classic sophomore long-player -- which was known simply as Allen Toussaint -- and the "bonus" selection, a vocal-less blues-meets-funk titled "Number Nine." When these songs first surfaced circa 1970, Toussaint (piano/vocals) had become a decade-long veteran of the New Orleans' Crescent City soul movement. Under his own name as well as the pseudonym of Naomi Neville, he was a composer, producer, and even a recording session musician. He left a trail of influential R&B titles that would resound back across the pond in the form of cover versions by the likes of the Rolling Stones ("Pain in My Heart"), the Yardbirds ("A Certain Girl"), and the Who ("Fortune Teller"), along with countless others. Toussaint's uncanny musical malleability resulted in a diverse yet solid second solo outing. He is supported by Mac Rebennack (organ/guitar) (aka Dr. John), Terry Kellman (guitar), Eddie Hohner (bass), Freddie Staehle (drums), John Boudreaux (drums), Clyde Kerr (trumpet), Earl Turbinton (alto sax), and none other than Merry Clayton (backing vocals) and Venetta Fields -- perhaps the most in demand studio voices of the rock & roll era. The dramatic "From a Whisper to a Scream" perfectly captures the synergy existing between Toussaint's ultra cool delivery and the understated yet piercing lyrical indictment. Other highlights include the pop-oriented, upbeat, and classy "Sweet Touch of Love," the author's interpretation of "Everything I Do Gonh Be Funky" and "Working in the Coalmine." The latter pair were likewise formerly charting sides Toussaint had inked for vocalist Lee Dorsey. Looking forward to the ensuing years, Toussaint garnered sizable clout for providing Bonnie Raitt with "What Is Success." The instrumentals "Either" and "Louie" foreshadow the type of stylish no-nonsense soul that informed his collaborations with the Meters. "Pickles" on the other hand is comparatively jazzier and doused in the revelry of Mardi Gras, complete with a catchy call-and-response. Finally, Toussaint's masterful touch and craftsman-like imprint is evident on the uplifting take of Vince Guaraldi's "Cast Your Fate to the Wind" as he explores alternate textures that lead the melody to some memorable places. While his mid-'70s platters for Warner Brothers may have provided him with additional exposure, this is a sonic touchstone worth repeated examinations. ~ Lindsay Planer, All Music Guide
What The Critics Say
Allen Toussaint's two albums for Reprise, 1972's Life, Love and Faith and 1975's Southern Nights, were both idiosyncratic, rather brilliant albums that fell just short of materpiece status, but no matter how good they were, they didn't sell. So, the label stepped in, moved Toussaint from Reprise to Warner, and had him record his third album (Motion) in Hollywood with producer Jerry Wexler. Toussaint was backed by a bunch of L.A. studio pros, including guitarist Larry Carlton and drummer Jeff Porcaro, and the difference from his previous records is palpable. This is a very smooth, very slick album, heavy on ballads and mid-tempo grooves and even when it gets a little funky, it's glossy. Since Toussaint is also an accomplished pro, he goes along with the game, turning out good performances throughout, even though his compositions are a little uneven. As a result, Motion plays like a good late-night seduction record, sustaining a nice, low-key romantic mood and occasionally spinning off a standout song, like the nicely funky "Night People," the slyly cynical "Viva la Money," the offhand charm of "The Optimism Blues," and the silky pleasures of "Motion," "To Be With You," and "With You in Mind." Ultimately, Motion doesn't feel as fully realized as either Life, Love and Faith or Southern Nights, and it's considerably less individualistic than either, but it's still a solid record, particularly as a soundtrack for a lazy, romantic evening. ~ Stephen Thomas Erlewine, All Music Guide
What The Critics Say
Allen Toussaint produced a kind of masterpiece with his first Reprise album, Life, Love and Faith, finding previously unimagined variations on his signature New Orleans R&B sound. For its 1975 sequel, Southern Nights, he went even further out, working with producer Marshall Sehorn to create a hazy vague concept album that flirted with neo-psychedelia while dishing out his deepest funk and sweetest soul. It's a bit of an unfocused album, but that's largely due to the repeated instrumental "filler," usually based on the theme of the title song, that pops up between every two or so songs, undercutting whatever momentum the album is building. That, along with a song or two that are merely average Toussaint, prevents Southern Nights from being a full-fledged masterpiece, but it comes close enough to that level of distinction anyway due to the brilliance of its best songs. There is, of course, "Southern Nights," which Glen Campbell later took to the top of the charts, but it's nearly unrecognizable here, given a swirling, trippy arrangement that plays like a heat mirage. It's rivalled by the exquisite "What Do You Want the Girl to Do?," later covered by both Bonnie Raitt and Boz Scaggs, neither of which equal the beautiful, sighing resignation of Toussaint's impeccable vocal performance. Then, there are the songs that weren't covered, but should have been, like the nearly anthemic "Back in Baby's Arm," the rolling, catchy "Basic Lady," the stately "You Will Not Lose," or the steady-grooving end-of-the-night "When the Party's Over." Then, there are the songs that perhaps only Toussaint could sing, given their complex yet nimble grooves: witness how "Country John" seems like a simple, straight-ahead New Orleans raver but really switches tempo and rhythm over the course of the song, or how the monumental "Last Train" builds from its spare, funky opening to a multi-layered conclusion boasting one of Toussaint's best horn arrangements and vocal hooks. These disparate sounds may not be tied together by the interludes, as they were intended, but they nevertheless hold together because they're strong songs all bearing Toussaint's unmistakable imprint. They're so good that they nearly knock the "near" of off the near-masterpiece status for Southern Nights, and they're the reason why the album should be a part of any serious soul collection. ~ Stephen Thomas Erlewine, All Music Guide
What The Critics Say
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. ~ Stephen Thomas Erlewine, All Music Guide
What The Critics Say
As intimated by the cover art, this album is a close-up and personal portrait. Although the multi-talented hitmaker had become a living legend within the thriving musical community of his native Crescent City, Allen Toussaint more often than not deferred the spotlight to the vocalists for whom he wrote, produced, and arranged. Released in 1970, Allen Toussaint was only his second LP during a career that (at the time) had already outpaced practically all of his contemporaries. The ten songs on the original LP provided a launching pad for Toussaint in front of the microphone, while likewise being a springboard for the direction that he would take during the ensuing years as a solo act. Providing Toussaint (piano/lead vocals) some sonic support is a combo consisting of Terry Kellman (guitar), Mac Rebennack aka Dr. John (organ/guitar), Eddie Hohner (bass), Freddie Staehle (drums), John Boudreaux (drums), Clyde Kerr (trumpet), and Earl Turbinton (alto sax), plus the dynamic pairing of Merry Clayton and Venetta Fields on backing vocals. One theme that runs throughout all of Toussaint's work -- for others as well as himself -- is the innate undercurrent of bayou rhythms infused within each and every number. These are particularly evident on the instrumental selections "Either," "Louie," and especially "Pickles." The latter also contains supreme substantiation of Toussaint's utterly underrated keyboarding as he effortlessly drifts between a jazzy rag and haunting melodic runs reminiscent of Burt Bacharach. The influences spill over into the vocal-centric sides as "Chokin' Kind" is soppin' with a Memphis or Muscle Shoals sensibility. Conversely, the joyful "Sweet Touch of Love" has a soulful syncopation that plays on the traditional sounds of New Orleans. There are also the artist's updates of his own compositions "Working in the Coal Mine" and "Everything I Do Gonna Be Funky" -- which he penned for Lee Dorsey, who obliged by making both R&B hits and significant pop crossovers. More than simple remakes, Toussaint reveals his abilities as a convincing crooner, even giving Bonnie Raitt a run for her money with his sly attitude-laden reading of "What Is Success." Parties interested in Allen Toussaint's pre-Warner Bros. material are encouraged to find the 2007 What Is Success: The Scepter and Bell Recordings anthology, as it boasts a freshly remastered edition of all the tunes mentioned here and no less than three additional rare 45s circa 1968 and 1969 that slightly predate the Allen Toussaint project. [This CD reissue of Allen Toussaint includes the bonus tracks "Number Nine" and "Poor Folks," both of which are instrumentals.] ~ Lindsay Planer, All Music Guide
'The Wild Sound of New Orleans'
Release Date 1/1/1958
Tracks 12
Label RCA Victor
See Album Tracklist and Review
What The Critics Say
These dozen sides represent Allen Toussaint's earliest solo recordings for RCA Records circa 1958. Toussaint was essentially discovered by Danny Kessler -- an early version of what would now be considered an A&R man. It was during another artist's studio time -- featuring Toussaint as the accompanying pianist -- that Kessler first heard and approached Toussaint to prepare a few instrumentals of his own. On January 29, 1958, Toussaint (piano) was joined by a local crew that included Alvin "Red" Taylor (baritone sax), Nat Perrilliat (tenor sax) or Lee Allen (tenor sax), either Justin Adams (guitar) or Roy Montrell (guitar), Frank Fields (bass), and Charles "Hungry" Williams (drums). As intimated above, the precise personnel has long been debated. Kessler produced an outing that yielded the infectiously up-tempo blues "Whirlaway" and the Ray Charles-inspired gospel-meets-barrelhouse-meets-swing title "Happy Times." Kessler turned the pair into a locally successful single and was so encouraged by the results, less than a month later the same assemblage gathered to record the remainder of what would be the Wild Sound of New Orleans (1958). The soulful "Up the Creek" is a dark waltz with Toussaint's stirring keyboard runs emphasizing the haunting refrain. On the opposite side of the emotive spectrum, the hearty "Tim Tam" is impelled by Williams' hard and heavy backbeat with Allen blowing his lungs out. Another contrast follows with the whimsical "Me and You." The melody is decked out with a classy early 20th century pop standard feel, while all the more striking is the percussive accompaniment replicating a tap-dancer doing an old soft shoe. Immediately, Toussaint's expressive keyboarding on "Bono" and "Nashua" give props to the performance style of Professor Longhair before settling into their respectively catchy, mid-tempo rhythms. The horns have plenty of room to strut their proverbial stuff and the syncopation of the latter immediately brings Mardi Gras to mind. Perhaps the best-known tune among the lot is the jaunty "Java," which took on new life thanks to a chart-topping remake by Al Hirt. The trumpeter turned it into his unofficial theme song, ultimately making a 30-plus-year career out of it. "Wham Tousan" and "Pelican Parade" each quickly rev up to full throttle with the saxes taking on and going head-to-head with Toussaint's rollicking runs up and down the 88s. The German-label import Complete "Tousan" Sessions (1992) from Bear Family is a good way to get the 12 songs found here. It also boasts the complete and rarer Seville label material that the artist cut and issued under the moniker "Al Tousan." ~ Lindsay Planer, All Music Guide
