The essence of Allen Toussaint is captured in American Tunes

By Geraldine Wyckoff
Contributing Writer

Allen Toussaint was a man of elegance. This quality shone in his genteel manner, his soft speaking voice, his attire (yes, even while wearing his ever-constant sandals) and, of course his music. It remained constant though he might be playing his light-hearted, funky compositions like “Working in a Coal Mine” or “Mother-In-Law.” Toussaint’s fingers always danced over the piano keyboard with a certain grace.

On American Tunes, which was recorded during two separate sessions in 2013 and 2015, the late great composer, pianist, vocalist and producer, displays mastery in transforming classic songs by applying his loving Toussaint stamp. It doesn’t seem to matter at all whether the tunes came from the pen of pianist/bandleader Duke Ellington – another musician of great elegance – or from the rollicking Henry Roland Byrd, better known to all as Professor Longhair. Toussaint, who died on November 10, 2015, gave these fellow masters equal respect in life and in interpreting their music.

Perhaps interpreting is not quite the correct description as he absolutely transforms Fess’ “Mardi Gras in New Orleans.” Performing solo, Toussaint reveals a gentler side of this party-down Carnival anthem though retains the essential, recognizable piano lick that introduces the song.

Toussaint works in several formats on American Tunes, an album produced by Joe Henry who also worked on the pianist’s jazz-oriented 2009 release, The Bright Mississippi and his 2006 collaboration with guitarist/vocalist Elvis Costello, The River in Reverse. The solo tunes were recorded first in 2013 in his studio here and New Orleans. Other musicians – a rhythm section and special guests – joined him for the 2015 sessions recorded in California. Toussaint only sings on the final cut, vocalist/guitarist/composer Paul Simon’s “American Tune.”

A highly-melancholy number melodically, rhythmically and lyrically, the tune, recorded by Simon in 1973, is truly heart-wrenching hearing it sung by Toussaint so soon after his sudden passing in Madrid, Spain. Accompanied quietly by his piano and the acoustic guitar of Adam Levy, Toussaint sings about being far away from home and then goes on: “And I dreamed I was dying; And I dreamed that my soul rose unexpectedly; Looking back down at me; Smiled reassuringly…”

Naturally, there are rowdier moments on the disc such as when Toussaint gets down on some pure blues on Ellington’s “Rocks in My Bed” that includes fellow Nonesuch artist, vocalist by Rhiannon Giddens. It’s a good vehicle for some New Orleans style piano trills.

Toussaint offers a beautiful version of Billy Strayhorn’s classic “Lotus Blossom” on which he’s joined by saxophonist Charles Lloyd. The two sway romantically together with the aid of the brilliant guitarist Bill Frisell.

Toussaint’s diverse taste and abilities are further realized when he’s heard in a piano duo match-up with Van Dyke Parks on New Orleans’s own 19th century composer, the well-regarded Louis Moreau Gottschalk’s “Danza Op. 33.” The highly orchestrated piece, arranged by Parks, is Toussaint as few have previously experienced. Parks and Toussaint meet again on “Southern Nights,” a signature Toussaint song that gained great attention when it was recorded by country singer Glen Campbell. Stylistically, it’s very clear which piano is playing which parts and phrases. Again, the Toussaint stamp.

Some of Toussaint’s lesser known compositions also appear on the disc including the wonderful opener, “Delores’ Boyfriend.” It’s just him, sounding so relaxed playing the keyboards in true New Orleans style. His life in this city and Professor Longhair’s influence on him are right there beneath his fingers. Ditto on that when he goes at guitarist/vocalist/composer Earl King’s “Big Chief,” a song most associated with Fess. Toussaint’s left hand is all that he needs to set the beat with his right adding the flourish of the familiar melody. Leave it to Toussaint to take this tune, as he did on “Mardi Gras in New Orleans,” to another musical realm with an unexpected detour to a lovely classical mode.

Working with a trio, Toussaint offers a jaunty take of Fats Waller’s “Viper’s Drag,” then goes at it from a bit more modern perspective. He really shows off his speed and dexterity, qualities that are rarely mentioned or perhaps that were taken granted. After all Toussaint, an inductee of the Rock and Roll Hall of Fame, was primarily praised for his work as a composer, pianist, producer and vocalist in the New Orleans rhythm and blues field. Until after Katrina when he proceeded to pursue a successful solo career, Toussaint was also often in the position as an accompanist.

Toussaint didn’t forget another great New Orleans pianist, Jelly Roll Morton. Though none of Jelly Roll’s tunes made it to the disc, it’s as if Toussaint gave him a nod by incorporating a “Latin tinge,” a phrase coined by Morton, to a disc highlight, jazz pianist Bill Evans’ “Waltz for Debby.” There’s something so right about Toussaint performing this modern, uplifting tune and, again, it demonstrates the pianists broad range.

The title American Tunes accurately describes the material on this disc however, they are decidedly performed from a New Orleans point of view. More specifically, the songs are explored and transformed by an artist who was born in this city and deeply entrenched in and enriched by its musical culture. The legendary Allen Toussaint became and remains core to the heritage that he loved and shared. He expressed his admiration for his hometown and its musicians throughout his career and he says that again and again on American Tunes.

This article originally published in the July 4, 2016 print edition of The Louisiana Weekly newspaper.