Why the sudden need to put down words instead of watching the famous guitarist? Because if I were to pass on to my great reward , I could say to St. Peter that I saw Allen Toussaint tonight and everything he did was funky. OMG, was it ever.
During the Dr. John set, I found myself sitting next to a fellow aficionado and writer for "THE WORLD'S OLDEST BLUES MAGAZINE", Jefferson, named after Blind Willie and not Thomas-though he might have been a bluesman. Anyway the guy's name was Peter, and it might be his last name is Nyström. We were talking about the Dr. John set and I said I was looking forward to the Toussaint set. Peter remarked that the Swedish critics had not liked the album called, "Bright Mississippi." I answered that even though Toussaint was probably the biggest studio guy in no, that the studio does not do these bands justice. I think my guy, Sal, doesn't travel to the Crescent City to hear the definitive album versions. Bands from NO need the energy of an audience to truly come alive, to stretch their musical muscles and to let the music breathe that funky air.
Toussaint, for the uninitiated, and I feel foolish for even writing this, has a catalog of music he has written that could be a rock and roll/soul hall of fame by itself. He played a medley of hits that included "A Certain Girl", "Mother In-law", "Fortune Teller" and "Working in a Coal Mine". This was after he did a very soulful version of "Slipping Sally Through The Alley". There are many tunesmiths who could have cut the coupons with a catalog like that, especially considering the British bands that filled their LP's with those cuts from Toussant.
But why rest on your laurels when you have a little over an hour to fill? So he gave us a rendition of New Orleans ex-pat Sidney Bechet's "Egyptian Fantasy". He spoke very movingly of the Scots singer, Frankie Miller. Toussaint then performed "With You In Mind", from the Toussaint produced record, "High Life". Miller has never fully recovered from a brain hemorrhage he suffered in 1994.
Throughout the set, Allen was totally at ease, smiling and nodding while moving from song to song. He was generous with his band, allowing each to shine during their solos. Backed by a rhythm section of drums and percussion along with the amazingly talented Roland Geary on bass, this band absolutely cooked. If Dr. John was the roux, then the Toussaint Band brought the ingredients to a full boil. Sal, please catch drummer Jay Bellerose if he is in NO your next trip there. And is there anything as funky in soul and R&B music then a tasty wah-wah pedal? Marc Ribot knows exactly how much is right to make the solo just right.
Doing the song "Everything I Do Is Gonna Be Funky" was really an understatement and then Toussaint did something unexpected. As a coda, he ran through a solo piano medley playing snippets from every influence he has culled. From Mozart to Professor Longhair, from Be Bop jazz to Broadway show tunes, the notes just poured out as if the player was telling his audience, these are the lessons that made me funky.
Finally, "New Orleans Man", "Get Out My Life" and,in the tradition of all soul performers, leaving to the strains of "Southern Nights" while "Clap Your hands for Mr. Allen Toussaint!", was chanted over and over. With a smile and a bow, and a final salute to the Crescent City flag colorfully waving in the audience, Allen Toussaint left the stage.
To me, there is no greater compliment then when a fellow entertainer genuinely expresses his pleasure at the set he is watching and listening to. If Fred Tackett of Little Feat dancing and applauding in the stage wings means anything, then I would think he liked the Bright Mississippi Band of Mr. Allen Toussaint.
As for me, I can not only say I saw the legend, but I will rest in peace knowing I have. Gotta go, The Blind Boys of Alabama are making the pot simmer.
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