Brecon Jazz Festival: Allen Toussaint: Jazz life after Katrina
Talk about unintended consequences. When Hurricane Katrina unleashed its fearsome power on New Orleans in 2005, causing the deaths of more than 1,800 people and flattening large sections of the city, Allen Toussaint was among those affected. “My home was completely destroyed,” he recalled. “And I left town. Before the day was out, a friend in New York called and said, 'Come and stay up here a while.’ So I did.”
Now 73, he regards the hurricane as a defining event in his life, and speaks of it in terms of before and after. “The post-Katrina part of my life started out being about fund-raising,” he says. He and Elvis Costello collaborated on a benefit album, The River in Reverse, in 2006. “Elvis and I did a promotional tour together, just the two of us on stage. Then we went with a full complement, his full rhythm section.”
“Performing front stage-centre is new to me. And, since Katrina, it’s been a learning process. I’ve found that feeding off a live audience is more rewarding than waiting for a red light to come on in the studio.
“I think playing live even gave new life to some of my songs. It certainly gave rise to a different interest in me – as a performer. Even I didn’t think of myself like that. And mostly I’d stayed home in New Orleans. Then, from being stationary in one place, I met with Elvis, and started making trips round the States, working together with people like Eric Clapton. [He played on cover versions of two Fats Waller songs on the album Clapton.]
“Obviously, I wish Katrina had never happened,” Toussaint says. “But these past few years have been an interesting time for me.”
The genial Toussaint, who on Saturday headlines the Brecon Jazz Festival (sponsored by The Daily Telegraph), fully deserves his legendary status.
Back in the Sixties, he was the mastermind behind an astonishing string of New Orleans-flavoured R&B hits: Ernie K-Doe’s Mother-in-Law, Chris Kenner’s I Like It Like That, and most of Lee Dorsey’s successes: Ride Your Pony, Get Out My Life Woman, Working in the Coalmine, Holy Cow. He also kick-started the careers of Irma Thomas, the Neville Brothers Aaron and Art – and the shamefully underrated soul diva Betty Harris.
At one stage in the Sixties, every aspiring British pop group seemed to feature cover versions of Toussaint songs in their live acts: Fortune Teller (originally a hit for Benny Spellman); K-Doe’s A Certain Girl and I Cried My Last Tear.
Elvis Clip Art - News
He and Elvis Costello collaborated on a benefit album, The River in Reverse, in 2006. “Elvis and I did a promotional tour together, just the two of us on stage. Then we went with a full complement, his full rhythm section.” And a strange thing happened
Directed by award-winning filmmaker Tim Nackashi (TV On The Radio, OK Go, Elvis Costello, Radiohead), and conceptualized by frequent collaborator Aaron Stewart-Ahn, the clip is the first-ever live, scripted, single-take music video to be broadcast as
Directed by award-winning filmmaker Tim Nackashi (TV On The Radio, OK Go, Elvis Costello, Radiohead), and conceptualized by frequent collaborator Aaron Stewart-Ahn, the clip is the first-ever live, scripted, single-take music video to be broadcast as
Era-defining bravura piece of stop-frame animation. It took forever to shoot and brought art to the MTV masses, making the whole world fall in love with Peter. You don't associate Elvis with videos, but this was a classic one-shot film.
The promotional-music-clip format is more than a half-century old, dating to the 1940s and raised to a high-pop-art form by such pre-'80s acts as the Beatles and Queen, among others. But the music video era, better known as the MTV Era,
Alex Winston – Velvet Elvis (RAC Remix) « Hidden Garments
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Elvis Clip Art - Bookshelf
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