If you’ve ever heard a great song recorded in New Orleans sometime
in the second half of the 20th century, chances are pretty good Allen
Toussaint had something to do with it. He’s a songwriter, producer,
arranger, pianist and (occasionally) singer, who’s worked with with
Elvis Costello, Paul Simon, the Meters and many others. The Bright
Mississippi is something else again — Toussaint’s first foray
into (nearly) all-instrumental jazz. It’s an homage to New Orleans in
pop, gospel, jazz and blues, written in, about or associated with the
city. As overproduced as much mainstream music is these days,
Mississippi is gloriously under-produced — you
practically feel like you’re eavesdropping on a private session.
Toussaint’s piano — elegant and blues-rich — is front and
center; he certainly doesn’t skimp on the notes, sounding opulent
rather than cluttered. Accompaniment is both sparing and superb:
Nicholas Payton’s crackling, emotive trumpet, Marc Ribot’s delicate yet
pointed guitar, Don Byron’s soulful clarinet, and on one track, the
gorgeous, slightly rough, big-toned tenor sax of Joshua Redman. —
Mark Keresman
This article appears in May 6-12, 2009.
