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Allen Toussaint - The Bright Mississippi
| Allmusic |
| 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....full text |
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| Billboard |
| Allen Toussaint's rare amalgam of prodigious piano playing, deft songwriting, arranging and production acumen has kept him at the forefront of modern music for nearly half a century. On "The Bright Mississippi," the Crescent City's crown prince of piano takes a rare look back at the venerable New Orleans songbook, reinventing age-old standards one rollicking riff at a time. Producer Joe Henry pairs Toussaint with the roots-ified rhythm section of David Piltch and Jay Bellerose (Henry's own bandmates, incidentally). The inspiring combination lifts the album far beyond tribute material into sonic territory all its own. Toussaint tackles the classic "St. James Infirmary" with a hymn-like reverence, his rolling piano parts prodding Marc Ribot's nimble guitar. Saxophonist Joshua Redman guests on the Duke Ellington/Billy Strayhorn classic "Day Dream" for a blues-drenched duet that simmers from the very first downbeat. And on "A Dear Old Southland," Toussaint's playful piano work struts, shimmers and shouts alongside the masterful trumpet lines of Nicholas Payton.—Jon Regen...full text |
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| Dustedmagazine |
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The Bright Mississippi is Allen Toussaint’s first proper album since 1996’s Connected, but his absence from the spotlight speaks to just how busy the man has been the last 13 years. In 2005, along with vintage soul legends like Irma Thomas and Billy Preston, he guested on Joe Henry’s I Believe To My Soul compilation. Later that year, his New Orleans home was flooded during Hurricane Katrina, forcing him to become a temporary New Yorker. Two more Henry-produced albums soon followed – Our New Orleans, a benefit album for the devastated Gulf Coast, and The River In Reverse with long-time admirer Elvis Costello. All the while, Toussaint toured the world, earning warm welcomes from audiences wherever he played. That applause will only grow louder with the release of The Bright Mississippi. It’s quite simply one of the best albums we’ll hear in 2009. Remarkably, given Toussaint’s long involvement with New Orleans R’n’B, soul and funk (from Professor Longhair through to LaBelle and beyond), here he focuses on a strand of the city’s musical heritage that he has previously left untouched – jazz. Although pride of place goes to songs associated with New Orleans favorites Louis Armstrong, Sidney Bechet, Jelly Roll Morton and King Oliver, the album goes beyond them with nods to Bix Beiderbecke, Django Reinhardt, Ellington and Monk. To do justice to such a list, Toussaint is joined by a stellar band including Don Byron on clarinet, Nicholas Payton on trumpet (his dad, Walter, played bass on Toussaint’s production of Lee Dorsey’s “Working In A Coalmine”), Marc Ribot on guitar and special guest appearances by Joshua Redman and Brad Mehldau. The rhythm section of David Piltch on bass, Jay Bellerose on drums and Toussaint’s piano provide rhythmic verve old classics without ever sounding like second-line strut....full text |
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