On the day of Muhammad Ali’s passing I find myself rolling song to song through a respectful tribute (American Tunes)
from New Orleans composer/producer and pianist Allen Toussaint who died
November 2015 while on tour in Spain and reflecting on what it was like
to live and breathe music and sport during the early sixties.
Ali’s rise to the top of boxing’s heavyweight ranks was a
fountainhead of news – every word - poetic proclamation; prediction and
knock-out were a source of black pride and white angst. It was push back
time – a decade of social upheaval, civil rights activism and much like
2016 summer main event; Clinton/ Sanders vs. Trump – sanity vs. evil.
Underlining the sixties march for civil rights - the voting rights
act - desegregation was the accompanying soundtrack – that Philly sound,
Detroit, Chicago, Los Angeles, New York and further south, New Orleans.
New Orleans holds particular significance being the land where
contemporary music was birthed. Where jazz, blues, funk & soul found
common ground and flourished in a city accustomed to turning a blind
eye to graft and pleasures of the flesh.
Composer Louis Moreau’s Gottschalk’s destination of Havana and Brazil
in mid 1800’s laid the groundwork for the syncopated marriage between
African rhythms, European traditions and Latin American influence. It’s
heard in everyday music – from the street to the ballroom.
American Tunes is a penetrating view inside the artist and
not to be misunderstood as a tour de force of piano brilliance. It’s
about the music and musicians that shaped Toussaint’s long productive
life as a writer and producer and sideman.
Toussaint was the Ellington of New Orleans. Quiet mannerisms, a
statesman like communicator, sharp dressed man and big shiny limousine -
a bow and a nod all rewards for decades of commitment to the Crescent
City and those finely crafted hit songs.
“Fortune Teller, Get Out Of My Life Woman, Southern Nights, I Like It
Like That, Yes We Can Can, Holy Crow, Mother In Law, Working In A Coal
Mine, What A Success, Play Something For Me, On My Way Down” – recorded
by Lee Dorsey, Devo, Bonnie Raitt, Three Dog Night, Robert Palmer,
Little Feat – even a Grammy for Robert Plant and Alison Krauss in 2007
for Raising Sand’s “Fortune Teller,” just a short list of songs that made it into the mainstream of radio play life.
The bar for piano players in New Orleans stands so high you’d need a
crane to reach the summit. From the downbeat there was Jelly Roll Morton
whose shadow is still wide and long – Fats Domino, Professor Longhair,
Dr. John, Henry Butler, Toussaint himself, Harry Connick Jr., Ellis
Marsalis, David Torkanowsky and the king – James Booker.
Where Toussaint places among the fleet of hands is that of
assimilating all the traditions and bringing them to song. What’s been
heard on piano is there in melody and harmony - the words an extension
of the times and a pastoral portrait of the streets, neighborhoods,
night life and surrounding Louisiana landscape. Toussaint plays it
straight on American Tunes with few moments of exposition – mostly flowery embellishment over invention.
American Tunes is also a collection of originals and songs
of interest – music that shaped Toussaint’s life. Fats Waller’s “Viper’s
Rag”, Doc Daugherty’s “ Confession (That I Love You), Professor
Longhair’s “Mardi Gras in New Orleans”, Billy Strayhorn’s “Lotus
Blossom”, Bill Evan’s “Waltz for Debby”, Earl King’s “Big Chief”, Duke
Ellington’s “Rocks in My Bed”, Louis Moreau Gottschalk’s “ Danza op.33”
and many others.
American Tunes is slated for release June 10, 2016 – produced by Joe Henry and found on the Nonesuch label distributed by Warner Music Canada.
Songwriting
more and more is about revealing something of the author. Gone are the
times when writers pointed a finger at another and masked the source.
Taylor Swift goes for the throat. Beyonce gives the cruelty of
infidelity both a visual going over and aural take down.
Singer/songwriter Jadea Kelly pulls no punches in her latest, Love & Lust. Love hurts; break-ups happen. How to express that in poetic terms is the challenge.
I caught up with Jadea early week and posed a few questions:
Bill King: I first learned about you from the time you served
with publicist Richard Flohil. Hardly a day went by he wasn’t singing
your praises. What did you gain from the experience?
Jadea Kelly: I remember meeting Flohil when I was 21...at a business
meeting. He didn't know that I sang or played til very late into working
together ha ha. When we met he asked 'do you type?' I laughed 'of
course I type'....and I started working as his assistant the next week.
Working for Flohil introduced me to sooooo many musicians and artists.
B.K: He’s serious about getting things right.
J.K: Flohil definitely has an amazing ear. For him, music needs to
move two of the three following things. Feet, heart and your groin.
B.K: I noticed a video of yours online and your body is covered in words. What was that statement?
J.K: Our lyric video for 'Make It Easy' was directed by Gaelle
Legrand. Because the song is about desire - and being ashamed of your
desire - I wanted to physically lie in a bed and have the lyrics present
on my skin. It conveys what the song means on an entirely more personal
level.
B.K: There are so many ways to approach songwriting. Do you have a practiced method?
J.K: For me I co-write a lot. I also record vocal hooks and lyrics
into my phone. Many of my songs remain as complete nonsensical mumbling
until the final recording day
B.K: On Love & Lust you narrow the song list down to 65 from demos. How did you arrive at these?
J.K: My producers Tom Juhas & Stew Crookes really helped me
centre in on the song choices. We wanted the album to have a cohesive
story...and we obviously chose the most memorable and heart-felt tunes.
B.K: Stream of conscious writing can at times be more
effective than pen to paper – sometimes you have to let the brain empty
without interference.
J.K: It's true. I think it's important to not forcibly write in order to confront certain emotions.
B.K: Break-up records can be most revealing and upsetting. Was this about a real relationship?
J.K: Yes it was.
B.K: Iris DeMent is among the names Emmylou Harris and Patsy
Cline you list as heartbreak singer/songwriters. Iris DeMent is little
known yet she has the big teardrop in the voice – a standalone artist
who cuts deep. Have you seen her play live and do you own any of her
music?
J.K: Yes. I have seen Iris DeMent and Emmylou perform live.
Absolutely breathtaking each time. Their voices are so delicate and
vulnerable.
B.K: When you are internalizing and trying to express issues
of sorrow/loss and pain do you try to give equal weight to both melody
and words?
J.K: For sure. The melody and lyrics are one in the same region. I
try to challenge myself with both. Inventing unique and odd melody lines
are my game. I also want lyrics that surprise people and are
surprisingly honest.
B.K: That Nashville writing experience. What have you gained from this and who are you writing with?
J.K: Nashville songwriting feels like the big leagues. It's
professional and in constant motion. I have learnt a lot from my time
there...especially with song structure and song clarity.
B.K: Have you been able to place songs with other recording artists?
J.K: Not yet!
B.K: Album release date?
J.K: June 3, 2016
B.K: It’s a wild-west show with recordings these days. How do
you see this release playing out? Are you a slow burn advocate or a
strike quickly?
J.K: I'd like to burn slowly....and create a career with longevity. That’s my hope.
B.K: What’s the tour schedule looking like?
J.K: Summer touring then we're headed out on tour with Sweet Alibi in
the fall....across Canada to a number of theatres....and into the
United States for Americana Fest.
