Today marks the release of the late Allen Toussaint’s follow-up to his Joe Henry-produced 2009 album The Bright Mississippi. By now, you’ve read how the recording of American Tunes preceded Toussaint’s untimely passing by only a couple of weeks. And Joe himself has indicated in interviews how Toussaint very nearly backed out of those final sessions.
Which is to say that American Tunes is not merely a wonderful record – which it certainly is – but also a great blessing, allowing us to hear Allen Toussaint’s tremendous talent represented one last time.
So please enjoy this affecting review of American Tunes by our good friend and exceptional writer, Josh Hurst.
With all of the excitement surrounding Nowhere Else Fest, let’s not forget that Allen Toussaint’s final album of recordings American Tunes will be released on June 10. You can listen to the whole thing over at NPR Music.
I had the chance to hear it in its entirety over the weekend, and I can tell you it is a worthy successor to The Bright Mississippi but also very much its own thing. Toussaint’s death was a shock to all, but it is substantial comfort to hear the master one last time.
Nonesuch has posted a lovely essay by Michael Hill detailing the making of Allen Toussaint’s final album, American Tunes. You can read several excerpts from the liner notes, including quotes by album producer Joe Henry.
Chely Wright’s new album I Am The Rainwill be released in September.
Canadian singer-songwriter Rose Cousins has recorded a new record with JH and will be released later this year (you can pre-order the record from her website to receive it sometime prior the official release).
JH will open for Rhiannon Giddens at her date this summer at Prospect ParkBandshell as part of the Celebrate Brooklyn! series (announcement on May 10). (UPDATE: Sorry, this was from 2015 – my mistake. But if you are going to be in the NYC area in July, why not check this out?)
And speaking of Ribot, as you may recall, he and JH performed as a duo at the recent Big Ears Festival in Knoxville (read Josh Hurst’s review of the show here). You can watch much of the performance on YouTube in four parts (see below).
If there was a silver lining to the sudden passing of Allen Toussaint late last year, it was the news that he had just completed a record with producer Joe Henry. Toussaint was deeply connected to Joe Henry for the last decade of his life, with the two collaborating on multiple projects including The River In Reversewith Elvis Costello and Toussaint’s own late-period masterpiece The Bright Mississippi.
Now comes word that Nonesuch will release their final collaboration, American Tunes, on June 10. This long-gestating project includes Toussaint’s take on songs by many New Orleans and American song giants, such as Professor Longhair, Duke Ellington and Paul Simon. The record is anchored by the rhythm section of Jay Bellerose and David Piltch, with Greg Leisz, Charles Lloyd, Rhiannon Giddens, Bill Frisell and Van Dyke Parks. The album was recorded during two sessions: the first in New Orleans in 2013 and the second in Los Angeles in October, 2015.
Hayes Carll’s stunning new record Lovers and Leaversis out today. He will embark on a brief Texas tour before heading off to the UK at the end of the month, then back Stateside for dates through the summer.
As you may have noticed, I’ve been anticipating this release since Carll first announced last year that he’d be recording it with Joe Henry at the production helm. His stated purpose at that time was to create something a bit more introspective, downplaying perhaps some of the rambunctious humor of his earlier work (i.e. “She Left Me For Jesus”).
Lovers and Leavers is certainly quintessential Carll – quieter, more reflective, for sure, but not without his trademark insight and humor. It is perhaps the most spare record Joe Henry has ever produced, placing the emphasis squarely on Carll’s voice and guitar, underpinned by the percolating rhythm section of Jay Bellerose and David Piltch, occasionally accented by the keys of Tyler Chester and pedal steel of Eric Heywood. Interestingly, this is easily Carll’s most personal and often revealing album of songs, but each tune is credited with a co-writer, an approach that Carll has said brings added perspective to his own voice. Check out the very personal “The Magic Kid” (written with Darrell Scott) for evidence that Carll has brilliantly found ways marry personal details with universal truths about innocence and fearlessness.
Hayes Carll could not have found a more sympathetic producer than Joe Henry for this record, which is no doubt a significant milestone in Carll’s career. As a fan of both artists’ work long before this collaboration, I can wholeheartedly say that it has exceeded my hopes in every way.
Please check it out. Here’s a quick review and press roundup: