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New Orleans legend Allen Toussaint might not seem like the most obvious of all parings with the ever prolific and peripatetic Elvis Costello. But after a couple of chance meeting/collaborations—first, when Wynton Marsalis invited Costello to perform at a Lincoln Center benefit for Hurricane Katrina victims, then a week later, Costello played another NYC benefit where Toussaint led the backing band—it seemed natural when Verve called suggesting the two get together again in the studio.
Costello obviously owes a huge stylistic debt to the black American music of which Toussaint is an important part, and he repays it in full on this rocking, rollicking set. Toussaint, of course, is a songwriter with a catalogue just as diverse as Costello's, and 40-odd years of producing, arranging, piano playing and singing under his belt. Together they resurrect a few obscure Toussaint gems and showcase a bunch of new compositions written individually (Costello's title track, first performed at the second benefit mentioned above) and together.
"Tears, Tears and More Tears," a Toussaint oldie, is delivered by Costello in his most soulful, passionate and joyful voice, with the horn section bubbling like a pot of gumbo, (pardon the cliche), and oustanding keyboard interplay between Toussaint's piano and Steve Nieve's organ. The funky "Who's Gonna Help A Brother Get Further?" a proto-protest tune originally cut by Lee Dorsey in the '60s (under Toussaint's aegis), takes on new meaning in the wake of Katrina. Toussaint's smooth, honeyed vocals are full of compassionate humor and Joe "Foxx" Smith blows a wild baritone euphonium solo. When Toussaint sings: "What happened to the Liberty bell... it didn't ding dong, it must have dinged wrong," the line is drenched with humor and bitter irony.
The iconic "Tipitina," originally written by Toussaint with Professor Longhair, gets a new lyric from Costello and new title, "Ascension Day." With a Katrina-inspired message of anger, faith and resurrection, it becomes a beautiful song of hope and protest. "Six-Fingered Man" is the kind of dark bluesy tune Costello does so well. Costello spits out the lyric over a thumping bass line accented by a dissonant arrangement full of distorted guitar, shrieking horns and Toussaint's twinkling keyboard work.
In short, The River In Reverse has nary a single dull moment, weak track, or wasted note, and the players—Costello's Imposters and Toussaint's Crescent City Horns—are obviously having a ball. All thriller, no filler, this Toussaint/Costello pairing is a marriage made in Crescent City heaven.
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