Allen Toussaint
Like the Mississippi River that gives New Orleans its crescent shape, the city harbors a free- flowing music scene, awash in its own history and ever open to outside streams of influence. Time is fluid there as well – sounds of the past flow amicably with newer musical styles. An inordinately high percentage of music-makers reside there. Regardless of instrument or style, many command the same admiration other municipalities reserve for civic leaders and sports heroes. To this day in New Orleans, high school boys carrying a trombone or trumpet – more than a football – get the girls. And the city’s top piano players are still addressed as professors.

Allen Toussaint is a senior member of that titled fraternity, a renowned songwriter and producer, who’s celebrated for his distinctively deft and funky feel on the piano and still active after more than fifty years in the business. No fading golden oldie is this piano professor, though many of his successes reach back that far.

The list of those who have benefited in one way or another from the Toussaint’s touch is staggering in its historic and stylistic range, stretching from the late 1950s to the present day, with no end in sight. His studio productions have sold millions of discs and downloads. His catalog of songs has generated hits on the pop, R&B, country and dance charts – many remain on heavy rotation in various radio formats. His tunes continue to pop up as TV themes and advertising jingles. He has an ever-growing international circle of fans, and though normally reluctant to tour, he’s become a more familiar figure at music festivals and popular nightclubs around the world.

Though Toussaint has begun to travel far and wide as of late, he never stays away from New Orleans for long – and his music never does. In so many ways, his enduring career serves as an ongoing tribute to the city of his birth. Allen Toussaint’s biography begins humbly. He was born in 1938 in New Orleans’s Gert Town, a working class neighborhood that straddles Washington Avenue between Earhart Boulevard and Carrollton Avenue, and was raised by his mother Naomi and father Clarence. He’s the “C. Toussaint” credited as songwriter on some early tunes; she’s the “N. Neville” whose name appears more often. Toussaint inherited their love of music, taught himself piano, and caught a couple of breaks as a teenager – joining a local R&B band that also featured guitarist Snooks Eaglin; sitting in for Huey “Piano” Smith with Earl King; laying down piano parts at a Fats Domino session that the Imperial Records star could not make.

Like many musicians of his generation (and those to come) Toussaint drew heavily on the syncopated blues and trill-filled patterns invented in the 1940s by Professor Longhair, aka Henry Roeland Byrd. To this day, most in New Orleans simply refer to him as “Fess”; with musical accuracy and a typically deft turn of a phrase, Toussaint hails him “The Bach of Rock”. When onstage, Toussaint rarely fails to credit his mentor, offering a rendition of “Tipitina,” Fess’s signature tune, mentioning the debt all modern piano professors share.

If Fess is New Orleans’s Bach, Toussaint is its Amadeus: an instrumentalist of uncanny sure-fingeredness and a prodigious inventor of melodies that remain fresh in the ear for years. The parallel is furthered as he also happens to be a master crystallizer of traditional and innovative styles; those classic New Orleans street parade rhythms never sounded more modern than they did after he was done updating them.

Toussaint later proved to have a poet’s ear for lyrics, plus a honey-toned singing voice – unusually smooth and upper-register for one who is essentially a bluesman. Yet his debut on record was an album of instrumentals for the major record company RCA. In 1958, The Wild Sound of New Orleans by “Tousan” included “Java,” later a huge pop hit for trumpeter Al Hirt, and the boogie “Whirlaway,” a marvel of top-gear piano precision. The late ’50s were the wild and fiercely competitive days of R&B and early rock and roll. “Indie” labels were popping up all over. One would make a bundle for a moment, then disappear; others persevered. Toussaint learned fast – about publishing and song copyrights, and how to hang on to them. In the early ’60s, he assumed the position of session supervisor for Minit and Instant Records, writing and producing singles for a variety of local artists. Some – like Irma Thomas’s “It’s Raining” and Art Neville’s “All These Things” – became local hits. A few – Ernie K-Doe’s “Mother-In-Law” and Chris Kenner’s “I Like It Like That” – broke big on the national charts. From the outset, Toussaint was able to imbue his songs with an ageless quality that successive, melody-savvy generations appreciated – and covered. His tune “A Certain Girl,” a 1961 single by K-Doe, was the B-side of the Yardbirds debut single in ’64; in 1980, Warren Zevon – no slouch himself as a songwriter – chose to record it too. Impressively evergreen among Toussaint’s songs is the single-chord gem, “Fortune Teller.” Initially a Benny Spellman hit in ’62, the Rolling Stones and the Hollies recorded it in their early years, and the Who performed it on their famous Live at Leeds album in 1970. As recently as 2007 Robert Plant and Alison Krauss made it a part of their Grammy-winning album Raising Sand.

With Toussaint, no experience was wasted, not even a two-year stint in the military that began in 1963. In ’64, he took his army band into the studio and under the name of The Stokes recorded “Whipped Cream,” a snappy instrumental with a jaunty horn line and a distinctive trumpet lead. Herb Alpert jumped on the melody a year later for the Tijuana Brass, recording it note-for-note, creating a hit single, a memorable album cover and a theme song for the TV sensation The Dating Game.

By the height of the ’60s, Toussaint was New Orleans’s premier producer. Partnering with record promoter Marshall Sehorn, a veteran of independent R&B companies, he built his own studio, dubbed it Sea-Saint, and established a series of record labels. As popular black music styles evolved from 1950s R&B to more soulful sounds and became powered by everfunkier rhythms, so Toussaint’s productions – with Lee Dorsey (who served as Toussaint’s primary muse and voice), the Meters, Dr. John and others – morphed into a progressively heavier sense of syncopation, drawing heavily on New Orleans’s distinctive street parade beats.

Toussaint’s songwriting as well assumed a broader, sophisticated perspective. Some tunes focused on daily, workaday realities and urban life: “Workin’ In The Coal Mine,” “Night People,” “Sneakin’ Sally Through the Alley.” Others were more reflective, delivering messages of social protest and racial uplift: “Yes We Can,” “Freedom For The Stallion,” “Who’s Gonna Help Brother Get Further.” …