Allen Toussaint - The Complete Tousan Sessions

Allen's first solo recordings.

A lovely contribution from our pal Morris:

"From the German-based Bear Family Records reissue label comes over two-dozen selections by a young Allen Toussaint (piano) during his earliest outings as a solo artist -- albeit under the slightly truncated nom de plume of "A. Tousan" or simply "Tousan." Although he'd been gigging and sitting in on a variety of Crescent City R&B sessions, it was RCA Records' Danny Kessler who took the initiative to book studio time for Toussaint. That very first endeavor -- held on January 29, 1958 -- featured Toussaint supported by other Nola locals Alvin "Red" Tyler (baritone sax), Nat Perrilliat (tenor sax), or Lee Allen (tenor sax), either Justin Adams (guitar) or Roy Montrell (guitar), Frank Fields (bass), and Charles "Hungry" Williams (drums). While the exact lineup may not be certain, what is undeniable is the masterful energy of these seminal sides. Toussaint revealed to a reviewer that he "had no involvement in the titles of the songs. When I played them, I referred to them as 'Song Number One,' 'Song Number Two' and so on. It wasn't until the record came out that I was informed Kessler had chosen to name each piece after a different racehorse." Once "Whirlaway" b/w the raucous sacred-inspired "Happy Times" scored favorable results, Kessler hit Toussaint up for enough material to compile what would become the full-length Wild Sound of New Orleans (1958) LP. Arguably the best-known of the instrumental lot is the perky "Java" -- which Al Hirt (trumpet) was able to take to the top of the pop singles survey, not to mention carve out a nice career for himself in the process. Other entries worthy of multiple spins include the mile-a-minute "Tim Tam," "Bono," and the musical Mardi Gras that is "Nashua" -- which owes much to Professor Longhair and points the way for Toussaint's future musical aspirations. Similarly, "Wham Tousan" and "Pelican Parade" are evidence of Toussaint's already fully formed keyboard style. The second half of the Complete "Tousan" Sessions (1992) is dedicated to tracks destined for the Seville imprint and credited to "Al Tousan and His Piano." Of the 15 tunes documented during the December 7 and 8, 1959 session only a handful were ever released. Namely, the 45s "Chico" b/w "Sweetie Pie," "Naomi" b/w "Back Home Again in Indiana" -- a rare cover tune for Toussaint, "A Blue Mood" b/w "Moo Moo" (aka "Cow Cow Boogie"), and "Real Churchy" b/w "Twenty Years Later." Interestingly, the latter is nothing more than a recycled and abbreviated edit of the aforementioned "Sweetie Pie." The remainder make their debut and in true Bear Family style are thoroughly annotated in the 20-page liner notes booklet."

Percy Mayfield - Blues Laureate; The RCA Years

Part 4 of this series, there is some remaining material that I've yet to aquire, most of it Live with Pee Wee Crayton; anybody have it?

I think I am a little burned out on writing about Percy Mayfield so I've grabbed Thom Jurek's enthusiastic review. Once again I had the experience of being jarred by the even more modern sounding band the first time I heard this one but by half way through I was loving it!

"When Percy Mayfield's contract as composer and performer with Ray Charles -- a business association that lasted seven long years -- because of disagreements with Brother Ray's manager Joe Adams, Mayfield cut an album for Brunswick in 1968, and then signed with Andy Stroud -- husband and manager of Nina Simone -- at RCA. The albums Mayfield cut for the label in 1970 and 1971 (Percy Mayfield Sings, Percy Mayfield, Weakness Is a Thing Called Man, and Blues and Then Some) were excellent. Mayfield's writing and voice were in great shape, and he was surrounded by both crack and sympathetic studio talent on these sides -- Eric Gale, Chuck Rainey, Pretty Purdie, Snooky Young, and Richard Tee to name a few -- as well as full horn sections and female backing vocalists. While it would have been great to get these albums in their entirety on a double-disc, Australia's excellent Raven imprint has compiled 25 tracks from them for Blues Laureate: The RCA Years. The bottom line is that this material is fantastic. It may be of a particular period, but it's timeless. Whether it's one of the funky sides like "You Wear Your Hair Too Long," or the shuffling, funky soul-blues of "Live Today Like the Day Before," the Chicago blues ballad "The Highway Is Like a Woman," the deep, mournful soul of "Weakness Is a Thing Called Man," or the audacious street corner, trash-talking poetry of "The Devil Made Me Do It" (not a novelty song), the result is the same. These tunes reflect the changes the blues were going through, but were anchored by the solid, deeply focused vision of a singer and songwriter who understood the trends; unfortunately, not all the people at his record companies always did."

Sam Cooke - My Kind Of Blues

Ripped at 24/44.1 wav and dithered to 16/44.1 FLAC... enjoy!!

RCA Victor LPM-2392
1961

Sam Cooke's voice is justifiably legendary, but most of his RCA albums are astonishingly little-known today, and My Kind of Blues explains why this is so, at least in part. The singing is superb throughout, but the repertoire, even in 1961, was not terribly well defined or the recordings well arranged. The basic problem lay in the nature of Cooke's career arc, which probably straddled too many styles and musical worlds for his own good -- the spiritual and the secular, pop and rock & roll, and pop and soul, all as defined in his time (which was, effectively, from the early '50s to the early '60s). The "blues" as a label on an album had a much wider meaning than it would have had at the other end of the decade, or any time since -- Cooke was part of a world where adult pop still held sway and seemed, at least for the LP market, a more attractive target than the teenage or even collegiate audiences of the time. Thus, the "blues" heard here would have been appropriate for a mainstream singer -- say, Sinatra, or Nat King Cole -- circa 1961 (or, really, about 1957 -- Cooke's producers were very conservative) -- rather than what most listeners today would call blues. Brassy, big-scale orchestrations abound, and even the leaner textured songs, such as "Little Girl Blue" and "You're Always on My Mind," rely on a reed or horn section, respectively, to augment the electric guitar, piano, bass, and brushed drums at the core of their arrangements. Some of this works beautifully, as on "Nobody Knows You When You're Down and Out," which was a good enough song to make it into Cooke's set at his Copa appearances, and, along with a handful of other tracks here, also onto the compilation The Rhythm and the Blues (and the box set The Man Who Invented Soul). All of this is what would probably be called "smooth blues" (assuming it is defined as blues at all in a modern sense); it's more soul of a pop variety. But Cooke's voice carries it -- even the weakest arrangements and material get elevated, as the best of Cooke's interpretive instincts overcome the worst of his producers' instincts. Given its limitations, My Kind of Blues was never going to be a defining album in Cooke's output, and had he lived past 1964 it almost certainly would have been relegated to his "early period" in a full career. Its strongest moments, of which there are many, stand on their own, however, and the leanest of the arrangements point the way toward greater things that were to come, including the best parts of Mr. Soul and the whole Night Beat album.  - Bruce Eder/AMG

Sam Cooke - One Night Stand!

"Not only is this one of the greatest live soul albums ever released, it also reveals a rougher, rawer, and more immediate side to Sam Cooke that his singles only hinted at, good as they were. Working with a merged band that included guitarist Cliff White and drummer Albert "June" Gardner (New Orleans own)  from Cooke's regular touring outfit and saxophonist King Curtis and his band, Cooke brings a gospel fervor to these whirlwind versions, which are fiery, emotionally direct, and hit with uncommon power. Every track burns with an insistent, urgent feel, and although Cooke practically defines melisma on his single releases, here he reaches past that into deeper territory that finds him almost literally shoving and pushing each song forward with shouts, asides, and spoken interactions with the audience, which becomes as much a part of this set as any bandmember. "Chain Gang" is stripped down to a raw nerve, "Twistin' the Night Away" explodes out of the gate like a runaway rocket, and Curtis' sax breaks on "Somebody Have Mercy" make it sound like the saxophone was invented for this one song alone...... Although recorded January 12, 1963, at the Harlem Square Club in Miami in 1963, RCA didn't release it as an album until 1985. The set was remixed from the original first generation three-track tape for 2000's The Man Who Invented Soul box, and while the music (and Cooke's vocals in particular) sounded much cleaner, much of the crowd noise from the 1985 mixes was toned down, robbing the recording of some of its claustrophobic, frenzied power. The mix used here seems to more or less split the difference, but the crucial key is and was always Cooke's vocals, and while he was a marvelously smooth, versatile, and urbane singer on his official pop recordings, here he explodes into one of the finest sets of raw secular gospel ever captured on tape. It is essential listening in any version."  by Steve Leggett, AMG

YEAH, WHAT HE SAID!!

The album that terrified RCA so badly that they suppressed it for 22 years! The idea of it being compared to the Copa album was something they felt the need to avoid at any cost.

Sam Cooke - Night Beat

Yeah, I have finally screwed up the courage to make some attempt at dealing with Sam Cooke on the secular side. Given the stated theme of what we are doing here I had issues with how to cope with a guy whose first secular recordings resorted to white female choruses and strings. Reconciling that with the Chitlin Circuit theme was a bit problematical.

I am saved to large extent by reading Guralnick, Gilllete and Shaw and the magnificent book in the SAR set. (thanks Cliffy for all of those). Despite the obvious made for top 40 production of the early sides with Bumps Blackwell, and the next generation of similarly produced sides at Keen, there was still a different side of Cooke that is not so tame. I have chosen to chicken out and jump to that.

The fact is that Cooke still played far more Circuit style black venues than he did white venues throughout his short career; we are made more aware of gigs like The Coppa through choices made by record people. At first Sam cleaved to the careful sound and phrasing of his pop records and when touring black venues with Jackie Wilson in 1960-61, he was regularly 'cut up' each night by Wilson's drama and vocal gymnastics. By 1963 he had achieved the synthesis of what made him so special in Gospel with secular R&B. When Sams' management agreed to a second round of touring, Wilsons' people expressed wonder that he would subject himself to that abuse again. This time Cooke cut Wilson deep each and every night, leaving a trail of ecstatic, weeping women across the Chitlin Circuit. Now rearmed with the tools that made him the Gospel star he had once been, he was unstoppable.

As undeniably good as that wave of major market driven hits that launched Sam where, they can't hold a candle to Night Beat. This is Sam showing his true stripes as a soul god. Much more sparse and musically interesting arrangements, much more riveting songs and that voice......Good God that voice... so much better showcased in this context than in those previous gooey distractions. All by itself this album would place Cooke squarely in the center of our discussion at the end of the Burke post about greatest soul singers. BTW that is a 16 year old Billy Preston on organ! Cliff White and Barney Kessell are on guitars and that fine piano was Raymond Johnson.

More glorious Cooke coming soon, including the rare SAR set!