Ann Arbor News, June 14, 2006: Difference between revisions

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Elvis goes to New Orleans, and Hill Auditorium loves it
{{Bibliography header}}
{{Bibliography index}}
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<center><h3> Elvis goes to New Orleans, and <br> Hill Auditorium loves it </h3></center>
<center> Costello, Toussaint team up for terrific, diverse <br> Summer Festival show </center>
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<center> Will Stewart </center>
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Costello, Toussaint team up for terrific, diverse Summer Festival show
It took exactly two songs Tuesday for the strains of New Orleans music to seep into Elvis Costello's appearance at [[Concert 2006-06-13 Ann Arbor|Hill Auditorium]].


Wednesday, June 14, 2006
By the end of Costello's nearly three-hour show with the Big Easy musical legend, [[Allen Toussaint]], and his [[The Crescent City Horns|Crescent City Horns]], Costello and his own band, the Imposters, appeared happy just to be sharing the stage - and the music - with their soulful counterparts.
*BY WILL STEWART
*News Special Writer


It took exactly two songs Tuesday for the strains of New Orleans music to seep into Elvis Costello's appearance at Hill Auditorium.
"Allen has written about 450,000 songs," the ever-prolific Costello said early on during Tuesday's perfectly paced and splendidly diverse concert, a warm-up to the 23rd season of the Ann Arbor Summer Festival, which formally gets under way on Friday.


By the end of Costello's nearly three-hour show with the Big Easy musical legend, Allen Toussaint, and his Crescent City Horns, Costello and his own band, the Imposters, appeared happy just to be sharing the stage - and the music - with their soulful counterparts.
"But I'm catching up to him.''
 
The pair proceeded to trade songs - mostly Costello's, several of Toussaint's and a handful that the pair wrote together for their just-released CD, ''[[The River In Reverse|The River in Reverse]]'', which was the first album recorded in New Orleans following Hurricane Katrina.
 
Of these, the pair's "[[Ascension Day]]" inverted Professor Longhair's New Orleans anthem "[[Tipitina]]" into a somber, minor-key indictment of what Costello called federal and state governments' "incompetent" reaction to the destruction Katrina left in its wake.
 
Toussaint took the spotlight for tender readings of his own "On Your Way Down" and "Brickyard Blues," as well as a playful romp through "[[Freedom For The Stallion|Freedom for the Stallion]]," before leaving the stage for [[the Imposters]] and the Crescent City Horns to swing through Costello's back catalog.
 
The four-piece Crescent City Horns - [[Joe "Foxx" Smith|Joe Fox]] on trumpet, [[Brian "Breeze" Cayolle|Brian Cayolle]] on baritone saxophone, [[Sam "Big Sam" Williams|Big Sam Williams]] on trombone and tenor saxophonist [[Amadee Castenell]] - breathed swinging, new life into Costello staples like "[[Pump It Up|Pump it Up]]" and "[[High Fidelity]]" as well as surprise album cuts, including "[[Clubland]]" and "[[Tears Before Bedtime]]." Meanwhile, the two groups worked together to transform the classics "[[Watching The Detectives|Watching the Detectives]]" and "[[Alison]]" into almost free-jazz frenzies.
 
"Watching the Detectives," in particular, benefited from such reinvention, enjoying the trombone-fueled ska drive it's always hinted at, while Imposters keyboardist [[Steve Nieve]]'s Hammond organ swirled over the top of the horns' dissonant harmonies, every note of which, Costello pointed out, was charted by Toussaint.
 
Nieve and drummer [[Pete Thomas]] - both of whose tenures with Costello date back to his benchmark backing band, the Attractions - seemed a little out of their power-pop element at first, but settled into a comfortable groove as the evening wore on. Nieve in particular, rarely one for understated accompaniment, seemed to enjoy his role adding musical counterpoint while the horn section carried the day.


"Allen has written about 450,000 songs,'' the ever-prolific Costello said early on during Tuesday's perfectly paced and splendidly diverse concert, a warm-up to the 23rd season of the Ann Arbor Summer Festival, which formally gets under way on Friday.
By the time Toussaint returned for two extended encores, Costello was mostly taking a back seat as the band rolled through a laundry list of Toussaint-penned standards, highlighted by a sing-along "[[Working In The Coal Mine|Working in a Coal Mine]]" and a fierce, driving "[[Fortune Teller]]." There isn't anyone who has a greater appreciation of the American songbook than Costello, and the Rock And Roll Hall of Famer was clearly in his glory acting as sideman and vocalist, happily ceding the spotlight to the understated Toussaint (also a Hall of Fame inductee) without completely giving over the concert to his guests.


"But I'm catching up to him.''
{{cx}}


The pair proceeded to trade songs - mostly Costello's, several of Toussaint's and a handful that the pair wrote together for their just-released CD, "The River in Reverse,'' which was the first album recorded in New Orleans following Hurricane Katrina.
{{Bibliography notes header}}


Of these, the pair's "Ascension Day'' inverted Professor Longhair's New Orleans anthem "Tipitina'' into a somber, minor-key indictment of what Costello called federal and state governments' "incompetent'' reaction to the destruction Katrina left in its wake.
{{Bibliography notes}}
'''The Ann Arbor News, June 14, 2006
----
[[Will Stewart]] reports on Elvis Costello and [[Allen Toussaint]] with [[The Imposters]] and [[The Crescent City Horns]], Tuesday, [[Concert 2006-06-13 Ann Arbor|June 13, 2006]], Hill Auditorium, Ann Arbor, MI.


Toussaint took the spotlight for tender readings of his own "On Your Way Down'' and "Brickyard Blues,'' as well as a playful romp through "Freedom for the Stallion,'' before leaving the stage for the Imposters and the Crescent City Horns to swing through Costello's back catalog.
{{Bibliography no images}}


The four-piece Crescent City Horns - Joe Fox on trumpet, Brian Cayolle on baritone saxophone, Big Sam Williams on trombone and tenor saxophonist Amadee Castenell - breathed swinging, new life into Costello staples like "Pump it Up'' and "High Fidelity'' as well as surprise album cuts, including "Clubland'' and "Tears Before Bedtime.'' Meanwhile, the two groups worked together to transform the classics "Watching the Detectives'' and "Alison'' into almost free-jazz frenzies.
{{Bibliography notes footer}}


"Watching the Detectives,'' in particular, benefited from such reinvention, enjoying the trombone-fueled ska drive it's always hinted at, while Imposters keyboardist Steve Nieve's Hammond organ swirled over the top of the horns' dissonant harmonies, every note of which, Costello pointed out, was charted by Toussaint.
{{Bibliography footer}}


Nieve and drummer Pete Thomas - both of whose tenures with Costello date back to his benchmark backing band, the Attractions - seemed a little out of their power-pop element at first, but settled into a comfortable groove as the evening wore on. Nieve in particular, rarely one for understated accompaniment, seemed to enjoy his role adding musical counterpoint while the horn section carried the day.
==External links==
*[http://en.wikipedia.org/wiki/The_Ann_Arbor_News Wikipedia: The Ann Arbor News]


By the time Toussaint returned for two extended encores, Costello was mostly taking a back seat as the band rolled through a laundry list of Toussaint-penned standards, highlighted by a sing-along "Working in a Coal Mine'' and a fierce, driving "Fortune Teller.'' There isn't anyone who has a greater appreciation of the American songbook than Costello, and the Rock And Roll Hall of Famer was clearly in his glory acting as sideman and vocalist, happily ceding the spotlight to the understated Toussaint (also a Hall of Fame inductee) without completely giving over the concert to his guests.
[[Category:Bibliography|Ann Arbor News 2006-06-14]]
[[Category:Bibliography 2006|Ann Arbor News 2006-06-14]]
[[Category:Ann Arbor News| Ann Arbor News 2006-06-14]]
[[Category:Newspaper articles|Ann Arbor News 2006-06-14]]
[[Category:2006 concert reviews|Ann Arbor News 2006-06-14]]

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Elvis goes to New Orleans, and
Hill Auditorium loves it

Costello, Toussaint team up for terrific, diverse
Summer Festival show
Will Stewart

It took exactly two songs Tuesday for the strains of New Orleans music to seep into Elvis Costello's appearance at Hill Auditorium.

By the end of Costello's nearly three-hour show with the Big Easy musical legend, Allen Toussaint, and his Crescent City Horns, Costello and his own band, the Imposters, appeared happy just to be sharing the stage - and the music - with their soulful counterparts.

"Allen has written about 450,000 songs," the ever-prolific Costello said early on during Tuesday's perfectly paced and splendidly diverse concert, a warm-up to the 23rd season of the Ann Arbor Summer Festival, which formally gets under way on Friday.

"But I'm catching up to him.

The pair proceeded to trade songs - mostly Costello's, several of Toussaint's and a handful that the pair wrote together for their just-released CD, The River in Reverse, which was the first album recorded in New Orleans following Hurricane Katrina.

Of these, the pair's "Ascension Day" inverted Professor Longhair's New Orleans anthem "Tipitina" into a somber, minor-key indictment of what Costello called federal and state governments' "incompetent" reaction to the destruction Katrina left in its wake.

Toussaint took the spotlight for tender readings of his own "On Your Way Down" and "Brickyard Blues," as well as a playful romp through "Freedom for the Stallion," before leaving the stage for the Imposters and the Crescent City Horns to swing through Costello's back catalog.

The four-piece Crescent City Horns - Joe Fox on trumpet, Brian Cayolle on baritone saxophone, Big Sam Williams on trombone and tenor saxophonist Amadee Castenell - breathed swinging, new life into Costello staples like "Pump it Up" and "High Fidelity" as well as surprise album cuts, including "Clubland" and "Tears Before Bedtime." Meanwhile, the two groups worked together to transform the classics "Watching the Detectives" and "Alison" into almost free-jazz frenzies.

"Watching the Detectives," in particular, benefited from such reinvention, enjoying the trombone-fueled ska drive it's always hinted at, while Imposters keyboardist Steve Nieve's Hammond organ swirled over the top of the horns' dissonant harmonies, every note of which, Costello pointed out, was charted by Toussaint.

Nieve and drummer Pete Thomas - both of whose tenures with Costello date back to his benchmark backing band, the Attractions - seemed a little out of their power-pop element at first, but settled into a comfortable groove as the evening wore on. Nieve in particular, rarely one for understated accompaniment, seemed to enjoy his role adding musical counterpoint while the horn section carried the day.

By the time Toussaint returned for two extended encores, Costello was mostly taking a back seat as the band rolled through a laundry list of Toussaint-penned standards, highlighted by a sing-along "Working in a Coal Mine" and a fierce, driving "Fortune Teller." There isn't anyone who has a greater appreciation of the American songbook than Costello, and the Rock And Roll Hall of Famer was clearly in his glory acting as sideman and vocalist, happily ceding the spotlight to the understated Toussaint (also a Hall of Fame inductee) without completely giving over the concert to his guests.

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The Ann Arbor News, June 14, 2006

Will Stewart reports on Elvis Costello and Allen Toussaint with The Imposters and The Crescent City Horns, Tuesday, June 13, 2006, Hill Auditorium, Ann Arbor, MI.

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