|
How did the two of you get together?
EC: Allen and I worked together twice in the '80s, but I hadn't, to my shame, kept in touch. And then after Katrina, we were all in New York, and Allen and I had both been invited to play in a couple of benefit shows. We ended up on the same bill that week, and I think the idea of making a record together certainly occurred to me. And so Allen and I started discussing it.
Allen, you're in the Rock and Roll Hall of Fame, but in the non-performer category.
AT: Yes, I think that's pretty accurate. My life hasn't been performing; it's been in the studio.
EC: Well, I'd argue with that definition. If you listen to the records that Allen's produced, I mean, he's all over them. His piano is really, really dominant on most of those records. And as an arranger and songwriter, he's someone who knocks me out every time.
How much of the record was inspired by New Orleans and Katrina?
EC: We want to hit people's hearts where that's appropriate. I think that there are things The River in Reverse says that can stand to be said. Yet some of the songs that have the most impact are songs of Allen's from a while ago that have come into their moment. Songs like "Freedom for the Stallion" and "Who's Gonna Help Brother Get Further?" — suddenly they have a resonance now.
AT: This recording will far outlast any effects of Katrina. This is a whole lot of love, heart, and soul. It just so happened to be done in the season in which Katrina had a part. No, this music will be around forever, but not Katrina.
| 
