Variety, June 19, 2006: Difference between revisions

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Posted: Mon., Jun. 19, 2006, 1:49pm PT
{{Bibliography header}}
{{:Bibliography index}}
{{:Variety index}}
{{:US magazines index}}
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<center><h3> Playboy Jazz Festival - Day Two</h3></center>
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<center> Richard S. Ginell </center>
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''( extract)''
{{Bibliography text}}
Though the 2006 Playboy Jazz Festival was touted as a gathering of soul brothers for the storm-battered city of New Orleans, only on Sunday did the connection really surface. Elder Edward Babb and the trombone-laden McCollough Sons of Thunder evoked the spirit of N'awlins first (though they hail from Harlem); then, the still-spry Preservation Hall Jazz Band roused the handkerchief-waving crowd right around dinnertime. But ultimately it was the joker in this jazz deck, Elvis Costello -- in cahoots with the magnificent producer-songwriter-singer-pianist-catalyst Allen Toussaint -- who seized the moment with the most irresistible musical and emotional pull.


Playboy Jazz Festival, Day Two
Costello/Toussaint project "''The River in Reverse''" shouldn't have surprised the mass media as much as it did, for rock stars since the Band have collaborated happily with Toussaint for decades -- and Costello seems bent upon collaborating with just about everybody. This live teaming brought out the best in both.


(Hollywood Bowl, 17,391 seats, $105 top)
While the sound of their collaboration stayed pretty much on Toussaint's terms, Costello sounded confident, cocky and totally at home in the absolutely distinctive Toussaint horn arrangements and signature Southern funk -- as did his band, the Imposters. The lead went back and forth, with Toussaint giving an especially funky push to the vocals on "Who's Gonna Help Brother Get Further?" and Costello resurrecting a tune that Toussaint did for Lee Dorsey long ago, "Freedom for the Stallion," that fit the tone of their post-Katrina agenda.


Presented by Playboy Enterprises. Reviewed June 18, 2006.
Even an old Costello calling card, "Watching the Detectives," was perfectly translated by Toussaint -- and Costello gave Toussaint's "Yes We Can Can" a jolt of his urgency. That one got this jazz party jiggling in the aisles.


Indeed, Costello and Toussaint were riding a wave of energy at the fest that had been building for hours. McCoy Tyner managed to follow the Preservation Hall party with a splendid idea -- teaming his hard-driving augmented trio with the dynamic dancing of nine members of Lula Washington's Dance Theater. The dancers galvanized Tyner, and he in turn urged them on with ever-cresting rhythmic movement Latinized by conguero Kevin Ricard. Alas, the bloated sound was awful -- the piano was overamped, and one couldn't hear the bass. Do Playboy's engineers ever listen to the sonic garbage coming out of their sound board?


By RICHARD S. GINELL
{{cx}}
'''Playboy Jazz Festival, Day Two'''<br>


'''(Hollywood Bowl, 17,391 seats, $105 top)'''<br>


( extract)
'''Presented by Playboy Enterprises.'''<br>


Though the 2006 Playboy Jazz Festival was touted as a gathering of soul brothers for the storm-battered city of New Orleans, only on Sunday did the connection really surface. Elder Edward Babb and the trombone-laden McCollough Sons of Thunder evoked the spirit of N'awlins first (though they hail from Harlem); then, the still-spry Preservation Hall Jazz Band roused the handkerchief-waving crowd right around dinnertime. But ultimately it was the joker in this jazz deck, Elvis Costello -- in cahoots with the magnificent producer-songwriter-singer-pianist-catalyst Allen Toussaint -- who seized the moment with the most irresistible musical and emotional pull.
{{Tags}}[[Playboy Jazz Festival]] {{-}} [[New Orleans]] {{-}} [[Preservation Hall Jazz Band]] {{-}} [[Allen Toussaint]] {{-}} [[The River In Reverse]] {{-}} [[The Band]] {{-}} [[The Imposters]] {{-}} [[Who's Gonna Help Brother Get Further?]] {{-}} [[Lee Dorsey]] {{-}} [[Freedom For The Stallion]] {{-}} [[Watching The Detectives]] {{-}} [[Yes We Can Can]]
{{cx}}


Costello/Toussaint project "The River in Reverse" shouldn't have surprised the mass media as much as it did, for rock stars since the Band have collaborated happily with Toussaint for decades -- and Costello seems bent upon collaborating with just about everybody. This live teaming brought out the best in both.
{{Bibliography notes header}}


While the sound of their collaboration stayed pretty much on Toussaint's terms, Costello sounded confident, cocky and totally at home in the absolutely distinctive Toussaint horn arrangements and signature Southern funk -- as did his band, the Imposters. The lead went back and forth, with Toussaint giving an especially funky push to the vocals on "Who's Gonna Help Brother Get Further?" and Costello resurrecting a tune that Toussaint did for Lee Dorsey long ago, "Freedom for the Stallion," that fit the tone of their post-Katrina agenda.
{{Bibliography notes}}
 
'''Variety, June 19, 2006
Even an old Costello calling card, "Watching the Detectives," was perfectly translated by Toussaint -- and Costello gave Toussaint's "Yes We Can Can" a jolt of his urgency. That one got this jazz party jiggling in the aisles.
----
[[Richard S. Ginell]] reviews Elvis Costello, [[Allen Toussaint]], with [[Anthony "AB" Brown]], [[The Imposters]] and [[The Crescent City Horns]], on Sunday, [[Concert 2006-06-18 Los Angeles|June 18, 2006]], Playboy Jazz Festival, Hollywood Bowl, Los Angeles, CA.


Indeed, Costello and Toussaint were riding a wave of energy at the fest that had been building for hours. McCoy Tyner managed to follow the Preservation Hall party with a splendid idea -- teaming his hard-driving augmented trio with the dynamic dancing of nine members of Lula Washington's Dance Theater. The dancers galvanized Tyner, and he in turn urged them on with ever-cresting rhythmic movement Latinized by conguero Kevin Ricard. Alas, the bloated sound was awful -- the piano was overamped, and one couldn't hear the bass. Do Playboy's engineers ever listen to the sonic garbage coming out of their sound board?
{{Bibliography no images}}


{{Bibliography notes footer}}


{{Bibliography footer}}


==External links==
*[https://variety.com/ Variety.com]
*[https://en.wikipedia.org/wiki/Variety_(magazine) Wikipedia: Variety (magazine)]


[[Category:Variety]]
{{DEFAULTSORT:Variety 2006-06-19}}
[[Category:Formatting to come later]]
[[Category:Bibliography]]
[[Category:Bibliography 2006]]
[[Category:Variety| Variety 2006-06-19]]
[[Category:Magazine articles]]
[[Category:2006 concert reviews]]
[[Category:2006 US Tour|~Variety 2006-06-19]]

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Variety  
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Playboy Jazz Festival - Day Two

Richard S. Ginell

( extract)

Though the 2006 Playboy Jazz Festival was touted as a gathering of soul brothers for the storm-battered city of New Orleans, only on Sunday did the connection really surface. Elder Edward Babb and the trombone-laden McCollough Sons of Thunder evoked the spirit of N'awlins first (though they hail from Harlem); then, the still-spry Preservation Hall Jazz Band roused the handkerchief-waving crowd right around dinnertime. But ultimately it was the joker in this jazz deck, Elvis Costello -- in cahoots with the magnificent producer-songwriter-singer-pianist-catalyst Allen Toussaint -- who seized the moment with the most irresistible musical and emotional pull.

Costello/Toussaint project "The River in Reverse" shouldn't have surprised the mass media as much as it did, for rock stars since the Band have collaborated happily with Toussaint for decades -- and Costello seems bent upon collaborating with just about everybody. This live teaming brought out the best in both.

While the sound of their collaboration stayed pretty much on Toussaint's terms, Costello sounded confident, cocky and totally at home in the absolutely distinctive Toussaint horn arrangements and signature Southern funk -- as did his band, the Imposters. The lead went back and forth, with Toussaint giving an especially funky push to the vocals on "Who's Gonna Help Brother Get Further?" and Costello resurrecting a tune that Toussaint did for Lee Dorsey long ago, "Freedom for the Stallion," that fit the tone of their post-Katrina agenda.

Even an old Costello calling card, "Watching the Detectives," was perfectly translated by Toussaint -- and Costello gave Toussaint's "Yes We Can Can" a jolt of his urgency. That one got this jazz party jiggling in the aisles.

Indeed, Costello and Toussaint were riding a wave of energy at the fest that had been building for hours. McCoy Tyner managed to follow the Preservation Hall party with a splendid idea -- teaming his hard-driving augmented trio with the dynamic dancing of nine members of Lula Washington's Dance Theater. The dancers galvanized Tyner, and he in turn urged them on with ever-cresting rhythmic movement Latinized by conguero Kevin Ricard. Alas, the bloated sound was awful -- the piano was overamped, and one couldn't hear the bass. Do Playboy's engineers ever listen to the sonic garbage coming out of their sound board?

Playboy Jazz Festival, Day Two

(Hollywood Bowl, 17,391 seats, $105 top)

Presented by Playboy Enterprises.


Tags: Playboy Jazz Festival  •  New Orleans  •  Preservation Hall Jazz Band  •  Allen Toussaint  •  The River In Reverse  •  The Band  •  The Imposters  •  Who's Gonna Help Brother Get Further?  •  Lee Dorsey  •  Freedom For The Stallion  •  Watching The Detectives  •  Yes We Can Can

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Variety, June 19, 2006

Richard S. Ginell reviews Elvis Costello, Allen Toussaint, with Anthony "AB" Brown, The Imposters and The Crescent City Horns, on Sunday, June 18, 2006, Playboy Jazz Festival, Hollywood Bowl, Los Angeles, CA.

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