![]() In 2000, the original Meters lineup reunited for a one-night stand at the Warfield in San Francisco, and again in 2006 to headline Jazzfest in the wake of Katrina. The current lineup features drummer Terrence “Groove Guardian” Houston, Michael Lemmler on keyboards and guitarist Chris Adkins. The group’s studio releases include Funk This (2000) and Can’t Beat the Funk (2011), as well as live albums along the way. Porter started his own long-term project, the Runnin’ Pardners, in 1990. He notched studio sessions with David Byrne, Jimmy Buffet, Tori Amos and Taj Mahal and live performances with John Scofield, Warren Haynes, members of the Grateful Dead and countless others. Porter went on to become a highly coveted session bassist. The band broke up in 1977, after Toussaint claimed rights to the name, but reformed in the 1980s as the Funky Meters following an informal jam during the New Orleans Jazz & Heritage Festival. ![]() and Queen Latifah, all of whom sampled The Meters. Porter’s rhythmic work with drummer Modeliste became the building block behind scores from hip-hop artists A Tribe Called Quest, Run DMC, N.W.A. They toured with the Rolling Stones and influenced everyone from Led Zeppelin and Bob Marley to the Red Hot Chili Peppers and the Beastie Boys. John, Paul McCartney, Lee Dorsey, Earl King, Robert Palmer and Patty Labelle’s No. The Meters became the house band for Allen Toussaint’s recording label and studio in New Orleans, backing records for Dr. Porter’s heavy pockets and fat notes created the rubbery bass lines behind anthems like “Cissy Strut” off the group’s self-titled 1969 debut - The Meters’ greatest commercial single that reached No. Known as one of the progenitors of funk with Sly & The Family Stone and Parliament Funkadelic, The Meters carved their own place in history with syncopated polyrhythms and grooves inherited from New Orleans’ deep African musical roots. founded The Meters in 1965 alongside Art Neville, Leo Nocentelli and Joseph Zigaboo Modeliste. Album DescriptionNew Orleans music royalty and Grammy Lifetime Achievement Award recipient See More Your browser does not support the audio element. © Stephen Thomas Erlewine /TiVo More info Perhaps this album packs no revelations - there are no rearrangements, nothing unexpected in the songs - but as an elegant summation of strengths, this Songbook is mighty attractive. James Infirmary" - but the spotlight is on his peerless originals, songs that are standards in their own right: "Lipstick Traces (On a Cigarette)," "Holy Cow," "Get Out of My Life, Woman," "Yes We Can," a medley of "A Certain Girl/Mother-in-Law/Fortune Teller," "Southern Nights." Toussaint's voice sounds smooth and silky - he in no way seems as if he's in his seventies - and his piano is similarly nimble as it glides from signature New Orleans stride and boogie to sophisticated, elegiac chords. He sprinkles in a New Orleans standard here and there - there's an excellent rendition of "St. Recorded in 2009 at Joe's Pub, Songbook features nothing more than Toussaint alone at a piano running through songs he's written over the decades. That 2006 album propelled Toussaint toward a greater audience, leading to more headlining concerts, two of which are chronicled on Rounder's 2013 release Songbook. He had to leave his hometown New Orleans after the hurricane, relocating to New York City where he started to play regular gigs at Joe's Pub and, soon enough, he cut The River in Reverse with Elvis Costello. ![]() ![]() Buy the album Starting at kr183,39Īllen Toussaint experienced a late-career revival sparked, ironically enough, by the devastation of Hurricane Katrina in 2005. Purchase and download this album in a wide variety of formats depending on your needs. ![]()
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