In a preview of this year’s Ponderosa Stomp, ringmaster Dr. Ike revealed on WWOZ-FM radio last night that that living embodiment of New Orleans music, Allen Toussaint, would be reprising some of the tunes from his first solo album, named “The Wild Sound of New Orleans” by “Al Tousan,” recorded in two days in February 1958. The all-instrumental album featured the song “Java,” with which New Orleans trumpet giant Al “Jumbo” Hirt made national waves. The only thing missing from Toussaint’s Stomp performance will be the cream-of-the-crop Cosimo studio players that graced his record, such as saxophonists Alvin “Red” Tyler and Nat Perrilliat, trumpeter Melvin Lastie, guitarists Justin Adams and Roy Montrell, and drummer Charles “Hungry” Williams, to name just a few.
And here’s Hirt performing “Java” on the “Ed Sullivan Show”:
Today’s Song of the Day is the musical epic that inspired young Cajun-rock revivalists Steve Riley and C.C. Adcock to form the supergroup Lil’ Band o’ Gold in the late 1990s. As regular attendees of swamp-pop elder statesman Warren Storm’s Lafayette lounge performances, the duo was captivated by the singer’s powerhouse interpretation of one song in particular: “Seven Letters,” originally done by Ben E. King of “Stand By Me” fame. Storm had originally made noise around Acadiana with the song in the late ‘80s/early ‘90s midlife of his career, releasing it on his Jin-label album “Heart and Soul,” which was produced in Nashville by Bob Hendricks and Jay Jackson (reportedly with backing by some members of country megagroup Alabama, though this is unverified). After requesting the song from Storm innumerable times, Riley and Adcock decided to form LBOG, with the masterstroke move of getting Storm singing behind the drum kit once more – a duty Storm had forsaken because he was simply tired of lugging the things around at his age.
One of Storm’s most popular vocal tour-de-forces, the version above was video-recorded at New Orleans’ Chickie Wah-Wah club in April 2010, with Storm’s drum kit up close and personal onstage and Adcock’s introduction of “This is the best song in the world right here.”
Comparing and contrasting this live version with the original studio cut above, the listener will marvel at how Storm’s voice has aged with amazing grace, mellowing like the finest Tennessee whiskey in an oaken cask, yet retaining (and even deepening) his trademark stentorian soulfulness. Storm has indeed come a long way since he cut “The Prisoner’s Song” in the late 1950s and walked into Graceland one day to witness his hero Elvis Presley sitting at a piano and launching into the young Cajun’s hit in a Kingly tip of the hat.
Lil’ Band o’ Gold’s studio version of “Seven Letters” also is well-worth a listen, kicking it up a notch with Richard Comeaux’s wailing pedal-steel guitar, soaring like Evangeline’s ghost across the wind-swept Cajun prairie.
Don’t miss Warren Storm at this year’s Ponderosa Stomp – singing and bashing away at the drums in his unique style that is inspired by not only New Orleans’ Earl Palmer but also Cosimo session drummer Charles “Hungry” Williams. For more about Storm’s musical dalliances with the likes of Lily Allen, Robert Plant, and Elvis Costello, click here.