With Nick Lowe on The Jimmy Kimmel Show.
With Elvis Costello and Allen Toussaint in Spain.
With Aimee Mann on Late Night With David Letterman
A chance turn of events led to my friend Jake Guralnick phoning me and asking if I would be able to put a band together to back up Nick on the Jimmy Kimmel show. I was thrilled; I have been a huge fan of Nick’s for so many years. He puts it all together in such a special way; deeply soulful lyrics and singing, thoughtful rhymes and a wry turn of phrase. I asked my compatriot Jay Bellerose to play drums and called Benmont Tench to play keys. My sole regret was that we only had time to play two songs.
Nick did a really special thing after an already great career in the late 70’s and 80’s. He made a trilogy of soul records that I think stand as some of his greatest and most heartfelt work. ‘The Impossible Bird’, ‘Dig My Mood’ and ‘The Convincer’. It’s such a rare thing for an artist to take a chance like that after having already completed such a great body of songs. That really had an impact on me. Three of my all time favorite records.
No matter if we were playing that July to a packed festival somewhere in Europe or a small subscription-concert series (always weird,) Elvis continually put out. He would hit the stage on ten and go for the throat every night, no matter where we were gigging. It was very inspiring. Longtime band members, Davey Farragher and Pete Thomas had taken another gig for the summer, so Elvis and Allen decided to go with AT’s band and me.
We had 2 short rehearsals in Liverpool for the tour. I had 50 some-odd songs to learn! Crazy now that I think about it, but really good for me. I was musically in top shape by the end of the trip.
l had recorded with Allen a few times earlier that year and we gotten along musically quite well. Elvis was looking for a bassist who could cover the material and join he and Allen for the harmony singing. I told him I would give it my best shot and signed up.
Allen Toussaint is a dream to work with. I love his arranger’s sensibility to playing an instrument- he is always listening and responding with the whole in mind. I dug standing next to his muscular horn section every night. I was coming home directly after the tour to finish producing Aimee Mann’s ‘Smilers’ album and I suppose this gig was the reason I ended up writing a bunch of horn charts for the record.
Allen always had an encouraging word to say after almost every show. His heart is with the music and he never fails to praise when he is feeling it. I love and respect that.
Aimee has been a great friend to me for a long time. We have done countless tours together and played just about everywhere. She is that special kind of artist who’s work simply speaks for itself. Great record after great record. I think I’ve performed just about every song she’s recorded since 1990 with her by this point and I just don’t think she is capable of writing a clunker.
Aimee’s writing makes a producer’s job super-easy. There’s really not much to do except get out of the way and try not to screw things up. If you can do that you are home-free. The songs play themselves and suggest all sorts of counter melodies and harmony. Besides the two records I’ve produced for her, this track from ‘The Forgotten Arm’ is also a good example. We recorded this cut pretty much live in the studio and but for a background vocal or two, there it was.
The Late Show studio is freezing cold.
PB and Paul F. Tompkins- Battle Of The Seersucker. I think it’s a draw (Paul may beg to differ...)
w/ Aimee Mann- Amoeba Records
Elvis, Me, and AT’s crack New Orleans band featuring left to right: guitarist AB Brown, Amadee Castenell, Joe Foxx, Brian Cayoll, and the bell of Big Sam’s trombone. Our very first warm up gig at a packed club in Liverpool. Missing stage right: Allen Toussaint, Steve Nieve and great drummer Herman LeBeaux.
With Aimee Mann and Nellie MacKay backstage Philadelphia
Waiting to play on Kimmel. Drummer’s eye view...
PIX and VIDEO