From: "Concertmaps"
Chateau Ste. Michelle Winery Woodinville, WA 25-Jun Pre-sale coming soon!
http://www.ste-michelle.com/Sub_Concerts.cfm
Elvis/Allen play ' Winery , Woodinville, WA 25-Jun
http://seattlepi.nwsource.com/pop/274985_elvis23.html
SEATTLE POST-INTELLIGENCER
Elvis Costello and Allen Toussaint create memorable music together
Friday, June 23, 2006
By ROBERTA PENN
SPECIAL TO THE P-I
The collaboration between pop chameleon Elvis Costello and Allen Toussaint, the important yet relatively unknown New Orleans songwriter and pianist, is equal to some of the most memorable in music.
Like Waylon Jennings and Willie Nelson, Marvin Gaye and Tammi Terrell, Lester Young and Billie Holiday, Costello and Toussaint are soul mates -- sympathetic, complementary and respectful on a deeply personal level. Though each comes with his own experience, together they create a new and extraordinary presence.
This special relationship not only is evident on the new CD, "The River in Reverse," but also in the concert tour that brings Costello and Toussaint to Chateau Ste. Michelle Sunday night. After a nearly three-hour show Wednesday night in Oakland, San Francisco Chronicle critic Joel Selvin reported "standing ovation after standing ovation for songs the audience had largely never heard before in an evening they won't soon forget."
The musicians also feel the power generated by the songs written by the two separately and as a team. Costello was amazed at the reception they received at the star-studded and musically diverse Bonnaroo Festival in Tennessee.
"It was a wild experience," Costello said in a phone interview from California. "We were playing to a much younger audience in the middle of the afternoon. They were really listening to the music, most of which they weren't familiar with."
Many of the songs on the CD -- even some of Toussaint's older material -- reflect the post-Katrina disaster in New Orleans. Co-written, "The Sharpest Thorn" begins like a dirge and then turns into a hymn about the universality of pain and joy. It evokes an image of the Crescent City both in its high-times heyday and the tragic state of the city today.
"It came out of our conversations," Costello said. "I think Allen mentioned the fight between good and evil in the aftermath of what happened in New Orleans. But it also is about the everyday. You are out celebrating, something happens and you end up a little poorer, a little humbler."
Costello and Toussaint began this collaboration in a series of Katrina benefit concerts. But Toussaint, whose "All These Things," "Who's Gonna Help Brother Get Further" and "River in Reverse" give the CD a '60s sense of innocence and hopefulness, is adamant that the recording is not simply a commentary on Katrina.
"I wouldn't want people to think that all of this music is about Katrina, though the music does shed light on it," Toussaint said in the interview. " 'The River in Reverse' is applicable to the general human drama, how we deal with each other, how man is to man."
The Costello-Toussaint concert, which features Costello's band the Imposters with the Crescent City Horns and guitarist Anthony "A.B." Brown, will cover the CD, but there are surprises. Other Toussaint songs are in the mix as well as older Costello songs arranged by Toussaint.
"Some of Allen's arrangements of my songs are quite startling. The biggest surprise we got from the audience last night (the Oakland show) was after we did 'Poison Rose,' " Costello said. "Though I've written and performed from a lot of different points of view, this one is new and special for me. It's the first time I've been joyful and playful, and that could only have come from working with Allen."
Roberta Penn is a free-lance music writer. She may be contacted at rpenn@ec.rr.com.
SEATTLE POST-INTELLIGENCER
Elvis Costello and Allen Toussaint create memorable music together
Friday, June 23, 2006
By ROBERTA PENN
SPECIAL TO THE P-I
The collaboration between pop chameleon Elvis Costello and Allen Toussaint, the important yet relatively unknown New Orleans songwriter and pianist, is equal to some of the most memorable in music.
Like Waylon Jennings and Willie Nelson, Marvin Gaye and Tammi Terrell, Lester Young and Billie Holiday, Costello and Toussaint are soul mates -- sympathetic, complementary and respectful on a deeply personal level. Though each comes with his own experience, together they create a new and extraordinary presence.
This special relationship not only is evident on the new CD, "The River in Reverse," but also in the concert tour that brings Costello and Toussaint to Chateau Ste. Michelle Sunday night. After a nearly three-hour show Wednesday night in Oakland, San Francisco Chronicle critic Joel Selvin reported "standing ovation after standing ovation for songs the audience had largely never heard before in an evening they won't soon forget."
The musicians also feel the power generated by the songs written by the two separately and as a team. Costello was amazed at the reception they received at the star-studded and musically diverse Bonnaroo Festival in Tennessee.
"It was a wild experience," Costello said in a phone interview from California. "We were playing to a much younger audience in the middle of the afternoon. They were really listening to the music, most of which they weren't familiar with."
Many of the songs on the CD -- even some of Toussaint's older material -- reflect the post-Katrina disaster in New Orleans. Co-written, "The Sharpest Thorn" begins like a dirge and then turns into a hymn about the universality of pain and joy. It evokes an image of the Crescent City both in its high-times heyday and the tragic state of the city today.
"It came out of our conversations," Costello said. "I think Allen mentioned the fight between good and evil in the aftermath of what happened in New Orleans. But it also is about the everyday. You are out celebrating, something happens and you end up a little poorer, a little humbler."
Costello and Toussaint began this collaboration in a series of Katrina benefit concerts. But Toussaint, whose "All These Things," "Who's Gonna Help Brother Get Further" and "River in Reverse" give the CD a '60s sense of innocence and hopefulness, is adamant that the recording is not simply a commentary on Katrina.
"I wouldn't want people to think that all of this music is about Katrina, though the music does shed light on it," Toussaint said in the interview. " 'The River in Reverse' is applicable to the general human drama, how we deal with each other, how man is to man."
The Costello-Toussaint concert, which features Costello's band the Imposters with the Crescent City Horns and guitarist Anthony "A.B." Brown, will cover the CD, but there are surprises. Other Toussaint songs are in the mix as well as older Costello songs arranged by Toussaint.
"Some of Allen's arrangements of my songs are quite startling. The biggest surprise we got from the audience last night (the Oakland show) was after we did 'Poison Rose,' " Costello said. "Though I've written and performed from a lot of different points of view, this one is new and special for me. It's the first time I've been joyful and playful, and that could only have come from working with Allen."
Roberta Penn is a free-lance music writer. She may be contacted at rpenn@ec.rr.com.
http://dat.erobertparker.com/bboard/sho ... ost1161017
06-26-2006, 12:59 AM
Jeff Twersky posts -
Saw Toussaint, Elvis Costello, the Imposters and the Crescent City Horns in concert tonight. A fabulous concert. If they are playing near you, do not hesitate about going. A mix of old Toussaint, old Costello (arranged by Toussaint), and new songs from their recent cd.
http://jackbrummet.blogspot.com/2006/06 ... tello.html
posted by Jack Brummet at 6/26/2006 12:20:00 AM
Monday, June 26, 2006
Rock show of the year (so far):::::::Elvis Costello & The Impostors with Allen Toussaint
Elvis Costello and Allen Toussaint rocked the winery last night in Woodinville, Wash.
( extract)
The show included members of Toussaint's horn and rhythm section, along with Elvis's Impostors. The band opened with a thundering version of Nick Lowe's What's So Funny About Peace, Love, and Understanding? It included Toussaint tunes (my favorites Workin' In The Coal Mine, and his tune for the Pointer Sisters, Yes, We Can Can), collaborations from the just released Toussaint-Costello album, The River in Reverse, and lots of Costello chestnuts. Toussaint arranged nine songs from the Costello catalog, and they played many of them as well. The new arrangements of Clown Strike, Pump It Up, Clubland, Watching The Detectives, High Fidelity, and I Can't Stand Up For Falling Down were thoughtful, new, and they were sparkling and wonderful.
There were some crooners, but this was mainly a rock fest. Right before the show, I was trying to explain to my cousin Sean the difference between an Elvis crooning show and an Elvis electric show, and how I tended to avoid the croonfests. I knew this show would kick out the jams.
Fortunately, with Elvis's well-known half hour+ encores, we got the chance to stand up and shake our bones! Finally the audience got up, or, at least moved! And it was good. In that half hour encore (they returned three times), the band performed a cover of Fortune Teller, that you may know from The Rolling Stones' or The Who's covers. Wow! As it turns out, the tune was written by Naomi Neville (mom, sister? of the Nevilles, and The Meters) along with none other than Allen Toussaint)...
06-26-2006, 12:59 AM
Jeff Twersky posts -
Saw Toussaint, Elvis Costello, the Imposters and the Crescent City Horns in concert tonight. A fabulous concert. If they are playing near you, do not hesitate about going. A mix of old Toussaint, old Costello (arranged by Toussaint), and new songs from their recent cd.
http://jackbrummet.blogspot.com/2006/06 ... tello.html
posted by Jack Brummet at 6/26/2006 12:20:00 AM
Monday, June 26, 2006
Rock show of the year (so far):::::::Elvis Costello & The Impostors with Allen Toussaint
Elvis Costello and Allen Toussaint rocked the winery last night in Woodinville, Wash.
( extract)
The show included members of Toussaint's horn and rhythm section, along with Elvis's Impostors. The band opened with a thundering version of Nick Lowe's What's So Funny About Peace, Love, and Understanding? It included Toussaint tunes (my favorites Workin' In The Coal Mine, and his tune for the Pointer Sisters, Yes, We Can Can), collaborations from the just released Toussaint-Costello album, The River in Reverse, and lots of Costello chestnuts. Toussaint arranged nine songs from the Costello catalog, and they played many of them as well. The new arrangements of Clown Strike, Pump It Up, Clubland, Watching The Detectives, High Fidelity, and I Can't Stand Up For Falling Down were thoughtful, new, and they were sparkling and wonderful.
There were some crooners, but this was mainly a rock fest. Right before the show, I was trying to explain to my cousin Sean the difference between an Elvis crooning show and an Elvis electric show, and how I tended to avoid the croonfests. I knew this show would kick out the jams.
Fortunately, with Elvis's well-known half hour+ encores, we got the chance to stand up and shake our bones! Finally the audience got up, or, at least moved! And it was good. In that half hour encore (they returned three times), the band performed a cover of Fortune Teller, that you may know from The Rolling Stones' or The Who's covers. Wow! As it turns out, the tune was written by Naomi Neville (mom, sister? of the Nevilles, and The Meters) along with none other than Allen Toussaint)...
http://www.elviscostello.info/wiki/inde ... 2006-06-25
* Woodinville, WA, Chateau Ste. Michelle Winery
01. (What's So Funny 'Bout) Peace, Love And Understanding?
02. Monkey To Man
03. On Your Way Down
04. A Certain Girl
05. Clown Strike
06. Tears, Tears And More Tears
07. Tears Before Bedtime
08. Working In A Coal Mine
09. Broken Promise Land
10. Freedom For The Stallion
11. The River In Reverse (song)
12. Who's Gonna Help Brother Get Further?
13. Nearer To You
14. Deep Dark Truthful Mirror
15. Play Something Sweet (Brickyard Blues)
16. Bedlam
17. Watching The Detectives
18. Pump It Up
19. I Can't Stand Up For Falling Down
20. High Fidelity
Encore 1
21. Allen Toussaint does Longhair
22. Ascension Day
23. Wonder Woman
24. International Echo
25. Alison / Tracks Of My Tears
26. Clubland
Encore 2
27. The Greatest Love
28. That's How You Got Killed Before
29. Yes We Can Can
30. Shoo-Ra
31. Fortune Teller
32. The Sharpest Thorn
* Start time: 7:15 pm
* End time: 9:30 pm
------------------------------------------------------------------------------------
* Woodinville, WA, Chateau Ste. Michelle Winery
01. (What's So Funny 'Bout) Peace, Love And Understanding?
02. Monkey To Man
03. On Your Way Down
04. A Certain Girl
05. Clown Strike
06. Tears, Tears And More Tears
07. Tears Before Bedtime
08. Working In A Coal Mine
09. Broken Promise Land
10. Freedom For The Stallion
11. The River In Reverse (song)
12. Who's Gonna Help Brother Get Further?
13. Nearer To You
14. Deep Dark Truthful Mirror
15. Play Something Sweet (Brickyard Blues)
16. Bedlam
17. Watching The Detectives
18. Pump It Up
19. I Can't Stand Up For Falling Down
20. High Fidelity
Encore 1
21. Allen Toussaint does Longhair
22. Ascension Day
23. Wonder Woman
24. International Echo
25. Alison / Tracks Of My Tears
26. Clubland
Encore 2
27. The Greatest Love
28. That's How You Got Killed Before
29. Yes We Can Can
30. Shoo-Ra
31. Fortune Teller
32. The Sharpest Thorn
* Start time: 7:15 pm
* End time: 9:30 pm
------------------------------------------------------------------------------------
“Shoo-rah Shoo-rahâ€Shoo-Ra
From listserv -
AT crept out from behind the curtain during MTM and because "I" had
never
seen EC with a horn section, I almost missed his walk to the grand
piano.
The vibe of the piano and backing horn section made me forget the 90
(32)degree temperatures.
The stuffy east-side wine crowd seemed a little too good to recognize
what
was being laid out before them.
By the time Working in a Coal Mine came around and EC couldn't
incorporate
the audience to help with the sing-a-long,
I thought for sure we were going to see an early departure and a
clipped set
list.
When someone shouted out a request for Alison less than 25 minutes in
to the
show, it was apparent the winery crowd was looking for the hits.
EC's response was "You know we don't play that 'till the end of the
show.
And maybe now not at all."
During I Can't Stand Up... EC was finally able to raise the lawn crowd
to
their feet.
Hat's off to the Crescent City men. They were alive and truly a treat.
The introduction of his "life sized action figure" of US President
George
Bush (squinting and holding a pinched forefinger and thumb) was funny
and
when he added "at that size, no wonder he doesn't do anything."
He referred to the rebuilding of New Orleans frequently and often took
pot-shots about sending money to help.
Clubland was a very nice surprise. It was a bit like a tango and didn't
reflect the lyrics much, but what do I know. I know it was a very good
version.
The second encore capped a very good show. A lot of AT and horn accent.
These are just my two bits.
-chet
AT crept out from behind the curtain during MTM and because "I" had
never
seen EC with a horn section, I almost missed his walk to the grand
piano.
The vibe of the piano and backing horn section made me forget the 90
(32)degree temperatures.
The stuffy east-side wine crowd seemed a little too good to recognize
what
was being laid out before them.
By the time Working in a Coal Mine came around and EC couldn't
incorporate
the audience to help with the sing-a-long,
I thought for sure we were going to see an early departure and a
clipped set
list.
When someone shouted out a request for Alison less than 25 minutes in
to the
show, it was apparent the winery crowd was looking for the hits.
EC's response was "You know we don't play that 'till the end of the
show.
And maybe now not at all."
During I Can't Stand Up... EC was finally able to raise the lawn crowd
to
their feet.
Hat's off to the Crescent City men. They were alive and truly a treat.
The introduction of his "life sized action figure" of US President
George
Bush (squinting and holding a pinched forefinger and thumb) was funny
and
when he added "at that size, no wonder he doesn't do anything."
He referred to the rebuilding of New Orleans frequently and often took
pot-shots about sending money to help.
Clubland was a very nice surprise. It was a bit like a tango and didn't
reflect the lyrics much, but what do I know. I know it was a very good
version.
The second encore capped a very good show. A lot of AT and horn accent.
These are just my two bits.
-chet
http://seattlepi.nwsource.com/pop/275408_elvis27q.html
Seattle Post-Intelligencer
Tuesday, June 27, 2006
Costello-Toussaint pairing serves Nawlins proud
By TRAVIS HAY
SPECIAL TO THE P-I
Chateau Ste. Michelle got a healthy helping of Nawlins for its season opener Sunday in the form of a spirited concert by an iconic English pop singer and a famed Crescent City jazzman.
ELVIS COSTELLO AND THE IMPOSTERS WITH ALLEN TOUSSAINT
WHEN: Sunday night
WHERE: Chateau Ste. Michelle
The pairing of Elvis Costello and New Orleans songwriter-pianist Allen Toussaint may seem a bit odd at first. The two began performing together at Hurricane Katrina benefit concerts last year after Toussaint's home was destroyed. However, after hearing their Katrina-inspired record, "The River in Reverse," and seeing the pair perform, one wonders what took them so long to hook up for an album.
The show started with Costello performing "(What's So Funny 'Bout) Peace, Love and Understanding?" and a reworked version of "Monkey to Man," which was spiced up with splashes of brass from the four-piece Crescent City Horns. Toussaint took the stage for "On Your Way Down," the lead track from his album with Costello.
At first, the crowd didn't quite know what to do with the Costello-Toussaint combo. Songs like "Freedom for the Stallion" and "Nearer to You" sounded more crisp and potent than on record, but no one was dancing or singing along. It wasn't until Costello broke into his catalog that the crowd got moving.
He said he asked Toussaint if he would rearrange nine of his songs and nearly all nine of them made the set list. "Pump It Up" was kicked into high gear with the addition of horns. "Watching the Detectives" had extra oomph with a machine-gunning trombone solo and "Alison" was made an even more tender ballad with Toussaint's classical treatment that included a flute.
When Costello wasn't belting out his own hits, he was singing the songs he wrote with Toussaint, all of which sounded as if they would fit right in being bellowed from a Bourbon Street barroom.
However, it wasn't Costello's classics that were the night's highlight. It was simply seeing these two masters of their crafts performing together, soulfully in tune with one another playing beautiful songs that were equal parts sorrow, hope and joy, reflecting the spirit of New Orleans through their music.
.
Travis Hay is a freelance music journalist in Seattle. He can be reached at travhay@yahoo.com.
Seattle Post-Intelligencer
Tuesday, June 27, 2006
Costello-Toussaint pairing serves Nawlins proud
By TRAVIS HAY
SPECIAL TO THE P-I
Chateau Ste. Michelle got a healthy helping of Nawlins for its season opener Sunday in the form of a spirited concert by an iconic English pop singer and a famed Crescent City jazzman.
ELVIS COSTELLO AND THE IMPOSTERS WITH ALLEN TOUSSAINT
WHEN: Sunday night
WHERE: Chateau Ste. Michelle
The pairing of Elvis Costello and New Orleans songwriter-pianist Allen Toussaint may seem a bit odd at first. The two began performing together at Hurricane Katrina benefit concerts last year after Toussaint's home was destroyed. However, after hearing their Katrina-inspired record, "The River in Reverse," and seeing the pair perform, one wonders what took them so long to hook up for an album.
The show started with Costello performing "(What's So Funny 'Bout) Peace, Love and Understanding?" and a reworked version of "Monkey to Man," which was spiced up with splashes of brass from the four-piece Crescent City Horns. Toussaint took the stage for "On Your Way Down," the lead track from his album with Costello.
At first, the crowd didn't quite know what to do with the Costello-Toussaint combo. Songs like "Freedom for the Stallion" and "Nearer to You" sounded more crisp and potent than on record, but no one was dancing or singing along. It wasn't until Costello broke into his catalog that the crowd got moving.
He said he asked Toussaint if he would rearrange nine of his songs and nearly all nine of them made the set list. "Pump It Up" was kicked into high gear with the addition of horns. "Watching the Detectives" had extra oomph with a machine-gunning trombone solo and "Alison" was made an even more tender ballad with Toussaint's classical treatment that included a flute.
When Costello wasn't belting out his own hits, he was singing the songs he wrote with Toussaint, all of which sounded as if they would fit right in being bellowed from a Bourbon Street barroom.
However, it wasn't Costello's classics that were the night's highlight. It was simply seeing these two masters of their crafts performing together, soulfully in tune with one another playing beautiful songs that were equal parts sorrow, hope and joy, reflecting the spirit of New Orleans through their music.
.
Travis Hay is a freelance music journalist in Seattle. He can be reached at travhay@yahoo.com.
http://seattletimes.nwsource.com/html/a ... cation=rss
Seattle Times
Tuesday, June 27, 2006
Classics and plenty more
Elvis Costello's coming to town is reason enough to celebrate. When he comes with friends — especially friends like New Orleans' own Allen Toussaint and the Crescent City Horns — well, then it's time to kick off your shoes and dance.
And that's just what 3,400 fans did Sunday night at Chateau Ste. Michelle, where Costello and Toussaint opened the Woodinville winery's 2006 summer concert series.
Costello, who seems out to master every musical genre, pop to country to jazz, this time is dabbling in New Orleans R&B. His distinctive voice — a pop-y tenor laced with cynicism — didn't always mesh perfectly with Toussaint's earnest, soulful songwriting, but the onstage camaraderie made for a tight performance.
The picnicking, wine-drinking crowd may have bought their concert tickets so they could sing along to Costello classics like "(What's So Funny 'Bout) Peace, Love and Understanding," "Pump It Up," and "Alison" (all ably delivered), but they got plenty more: about a dozen songs from the pair's new CD, "The River in Reverse." The CD — a mix of Costello covering old songs penned by the New Orleans songwriter-pianist and new pieces they wrote together — provided many of the night's best-received tunes.
One of those, the funky, bluesy "On Your Way Down" (a Toussaint song from 1970) was jazzed up by the real stars of the night, the Crescent City Horns, who matched Toussaint note for note as he pounded the keys on the baby grand. The horns — who during the second of three encores gave a dreamy brass-quartet intro to "Alison" — were led by the remarkable Sam "Big Sam" Williams on trombone.
Toussaint and Costello (who announced Sunday that he and wife Diana Krall are expecting a baby, according to The Associated Press) are actually longtime collaborators. The match brings out the best in both. Like a lot of R&B, Toussaint songs can be overwrought; "Ascension Day" (sample lyric: "She hasn't been gone long enough for me to miss her") could be heard as no more than one man singing for his lost girl. But with Costello's edge, it was a song for all of us, and all we have lost.
Raina Wagner, assistant A&E editor
Seattle Times
Tuesday, June 27, 2006
Classics and plenty more
Elvis Costello's coming to town is reason enough to celebrate. When he comes with friends — especially friends like New Orleans' own Allen Toussaint and the Crescent City Horns — well, then it's time to kick off your shoes and dance.
And that's just what 3,400 fans did Sunday night at Chateau Ste. Michelle, where Costello and Toussaint opened the Woodinville winery's 2006 summer concert series.
Costello, who seems out to master every musical genre, pop to country to jazz, this time is dabbling in New Orleans R&B. His distinctive voice — a pop-y tenor laced with cynicism — didn't always mesh perfectly with Toussaint's earnest, soulful songwriting, but the onstage camaraderie made for a tight performance.
The picnicking, wine-drinking crowd may have bought their concert tickets so they could sing along to Costello classics like "(What's So Funny 'Bout) Peace, Love and Understanding," "Pump It Up," and "Alison" (all ably delivered), but they got plenty more: about a dozen songs from the pair's new CD, "The River in Reverse." The CD — a mix of Costello covering old songs penned by the New Orleans songwriter-pianist and new pieces they wrote together — provided many of the night's best-received tunes.
One of those, the funky, bluesy "On Your Way Down" (a Toussaint song from 1970) was jazzed up by the real stars of the night, the Crescent City Horns, who matched Toussaint note for note as he pounded the keys on the baby grand. The horns — who during the second of three encores gave a dreamy brass-quartet intro to "Alison" — were led by the remarkable Sam "Big Sam" Williams on trombone.
Toussaint and Costello (who announced Sunday that he and wife Diana Krall are expecting a baby, according to The Associated Press) are actually longtime collaborators. The match brings out the best in both. Like a lot of R&B, Toussaint songs can be overwrought; "Ascension Day" (sample lyric: "She hasn't been gone long enough for me to miss her") could be heard as no more than one man singing for his lost girl. But with Costello's edge, it was a song for all of us, and all we have lost.
Raina Wagner, assistant A&E editor
http://www.seattleweekly.com/arts/blogs ... ciutto.php
Toussaint, Pinot, and Prosciutto
Posted 28/06/2006 , by Mike Seely
Sunday night's Elvis Costello-Allen Toussaint show at Chateau Ste. Michelle was better than I thought it'd be. I expected Costello and his band to basically back Toussaint and his horns, but they drew from each esteemed artist's catalogue in a balanced and synergistic manner. Most impressive were the reworks of Costello classics such as "Allison" with Toussaint's horn section.
Also impressive was the white-blanket spread of prosciutto, gourmet cheese, mango, and wine being consumed by the too-skinny tattooed hipster gals in front of me. I wonder what would happen if any of their Pike-Pine indie rock mafia posse saw them grooving at a suburban Eastside winery whilst taking in a three-hour dose of adult contemporary songcraft. Excommunication from said posse? Very likely.
Toussaint, Pinot, and Prosciutto
Posted 28/06/2006 , by Mike Seely
Sunday night's Elvis Costello-Allen Toussaint show at Chateau Ste. Michelle was better than I thought it'd be. I expected Costello and his band to basically back Toussaint and his horns, but they drew from each esteemed artist's catalogue in a balanced and synergistic manner. Most impressive were the reworks of Costello classics such as "Allison" with Toussaint's horn section.
Also impressive was the white-blanket spread of prosciutto, gourmet cheese, mango, and wine being consumed by the too-skinny tattooed hipster gals in front of me. I wonder what would happen if any of their Pike-Pine indie rock mafia posse saw them grooving at a suburban Eastside winery whilst taking in a three-hour dose of adult contemporary songcraft. Excommunication from said posse? Very likely.