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Rating: I've always liked Elvis Costello for his peculiar versatility that has allowed him over the years to effortlessly transition from rock to other musical genres, while maintaining his essence as an open and curious musician each time. There are thus countless collaborations he can boast on his resume from composer Burt Bacharach to opera singer Anne Sofie Von Otter, not to mention folks like Lee Konitz and Peter Erskine, prominent figures of the jazz world much loved by his beloved Diana Krall.
Not contradicting himself today, Costello arrives in New Orleans devastated by Katrina to record another album that is unconventional in some ways, this time with Allen Toussaint, a piece of living history of soul and rhythm and blues. And I must say that the result is not bad. "The River In Reverse" is a well-conceived, classy, elegant album, looking back at the glorious past of the music born in this land. Nonetheless, it is not a convincing album, as the music sometimes seems less dynamic and fluid than one would have expected. Take, for instance, the sentimental "Nearer To You", which probably might leave many with the feeling that something is missing, perhaps that bit of dark energy that distinguishes a passionate track from a mere exercise in style. The same goes for the sweet and melancholic ballad "The Sharpest Thorn" composed by Costello, which, despite the evocative sonic backdrop painted by the Hammond, seems at times out of context.
Quite different, however, is the song that opens the CD - "On Your Way Down" - actually, I must say that just a few notes from this track were enough to compel me to purchase it. I immediately sensed a happy and vital blend of different atmospheres: on one side the evocative touch of Louisiana from Allen Toussaint's piano, on the other side the elegant roughness of Anthony "AB" Brown's Fender Telecaster, all set with brass, Hammond, backing vocals with superb arrangements over which Costello's voice rises, vibrant and inspired like it hasn't been in a while. A similar discussion applies to the happy interpretation of "Tears Tears And More Tears" that between gospel and rhythm and blues conveys a genuine musical vitality effectively supported by the brass and the choirs.
It's really a shame that the album doesn't always manage to express itself at the same levels, alternating moments of class and pleasure with more stretched passages. And this happens despite the excellent production by Joe Henry, someone who rarely misses the mark with his musical approaches. In short, highs and lows, combined with the feeling that in this perfectly crafted album from start to finish, something is missing to make it unforgettable, perhaps just a bit of soul.
Tracklist
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