Can you tell me about how you landed some of the guests on the record?

To be honest, it was fairly easy because living in New Orleans we have such great talent to pick from. David Torkanowsky has said living in New Orleans is like living within the greatest musical toy box, though I prefer to say toolbox. We have these tools at our disposal. Once we decided we wanted horns, we thought, who do we call? Well, you start off calling people like Nicholas Payton, Donald Harrison, and Trombone Shorty. You know? It’s pretty remarkable. Then, some of the other horn players we called were Eric “Benny” Bloom, Mark Mullins, and Skerik. For percussion, we’re calling Mike Dillon. For vocals, let’s call Cyril Neville for a tune, maybe two, and that went so well, it’s like, what are you doing tomorrow? Maceo Parker I had done a tour with and he’s always been one of my favorites. We got Maceo when he came down for Jazz Fest.

New Orleans musicians have often served as almost cultural ambassadors for the city when they travel around the world. How important was Allen as a cultural ambassador for New Orleans?

Culturally, Allen would take the things he grew up being influenced by—like Professor Longhair, Dr. John, Mardi Gras Indians, brass bands—these things would be present in his music. Then, he would write tunes for people who would take these things to other parts of the country and other parts of the world. He’s written for people like the Pointer Sisters, and horn arrangements for The Band. After Katrina he worked with Elvis Costello. Whether subtle or overt the influence of New Orleans is in his music. Whether or not the general public is aware of Allen Toussaint or not, they have heard his music and been affected by it.

I think a lot of people would put you in that category as a New Orleans ambassador. Is that fair to say?

I’m comfortable with that. I love where I’m from and I love the music from here. There is just so much to draw from. Obviously the funk and more rhythmic stuff that made a name for myself for the first 20 years of my career. Now, doing some of the jazz side of the spectrum. And there’s Pepper Keenan, who’s gotten me on Corrosion of Conformity, which is heavy stuff. Playing with Irma Thomas, and all of The Meters—all the different things I’ve been able to do. It’s an unbelievably diverse musical city. You can never reach the end of what’s possible. So, I’m always trying to learn and shed and practice and develop and grow.

The aftermath of Hurricane Katrina brought a lot of immediate attention to the region. What’s your diagnosis of any lingering effects over a decade later?

It’s always a case-to-case basis as to how many people have been affected and in what way. Me, personally, I had several rental properties at the time and they all flooded. It was a nightmare. I eventually sold everything. It changed my approach on how I live my life. I don’t ever want to go through anything like that ever again. The crime in New Orleans has really swollen up, worse than it has been in a long time. Statistically you can back that up. Shamarr Allen, he’ll say, “Man, I’ve been telling you that if we didn’t do something for the kids that were children at the time of Katrina—give them music programs or community programs—you are going to see these kids get to 18 years-old and you’re going to see a spike in crime.” And that is what we’re seeing: the Katrina effect on crime.

What about the future of that Trio record you intended to make?

I don’t know. I haven’t decided yet. To be honest, it’s like, “What do you do after this record? “

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