Davell Crawford "Legends Series" with Special Guest Irma Thomas
Davell Crawford, Irma Thomas
445 S. Rampart St
New Orleans, LA, 70112
The genius of Davell Crawford arises from his ability to play and sing the music of his passion—the music of his life. The New Orleans keyboardist, vocalist, composer and arranger soaked up the surrounding rhythms and harmonies that were his deep musical roots and nurtured his natural talent.
Acclaimed as the "Piano Prince of New Orleans," Crawford brings equal exuberance to both modern and classic jazz, rhythm and blues, funk, blues, gospel, soul, pop, American folk and touches of country-western.
Growing up in New Orleans and presently residing there and in New York City plus spending many youthful days in Southwest Louisiana, Crawford's influences run the gamut from Fats Domino to Sarah Vaughan, to Patsy Cline and even Liberace. In the tradition of those from the Crescent City who came before him, Crawford also believes in the art of entertainment. He'll get up from the piano, move to the apron of a stage, prance, joke and make folks feel at home.
As a child, Crawford attended both Baptist and the Catholic churches. He watched the pipe organist so attentively that when he first sat in front of the impressive instrument he already knew the function of the stops and pedals. The organ at his church was the first he ever played and throughout his life he's continued to man the organ in both church and club settings.
The prowess he developed is best exemplified on his 1998 Rounder Records release, the swinging, soulful and funky, The B-3 & Me. Tellingly, it includes two Ray Charles hits: "I Can't Stop Loving You" and "Hallelujah I Just Love Her So." At age seven, Crawford, who has often been compared to the great Ray Charles, made his first public appearance playing his favorite tunes from the master on a piano outside of New Orleans' famous coffee stand, Café du Monde. Backed by quintets, big bands and on occasion orchestras, he's also paid tribute to Charles at several outstanding shows around the world. His 2005 tribute to Ray Charles when he assembled some of New Orleans' finest players to form the Davell Crawford Orchestra, has been noted as "One of The Best Concerts Ever".
At just 10 years old, Crawford made an impression on the New Orleans gospel community by taking on the position of accompanist to the St. Peter Claver Catholic Church choir. By the time he was 11, his talents were utilized by the St. Joseph Baptist Church where he became the youth choir director, pianist and organist to the sanctuary and men's choruses. Since then Davell has traveled the world conducting choral workshops and making appearances in gospel music. Throughout his career he's also lead a host of award winning gospel ensembles. He chose the 'creme de la cream' of New Orleans gospel vocalists to form The Davell Crawford Singers, whose members are spread from the East to West coasts, while the core members remain in New Orleans. They continue to reunite today and are heard on his latest, gripping CD, My Gift To You, his first on the Basin Street Records label.
Gospel is at the heart of everything that Crawford does. Davell is the godson of the iconic Roberta Flack and the grandson of the great vocalist/pianist/composer James "Sugar Boy" Crawford of "Jock-A-Mo" fame giving reason for the honesty, passion, and ample rhythm and blues that also fills his soul. Crawford can—and has—thrown down all night R&B concerts and parties jumpin' with tunes from the likes of pianists Fats Domino, Professor Longhair, James Booker and Huey "Piano" Smith. Crawford is definitely in that number as he carries the New Orleans piano legacy along with the complete American Roots legacy.
A softer, quieter side of Davell Crawford is revealed when, as heard on his 1999 release, Love Like Yours and Mine, he slips comfortably into his jazz mode on such classics as "Fly Me to the Moon." His tenderness and informed jazz sensibilities shine with every note when Crawford approaches the standards. Often, he'll be in a trio or quartet setting behind the grand piano or standing at center stage with only the microphone and the trio backing him for an evening of classic or modern jazz.
Then again, he might don a silly wig and an eye patch in honor of the late great James Booker and take the house down by emanating his fellow pianist's eclectic, frequently elegant panache. Crawford is also fully versed in the traditional jazz songbook of New Orleans, the birthplace of jazz. A fact that will be confirmed if you are lucky enough to experience a performance by Davell Crawford and His Creole Jazz Men of New Orleans. He's also been known to make special rare appearances at the music's landmark, Preservation Hall.
With his immense talent and experience, the pianist and vocalist could have chosen his next release to be in any number of genres. On his latest, meticulously produced album, My Gift To You, Crawford remarkably embraces the full spectrum of his interests and influences as he reaches into his rich bag of resources and natural abilities. On the disc, just as he has throughout the world during his decades-long career, Crawford celebrates his musical roots and becomes their ambassador. As the Prince of New Orleans joyfully expresses on the opening track of My Gift To You: "I am the Creole man, I come from foreign lands to spread the news..." He also expresses, just as momentously, on the closing track, "Louisiana, I love you for all you've given to me, I promise never forget you as I travel o've the stormy sea."
The unrivaled Soul Queen of New Orleans -- a title officially bestowed by local officials, no less -- Irma Thomas ranks among Crescent City R&B's greatest and most enduring musical ambassadors, never enjoying the coast-to-coast commercial success of contemporaries like Aretha Franklin and Etta James but nevertheless breathing the same rarified air in the minds of many soul music aficionados. Born Irma Lee in Ponchatoula, LA, on February 18, 1941, as a teen she sang with a Baptist church choir, even auditioning for Specialty Records as a 13-year-old. A year later, she gave birth to her first child, marrying the baby's father and subsequently giving birth to another child before the union dissolved. At 17 she wed again, this time to one Andrew Thomas, having two more babies before she again divorced, all before the age of 20. Keeping her second ex-husband's surname, Thomas went to work as a waitress at New Orleans' Pimlico Club, occasionally sitting in with bandleader Tommy Ridgley. When the club's owner dismissed her for spending more time singing than waiting tables, Ridgley agreed to help her land a record deal, setting up auditions with the local Minit and Ronn labels. The latter issued her saucy debut single, "You Can Have My Husband (But Don't Mess with My Man)," in the spring of 1960, and the record quickly reached the number 22 spot on the Billboard R&B chart. However, Thomas accused Ronn of withholding royalties and after one more effort for the label, "A Good Man," she briefly landed with the Bandy label, releasing 1961's "Look Up" before relocating to Minit.
Thomas' first Minit release, "Girl Needs Boy," inaugurated a collaboration with songwriter and producer Allen Toussaint that would continue throughout her tenure with the label; although none of her six Minit singles were significant hits, each was brilliant, in particular 1962's "It's Raining" (memorably revived by filmmaker Jim Jarmusch for his cult classic Down by Law) and the following year's "Ruler of My Heart," reworked by Otis Redding as "Pain in My Heart." Imperial Records acquired Minit in 1963, and Thomas' contract was included in the deal. Her first single for the label, the starkly intimate "Wish Someone Would Care," capitalized on Imperial's deep pockets to vault into the Billboard pop Top 20, while its Jackie DeShannon/Sharon Sheeley-penned B-side, "Break-a-Way," proved a massive hit on New Orleans radio, later accumulating cover versions by singers from Beryl Marsden to Tracey Ullman. The follow-up, "Anyone Who Knows What Love Is (Will Understand)," was even better, a magnificent ballad featuring one of Thomas' most finely wrought vocals, but was not a hit. Likewise, its Jerry Ragovoy-penned B-side, "Time Is on My Side," had its fans, not the least of them the Rolling Stones, who scored a massive hit with a virtual note-for-note cover version. Thomas closed out 1964 with a pair of minor chart entries, "Times Have Changed" and "He's My Guy," both of them written by Van McCoy; for subsequent efforts including "I'm Gonna Cry Till My Tears Run Dry" and "The Hurt's All Gone," she even traveled to New York City to record with hitmaker Ragovoy, but despite the pedigrees of those involved, her commercial momentum dissipated, and following the chart failure of 1966's James Brown-produced "It's a Man's-Woman's World," Imperial terminated her contract.
Safe with MeThomas next signed with Chess Records, traveling to Rick Hall's legendary Muscle Shoals studio Fame to cut 1967's "Cheater Man." Neither that record nor its follow-up, "A Woman Will Do Wrong Charted," had much success, but her third Chess single, a reading of Redding's "Good to Me," was a minor R&B chart entry in 1968. It was not enough to extend Thomas' relationship with Chess, however, and she spent the next several years outside the studio. In the aftermath of the devastating Hurricane Camille, she relocated her family to Oakland, CA, in 1969, later settling in Los Angeles. During this time Thomas supported her children by working at retailer Montgomery Ward, resurfacing on record with 1971's Cotillion label release "Full Time Woman." Later that year, she also issued "Save a Little Bit" on the tiny Canyon label, followed in 1972 by "I'd Do It All for You." Thomas returned in 1973 with "These Four Walls" on Roker, followed by three singles on the horribly named Fungus label: "You're the Dog (I Do the Barking Myself)," "In Between Tears," and "Coming from Behind." She relocated back to New Orleans in 1976, a year later issuing "Hittin' on Nothin'" and a re-recorded "Breakaway" on Maison de Soul; in 1980, Thomas surfaced on the RCS label with Safe with Me, an ill-conceived LP that sought to update her sound to approximate disco-era R&B. It was the last record she would make for six years.
The New Rules In the interim, Thomas accelerated her live schedule. With husband/manager Emile Jackson, she opened the Lion's Den, a New Orleans club where she regularly headlined, and she also toured Europe, where her records still merited regular airplay. In 1985, she was approached by Rounder Records producer Scott Billington to make a comeback record. The New Rules appeared the following year, earning solid reviews and selling respectably. The Way I Feel hit stores in 1988, and with 1991's Live! Simply the Best, Thomas earned her first-ever Grammy nomination. The following year she issued True Believer, and in 1993 released her first gospel effort, Walk Around Heaven. She waited until 1997 to release her next secular record, The Story of My Life, blaming the delay in interviews on her difficulty in finding material appropriate to her age and sensibility. Thomas shifted gears radically for 1998's Sing It!, which paired her with devout fans Marcia Ball and Tracy Nelson; two years later saw the release of My Heart's in Memphis: The Songs of Dan Penn, with Thomas tackling both Penn classics ("I'm Your Puppet," "Woman Left Lonely") and original compositions. After the Rain, released in 2006, was nominated for a Best Contemporary Blues Album Grammy. Simply Grand was issued on Rounder Records in 2008, and featured Thomas in an acoustic setting accompanied by a host of piano players, including Dr. John, Ellis Marsalis, Randy Newman, and others.
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