No matter how much you know about New Orleans' music, you probably don't know the half of Allen Toussaint's central role in crafting and exporting the New Orleans sound from the 1960's through today. Songwriter, producer, arranger, session pianist and solo artist—these terms barely convey his reach. Toussaint's work includes songs and productions for such well- known New Orleans stars as Irma Thomas, Lee Dorsey, Ernie K-Doe, The Meters, Dr. John, and most other New Orleans singers. In addition, his nearly 800 songs have been covered by a who's who of rock, R&B and country music: Otis Redding (Pain in My Heart), The Dave Clark Five (I Like It Like That, co-written with Chris Kenner), Boz Scaggs (What Do You Want the Girl To Do?), Glen Campbell (Southern Nights), Robert Palmer (Sneakin' Sally Through the Alley), The Pointer Sisters (Yes We Can Can) and hundreds more by The Rolling Stones, The Who, The Yardbirds, Iron Butterfly, Devo, The Judds and even The Notorious B.I.G.! As a producer, Toussaint put together albums for Joe Cocker, Etta James, LaBelle, Ramsey Lewis and Elvis Costello, among many others, arranged horns for The Band on Martin Scorcese's film The Last Waltz and for Paul Simon on There Goes Rhymin' Simon and played piano on Wing's Rock Show, which was recorded at his own Sea-Saint Studios. He was inducted into the Rock & Roll Hall of Fame in 1998 and received the Recording Academy Trustees Award at the 2009 Grammys. No one can capture the quiet power of this multidimensional musical icon better than his equal in painting, the prolific and influential James Michalopoulos. Michalopoulos previously laid bare the essence of Dr. John, Louis Armstrong and most recently Fats Domino in his sold-out contributions to the Jazz Festival poster series, and he does so again. Here is a joyous Toussaint in one of Michalopoulos’ signature swirling French Quarter landscapes, with the spire of St. Louis Cathedral behind him. The firm confidence of Toussaint’s hands is juxtaposed with the warm and somewhat reticent gentleness of his visage. In a stunning example of artistic mastery, Michalopoulos creates the illusion of reflective polished ebony in the piano top even as the entire print is rendered in flat silk-screen inks. A timeless paean to an American Master celebrating the 40th Anniversary of the world's greatest musical event by another master and a perfect match in size and composition to Michalopoulos' sold-out 2006 Fats Domino Jazz Fest portrait.