Taj Mahal, the 'Maestro'

Henry St. Claire Fredericks has a new album that his fans might enjoy. He hasn't had a U.S. release in about five years, but if his headline role at the Pittsburgh Blues Festival this year was any indication, he might never have to release another one.

Nonetheless, Fredericks' "Maestro" (Heads Up), hits the record shops today (remember record shops?). Of course, blues lovers know that Fredericks is really Taj Mahal, the world traveler who has explored music from a global perspective for 40 years, always seeming to revolve around the blues.

And just to avoid keeping you in suspense, I think this is a pretty durned fine album. It's mostly Taj-written tunes, as usual carrying the flavors of music from just about everywhere, but this one seems to stay a little closer to bluesy stuff than some of his work.

The opening "Scratch My Back" has a nice traditional feel, and "Dust Me Down" kicks out in a similar vein (Ben Harper's vocal work on this one is quite tasty). "Further on Down the Road" is not the blues chestnut, but a banjo-led original with vocals from Jack Johnson -- a plaintive ballad. There's "Black Man, Brown Man," with Ziggy Marley's band, and the very African "Zanzibar."

Taj does some interesting things here, recording with bands that range from his own Phantom Blues Band (on "Scratch My Back"), Los Lobos (the very tough and old-fashioned bluesy "TV Mama," (with her big wide screen) -- that tune, by the way, a quaintly sexual allegory with slightly digital overtones.) "Slow Drag," with the Phantoms, is also a banjo-plucking switch on an old blues style.

Some of the best tracks are those backed by the New Orleans Social Club, including Ivan Neville, George Porter and Henry Butler. That would include "I Can Make You Happy" and their extremely funky New Orleans take on Fats Domino's "Hello Josephine," with organ fills helping out where Fats used his piano keyboard.

"Strong Man Holler" is another traditional type blues with one of those odes to a 17-year-old girl who can make "a strong man holler" that might be frowned upon in these politically correct times in less bluesy circles.

And he closes with a rousing take on the Willie Dixon-Bo Diddley classic "Diddy Wah Diddy" that makes you long for some of those lyrics that actually say something: "...crazy bout my gal down in Diddy Wah Diddy..." Roll over, Beethoven, dig that. 

Well, okay, it's a very good album. Maybe even worth the five-year wait. Taj is still running strong, his imagination and his chops in fine form. If you're a fan, soak this one up. If not, it will make you one.

Maybe one last word about the way Taj incorporates multiple influences into his work. In some ways, it's slightly off-putting. He never quite commits himself to the traditional blues format, even when he's doing what might otherwise be very traditional music. On the other hand, that's what keeps his music fresh and vital. He's a little long in the tooth to be the future of the blues, but his music is still timeless. And that's what counts.

Here's a recent interview with Taj about his music and the new album.

Once more for Nappy Brown

I know I've passed on a few Nappy Brown obits. But today I found this article, written by Bob Margolin for Blueswax and republished on The Blues Report E-Zine. It's a fine tribute by someone who knew Nappy well and worked with him and his music. It's a much more fitting tribute than most obits provide.