Although he is usually identified as a bluesman, in truth, the multi-instrumentalist musician that we've known as Taj Mahal (Henry St. Clair Fredericks) is too adventuresome, too intellectually curious to be satisfied with plumbing the depths of a single musical form. Mahal's lengthy career began with the early-1960s folk-blues band Rising Sons, formed with guitarist Ry Cooder. Although that band recorded a single album for Columbia Records, it proved to be too forward-looking in its mix of roots-rock, folk, and blues music and it remained unreleased until 1992.
Frustrated by the label's refusal to release the Rising Sons album, Mahal left the band, but remained with Columbia Records as a solo artist. Since his self-titled debut album was released in 1968, Taj Mahal has brought his immense talents to bear on acoustic blues, rock, folk, jazz, gospel, reggae, various African styles of music, even traditional Caribbean styles, on better than 40 recordings.
Maestro is Mahal's first U.S. release in over five years, and a fine showcase for both his talents and varied musical interests. Backed by the tight chemistry of his Phantom Blues Band, Maestro also includes guest appearances by musicians like Ben Harper, Los Lobos, Ziggy Marley, and Angelique Kidjo.
Taj Mahal's Maestro
The humorous, over-the-top "Scratch My Back" is a slow, funky blues - kind of a cross between brassy Chicago style and greasy Texas grind. Mahal's vocals are dropped a key, to achieve a gritty authenticity and growling delivery, sounding at times like legendary 1960s DJ Wolfman Jack. The horns of Joe Sublett (sax) and Darrell Leonard (trumpet) add to the overall strutting cockiness of the song.
Backed by Mex-American rockers Los Lobos, and wielding a lone ukulele to accompany his soulful vocals, Mahal ventures into classic R&B territory with the gentle, romantic "Never Let You Go." With a subdued soundtrack behind him, the song relies instead on Mahal's steady, passionate vocal delivery.
On the other hand, Mahal's take on Ben Harper's "Dust Me Down" is a roaring blues-rock stomp with gospel-tinged backing vocals. Harper guests on the song, his sweeter vocals a distinctive balance to Mahal's leonine howl.
Back To Africa
Maestro brings a bit of African pop flavor to its blues and soul grooves with the infectiously charming "Zanzibar." Co-written with African vocalist Angelique Kidjo, who also provides vocals, the song's mesmerizing rhythms are provided by Toumani Diabate playing the traditional Kora instrument, and Bessekou Kouyate playing the Ngoni.
Maestro also includes a bit of Africa by the way of Jamaica with Mahal's original reggae romp "Black Man, Brown Man." His vocals approximate the Rasta patois, warmly phrasing the lyrics above a skanky rhythm and bits of squealing horn. Ziggy Marley, son of reggae great Bob Marley, guests here, delivering nearly half of the song's verses, providing a true island vibe to the performance.
Pure Blues
Again accompanied by the excellent Los Lobos band, "TV Mama" is pure Delta slip-and-side, a tongue-in-cheek song with ribald lyrics and a deep, muddy groove as wide as the Mississippi. Mahal's vocals here are pure blues, barking at the moon Howlin' Wolf style above a moaning harmonica and snakey slide guitar.
"I Can Make You Happy" is a similar houserockin' gem, Mahal's vocals reduced to a primal grunt-and-groan, an evolutionary cross between the Wolf and Dr. John's Cajun howl. This time Mahal is backed by the "New Orleans Social Club," which includes Ivan Neville (of the legendary Neville Brothers family) on Hammond B3 and Henry Butler on piano. Leo Nocentelli's (of the Meters) menacing six-string riffs add to the song's raw ambiance, produced by guitarist Warren Haynes with a deft hand.
Mahal tackles Willie Dixon's big band Chicago blues gem "Diddy Wah Diddy," accompanied by his rough-n-tumble Phantom Blues Band. The song is stripped down to its muscle and bone, its swinging arrangement complimented by blasts of horn, Mahal's malevolent mouth harp, and a bit of old-fashioned keyboard-bashing. With pure juke-joint Saturday night fervor, "Diddy Wah Diddy" provides Maestro with an explosive finish that will have your ears ringing with glee long after the CD has stopped spinning.
The Reverend's Bottom Line
With Maestro, Taj Mahal celebrates 40 years of recording with what is one of his strongest, most eclectic, and yet cohesive albums to date. Sure, Mahal is all over the board here, bouncing back-and-forth between blues, soul, and rock music with exercises in reggae and African pop thrown in for variety. It's testimony to Mahal's talents as a songwriter, performer, and bandleader that he ties it all together nicely, proving that he is a "maestro" indeed! (Heads Up International, released September 30, 2008)
