Taj Mahal Globalizes The Blues

Bluesmen are born resilient and it's no different with Taj Mahal. What makes him stray off the beaten path is a kind of meandering curiosity that's added refreshing versatility and allowed him to steer clear of musical constraints. One of the most influential American blues artists of the past half-century, the two-time Grammy winner has always had a panoramic approach to music making, over the years drawing on sounds and styles that resulted in a string of adventurous recordings in the 70s, a children's album in the early 90s, and multicultural excursions later that same decade, including a collaboration with Indian classical musicians, a cross-pollination of Hawaiian music and blues, and a meeting of the minds with Malian kora player Toumani Diabate. Taj may be high-minded but his output has always been more soulful than cerebral. The same can be said about Maestro, Taj's first album in the U.S. in five years and his first international debut on Heads Up. The newly released disc showcases the master's all-inclusive philosophy and gift for bringing other genres and artists of diverse styles into the fold of American roots music. Latin rockers Los Lobos back Taj on a few tracks, most notably on the boozy, rollicking "TV Mama," a tune written by Willie Turner and delivered here in a style reminiscent of seminal electric blues axman Elmore James. Ben Harper joins in on vocals on the raw and gritty "Dust Me Down," and surfer turned singer/songwriter Jack Johnson takes a cue from Taj's well-known "Further On Down the Road." Ziggy Marley also gets in on the action accompanied by his six-piece band and infusing some island vibe on "Black Man, Brown Man." Taj and Beninese songstress Angelique Kidjo share writing credits on "Zanzibar," a lilting African ballad on which she sings and which also features the sublime artistry of Diabate on the kora. Taj's global perspective is informed by many currents, but he goes back to basics reviving his roots by paying tribute to the likes of Ottis Redding on "Scratch My Back," Fats Domino on "Hello Josephine," and by doing what he does best with roadhouse swagger on "Diddy Wah Diddy," a Wille Dixon/Bo Diddley classic. It's the blues according to Taj Mahal.