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Blues - Released October 7, 2013 | Dixiefrog

Hi-Res Booklet + Video Distinctions 4F de Télérama - The Qobuz Ideal Discography - Indispensable JAZZ NEWS - Hi-Res Audio
Eric Bibb's version of the blues has always been patient and positive, and his best songs and tracks are calm, wise, hushed, unhurried, and elegant, more concerned with solutions than darkness and despair, a vision that makes him the spiritual descendant of Blind Willie Johnson, say, more than Robert Johnson. Bibb isn't about to go down to the crossroads and make some deal with the devil. His version of folk-blues isn't about that sort of stuff. It's closer to gospel in tone, with a strong commitment to betterment and change, bereft of personal demons, and filled instead with cultural ones. Bibb wants us to have a heart and work together and fix things between us on a global level. All of this could well make his music precious and preachy rather than poignant, but Bibb is adept at making his version of the blues, social discourse and all, work as smoothly as a gentle rain on the roof at night. Jericho Road, which finds Bibb working once again with longtime collaborator, producer, engineer, and multi-instrumentalist Glen Scott, isn't much of a departure from Bibb's previous outings, but it's sonically deeper, with a full, warm sound augmented at times by wonderfully placed maverick horn and string touches. The message is the same, that we need redemption and commitment in our lives, and that true freedom is born of that. The whole album feels comfortable, patient, and wise, from the opener, "Drinkin' Gourd," through the bright, buoyant "Freedom Train," "Have a Heart," the lovely "They Know," and the joyous secular gospel shuffle "She Got Mine." There aren't any jagged edges. Bibb is about healing scars, not outlining and celebrating them. The blues is what you make of it. ~ Steve Leggett

Blues - Released February 21, 2012 | Dixiefrog

Distinctions Le top 6 JAZZ NEWS - Sélectionné par Ecoutez Voir
Eric Bibb's version of the blues is calm, wise, hushed, and elegant, as much or more about redemption as it is about despair, and above all, Bibb sees the blues as narrative, part of the story we all drift through. His best songs, often built on traditional patterns and rhythms, are wise and affirming, and they fall to the brighter and more hopeful side of the blues. There are several such gems on Deeper in the Well, including the opening track, a delightful piece of Louisiana shuffle funk called "Bayou Belle," the string band gospel bounce of "Dig a Little Deeper in the Well," a modal and relentlessly driving "Boll Weevil," "Sittin' in a Hotel Room," which is a wise and hopeful story of contentment, and the final track, a stunningly beautiful banjo version of Bob Dylan's "The Times They Are a-Changin'." It all adds up to a beautifully redemptive album, one of Bibb's best. ~ Steve Leggett

Jazz - Released March 31, 2011 | Dixiefrog

Distinctions 4 étoiles Jazzman

Blues - Released October 26, 2006 | Dixiefrog

Distinctions Grand Prix de l'Académie Charles Cros
Calm, wise, hushed, and elegant, Diamond Days is in many ways the perfect Eric Bibb album. It features his fine acoustic guitar playing and his soothing, nuanced singing, and it shows an increasingly improving songwriter as well, and the whole affair is all wrapped up with a patient, quietly joyous, and ultimately positive vibe. Bibb's version of the blues has always been like that, patient and positive, and it serves as a reminder that the blues isn't necessarily always about despair, darkness, and ominous guitar riffs but is also built on the concept of survival and moving forward, on the idea of getting through tough times and reaching brighter days. In Bibb's hands the blues becomes sustaining, moving closer to the spiritual uplift of gospel, and the often shaky division between Saturday night blues and Sunday morning praise drops away here. Bibb isn't haunted by personal demons as much as he is by cultural ones. He doesn't have a hellhound on his trail, and he isn't about to go down to the crossroads and make deals with the Devil. Bibb's 21st century version of the folk-blues isn't about that kind of stuff. It's about healing. Song after song here reflects that. The opener, "Tall Cotton," is simply beautiful, and full of hope. The title tune, "Diamond Days," brims with calm wisdom and gentle assurance, and "In My Father's House" gives off the same glow, buoyed by its funky, rhythmic punch. "Still Livin' On" is Bibb's own personal survey of the blues, with verses celebrating Mississippi John Hurt, Libba Cotten, Son House, Pops Staples, and, amazingly, blues anthologist and writer Sam Charters and his wife, Ann Charters. The song comes complete with a delightful tuba break by Jim Shearer before giving way to the bonus track, a stately version of "Worried Man Blues" that glides along on Levi B. Saunders' banjo playing. A cover of Bob Dylan's "Buckets of Rain" is surprisingly underwhelming, though, and fails to find any new corners in the song. An additional enhanced video track features Bibb visiting a guitar shop in Paris, and he is seen playing, singing, and talking about his music. Taken as a whole, Diamond Days doesn't break any new ground, but that isn't really a bad thing, since Bibb's voice of temperate reason and unyielding hope in the dawning of better days is a stance that is welcome in any era. No hellhounds here. ~ Steve Leggett
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Blues - Released November 3, 2014 | Dixiefrog

Hi-Res Booklet + Video Distinctions Indispensable JAZZ NEWS
Eric Bibb's version of the blues is hushed and elegant, as much or more about redemption as it is about despair. His best songs, often built on traditional patterns and rhythms, are wise and affirming, and they fall to the brighter and more hopeful side of the blues, a vision that makes him the spiritual descendant of Blind Willie Johnson, say, more than Robert Johnson. Bibb isn't about to go down to the crossroads and make some deal with the devil. His version of folk-blues isn't about that sort of stuff. It's closer to gospel in tone, with a strong commitment to betterment and change, bereft of personal demons, and filled instead with cultural ones. Blues People has all of this on display. It's calm, serious, warm, thoughtful, and wonderfully recorded (the album was produced by Glen Scott), and if it doesn't expand Bibb's musical template much, it isn't supposed to, and it ends up being one of Bibb's finest outings. Taking its title from Amiri Baraka's groundbreaking 1963 book Blues People (Baraka was still LeRoi Jones when the book was published), the album is full of musical guests, from Taj Mahal to the Blind Boys of Alabama, but none of them capsize the emotional balance of the set, adding to, rather than detracting, from the songs they appear on. The album has a stark tone, but also a deep warmth, with songs like "Silver Spoon" (which features Popa Chubby), "Driftin' Door to Door," "Where Do We Go" (with vocal help from Leyla McCalla), and "Needed Time" (highlighted by clawhammer banjo from Taj Mahal and gorgeous vocals from the Blind Boys of Alabama) all giving off a calm, determined urgency. The emotional center of the set is undoubtedly "Rosewood," the narrative story of Rosewood, a whistle-stop town in Florida that was the scene of a racially motivated massacre in 1923, and is a symbol of one of the lowest points in American history. In Bibb's hands, the song not only recounts the story and its horrors, but also draws parallels between the evils of the slave trade and the persistence of intolerance and racism in the 21st century. ~ Steve Leggett

Blues - Released April 9, 2009 | Dixiefrog

Blues - Released August 24, 2004 | Telarc

Friends is the accurate and revealing title for New York bluesman Eric Bibb's tenth album since 1997. There are 15 cuts here, each of them featuring rootsy folk and blues collaborations with different "friends" in differing small group settings. The set starts with a killer acoustic slide duet between Bibb and Guy Davis on the nugget "99 ½ Won't Do." The contrast between Davis' sweet and smoky delivery and Bibb's husky wail -- akin to Blind Willie Johnson's in places -- offers a double-sided dimension in interpretation for the listener, as well. Elsewhere, Charlie Musselwhite gives a killer snaky harmonica performance on "Six O' Clock Blues." Taj Mahal makes two appearances; one in a duet on "Goin' Down Slow," and one in a trio with Bibb and Malian guitarist Djelimady Tounkara on a medley of the traditional "Kulanjan" and Bibb's own "Sebastian's Tune." Speaking of Mali, and Mahal, Bibb also covers the elder bluesman's classic "Lovin' in My Baby's Eyes," with the great kora player Mamadou Diabate that rivals the original. There's also a gorgeous version of Guy and Susanna Clark's "The Cape," with guitarist Martin Simpson, Bibb's moving "For You" with Ruthie Foster, and "Tain't No Such Thing," a bright new folk song written and sung with legendary folksinger Odetta. Mohan Veena ace Harry Manx performs with Bibb on the high lonesome, droning blues of "Needed Time," and with Kristina Olsen on her "If I Stayed." The set closes with the tender "Dance Me to the End of Love," (an original, not the Leonard Cohen tune) with the Lovin' Spoonful's Jerry Yester playing piano. In addition to the many performers on this collection, there are 15 different engineers! Given that most records of this type are mixed bags at best, with "star-studded" collabs serving to muck up or water down rather than enhance performances, Friends is an anomaly. There is nothing that's obvious or overblown here, everything is subtly shaded, and the performers serve the songs and not themselves. The listener gets no sense of back-patting or self-congratulation, only the great pleasure of hearing this music in a revealing, emotionally honest way. Bravo. ~ Thom Jurek

Blues - Released June 7, 2011 | Telarc

Eric Bibb's version of the blues has always been patient and positive, and it serves as a reminder that the blues isn't necessarily always about despair, darkness, and ominous guitar riffs, but is also built on the concept of survival and moving forward, on the idea of getting through tough times and reaching brighter days. In Bibb's hands, the blues becomes sustaining, moving closer to the spiritual uplift of gospel, and the often shaky division between Saturday night blues and Sunday morning praise drops away with this man. Bibb isn't haunted by personal demons as much as he is by cultural ones. He doesn't have a hellhound on his trail, and he isn't about to go down to the crossroads and make deals with the Devil. His 21st century version of the folk-blues isn't about that kind of stuff. It's about healing. A voice of temperate reason and unyielding hope in the dawning of better days is welcome in any musical style and in any era, and Bibb continues down that path with his latest release, Troubadour Live, recorded at a December 9, 2010 concert in Stockholm, Sweden, and featuring guest electric guitarist Staffan Astner. Astner's astounding tone and sharp efficiency on guitar dovetails neatly with Bibb's own accomplished and full-sounding acoustic guitar playing, and it’s obvious that the two guitarists enjoy working together. There’s an intimate feel to this set, which illustrates Bibb's presence and vitality as a live performer. Highlights include the majestic opener “The Cape,” a Guy Clark/Susanna Clark/Jim Janosky composition, the country blues boogie shuffle “New Home” (complete with an absolutely burning guitar lead from Astner), and the pop soul of “For You,” which features the gospel trio Psalm4 (Glen Scott, Andre De Lange, and Paris Renita), and shows that Bibb is quite comfortable outside of the blues medium. As an added bonus, a couple of studio tracks (“Put Your Love First,” a duet with Troy Cassar-Daley, and “If You Were Not My Woman”) are tacked on at the end of this charming, pleasant, and wonderfully intimate live album. ~ Steve Leggett

Blues - Released | Telarc

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Blues - Released April 14, 2017 | Dixiefrog

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Blues - Released March 31, 2017 | Dixiefrog

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Blues - Released April 29, 2016 | Dixiefrog

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Blues - Released October 1, 2015 | Dixiefrog

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This album took shape when the producer Philippe Langlois, the guitarist Eric Bibb, and the harmonica player Jean-Jacques Milteau joined forces to record a tribute to the legendary Lead Belly. The latter, still too little known by the public at large, is the source for a multitude of timeless covers and compositions from the likes of Nirvana, The Animals, Red Hot Chilli Peppers, Bob Dylan… and many more! Many of the songs here are from live interpretations, performed both with and without and audience, which adds a palpable freshness to the disc. Accompanied by a strong battery attack and an acoustic bass, indulge in the singing and snapping guitars of Eric Bibb and the delicate harmonica lines of Milteau; they chime in perfect cohesion. The result is a joyous album of concentrated blues and high-quality folk.

Blues - Released May 18, 2015 | Dixiefrog

Booklet

Blues - Released October 15, 2014 | Playground Music

Artist

Eric Bibb in the magazine
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