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Taj Mahal

Langue disponible : anglais
Since releasing his self-titled album for Columbia in 1968, Taj Mahal has been one of the world's most prominent figures in revitalizing, preserving, and innovating on traditional acoustic blues. Not content to stay within that realm, Mahal broadened his approach on 1972's World Music, taking a musicologist's interest in folk and roots musics from around the world, including calypso and reggae, Bahamian, jazz, gospel, R&B, zydeco, and various Pacific and West African approaches on dozens of albums. That said, he has never strayed far from his country-blues foundation: check 1988's Shake Sugaree. During the '90s a cadre of young bluesmen, Corey Harris and Guy Davis among them, began following his lead, while 1996's Phantom Blues and 1997's Senor Blues returned him to the charts. 2008's Maestro wed deep blues to funk and R&B and 2017's TajMo' was a collaboration with Keb Mo'. In 2022, Mahal teamed with old friend and former bandmate Ry Cooder for the tribute offering Get on Board: The Songs of Sonny Terry and Brownie McGhee. Mahal was born Henry St. Claire Fredericks in New York on May 17, 1942. His parents -- his father a jazz pianist/composer/arranger of Jamaican descent; his mother a schoolteacher from South Carolina who sang gospel -- moved to Springfield, Massachusetts when he was quite young, and while growing up he often listened to music from around the world on his father's short-wave radio. He particularly loved the blues -- both acoustic and electric -- and early rock & rollers like Chuck Berry and Bo Diddley. While studying agriculture and animal husbandry at the University of Massachusetts, he adopted the musical alias Taj Mahal (an idea that came to him in a dream) and formed Taj Mahal & the Elektras, who played around the area during the early '60s. After graduating, Mahal moved to Los Angeles in 1964 and, after making his name on the local folk-blues scene, formed the Rising Sons with guitarist Ry Cooder. The group signed to Columbia and released one single, but the label didn't quite know what to make of their forward-looking blend of Americana, which anticipated a number of roots rock fusions that would take shape in the next few years; as such, the album they recorded sat on the shelves, unreleased until 1992. Frustrated, Mahal left the group and wound up staying with Columbia as a solo artist. His self-titled debut was released in early 1968 and its stripped-down approach to vintage blues sounds made it unlike virtually anything else on the blues scene at the time. It came to be regarded as a classic of the '60s blues revival, as did its follow-up, Natch'l Blues. The half-electric, half-acoustic double-LP set Giant Step followed in 1969, and taken together, those three records built Mahal's reputation as an authentic yet unique modern-day bluesman, gaining wide exposure and leading to collaborations or tours with a wide variety of prominent rockers and bluesmen. During the early '70s, Mahal's musical adventurousness began to take hold; 1971's Happy Just to Be Like I Am heralded his fascination with Caribbean rhythms, and the following year's double-live set, The Real Thing, added a New Orleans-flavored tuba section to several tunes. In 1973, Mahal branched out into movie soundtrack work with his compositions for Sounder, and the following year he recorded his most reggae-heavy outing, Mo' Roots. Mahal continued to record for Columbia through 1976, when he switched to Warner Bros.; he recorded three albums for that label, all in 1977 (including a soundtrack for the film Brothers). Changing musical climates, however, were decreasing interest in Mahal's work and he spent much of the '80s off record, eventually moving to Hawaii to immerse himself in another musical tradition. Mahal returned in 1987 with Taj, an album issued by Gramavision that explored this new interest; the following year, he inaugurated a string of successful, well-received children's albums with Shake Sugaree. The next few years brought a variety of side projects, including a musical score for the lost Langston Hughes/Zora Neale Hurston play Mule Bone that earned Mahal a Grammy nomination in 1991. The same year marked Mahal's full-fledged return to regular recording and touring, kicked off with the first of a series of well-received albums on the Private Music label, Like Never Before. Follow-ups, such as Dancing the Blues (1993) and Phantom Blues (1996), drifted into more rock-, pop-, and R&B-flavored territory; in 1997, Mahal won a Grammy for Señor Blues. Meanwhile, he undertook a number of small-label side projects that constituted some of his most ambitious forays into world music. Released in 1995, Mumtaz Mahal teamed him with classical Indian musicians; 1998's Sacred Island was recorded with his new Hula Blues Band as he explored Hawaiian music in greater depth, and 1999's Kulanjan was a duo performance with Malian kora player Toumani Diabaté. Maestro appeared in 2008, boasting an array of all-star guests: Diabaté, Angélique Kidjo, Ziggy Marley, Los Lobos, Jack Johnson, and Ben Harper. A holiday album with the Blind Boys of Alabama, Talkin' Christmas, appeared in time for the season in 2014. In 2017, Mahal teamed with Keb' Mo' to spotlight the good-time side of the blues on TajMo. The pair toured the world and took home the Grammy Award for Best Contemporary Blues Album. In 2022, Mahal re-teamed with teenage friend Ry Cooder. The pair had played in the blues-rock band Rising Sons in the mid-'60s. Further, Cooder played rhythm guitar (next to Jesse Ed Davis' lead) on Mahal's self-titled 1968 debut album. The pair -- with Cooder's son Joachim on bass and percussion -- recorded Get on Board: The Songs of Sonny Terry and Brownie McGhee in tribute to the wandering Piedmont blues masters.
© Steve Huey & Thom Jurek /TiVo
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