As one of America’s most successful exports, the blues has largely resisted cross-pollination. Until recently, whether it was played in Mississippi or in Montreaux, the blues was a distinctly American art form, remaining relatively unchanged by its milieu.
Thanks to a new generation determined to stretch the music’s boundaries, though, that’s all changing. Like America itself, the blues is becoming a melting pot, with other cultures adding their distinctive spices to the mix. Call it ‘world blues’ if you will, but the result is a palette both enriched and expanded with possibilities the music’s forefathers couldn’t have imagined.
The son of legendary New York folksinger Leon Bibb, Eric Bibb is well grounded in tradition, yet steadfastly refuses to be restrained by it. The timeless art of storytelling is at the heart of his craft, but Bibb’s vision is without borders. He’s interested in exploring the common threads, both musical and narrative, that connect us all in ways far stronger than the cultural differences that divide us. If that sounds too much like the dry and dusty stuff of academia, though, fear not; although there’s a quiet thoughtfulness throughout “Friends,” Bibb’s music is brimming with the sheer joy of life. And the friends he’s gathered to share in the celebration are remarkably like-minded.
Fellow musical explorers Taj Mahal, Guy Davis, and Harry Manx are all along for the ride, Mahal helping to give “Goin’ Down Slow” a thoroughly unique reading while Davis helps kick things off with the irresistible gospel grove of “991/2 Won’t Do.” Manx adds a distinctly Indian flavour via shimmering cascades of sound from his mohan veena on the traditional “Needed Time.” Charlie Musselwhite is also on hand, contributing harmonica to the hypnotic “Six O’Clock Blues.” The only cut with a heavy hand on production, it’s a dark, scathing slice of social commentary. Ruthie Foster’s duet on Bibb’s own “For You” is both stark in it’s simplicity and achingly beautiful, as is “Dance Me To The End Of Love,” the track, written for his eldest son’s wedding, that closes the disc.
African influences are explored on songs featuring Mamadou Diabate ((kora on the delightful “Lovin’ In My Baby’s Eyes”) and Djelimady Tounkara, a legendary guitarist from Mali. Australian guitarist Martin Simpson is present, as are Odetta and singer/songwriter Kristina Olsen. And Canada is well represented by Edmonton’s Byron Myre (violin and mandolin on “Ribbons And Bows”) and Montreal’s Michael Jerome Browne, who contributes mandolin and slide guitar on one track and duets on his own “Just Look Up.” And one can only speculate on the geographical origin of Led Ka’apana, whose electric ukulele is featured on “Cowgirl Queen.”
Bibb is possessed of one of the most soulful yet comforting voices around, and understands well the inherent dignity of these songs, employing a deft and gentle touch that sees each given just the support it needs. And he’s a generous host, happily sharing the spotlight with his illustrious friends. Bibb’s own liner notes tell of his encounters at various festivals, and like the music, resonate with the joy of collaboration and cooperation in the service of creativity.
So is it blues? If one adheres to the dictionary definition, perhaps not. But there are moments here of sublime beauty, and the connections Bibb unearths on his journey are both musically and culturally fascinating – to him it’s all folk music, the stuff that touches us at a level far deeper than words. Bibb’s own words sum things up best – “ Got my own way of praying / Got my own way to sing / Still I’m connected / To everyone and everything.”
This one’s a delight – very highly recommended!
Telarc Records
23307 Commerce Park Road, Cleveland, OH 44122 USA
Web: www.telarc.com
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