Taj Mahal - Savoy
Retrospect has the clearest vision. Henry St. Claire Fredericks Jr., AKA Taj Mahal, represents best what "Americana" is about. He views American music as the bastard amalgam that it is, like the language, assaulting and stealing from all traditions it rubs against. In 1967, Mahal recorded his eponymous debut (Columbia, 1968) that would create a seismic shift in blues performance to this day. Mahal covered Blind Willie McTell's "Statesboro Blues" featuring, not Ry Cooder on slide guitar, but Jesse Ed Davis. When this recording was presented to Duane Allman by his brother, Gregg, an evolutionary progression occurred transcending all that came before.
Fifty-plus years later, Mahal is still performing at his typically consistently high level, having released and been awarded a Grammy Award for his collaboration with Ry Cooder, Get On Board: The Songs of Sonny Terry & Brownie McGhee (Nonesuch, 2022). Scooting over to the jazz end of things, Mahal turns his attention to the great Savoy Ballroom book with a charming collection of songs from his childhood. The blues loom large here, the songs bearing arrangements more reminiscent of the 1920s than later. Produced by John Simon, who also mans the piano chair, the recording's round edges are guaranteed, and the plush background is provided by a full horn section. Mahal personalizes "Stompin' At The Savoy" by including a story about his parents, bringing the project even closer to home for the singer. Swing-era patina notwithstanding, Mahal seems to update the songs addressed while remaining firmly in the vernacular. Ellington's "Mood Indigo" is given a languid, strolling treatment that perfectly offsets Mahal's craggy singing. He croons and growls at the same time, recasting the song ahead of the equivalent of his Andrew's Sisters (Carla Holbrook, Leesa Humphrey, Charlotte McKinnon, Sandy Cressman, Sandy Griffith, and Leah Tysse).
Perfect for Mahal are the Louis Jordan novelty tunes, " Is You Is Or Is You Ain't My Baby" and "Caldonia" which he performs with a shabby aplomb that is nothing but fun (Mahal contributes a harmonica to the latter song). "Do Nothin' Till You Hear From Me," "Sweet Georgia Brown," and "Lady Be Good" tip hats to Ellington and Basie both in historically informed performances where Mahal sounds more than comfortable. Two songs celebrating the end period of the Savoy Ballroom, close the disc. Bennie Golson's "Killer Joe" is a fancy jaunt in Harlem with Mahal's harmonica bringing a bit of down-home to the song. The Sinatra saloon song, "One For My Baby (And One More Fron The Road)" is the lengthiest piece on the recording, where Mahal brings on the slow torch. Savoy is a special recording by a legendary performer showing no lessening of his considerable powers.