Whether solo acoustic, fronting a rock band, or weaving his trademark National steel guitar around music of the West Indies, South America, reggae, or whatever tickles his fancy, Taj Mahal creates some of the most consistently engaging modern blues on the planet. During the 1960s and 1970s his influence was at its greatest, inspiring countless other musicians with his unique approach to music. His multi-instrumental abilities and multicultural vision of the blues transcended previous limitations of the genre, and he should…entire summary

Taj Mahal - vocals, acoustic guitar, National steel guitar, organ, piano, harmonica
Rudy Costa - sax, flute, percussion
Hoshal Wright - acoustic and electric guitar
Ray Fitzpatrick - bass
Kester Smith - drums, percussion
Kwasi Dzidzornu - congas, percussion
Rocky Dzidzornu - percussion

Whether solo acoustic, fronting a rock band, or weaving his trademark National steel guitar around music of the West Indies, South America, reggae, or whatever tickles his fancy, Taj Mahal creates some of the most consistently engaging modern blues on the planet. During the 1960s and 1970s his influence was at its greatest, inspiring countless other musicians with his unique approach to music. His multi-instrumental abilities and multicultural vision of the blues transcended previous limitations of the genre, and he should be credited for playing an enormous role in revitalizing and preserving traditional blues.

Initially honoring the Mississippi Delta blues masters, his early albums emphasized his forceful steel guitar playing and hard-hitting vocals, recorded in a sparse manner, not unlike the originals. By the end of the 1960s, Taj Mahal's scope had broadened, and with the help of Native American guitarist, Jesse Ed Davis, as well as the extraordinary tuba player Howard Johnson, he began achieving a bigger, more soulful sound with increasing variety. It is a testament to his vision and talent that these increasingly adventurous albums remained fresh, new, and exciting, even though he continued to explore music from a long bygone era.

Opening for jazz drummer extraordinaire, Billy Cobham, before his fusion-comprehending audience, this 1975 recording captures Taj Mahal creating a fusion all his own. Indeed, 1975 would prove to be one of the most productive years of his entire career, with multiple album releases, soundtrack work, and plenty of performing. This is also near the beginning of a long and fruitful musical relationship between Taj Mahal and the International Rhythm Band, a loose group of musicians who would accompany him in one form or another for years to come.

This set features a wide variety of material, beginning with the more traditional blues of "Wandering Minstrel," performed alone and then with band members joining him onstage, before moving into "Good Mornng Little Schoolgirl." While much of this material is rooted in the blues, Taj Mahal often ventures off the beaten path. There's deep grooving reggae on "Johnny Too Bad" and a remarkable cover of the Wailer's "Slave Driver." More exotic expressions of the pure joy these musicians experience playing together can be found on the set-closing "West Indian Revelation" and the utterly irresistible "I'm In Love Again." There are also a few classics here, with "Going up the Country, Paint My Mailbox Blue," "Creole Waltz" and "Why Why Did You Have To Desert Me" all receiving fresh treatments from this unique band, while remaining immersed in the blues.

One is certainly encouraged to explore the fantastic vintage Taj Mahal Fillmore recordings featured here in The Vault, but this too is a thoroughly engaging performance, overflowing with the passion and energy that has always made Taj Mahal's music compelling. His ability to span cultures is readily apparent here, and the set displays his keen sense of timing and rhythm, as well as strong confident vocals. Regardless of the material, Taj Mahal finds and enhances the bluesy roots at the core of anything he chooses to play.

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