| | Preachin' The Blues: The Music Of Mississippi Fred Mcdowell CD
PREACHIN' THE BLUES was nominated for the 2003 Grammy Awards for Best Traditional Blues Album.
Instead of getting all of the artists into the studio with a full band for their tribute album Preachin' the Blues: The Music of Mississippi Fred McDowell, Telarc had most of the featured artists (all but two of 12, actually) perform with just a guitar and voice (or, in the case of David Maxwell, a piano). This, of course, brought the musicians closer to McDowell's territory, and most of the contributors sound very respectful of the original recordings, keeping their phrasing and approach very similar to his. This may not result in the most startling or inspired tribute ever, but it's a nice, low-key, heartfelt salute -- something that sounds nice while it's playing, and it does make you want to dig out (or buy) old Mississippi Fred McDowell records. But, once you do that, chances are you'll never spin this again. ~ Stephen Thomas Erlewine
Includes liner notes by Steve James.
Tab Benoit,Sue Foley,Charlie Musselwhite,Kenny Neal &More
Personnel: Kenny Neal (vocals, guitar, harmonica); Anders Osborne, Paul Geremia, Scott Holt , Steve James, Sue Foley, Tab Benoit, Brian Stoltz, Charlie Musselwhite (vocals, guitar); Jumpin' Johnny Sansone (vocals, harmonica); Colleen Sexton (vocals); Gregg Hoover (guitar); David Maxwell (piano); Darren Thiboutot (drums).
Audio Mixer: Lincoln Clapp.
Liner Note Author: Steve James. Preachin' The Blues: The Music Of Mississippi Fred Mcdowell Music Preachin' The Blues: The Music Of Mississippi Fred Mcdowell Songs Preachin' The Blues: The Music Of Mississippi Fred Mcdowell Review
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The so-called folk revival (or folk scare, as some have called it) of the 1960s manifested itself a little differently in the U.K. than it did in the U.S. Drawing more on the blues and modal elements of traditional music, British folk guitarists tossed in a healthy dose of jazz sensibility, as well, and in essence developed what amounted to a British school of acoustic guitar playing. Players like Bert Jansch, Martin Carthy, Davy Graham, Wizz Jones, John Renbourn, and Duck Baker all exhibit a similar approach and style, full of snapped strings, intricate picking, and jazzy fills, patterns that can also be heard in the playing of Paul Simon, Donovan, and even Jimmy Page. Of these guitarists, none has had a greater impact or influence than Jansch, whose playing has maintained an impressively high level throughout his long career, and coupled with his laconic Scottish drawl and sturdy songwriting talents, Jansch has managed to survive artistically in his own comfortable niche far from the centers of the pop music industry. Acoustic ...
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