| | Kaori Mizumori Kuma No Kodou CD - Import Kaori Mizumori Discography of CDs
Kuma No Kodou Music | List Price | $19.99 (You save $1.60) | | Category | World Albums, Japanese CDs | | Label | Phantom | | CD Universe Part number | 7052936 | | Catalog number | 622416 | | Discs | 1 | | Release Date | Apr 11, 2006 |
Kuma No Kodou Review
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John "JB" Bigham has had a long and varied career, a far ranging background reflected on his debut The Soul of John Black solo album. That set was a masterpiece of eclectic styles; in contrast, his follow-up, The Good Girl Blues, hones in on only one -- the blues, in all its shades of glory. In fact, the set is virtually a dissertation on traditional blues, as Bigham explores its many variations while deftly connecting it with more modern sounds. He does this brilliantly on "Swamp Thang," at its core a porch pickin' blues piece that surreptitiously threads its way straight into hip-hop, a style accented by the beats and Bigham's slipping towards rapping his lyrics. Likewise, "Slippin' and Slidin'" is pure swamp blues, except for the eerie effects and a touch of hip-hop scratching that slithers through. "The Moon Blues" is traditional blues to its very core, with a sensuous, smoky jazz club aura, but with Bigham's lead guitar licks hinting at the rock & roll that eventually expropriated it. "Fire Blues" gives a further nod to that progression, blues filtered through white hands for a decade and landing foursquare in the mainstream, although Bigham's vocals remind us that simultaneously, Black soul artists were pulling the sound back home. The fabulously funky "Feelin's" tips a hat to one of the first Black acts to cross the divide between blues and rock, Sly & the Family Stone. Widening his net, Bigham crosses the border, digging "The Hole" with Leadbelly's sweat and a shovelful of Latin rhythms. "Moanin'" digs even deeper to find a link between the blues and flamenco, capturing the emotion of both amid a blur of guitar strumming. It's all the blues, and Bigham plays them with a passion and delivers them at times with a decided humor, as on "One Hit," where gospel gets its due with a wickedly witty look at a crack whore. Then there's "Deez Blues," which arrives like an unannounced and unwanted houseguest who just won't leave, with the ever more desolate Bigham moaning out a litany of hilariously country-fried complaints, in a desperate attempt to chase the blues out of his home. The perfect blues primer, Good Girl Blues makes learning both effortless and effortlessly entertaining. Bigham's guitar work is stunning ...
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