Bill Frisell: Good Dog, Happy Man (Nonesuch)
The air of contentment conveyed by the title is right on the money. This is a close-your-eyes-and-let-the-world-drift-by album, though the relaxed sounds belie the dexterity and depth of the playing. Frisell, an acclaimed US guitarist in many different genres, has in recent years turned his attention to Americana music. This latest chapter is a beguiling mix of understated Frisell instrumentals - blues licks, soulful gospel sounds, country rhythms, swirling organ fills and all manner of subtle guitar noises. His houseguests are choice: drummer Jim Keltner, steel guitarist Greg Leisz, keyboard whiz Wayne Horvitz and bassist Viktor Krauss. Together they shuffle and slide through the 12 tracks which vary from the tough - Cadillac 1959 and Cold Cold Ground - to the lyrical, the beautiful My Buffalo Girl for example. In addition, Ry Cooder sits in for an evocative reading of the traditional Shenandoah.
Joe Breen
Taj Mahal and Toumani Diabate: Kulanjan (Hannibal)
Connections and roots. Taj Mahal is an African American guitarist with 40 albums of folk/blues exploration and a whole heap of acclaim behind him; Toumani Diabate is considered to be among the leading exponents of the Malian Kora, a 21-stringed harp/lute. Earlier this year they met up in an Athens, Georgia, studio, with Diabate accompanied by his band. This fascinating collection is the result. Not surprisingly, considering the culture clash involved, there are rough spots, but the ability of all performers to display openness and adventure ensures overall success. The music is a mixture of blues and Malian songs, from Catfish Blues with its mesmerising Kora improvisation, to Atlanta Kaira, a variation on a classic Diabate tune. It was a voyage of discovery for all, and the joy of the journey is clear in the music and the informative sleeve notes.
Joe Breen
Big Bill Morganfield: Rising Son (Blind Pig)
One-time teacher turned bluesman, Big Bill Morganfield makes his recording debut with an album of classic blues grooves, some of which are his own compositions and some his father's. Since his father was the late Muddy Morganfield Waters, master of the blues, that's not necessarily a bad thing. At times Big Bill steps right into Daddy's footsteps - check out his vocal on songs such as the old Muddy classic Screamin' and Cryin', where his voice has a creepily familiar edge - but his own songs are good, too, such as the original Dead Ass Broke, a real catchy blues number. In the last song, Rising Son, Big Bill really lets himself be heard, knowing perhaps that he can make it with help from above, not to mention backing from Muddy's original band. A gem of an album that deserves not to get stuck in the mud.
Colm Banville
