Smokestack Lightnin' Home Page -- The Blues Profile Page
Henry Saint Clair Fredericks (born May 17, 1942), who uses the stage name Taj Mahal, is an internationally recognized blues musician with two Grammy Awards to date who folds various forms of world music into his offerings. A self-taught singer-songwriter and film composer who plays the guitar, banjo and harmonica (among many other instruments), Mahal has done much to reshape the definition and scope of blues music over the course of his almost 50 year career by fusing it with nontraditional forms, including sounds from the Caribbean, Africa and the South Pacific.
Growing up as a music fan, I had always heard about the ill-fated Rolling Stones "Rock And Roll Circus" film from 1968. For some unknown reason, The Stones did not want this footage to be released for many years with the only clear explanation being they were unhappy with their performance. Like most unreleased music projects, legend grew around it.
Finally, in the mid '90s, the show was released on DVD. The second musical act in the film is a three-man group playing a heavy groove that sounds very similar to "Gimme Some Lovin.'" Center-stage stands a dapper fellow wearing a red bandana scarf, cowboy hat and round sunglasses. He steps up to the microphone and sings over the top of this beat: "You got to dig it, baby. This is Taj Mahal."
Taj Mahal grew up in what seems like the most remote area for blues music: Springfield, Mass. He attended college at the University of Massachusetts with plans to become a farmer. His father was a jazz pianist from the West Indies, and his mother sang in a gospel choir. His father worked with the likes of Ella Fitzgerald, and Taj Mahal was exposed to many styles and genres of music while growing up.
As an artist, Taj was uninterested in simply carrying on the traditions blues artists set before him. One listen to his early albums released on Columbia Records reveals a wide variety of influences and styles. Taj Mahal would not be content to sing the usual blues fare about feeling bad and lost or stolen love. Taj Mahal has no boundaries when it comes to the material he chooses to perform. In addition to using standard rock instrumentation like guitars and drums, he also relied on more exotic sounds like sitar and djembe percussion. Because of this, Taj Mahal is seen as an early innovator in what has become world music.
The bluesman moved to Hawaii in the early '80s, where he played music with group of fishermen he later called his Hula Blues Band. Mixing blues with Hawaiian styles rejuvenated him to get back into live music. During the '90s, he recorded for some smaller labels, releasing albums of more traditional blues, rock and pop, and collaborating with the likes of Eric Clapton and Etta James.
The past decade saw Taj Mahal expanding the vocabulary of blues music yet again by recording albums with African and Indian roots. During this time, he formed the Taj Mahal Trio seemingly for the sole purpose of exploring different varieties of world music.
Listening to Taj Mahal's recorded output from the last decade, you may find yourself immersed in sounds as diverse as traditional blues and R&B to island and Indian music. He also won two Grammys over the last decade.
A college-educated musician from Massachusetts seems about as far removed from the Delta cotton fields and juke joints as oil and water, but I imagine that's just the way Taj Mahal likes it based on his unflinching desire to not allow blues music to simply stay the same. Taj Mahal appears to have his eyes constantly looking ahead while keeping his feet firmly planted in the rich traditions born right here in Mississippi.
The Taj Mahal Trio will bring its particular brand of the blues to Fondren's Duling Hall (622 Duling Ave., 601-351-9999) May 29 at 7:30 p.m. Cocktails start at 6 p.m. Tickets are $40 in advance at ardenland.net and $45 at the door.
Born Henry Saint Clair Fredericks on May 17, 1942 in Harlem, New
York, Mahal grew up in Springfield, Massachusetts. Raised in a musical
environment, his mother was the member of a local gospel choir and his
father was a West Indian jazz arranger and piano player. His family
owned a shortwave radio which received music broadcasts from around the
world, exposing him at an early age to world music. Early in childhood
he recognized the stark differences between the popular music of his day
and the music that was played in his home. He also became interested in
jazz, enjoying the works of musicians such as Charles Mingus, Thelonious
Monk and Milt Jackson. His parents came of age during the Harlem
Renaissance, instilling in their son a sense of pride in his West Indian
and African ancestry through their stories.
For some time Mahal thought of pursuing farming over music. He had developed a passion for farming that nearly rivaled his love of music—coming to work on a farm first at age 16. It was a dairy farm in Palmer, Massachusetts, not far from Springfield. By age nineteen he had become farm foreman, getting up a bit after 4:00 a.m. and running the place. "I milked anywhere between thirty-five and seventy cows a day. I clipped udders. I grew corn. I grew Tennessee redtop clover. Alfalfa." Mahal believes in growing one's own food, saying, "You have a whole generation of kids who thinks everything comes out of a box and a can, and they don't know you can grow most of your food." Because of his personal support of the family farm, Mahal regularly performs at Farm Aid concerts.
Taj Mahal, his stage name, came to him in dreams about Gandhi, India, and social tolerance. He started using it in 1959 or 1961—around the same time he began attending the University of Massachusetts. Despite having attended a vocational agriculture school, becoming a member of the Future Farmers of America, and majoring in animal husbandry and minoring in veterinary science and agronomy, Mahal decided to take the route of music instead of farming. In college he led a rhythm and blues band called Taj Mahal & The Elektras and, before heading for the West Coast, he was also part of a duo with Jessie Lee Kincaid.
In 1964 he moved to Santa Monica, California, and formed The Rising Sons with fellow blues musician Ry Cooder and Jessie Lee Kincaid, landing a record deal with Columbia Records soon after. The group was one of the first interracial bands of the period, which likely made them commercially unviable. An album was never released (though a single was) and the band soon broke up, though Legacy Records did release The Rising Sons Featuring Taj Mahal and Ry Cooder in 1993 with material from that period. During this time Mahal was working with others, musicians like Howlin' Wolf, Buddy Guy, Lightnin' Hopkins, and Muddy Waters. Mahal stayed with Columbia after The Rising Sons to begin his solo career, releasing the self-titled Taj Mahal in 1968, The Natch'l Blues in 1969, and Giant Step/De Old Folks at Home (also in 1969) During this time he and Cooder worked with The Rolling Stones, with whom he has performed at various times throughout his career. In 1968, he performed in the film The Rolling Stones Rock and Roll Circus. He recorded a total of twelve albums for Columbia Records from the late 1960s into the 1970s. His work of the 1970s was especially important, in that his releases began incorporating West Indian and Caribbean music, jazz and reggae into the mix. In 1972 he wrote the film score for the movie Sounder, which starred Cicely Tyson.
In 1976 Mahal left Columbia Records and signed with Warner Bros. Records, recording three albums for them. One of these was another film score for 1977's Brothers; the album shares the same name. After his time with Warner Bros. Records he struggled to find another record contract, this being the era of heavy metal and disco music. Stalled in his career, he decided to move to Kauai, Hawaii in 1981 and soon formed The Hula Blues Band. Originally just a group of guys getting together for fishing and a good time, the band soon began performing regularly and touring. He remained somewhat concealed from most eyes while working out of Hawaii throughout most of the 1980s before recording Taj in 1988 for Gramavision. This started a comeback of sorts for him, recording both for Gramavision and Hannibal Records during this time. In the 1990s he was on the Private Music label, releasing albums full of blues, pop, R&B and rock. He did collaborative works both with Eric Clapton and Etta James. In 1997 he won Best Contemporary Blues Album for Señor Blues at the Grammy Awards, followed by another Grammy for Shoutin' in Key in 2000. He performed the theme song to the children's television show Peep and the Big Wide World, which began broadcast in 2004.
The microphones are listening in on a conversation between a 350-year old orphan and its long-lost birth parents. I've got so much other music to play. But the point is that after recording with these Africans, basically if I don't play guitar for the rest of my life, that's fine with me....With Kulanjan, I think that Afro-Americans have the opportunity to not only see the instruments and the musicians, but they also see more about their culture and recognize the faces, the walks, the hands, the voices, and the sounds that are not the blues. Afro-American audiences had their eyes really opened for the first time. This was exciting for them to make this connection and pay a little more attention to this music than before.
Taj Mahal has said he prefers to do outdoor performances, saying: "The music was designed for people to move, and it's a bit difficult after a while to have people sitting like they're watching television. That's why I like to play outdoor festivals-because people will just dance. Theatre audiences need to ask themselves: 'What the hell is going on? We're asking these musicians to come and perform and then we sit there and draw all the energy out of the air.' That's why after a while I need a rest. It's too much of a drain. Often I don't allow that. I just play to the goddess of music-and I know she's dancing."
Views on the blues
Throughout his career, Mahal has performed his brand of blues (an African American artform) for a predominantly white audience. This has been a disappointment at times for Mahal, who recognizes there is a general lack of interest in blues music among many African Americans today. He has drawn a parallel comparison between the blues and rap music in that they both were initially black forms of music that have come to be assimilated into the mainstream of society. He is quoted as saying, "Eighty-one percent of the kids listening to rap were not black kids. Once there was a tremendous amount of money involved in it . . . they totally moved it over to a material side. It just went off to a terrible direction." Mahal also believes that some people may think the blues are about wallowing in negativity and despair, a position he disagrees with. According to him, "You can listen to my music from front to back, and you don't ever hear me moaning and crying about how bad you done treated me. I think that style of blues and that type of tone was something that happened as a result of many white people feeling very, very guilty about what went down."