The Hidden Treasures of Taj Mahal 1969-1973
Studio album by Taj Mahal
Released 2013
Recorded 1969-1973
Genre Blues
Length 77:20
Label Columbia
Producers Jerry Rappaport, David Rubinson, Taj Mahal, Allen Toussaint
Hidden Treasures of Taj Mahal is a compilation album by American blues artist Taj Mahal. First disc contains previously unreleased studio tracks recorded between 1969-1973. Second disc contains full live concert from 18 April 1970 at Royal Albert Hall in London, England.
Professional Ratings:
allmusic 4/5 stars
Review by Thom Jurek of allmusic:
In celebration of his 70th birthday, The Hidden Treasures of Taj Mahal 1969-1973 is the first of a series of volumes issued by Legacy that will eventually encompass his entire Columbia catalog. Hidden Treasures consists of a studio disc and a live one. The studio set contains a dozen tracks that were rejected from the final versions of Mahal's albums for various reasons, as well as alternate takes. All tracks are unreleased. The quality of the material can be slightly uneven, but that's to be expected (being rejects after all). That said, disc one is not without sufficient charm, and even revelatory moments. Its first four tracks feature Mahal and guitarist Jesse Ed Davis in the company of Jim Dickinson's Dixie Flyers. "Chainey Do" and the first of the two alternate takes of "Sweet Mama Janisse" are excellent showcases for Davis in the company of a stellar garage band. Other standouts on disc one include "You Ain't No Street Walker Mama, Honey But I Do Love the Way You Strut Your Stuff," with its studio intro where Mahal instructs the band on how to make it cook. And it does. The band includes a five-piece horn section that stars tuba masters Bob Stewart and Howard Johnson. Mahal's banjo playing works beautifully in the extended jam on "Shady Groove." "Butter" closes the disc and features Mahal fronting the band on harmonica, playing a sweet, instrumental version of "People Get Ready." Disc two, recorded at the Royal Albert Hall in 1970, is worth the purchase price alone. Mahal plays his National Steel guitar and harmonica, and is backed by a band with the late, great Davis on lead guitar. This set reveals Mahal as a musical shaman early on. He was even then able to skip across centuries, traditions, forms, and singing, telling tales and jokes without hesitation or faltering. He fully inhabits each musical persona he takes on as his own, yet they are all part of a single but multi-limbed lineage in his musicology. The disc is by turns rousing, rocking, and intimate. Whether it's in the a cappella take on the traditional "Runnin' by the Riverside," a cover of the Band's "Bacon Fat," the funky, gritty, original blues of "Big Fat" and "Sweet Mama Janisse," or the definitive version of "Tomorrow May Not Be Your Day," this is all-killer, no-filler. Fans of Mahal's -- especially of his Columbia period -- will greet The Hidden Treasures of Taj Mahal 1969-1973 with cheers.
Review by Wesley Britton on blogcritics:
When I first heard "Good Morning Miss Brown" on Taj MahalÕs 1968 Natch'l Blues, I knew IÕd stumbled on an original performer from a new generation of bluesmen. While I wasnÕt always bowled over by his subsequent releases, I appreciated MahalÕs drive to experiment and take risks and not maintain old formulas. This was particularly true with his venturing into unusual rhythms which gave his music a freshness that was Òout of the box,Ó to use MahalÕs own term to describe his career as demonstrated on his newest release, Hidden Treasures.
Hidden Treasures is a new two-disc set containing previously unreleased material to celebrate MahalÕs 70th birthday and launch a new series of Columbia/Legacy Mahal reissues. ÒOut of the boxÓ is the right way to put it, for both good and ill. Well, itÕs perhaps unfair to critique this collection too heavily as itÕs essentially material that was rejected for release roughly 40 years ago. ItÕs not difficult to see why in many cases, but there are indeed hidden treasures along the way.
For example, disc one opens with two of the more engaging tracks. The lively ÒChainey DoÓ is followed by the first of two alternate takes of ÒSweet Mama Janisse.Ó Depending on your taste, the February, 1970 version from Criteria Recording Studios is far cleaner than the rougher version taped on January, 1971 at the Bearsville Recording Studios in Woodstock. Other nuggets include the jaunty Gospel standard, ÒJacob's Ladder,Ó which is a bit reminiscent of the aforementioned ÒGood Morning Miss Brown.Ó Then, thereÕs some excellent pickinÕ and some funny improvised lyrics near the end of ÒGood Morning Little School Girl.Ó Speaking of pickin', multi-instrumentalist Mahal picks up the banjo for ÒShady Grove,Ó which is indeed a nugget worth resurrecting.
But other tracks do sound like demos or works in progress that would interest archivists, not general listeners. I donÕt see the point of ÒYan Nah Mama Loo.Ó The odd ÒAin't Gwine Whistle Dixie (Any Mo')Ó is a horn-heavy easy listening track with Mahal literally whistling the melody. ItÕs fun to hear Mahal teaching his band the shuffle pattern before ÒYou Ain't No Streetwalker, Honey but I Do Love the Way You Strut Your Stuff,Ó but the proceedings meander as the players strain to maintain the lengthy jam.
Some performances are a little too imitative, as with ÒTomorrow May Not Be Your DayÓ with heavy nods to Otis Redding. ÒI Pity the Poor ImmigrantÓ sounds like Leon Russell in a country mood. The set ends with perhaps the best executed, if shortest, song of the collection, ÒButter.Ó Why the instrumental is called that is elusive, as itÕs clearly ÒPeople Get ReadyÓ as played on harp.
Now for the real Òhidden treasures.Ó Disc two is a live concert recorded April 18, 1970 at the Royal Albert Hall in London. ItÕs a virtual history of the blues. The show opens with Mahal singing a cappella (ÒRunnin' By the RiversideÓ), then heÕs one man, one guitar (Ò(John, Ain't It HardÓ), and then he brings on his band for some Delta blues (ÒÓSweet Mama JanisseÓ again). Blowing Jimmy Reed-ish harp, we then go to Chicago with ÒBig Fat,Ó ÒDiving Duck Blues,Ó ÒCheckin' Up On My BabyÓ and the rest of the 10 song program. No flash, no pyrotechnics, just the sho'nuff bare-bones blues.
Standout performances include the jam, ÓOh Susanna,Ó which demonstrates that Mahal drank at the same rockinÕ watering holes as Paul Butterfield and Canned Heat. ÒBacon Fat,Ó a slow moan, returns to one of MahalÕs favorite subjects on the setÑfood. IÕll admit the Memphis-flavored ÒTomorrow May Not Be Your DayÓ doesnÕt have the energy or balls of the studio version. ItÕs also a bit difficult to hear and understand all the in-between-the-songs banter due to the audio quality, but thatÕs a minor quibble. The songs, after all, are the point.
In the main, Hidden Treasures will be a must have for Mahal fans interested in the period before his blending of West Indian, African, and Caribbean music came to the fore in his recordings. The live concert alone is worth the price of admission. But those not familiar with MahalÕs work might well want to begin with already existing reissues of his past workÑmany with interesting bonus tracksÑor wait for the forthcoming editions to hear treasures that were never hidden but often overlooked. After all, 1969 to 1973 were very fruitful years for Mahal with a number of well-regarded studio and live albums including The Natch'l Blues, Giant Step/De Ole Folks at Home (1969), Happy Just to Be Like I Am (1971), Recycling The Blues & Other Related Stuff (1972), and Oooh So Good 'n Blues (1973). Hidden Treasures is for those whoÕd like to dive a bit deeper into the years when Taj Mahal was honing his craft and transitioning from being a bluesman into a world music pioneer.
Review on No Depression:
This 2-CD set of previously unreleased material provides a superb complement to the previously issued Essential anthology. Where Essential set surveyed thirty-three years of MahalÕs immense catalog, this latest collection focuses on five years from early in his career. Those formative years found Mahal exploring numerous threads of the blues, including pre-war styles, as well as soul and funk. The first disc includes a dozen finished studio tracks that clock in at a generous 77 minutes. The recordings were made in Woodstock, Miami, the San Francisco Bay Area and New Orleans, the latter produced by Allen Toussaint in rustic, drumless arrangements. The bands include 3- and 4-piece combos, as well as larger aggregations that feature the Dixie Flyers and a brass band. Jesse Edwin DavisÕ guitar provides a strong, guiding presence on many tracks, and MahalÕs harmonica adds an expressive voice on a superb cover of DylanÕs ÒI Pity the Poor ImmigrantÓ and a soulful instrumental version of ÒPeople Get ReadyÓ titled ÒButter.Ó
Disc two features a 1970 concert at LondonÕs Royal Albert Hall. The live set features both original material and covers, including Sleepy John EstesÕ ÒDiving Duck Blues,Ó Sonny Boy WilliamsonÕs ÒCheckinÕ Up on My Baby,Ó and a lengthy take on Robby Robertson and Garth HudsonÕs pre-Band era ÒBacon Fat.Ó Mahal starts his set Ð an opening slot for Johnny Winter and Santana Ð with a gutsy, a cappella version of the traditional ÒRunninÕ by the Riverside.Ó His stage manner is warm and welcoming, offering detailed introductions to his songs and drawing on the folk tradition of audience participation. His performances are backed by a superb four-piece that includes Jesse Davis (guitar), John Simon (Piano), Bill Rich (Bass) and James Karsten (Drums), as well as MahalÕs National Steel and harmonica.
Perhaps most amazing is that this entire set Ð both the studio and live tracks Ð is previously unreleased. Few artists ever record material this good, let alone in such quantity that they can leave some of it in the vault. Mahal is equally compelling in the studio as he is on stage, something few artists achieve; his studio recordings breathe freely and his stage work is lively but tight. Miles MelloughÕs liner notes are detailed and informative, though a bit over-the-top in their devotion. Sound quality is good throughout, with the concert tapes sounding full and punchy Ð perhaps having Santana and Johnny Winter on the bill brought out the A-list live truck. This is a terrific find for MahalÕs fans, providing insight into both his studio process and the musical alchemy he brought to the stage.
Review on The Second Disc:
Perhaps Henry Saint Clair Fredericks Jr. just didnÕt have the right ring to it? Whatever the reason, the former Fredericks took the name of Taj Mahal after the palatial Indian mausoleum, and never looked back. The singer, songwriter, multi-instrumentalist and all-around renaissance bluesman had his first solo tenure with Columbia Records, from 1968 to 1976, and most of that period is addressed on the new 2-CD anthology The Hidden Treasures of Taj Mahal 1969-1973 (Columbia/Legacy 82876 82294 2, 2012). This set features two CDs of previously unreleased material, both live and in the studio. The first disc debuts studio recordings dating from 1969-1973, and the second disc premieres a full-length live concert, recorded April 18, 1970 at the legendary Royal Albert Hall in London between the releases of Giant Step/De Old Folks at Home (1969) and Happy to Be Just Like I Am (1971). And plans are already afoot for further projects from MahalÕs entire Columbia Records catalogue.
Disc One of Hidden Treasures compiles unreleased songs and alternate takes from four distinct sessions, each with its own musicians. These different bands bring out different qualities in Taj Mahal, the singer, and itÕs a pleasure to hear, since his work as a vocalist is often overlooked in favor of his instrumental prowess. His singing is obviously blues-derived, as Mahal is one of the most influential figures in establishing the ongoing relevance of traditional acoustic blues. But he also takes in folk, country, gospel and world music influences, not to mention rock; after all, he played the Sunset Strip with Ry Cooder as a member of The Rising Sons in the heady, a-go-go days of the mid-sixties! All of these influences are evident on the twelve tracks here. That said, itÕs easy to see why many of these rough performances didnÕt see release initially, although that doesnÕt diminish their value. This disc may not be an ideal introduction to Taj MahalÕs artistry, but itÕs a gift to those familiar with his deep history.
We dive in right after the jump!
Both familiar and unfamiliar songs dot the landscape. The repertoire primarily consists of Taj Mahal originals, with a couple of traditional tunes and a Dylan song for good measure! The earliest session is from December 1969, with frequent collaborator Jesse Ed Davis on guitar, plus Gary Gilmore on bass and Chuck ÒBrotherÓ Blackwell on drums. ÒI Pity the Poor ImmigrantÓ from Bob DylanÕs John Wesley Harding, is, like many of DylanÕs best songs, open to interpretation. Its weighty imagery and point-of-view ostensibly from God Himself (ÒI pity the poor immigrant/Whose strength is spent in vain/Whose heaven is like Ironsides/Whose tears are like rain/Who eats but is not satisfied/Who hears but does not see/Who falls in love with wealth itself/And turns his back on meÓ) is kept both imposing and mysterious coming from Mahal. ItÕs stylistically a good match for the other track from the session, the folk spiritual ÒJacobÕs Ladder.Ó
The infectious ÒChainey DoÓ (ÒNo one will love you/Like Chainey Do!Ó) was later deliciously covered by the Pointer Sisters, and is one of four songs performed with The Dixie Flyers in 1970 at MiamiÕs Criteria Studios. Mahal, on his National steel guitar and harmonica, is also joined by Jesse Ed Davis. The Dixie Flyers add color to first quartet of songs, with DavisÕ guitar a natural standout as it enlivens the first of two versions of ÒSweet Mama JanisseÓ presented here. This ÒDelta blues about a woman who comes from Louisiana,Ó as per MahalÕs concert introduction on the second disc, has chugging bass, a roaring guitar and a more bluesy vocal compared to the second, later version from the following year. The 1971 take has horns (most prominently, tuba) and a breezier air, plus a spoken intro (ÒHereÕs a little story/Õbout a friend of mine who comes from LouisianaÉÓ) yet ultimately seems rougher than the first version.
As earthy blues-soul, the lack of polish doesnÕt hurt these performances too much. An alternate version of ÒTomorrow May Not Be Your DayÓ (originally included on Happy to Be Just Like I Am) closes out the Dixie Flyers set, and is a fast and furious soul explosion, with gritty, guttural vocals. In addition to ÒSweet Mama Janisse,Ó a 1971 Bearsville, New York session yields two other lost gems. Here, Mahal is joined by a horn section, Bill Rich on bass, John Simon on electric piano and acoustic piano, Greg Thomas on drums and Kwasi ÒRockyÓ Dzi Dzournu on congas. ÒAinÕt Gwine Whistle Dixie (Any MoÕ)Ó had already been recorded for 1969Õs Giant Step/De Ole Folks at Home and unfolds like a laid-back jam session, with all of the band members on the same wavelength, savoring the easy camaraderie. And yes, Taj actually whistles, too! (Tuba virtuosos Earl MacIntyre and Howard Johnson also supported Taj at New YorkÕs Fillmore East. That concert was preserved on 1971Õs The Real Thing.)
ÒYou AinÕt No Streetwalker, Honey, But I Do Love the Way You Strut Your StuffÓ is an even more sprawling rave-up, clocking in at over 16 minutes. OneÕs fondness for this track will depend on how interesting an extended jam on a slight piece is (ÒStrut that stuff! Strut it! Strut it!Ó exclaims Mahal with wild abandon) but there are some delightful moments, with wailing vocals, bleating horns and exuberant harmonica.
The disc closes with three tracks from a session at New OrleansÕ Sea-Saint Studios, produced by studio proprietor Allen Toussaint. Unfortunately Toussaint doesnÕt join in on piano, but Mahal is joined by Hoshal Wright on electric guitar and Eric Ajaye on bass. Sonny Boy WilliamsonÕs blues standard ÒGood Morning Little Schoolgirl,Ó with new lyrics added by Taj, was, like ÒWhistle Dixie,Ó already recorded on Giant Step/De Ole Folks at Home. ToussaintÕs touch is not easily detectable on these tracks, though he and Mahal must have enjoyed their collaboration enough to work together again, including on 1984Õs Conjure-Music for the Texts of Ismael Reed. Taj plays the banjo on a pleasantly ragged ÒShady GroveÓ (ÒMy sweet Shady GroveÉÓ), and disc closer ÒButterÓ is a taut and appealing instrumental.
Good as these tracks are, the real attraction for many might be the tight set of roughly 53 minutes that can be found on Disc Two. Live at the Royal Albert Hall: April 18, 1970 is a representative show from the early period of Taj MahalÕs career and shows him easygoing and in command of his audience. An a cappella ÒDown by the RiversideÓ and spare, acoustic ÒJohn, AinÕt It HardÓ set the tone for the evening and its inclusive spirit. In his charming opening remarks, the artist encourages the audience to clap and even sing along with him and his band, consisting of Jesse Ed Davis, John Simon on piano, Bill Rich on bass and James Karstein on drums.
The set is cohesive, but touches on funk, traditional and electric blues in a low-key but gripping setting in which the emphasis is squarely on the musicianship. Each band member gets a chance to shine, whether on the Mahal/Davis co-write ÒBig Fat,Ó on which thereÕs no fat at all, or on The BandÕs equally ÒheavyÓ ÒBacon Fat,Ó which even swings a bit and features some scat! Largely the set has as laid-back a groove as the blues allow, but the piano is rollicking on Sonny Boy WilliamsonÕs ÒCheckinÕ Up on My BabyÓ and the vibe is raucous on ÒO, Susanna.Ó ÒTomorrow May Not Be Your DayÓ was surveyed on the first discÕs Miami sessions, but makes a fitting concert closer. ItÕs the only time the evening approaches the fervor of a rock performance, and youÕll likely be left as enrapt as the audience that night in London. Minor quibbles aside (some of the lengthier patter passages could have been sequenced as their own tracks, as the ÒBand IntroductionsÓ has been), this is a rich document of the early years of an always-evolving talent.
The Hidden Treasures of Taj Mahal features an essay by Miles Mellough putting the performances in perspective; both discs have been mastered well by Mark Wilder, the second in tandem with Vic Anesini. If youÕre a fan of Taj Mahal, you just might want to take a giant step and immerse yourself in these two discs of music thatÕs both rare and well-done.
LP track listing
Side One
1. "Chainey Do" (Taj Mahal, Blind Willie McTell) - 3:39
2. "Sweet Mama Janisse" (Taj Mahal) - 3:42
3. "Yan Nah Mama Loo" (Taj Mahal) - 6:09
4. "Tomorrow May Not Be Your Day" (Taj Mahal) - 5:01
Side Two
5. "I Pity the Poor Immigrant" (Bob Dylan) - 8:10
6. "Jacob's Ladder" (Traditional, arr. Taj Mahal) - 4:01
7. "Ain't Gwine Whistle Dixie (Any Mo')" (Taj Mahal) - 7:23
Side Three
8. "Sweet Mama Janisse" (Taj Mahal) - 3:31
9. "You Ain't No Streetwalker, Honey But I Do Love the Way You Strut Your Stuff" (Taj Mahal) - 16:05
Side Four
10. "Good Morning Little School Girl" (Don Level, Bob Love, Taj Mahal) - 7:25
11. "Shady Grove" (Traditional, arr. Taj Mahal) - 9:27
12. "Butter" (Eric Ajaye, Taj Mahal, Hoshal Wright) - 2:47
NOTE: The noises near the end of track 9 are NOT surface defects. I believe that they are some kind of shaker. They match the sounds on the CD.
Personnel:
* Taj Mahal - vocals, National steel-bodied guitar, guitar, harmonica, Spirit of '76 Six Holde Fife, whistling
* Jesse Ed Davis - electric guitar, piano
* Charlie Freeman - electric guitar
* MIchael Utley - organ
* Jim Dickinson - piano
* Tommy McClure - bass
* Sammy Creason - drums
* Gary Gilmore - bass
* Chuck "Brother" Blackwell - drums
* Anna de Leon - harmony vocal
* Howard Johnson - tuba, flugelhorn, baritone saxophone, brass arrangements
* Bob Stewart - tuba, flugelhorn, trumpet
* Joseph Daley - tuba, valve trumpet
* Earl McIntyre - tuba, trombone
* John Hall - electric guitar
* Bill Rich - bass
* John Simon - electric piano, piano
* Greg Thomas - drums
* Kwasi "Rocky" DziDzournu - congas
* Hoshal Wright - electric guitar
* Eric Ajaye - bass