| · "Our different histories, ages, cultures are all part of the same tree. Listen closely and you will hear the root." – Corey Harris from the liner notes of Mississippi to Mali
From studying its deep roots to enjoying the artists of today, learning about the blues can be a lifelong vocation. Yet every now and then an album comes out that gives a bit of a crash course into the rich history of the genre. One such past project was Rhino’s Blues Masters – Essential History of the Blues Vol. 10. Entitled Blues Roots, it followed the development of blues from its African roots. By tracing the evolution of the blues, the album took an almost academic approach.
With his latest album Corey Harris takes this journey several steps further, and uses a different approach in doing so. In fact, as the title suggests, not only does he pay a heartfelt homage to Africa as the birthplace of the blues, he also takes the music full circle by bringing it back to the homeland. This is also a political action – Harris comments in his liner notes that the album was inspired by love and respect for the musical spirit that was kept alive despite the damage and degradation of slavery. Bringing the music back to Africa is clearly an act of cultural reclamation.
Also inspired by Martin Scorsese’s television series The Blues, this album is an attempt by Harris to demonstrate the living links between African and African-American music.
Recorded in both Mississippi and Mali, Harris collaborates with musicians indigenous to each area. In the U.S. he works with the likes of Sam Carr, Bobby Rush, and the Rising Star Fife and Drum Band. His collaborators in Africa include renowned guitarists Ali Farka Toure and Ali Magassa, and percussionist Souleyman Kane.
The project is dedicated to fife and drum master Otha Turner, who passed away one week before he was to participate in the recording. The fact that his 12-year-old granddaughter and protégé Shardé Thomas is featured on the album is a testament to the fact that it not only traces history, but also emphasizes how the past influences the future.
The album samples a range of material, including traditional blues numbers, tunes from historical blues figures such as Skip James, Robert Petway and William Johnson, and original compositions by Harris, and some of his collaborators.
With a tonal style reminiscent of field recordings, Harris avoids high-production values, allowing the music to speak for itself. And unlike ethno-musical albums that strip down influences into their separate parts, Harris weaves the past, present and future together, creating one big patchwork that colourfully and playfully brings the music from Africa to North America and back again.
This isn’t an audio textbook history of the blues. Nor is it a Smithsonian Institute anthology of blues history. This is a living, breathing homage to where the blues has come from and where it is going, from one of the most acclaimed artists of the new generation of blues musicians. And as such, this is a vitally important piece of work, while also being a thoroughly inspiring listen.
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