© Bluestronomical Publishing Inc. 2009

Corey Harris
blu.black
Telarc TEL-31795-02

The latest CD from Corey Harris is sultry and smooth, the songs exquisitely crafted and lovingly recorded, each one spelled in lower case as if to emphasize that they are small pieces of a much larger puzzle. Yet it is an odd mix of colonial oppression and history lesson. His songs are blues in the sense that they document the centuries of struggle of Africans in the New World, and there’s much to like about this album. Just don’t expect to hear blues idioms outside of R&B. Do expect to get a treatise on Haile Selassie and the foundations of Rastafarianism.

Of the 14 songs on blu.black there’s only one acoustic blues in the style for which Harris was originally known. He seems to have moved past his investigations into the rural delta blues of Patton and Johnson and continued his melding of African roots music with urban Rhythm and Blues, all filtered through the trappings of the reggae form.

At times the instrumentation of the album sounds like it belongs in 1973, complete with funk-wah guitar and subtle organ and horn fills. At its weakest moments it could be mistaken for backing track for an episode of Love Boat, but when Harris sticks to his message, as in the songs “black” and “pimps and thieves,” he delivers it in harmony between music and words. In those cases the theme of his songs blends nicely with the overall sound of the album. The songs are beautifully produced by Chris “Peanut” Whitley, who clearly understands this artist and serves as his road manager and band leader. Very much a kindred spirit, Whitley augments Harris’ songs with tasteful keyboards and crystal-clear production. The addition of Davina Jackson on “king and queen” makes the song sparkle with a retro arrangement that conjures smooth jazz on a rainy day.

All but one of the songs on blu.black was written by Harris or co-written by Harris and Whitley. Harris has a lot on his mind and this is not music for casual listening despite an overall sound that is lush and easy on the ears. “babylon walls” warns of judgment and the price to be paid for straying off the righteous path. There is also an underlying theme on the album, that of respecting oneself despite temptation from outside forces. The song “black” is a love song to black consciousness and spiritual awakening that is reminiscent of the 60’s message that “black is beautiful.” The final song on the album is simply titled “blues”. Harris sums up his musical journey through Africa and urban America by bringing it back around to the source of his music, the Blues, an art form that was infused by the struggles of oppressed peoples. It is as if he wants to remind his listeners that the struggle is not over; in some ways it has just begun.

Harris is obviously a very intelligent, spiritual artist. His music may not appeal to blues fans that are more used to the raucous Chicago sound or a driving Texas shuffle, but that is not to say that he is not a bluesman. Telarc should be commended for continuing to support such a diverse group of artists. Corey Harris is one of their shining jewels.

- Jim Dimock -


Southwest Blues CD Review - November 2009

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