Taj Mahal: Savoy Review

For those at least remotely familiar with blues/roots music, Taj Mahal is a name that requires little introduction. Born Henry St. Claire Fredericks Jr. on May 17, 1942, in Harlem, New York City, the Grammy Award-winning Mahal has been a driving force in the blues world for over five decades, both celebrating the genre’s tradition and pushing its boundaries.  

In addition to blues, Mahal’s extensive body of work also incorporates genres such as jazz, reggae, and African and Indian traditional music, composing a rich tapestry that reflects his deep respect for the diverse cultures that have influenced his craft. Now, the celebrated singer, songwriter and multi-instrumentalist dives deep into jazz, more specifically swing, with the recently released Savoy.  

Savoy’s title comes from The Savoy Ballroom, a famous venue and dance hall once located in Harlem, New York. Thriving during the 1920s and 1930s, the now defunct Savoy was notable for its live performances by iconic jazz musicians such as Duke Ellington, Count Basie, and Chick Webb, in addition to being an important cultural spot for the local African American community. 

Paying homage to that music and era, Mahal delivers a 14-track set comprised of jazz standards composed by the likes of Louis Jordan, George Gershwin, Louis Armstrong and the aforementioned Duke Ellington.  

Recorded at 25th Street Recording in Oakland with engineer Gabriel Shepard and co-produced by John Simon, the record features Danny Caron (guitar); Ruth Davies (bass); Leon Joyce, Jr. (drums) as Mahal’s backing band, with additional vocals by Carla Holbrook, Leesa Humphrey, Charlotte McKinnon, Sandy Cressman, Sandy Griffith and Leah Tysse.   

Both production-wise and musically, the record is a full-blown period piece. Its production and mixing go for a warm, analog-like, and slightly muddy sound in order to capture the essence of the more limited recording technology of that period. This approach adds to the album’s reverent and mostly faithful treatment of the original material.  

That being said, the renditions of those standards on Savoy feature a bluesier feel, with Mahal’s big, distinctive voice and the extra, well-placed guitar licks and occasional solos being superb additions to the original numbers. 

The record opens with the jazzy “Stomping At The Savoy”, a vehicle for Mahal to recollect how his parents met for the first time at the iconic Harlem ballroom. The especially bluesy, heavy-on-soul “Gee Baby, Ain’t I Good To You” is also a highlight, focusing on tasteful licks and Mahal’s confident delivery. “Summertime” also benefits from the bluesier treatment, with the added guitar parts nicely complementing the saxophone-led number.  

“Do Nothin’ Till You Hear From Me” is a late-night, elegant slow-tempo number in which Mahal’s vocals take the spotlight. On the other hand, “Sweet Georgia Brown” is an upbeat and dancing cut.

The lush swing ballad “Baby Won’t You Please Come Home” and the harmonica-heavy blues stomp “Killer Joe” pave the way for “One For My Baby (And One More For The Road)”, the record’s closing number and its best. Clocking in at just over eight minutes, it’s a richly-layered, slow-burning piece which brims with both jazz eloquence and blues power. 

On balance, while its runtime of 58 minutes may be challenging for some, one cannot doubt the records’ drawing power. Anachronistic in the best possible way, Savoy celebrates the swing jazz big band era in remarkable fashion.  

The Review: 8.5/10

Can’t Miss Tracks

– Stomping At The Savoy
– Gee Baby, Ain’t I Good To You
– Summertime
– Do Nothin’ ‘Till You Hear From Me
– Baby Won’t You Please Come Home
– One For My Baby (And One More For The Road)

The Big Hit

– One For My Baby (And One More For The Road)

Buy the album: Amazon