Reviewed by:
InReview
Review by Steve Evans |
21 February 2022
Fringe review: A History of Mississippi and Georgia Blues
Anchored by Cal Williams Jr on guitar, this journey through highlights of the Mississippi and Georgia blues, with Mary Trees on percussion and Kory Horwood on double bass, is an utter delight. â
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Written by Steve Evans
The session began with the trio already playing their instruments as they walked through the audience into the Tin Shed at the rear of the Wheatsheaf Hotel. Once on stage, they stretched into an infectious version of âColumbus Stockade Bluesâ. That featured a bass solo with a jazz feel which segued into a duet with Williamsâ expert guitar picking.
Blind Willie McTellâs classic âStatesboro Bluesâ was next, featuring Williams on a resonator guitar that he said was fabricated from âan old chicken-shed doorâ and which had a wonderful sound. Horwoodâs bowed bass was a great accompaniment here, adding a lyrical feel.
Williams inserted an entertaining anecdote about Brownie McGhee before launching into âSporting Life Bluesâ, during which he rested to allow another tasteful bass solo. Kokomo Arnoldâs slow and warm âShine On, Moonâ handed the intro and vocal to Horwood and all three harmonised on the chorus as Mary Trees took to the snare brushes. And then it was Treesâ turn with a Ma Rainey tune, slyly encouraging the crowd to hum but not sing along, presumably due to COVID guidelines.
That was essentially the close of the Georgia part of proceedings before Tommy McClennanâs âWhiskey Headed Womanâ took over, the vocal in this song recollecting Canned Heat in Williamsâ use of a higher register.
JB Lenoirâs âDown in Mississippiâ underlined the hardship of being black in the South. Another bleak song, though apocryphal, was the famous âCrossroadsâ, allegedly describing Robert Johnsonâs pact with the devil to enhance his musical skills. Williams dressed this one with an engaging patter about the voodoo tradition before again singing with a touch of the vocal style of Canned Heatâs Al Wilson.
Ostensibly the final number, Son Houseâs âDeath Letter Bluesâ followed, with emphasis on Treesâ percussion and Williams using slide on the resonator Ă la Ry Cooder on the Paris, Texas soundtrack. And so it came to loud applause, repeated after the bandâs encore, their own song, âHoney Childâ.
Seeing this thoroughly absorbing performance, one canât be surprised that Williams has previously received the ARBA Best Blues Soloist Award and been voted in the top three best blues guitarists for the Derringers Music Awards. This is a very entertaining show for fans of the blues and catchy music of any kind.
A History of Mississippi and Georgia Blues will be performed again at the Wheatsheaf Hotel on February 27 and March 6.