Martin Scorsese Presents the Blues: Taj Mahal (2003) [FLAC] *Planxty* torrent download



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      Taj Mahal - Martin Scorsese Presents the Blues: Taj Mahal


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Artist...............: Taj Mahal


Album................: Martin Scorsese Presents the Blues: Taj Mahal


Genre................: Blues


Source...............: CD


Year.................: 2003


Ripper...............: EAC (Secure mode) / LAME 3.92 & Asus CD-S520


Codec................: Free Lossless Audio Codec (FLAC)


Version..............: reference libFLAC 1.2.1 20070917


Quality..............: Lossless, (avg. compression: 64 %)


Channels.............: Stereo / 44100 HZ / 16 Bit


Tags.................: VorbisComment


Information..........: Flac Level 8





Ripped by............: Stb on 16/07/2009


Posted by............: Stb on 16/07/2009


News Server..........: news.astraweb.com


News Group(s)........: alt.binaries.sounds.mp3.metal.full.albums





Included.............: NFO, M3U, LOG, CUE,AUDIOCHECKER.


Covers...............: Front Back CD 





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                       Tracklisting


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   1. (00:04:49) Taj Mahal - Leaving Trunk


   2. (00:02:38) Taj Mahal - Dust My Broom


   3. (00:03:02) Taj Mahal - Corinna


   4. (00:02:38) Taj Mahal - Chevrolet


   5. (00:03:37) Taj Mahal - Going Up to the Country, Paint My Mailbox Blue


   6. (00:02:58) Taj Mahal - Statesboro Blues


   7. (00:03:29) Taj Mahal - She Caught the Katy and Left Me a Mule to Ride


   8. (00:04:55) Taj Mahal - Checkin' Up on My Baby


   9. (00:04:30) Taj Mahal - Bound to Love Me Some


  10. (00:04:41) Taj Mahal - Queen Bee


  11. (00:04:56) Taj Mahal - You're Gonna Need Somebody on Your Bond


  12. (00:02:56) Taj Mahal - Fishin' Blues


  13. (00:03:02) Taj Mahal - Six Days on the Road


  14. (00:04:43) Taj Mahal - Freight Train


  15. (00:04:01) Taj Mahal - Ain't That a Lot of Love





Playing Time.........: 01:41:00


Total Size...........: 348.94 MB





NFO generated on.....: 16/07/2009 13:16:01


:: Generated by Music NFO Builder v1.20 - www.nfobuilder.com :: 








 Biography from Allmusic.com.





One of the most prominent figures in late 20th century blues, singer/multi-instrumentalist Taj Mahal played an enormous role in revitalizing and preserving traditional acoustic blues. Not content to stay within that realm, Mahal soon broadened his approach, taking a musicologist's interest in a multitude of folk and roots music from around the world -- reggae and other Caribbean folk, jazz, gospel, R&B, zydeco, various West African styles, Latin, even Hawaiian. The African-derived heritage of most of those forms allowed Mahal to explore his own ethnicity from a global perspective and to present the blues as part of a wider musical context. Yet while he dabbled in many different genres, he never strayed too far from his laid-back country blues foundation. Blues purists naturally didn't have much use for Mahal's music and according to some of his other detractors, his multi-ethnic fusions sometimes came off as indulgent, or overly self-conscious and academic. Still, Mahal's concept seemed somewhat vindicated in the '90s, when a cadre of young bluesmen began to follow his lead -- both acoustic revivalists (Keb' Mo', Guy Davis) and eclectic bohemians (Corey Harris, Alvin Youngblood Hart).





Taj Mahal was born Henry St. Clair Fredericks in New York on May 17, 1942. His parents -- his father a jazz pianist/composer/arranger of Jamaican descent, his mother a schoolteacher from South Carolina who sang gospel -- moved to Springfield, MA, when he was quite young and while growing up there, he often listened to music from around the world on his father's short-wave radio. He particularly loved the blues -- both acoustic and electric -- and early rock & rollers like Chuck Berry and Bo Diddley. While studying agriculture and animal husbandry at the University of Massachusetts, he adopted the musical alias Taj Mahal (an idea that came to him in a dream) and formed Taj Mahal & the Elektras, which played around the area during the early '60s. After graduating, Mahal moved to Los Angeles in 1964 and, after making his name on the local folk-blues scene, formed the Rising Sons with guitarist Ry Cooder. The group signed to Columbia and released one single, but the label didn't quite know what to make of their forward-looking blend of Americana, which anticipated a number of roots rock fusions that would take shape in the next few years; as such, the album they recorded sat on the shelves, unreleased until 1992.





Frustrated, Mahal left the group and wound up staying with Columbia as a solo artist. His self-titled debut was released in early 1968 and its stripped-down approach to vintage blues sounds made it unlike virtually anything else on the blues scene at the time. It came to be regarded as a classic of the '60s blues revival, as did its follow-up, Natch'l Blues. The half-electric, half-acoustic double-LP set Giant Step followed in 1969 and taken together, those three records built Mahal's reputation as an authentic yet unique modern-day bluesman, gaining wide exposure and leading to collaborations or tours with a wide variety of prominent rockers and bluesmen. During the early '70s, Mahal's musical adventurousness began to take hold; 1971's Happy Just to Be Like I Am heralded his fascination with Caribbean rhythms and the following year's double-live set, The Real Thing, added a New Orleans-flavored tuba section to several tunes. In 1973, Mahal branched out into movie soundtrack work with his compositions for Sounder and the following year he recorded his most reggae-heavy outing, Mo' Roots.





Mahal continued to record for Columbia through 1976, upon which point he switched to Warner Bros.; he recorded three albums for that label, all in 1977 (including a soundtrack for the film Brothers). Changing musical climates, however, were decreasing interest in Mahal's work and he spent much of the '80s off record, eventually moving to Hawaii to immerse himself in another musical tradition. Mahal returned in 1987 with Taj, an album issued by Gramavision that explored this new interest; the following year, he inaugurated a string of successful, well-received children's albums with Shake Sugaree. The next few years brought a variety of side projects, including a musical score for the lost Langston Hughes/Zora Neale Hurston play Mule Bone that earned Mahal a Grammy nomination in 1991. The same year marked Mahal's full-fledged return to regular recording and touring, kicked off with the first of a series of well-received albums on the Private Music label, Like Never Before. Follow-ups, such as Dancing the Blues (1993) and Phantom Blues (1996), drifted into more rock, pop, and R&B-flavored territory; in 1997, Mahal won a Grammy for Señor Blues. Meanwhile, he undertook a number of small-label side projects that constituted some of his most ambitious forays into world music. 1995's Mumtaz Mahal teamed him with classical Indian musicians; 1998's Sacred Island was recorded with his new Hula Blues Band, exploring Hawaiian music in greater depth; 1999's Kulanjan was a duo performance with Malian kora player Toumani Diabate. Maestro appeared in 2008 from Heads Up Records.   








 Review from E MUSIC.COM





When the Ken Burns' documentary series Jazz premiered on PBS in 2001, a series of artist compilations were released using the series as a brand name, and they sold quite well. So, with Martin Scorsese overseeing a series of films for PBS with the overall name The Blues in 2003, much the same sort of campaign was launched, and this 15-track compilation of Taj Mahal's work from the late '60s to the mid-'70s was part of it. There's nothing wrong with the material, drawn largely from albums such as Taj Mahal, The Natch'l Blues, and Giant Steps/De Ole Folks at Home. But it had only been three years since Columbia/Legacy released the 17-track The Best of Taj Mahal, which shares many of the same tracks, and that album was still in print when this one was released. If viewers, inspired by watching television, were inspired to buy a Taj Mahal album and picked this one up because of the tie-in, they would get a good selection of the highlights of his early work.
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