Sie bieten auf eine 2LP 180 g Audiophile Vinyl Pressing 33 UPM
Original von HEADS UP HULP8164

TAJ MAHAL

"MAESTRO"

Eine qualitativ hochwertige Pressung,
in FACTORY SEALED Zustand.

Diese Doppel-LP (Klappcover) ist in NEUEM, UNBESPIELTEM Zustand,
komplett im Originalzustand, factory sealed,
also in originaler, ungeöffneter (verschweißter) Schutzhülle.
Das Cover ist ABSOLUT NEU, unbeschädigt und ORIGINAL verschweißt.

Titelverzeichnis

Side A:
1. Scratch My Back  4:20
2. Never Let You Go  4:44
3. Dust Me Down  3:29
4. Further On Sown The Road  4:51

Side B:
1. Black Man, Brown Man  3:54
2. Zanzibar  5:53
3. TV Mama  3:42
4. I Can You Make Happy  4:58

Side C:
1. Slow Drag  6:33
2. Hello Josephine  4:47
3. Strong Man Holler  5:49

Side D:
1. Diddy Wah Diddy  4:37
2. Mamba No. 5  3:40   BONUS
3. On A Little Mamboo Bridge  4:02   BONUS

Celebrating 40 years!

With Special Guests:

Ben Harper
Jack Johnson
Angelique Kidjo
Los Lobos
Ziggy Marley
Phantom Blues Band
and others …

 Limited Edition aus dem Jahr 2008
40th Anniversary,
180 g 2-LP Set,
including 2 BONUS tracks

Kurzum:
EIN MUSS FÜR JEDEN ERNSTHAFTEN AUDIOPHILEN HÖRER!!!

Das vorliegende Exemplar ist vom ORIGINAL Hersteller und absolut NEU.

Rezensionen:

Taj Mahal - Maestro (2 LP, 180 g)

40 Jahre kann er nun auf sein Lebenswerk zurückblicken, ein guter Grund sich selbst zu feiern und das mit einer illustren Gästeliste: die Rede ist von Taj Mahal, dem Mann aus Harlem, New York! Er gehört zu jener Gattung Musiker, die sich nicht im Blues festnageln lässt und genau dies spiegelt dieses tolle Album wieder! Von Reggae über afrikanischem Folk zu Soul und Bluegrass reicht sein Spektrum, die oben erwähnten Gaststars wie Ben Harper, Jack Johnson, Angelique Kidjo, Los Lobos, Ziggy Marley u.v.a. sorgen ohnehin für viel Abwechslung. Erfreulicherweise ist das Album nicht nur musikalisch klasse, sondern auch klanglich überaus gelungen! So also können wir Taj Mahal und seine Freunde in bester Qualität erleben, eine wahrlich tolle Sache. Inklusive zweier Bonustracks, Klappcover.

Vier Jahrzehnte Blues, Roots, Reggae und mehr zelebriert Taj Mahal auf seinem brandneuen Album.
Angelique Kidjo, Ben Harper, Ziggy Marley und Jack Johnson veredeln die Jubiläumsgala.
Lustvoll mixt der mit allen Genres der Black Music bestens vertraute Künstler Originalmaterial mit bekannten Klassikern. »Meine neue CD ist tanzbar, ist hörenswert, wartet mit vielen unterschiedlichen Rhythmen auf und verbreitet jede Menge Fun«, erklärt Taj, der auf vier Tracks auch die Reunion mit seiner Phantom Blues Band vermelden kann.

Taj zieht nach 40 Jahren Bilanz!
zum 40jährigen Bühnenjubiläum kommt Taj Mahal mit seinem lang erwarteten neuen Studioalbum. Die neue CD ist gefüllt mit der ganzen Bandbreite aus Taj Mahals musikalischem Schaffen: Blues, Funk, Reggae und Worldmusic. Alle Stücke sind auf höchstem Niveau und überraschen mit zahlreichen interessanten Gästen (u.a. Ben Harper, Ziggy Marley, Jack Johnson, Los Lobos etc.). Dieses neue Album ist die Essenz von Taj Mahals Musik. Unbedingt zu empfehlen!

Taj Mahal - Maestro - Heads Up

Sounds as fresh today as he did on his debut back in 1968.

Published on September 11, 2008

Taj Mahal - Maestro - Heads Up HUCD3164, 57:40 *****:

(Taj Mahal - guitar, banjo, harmonica, ukulele, vocals; with Phantom Blues Band, Los Lobos, New Orleans Social Club, and others)

In his more than four decades as a recording artist, Taj Mahal has taken the blues to places its never been before: Hawaii, Jamaica, Appalachia, Europe, and Mexico, to name a few.  This disc, his initial release for the Heads Up label and first stateside recording in over five years, gives listeners a sweeping musical picture of his sojourns with this venerable music.

With such a diversity of talent gracing the proceedings, one might expect musical chaos.  Yet that doesn’t happen.  Taj’s unique and wide-sweeping musical vision neatly ties everything together.  First there’s his voice, an amazing instrument in itself.  It easily moves from a Don Van Vliet/Dr. John gravel-throated growl (“I Can Make You Happy”) to a Hawaiian-tinged croon (“Never Let You Go,”), complete with a hint of vibrato, to a Caribbean-drenched lilt (“Black Man, Brown Man”), to an African High-Life chant (“Zanzibar”), to a N’awlins-inspired stride (“Hello Josephine”)—yet all instantly recognizable as Taj himself.

Next, there’s his uncanny ability to find the exact right accompaniment to bring out each song’s musical center. Some of the choices are quite striking, for example employing Los Lobos as the backing band for “TV Mama” - originally recorded by blues shouter Big Joe Turner and written by his wife Lou Willie Turner.  But it works perfectly, combining killer slide guitar, honky-tonk horns, and scintillating harmonica. And using New Orleans Social Club, featuring Ivan Neville on organ and Henry Butler on piano, gives Taj’s already eldritch “I Can Make You Happy” an even spookier aura.  Perhaps the most striking example is the guitar/kora/nhoni trio of string instruments (with electric bass, drums, and percussion) that frames “Zanzibar,” the disc’s high spot for this reviewer. Add to the mix Ben Harper and Jack Johnson on one number each, and Phantom Blues Band on four others, and the result is highly satisfying.

Much more than merely a survey of a remarkable 40-year career, Maestro represents Taj Mahal at his very best.

TrackList: Scratch My Back, Never Let You Go, Dust Me Down, Further on Down the Road, Black Man, Brown Man, Zanzibar, TV Mama, I Can Make You Happy, Slow Drag, Hello Josephine, Strong Man Holler, Diddy Wah Diddy

- Jan P. Dennis

Taj Mahal
Maestro

(Heads Up)

First Appeared in The Music Box, October 2008, Volume 15, #10

Written by John Metzger

Wed October 29, 2008, 06:30 AM CDT

Forty years ago, as the blues scene was in the midst of a wild resurgence at the hands of a new generation of rock ’n‘ roll fanatics, Taj Mahal quietly entered the fray with his self-titled debut, which featured material that had been penned years earlier by the likes of Sleepy John Estes, Blind Willie McTell, and Robert Johnson. Musically speaking, Mahal kept one foot planted firmly in the contemporary style of Cream, even as the other slipped through the cracks of time to settle amongst the rural hollers that emanated from the murky swampland of the Mississippi Delta. Over the course of his subsequent endeavors, Mahal gradually broadened his horizons, demonstrating that he wasn’t as much of a purist as his initial foray seemed to indicate. As the blues began to recede from the forefront of popular culture, he began to elaborate further upon the genre’s history as well as its future by using sounds that he had discovered around the globe, from Hawaii to Mali, to flavor his output.

Maestro is Mahal’s first album in five years. It also is an attempt to summarize his journey and celebrate his legacy without becoming overtly retrospective. Unfortunately, it is only partially successful. Like all of his endeavors, Maestro is a thoroughly enjoyable affair, and although it features more than its share of special guests — which range from Ben Harper and Jack Johnson to Ziggy Marley and Los Lobos — none of them overshadow Mahal nor do they feel out of place. So wide-reaching is Mahal’s oeuvre that he can move from the reggae-inflected groove of Black Man, Brown Man to the meshing of Led Zeppelin-esque rock and Stevie Wonder-inspired funk on Dust Me Down to the worldly atmosphere of Zanzibar, without missing a beat.

For all of the ground that is covered on Maestro, the set’s biggest flaw is that it ultimately is rendered in a fashion that is as safe as its guests. From start to finish, the performances are solid, but it would have been preferable to hear more interaction between Mahal and his accompanists. While the backdrops change to suit the style of whomever has joined his party, his pals’ contributions are too reverential. Mahal, in turn, adheres closely to his predetermined script. As a result, songs like TV Mama and Further On Down the Road falter because they fail to find anything new to say.

Strangely, then, Maestro’s straight-ahead blues tunes are the cuts that fare best. Backed by the New Orleans Social Club, Mahal growls his way through I Can Make You Happy, and with his banjo in hand and the Phantom Blues Band, his long-running outfit, by his side, he masterfully explores the rustic textures of Slow Drag. In both cases, he regains the passion that is frustratingly absent from the bulk of the collection. In the end, Maestro will please many of Mahal’s fans, and it also might bring a handful of new followers into the fold. The career-defining highlights, however, are few and far between.

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Original
HEADS UP  HULP8164
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