Review: Taj Mahal @ The Morse

Let it be clear first that this review is written from the perspective of a casual blues fan & a known-by-association-with-a-jam-band Taj Mahal supporter. That said, there will not be a set list posted or introspective perception of any songs played. Frankly, the author was looking for something to do on Friday night.

It’d be unfair to review this show without mentioning the spectacular venue within which it occurred. The Morse Theatre in Roger’s Park (located on Morse Avenue, 1 block east of the Morse Red Line stop) (read: paranoid honkys need not fear) was christened this weekend after an extensive reconstruction. From the marquee to the rafters and the bar to the bathrooms, the facilities are fantastic. It’s a small venue with a 299-person capacity, much of it on the dance floor penned behind tiny cocktail tables, with booths along the walls and a horseshoe balcony. The acoustics were adequate from floor in the front, though it may take a few shows for the sound engineer to get it just right. Keep an eye on the schedule up there, the venue is definitely worth a visit.

Taj Mahal is amazing. There it is; if nothing else in you feels stable these days, you’ve just been given a constant on par with the sunrise. After ambling on stage with the backing members of the Taj Mahal Trio, Mr. Mahal picked up his gee-tar, mumbled through a countdown and began the evening. The first several songs were traditional blues choices with foot-stomping tempos. Rough and smoky with a smooth finish, like one that has been revealing the oscillations of life for so many seasons; Taj spoke of his sorrows, his sins, and his dirty desires. Moving from his guitar to a keyboard, the theme switched into a band-heavy tune with an exceptional solo session by bassist Bill Rich. Soon after a couple songs on the keyboard, (glossing over these songs is only a byproduct of the author’s unfamiliarity with the artist & slight inebriation; be assured that each tune played was a choice selection from somewhere in his 40-year recording career) Taj then jumped on a banjo and got the crowd’s feet tapping once again. Closing out the evening, the trio played the most anticipated song of the evening for many in attendance, “Lovin’ In My Baby’s Eyes.” If you have a better half, do your relationship a favor & put this song on. Lock eyes and let the song move your feet. Where you end up at the end will exacerbate any previous notion of affection. Leftover Salmon covered with Taj on vocals on their “Nashville Sessions” album & young, drunk lovers gained an anthem.

As an addendum to the venue and musical review above, Taj Mahal’s stage presence is note-worthy. From start to stop, Taj infused his music with his performance and magnified each song’s mood. He used his face as effectively as his hands, carrying the tunes along and representing what his guitar was emoting. Two-stepping across the stage, smiling at girls, slapping his strung partner as if it were playing hard-to-get; each note moved through him from fingers to feet. Truly an entertainer and bluesman par excellence.