Taj Mahal Movie Theme Song
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. the Hula Blues BandWebsiteHenry Saint Clair Fredericks (born May 17, 1942), who uses the stage name Taj Mahal, is an American musician, a singer-songwriter and film composer who plays the guitar, piano, banjo, harmonica, and many other instruments. He often incorporates elements of into his works and has done much to reshape the definition and scope of blues music over the course of his more than 50-year career by fusing it with nontraditional forms, including sounds from the Caribbean, Africa, and the South Pacific. Contents.Early life Born Henry Saint Clair Fredericks, Jr. On May 17, 1942, in, New York, Mahal grew up in. He was raised in a musical environment; his mother was a member of a local and his father was an Afro-Caribbean arranger and piano player. His family owned a which received music broadcasts from around the world, exposing him at an early age to.
Early in childhood he recognized the stark differences between the of his day and the music that was played in his home. He also became interested in jazz, enjoying the works of musicians such as,. His parents came of age during the, instilling in their son a sense of pride in his Caribbean and African ancestry through their stories. Taj Mahal at the Museumsquartier in (Jazz-Fest Wien) in 2007Because his father was a musician, his house was frequently the host of other musicians from the Caribbean, Africa, and the U.S. His father, Henry Saint Clair Fredericks Sr., was called 'The Genius' by before starting his family. Early on, Henry Jr.
Developed an interest in African music, which he studied assiduously as a young man. His parents also encouraged him to pursue music, starting him out with lessons.
He also studied the clarinet, trombone and harmonica. When Mahal was eleven his father was killed in an accident at his own construction company, crushed by a tractor when it flipped over. This was an extremely traumatic experience for the boy.Mahal's mother later remarried. His stepfather owned a guitar which Taj began using at age 13 or 14, receiving his first lessons from a new neighbor from North Carolina of his own age who played acoustic blues guitar. His name was Lynwood Perry, the nephew of the famous bluesman. In high school Mahal sang in a group.For some time Mahal thought of pursuing farming over music.
He had developed a passion for farming that nearly rivaled his love of music—coming to work on a farm first at age 16. It was a dairy farm in, not far from Springfield.
By age nineteen he had become farm foreman, getting up a bit after 4:00 a.m. And running the place. 'I milked anywhere between thirty-five and seventy cows a day. I clipped udders. I grew Tennessee redtop clover. Mahal believes in growing one's own food, saying, 'You have a whole generation of kids who think everything comes out of a box and a can, and they don't know you can grow most of your food.' Because of his personal support of the family farm, Mahal regularly performs at concerts., his stage name, came to him in dreams about, and social tolerance.
He started using it in 1959 or 1961 —around the same time he began attending the. Despite having attended a vocational agriculture school, becoming a member of the, and majoring in and minoring in and, Mahal decided to take the route of music instead of farming. In college he led a band called Taj Mahal & The Elektras and, before heading for the U.S. West Coast, he was also part of a duo with Jessie Lee Kincaid. Taj Mahal performing in 1971 (Millard Agency photo)In 1964 he moved to Santa Monica, California, and formed with fellow musician and Jessie Lee Kincaid, landing a record deal with soon after.
The group was one of the first interracial bands of the period, which likely made them commercially unviable. An album was never released (though a single was) and the band soon broke up, though did release The Rising Sons Featuring Taj Mahal and Ry Cooder in 1992 with material from that period. During this time Mahal was working with others, musicians like,. Mahal stayed with Columbia after the Rising Sons to begin his solo career, releasing the self-titled Taj Mahal in 1968, The Natch'l Blues in 1969, and Giant Step/De Old Folks at Home with Kiowa session musician from Oklahoma, who played guitar and piano (also in 1969). During this time he and Cooder worked with, with whom he has performed at various times throughout his career. In 1968, he performed in the film.
He recorded a total of twelve albums for Columbia from the late 1960s into the 1970s. His work of the 1970s was especially important, in that his releases began incorporating West Indian and Caribbean music, jazz and into the mix. In 1972, he acted in and wrote the film score for the movie, which starred. He reprised his role and returned as composer in the sequel,.In 1976 Mahal left Columbia and signed with, recording three albums for them. One of these was another film score for 1977's Brothers; the album shares the same name.
After his time with Warner Bros., he struggled to find another record contract, this being the era of and music. Taj Mahal at the, Italy, in 2005Stalled in his career, he decided to move to in 1981 and soon formed the Hula Blues Band. Originally just a group of guys getting together for fishing and a good time, the band soon began performing regularly and touring. He remained somewhat concealed from most eyes while working out of Hawaii throughout most of the 1980s before recording Taj in 1988 for. This started a comeback of sorts for him, recording both for Gramavision and during this time.In the 1990s he was on the label, releasing albums full of, pop, R&B.
He did collaborative works both with and.In 1998, in collaboration with renowned songwriter David Forman, producer Rick Chertoff and musicians, and of, and, he performed on the album Largo based on the music of.In 1997 he won for at the, followed by another Grammy for Shoutin' in Key in 2000. He performed the theme song to the children's television show, which began broadcast in 2004.In 2002, Mahal appeared on the 's compilation album in tribute to Nigerian musician. The produced album was widely acclaimed, and all proceeds from the record were donated to AIDS charities.Taj Mahal contributed to 's 2006 album 'hedfoneresonance'. The -based group led by Mahal's son Imon Starr also featured Deva Mahal on vocals.Mahal partnered up with to release a joint album TajMo on May 5, 2017. The album has some guest appearances by, and, and has six original compositions and five covers, from artists and bands like and.In June 2017, Mahal appeared in the award-winning documentary film, directed by, recording ' on the first system from the 1920s. Mahal appeared throughout the accompanying documentary series, commenting on the 1920s rural recording artists who had a profound influence on and on him personally. Musical style.
Taj Mahal performing at the 1997Mahal leads with his thumb and middle finger when, rather than with his index finger as the majority of guitar players do. 'I play with a,' he says, 'when I do a lot of blues leads.' Early in his musical career Mahal studied the various styles of his favorite blues singers, including musicians like, Howlin' Wolf,. He describes his hanging out at clubs like in Massachusetts and in Los Angeles as 'basic building blocks in the development of his music.' Considered to be a scholar of blues music, his studies of at the University of Massachusetts Amherst would come to introduce him further to the folk music of the Caribbean and West Africa. Over time he incorporated more and more African into his musical palette, embracing elements of reggae, jazz, R&B, and the —each of which having 'served as the foundation of his unique sound.' According to The Rough Guide to Rock, 'It has been said that Taj Mahal was one of the first major artists, if not the very first one, to pursue the possibilities of.
Even the blues he was playing in the early 70s – (1972), (1974) – showed an aptitude for spicing the mix with flavours that always kept him a yard or so distant from being an out-and-out blues performer.' Concerning his voice, author David Evans writes that Mahal has 'an extraordinary voice that ranges from gruff and gritty to smooth and sultry.' Taj Mahal in, Germany, June 2007Taj Mahal believes that his 1999 album Kulanjan, which features him playing with the master of 's tradition, 'embodies his musical and cultural spirit arriving full circle.' To him it was an experience that allowed him to reconnect with his African heritage, striking him with a sense of coming home.
He even changed his name to Dadi Kouyate, the first name, to drive this point home. Speaking of the experience and demonstrating the breadth of his eclecticism, he has said:The microphones are listening in on a conversation between a 350-year-old orphan and its long-lost birth parents. I've got so much other music to play.
But the point is that after recording with these Africans, basically if I don't play guitar for the rest of my life, that's fine with me.With Kulanjan, I think that Afro-Americans have the opportunity to not only see the instruments and the musicians, but they also see more about their culture and recognize the faces, the walks, the hands, the voices, and the sounds that are not the blues. Afro-American audiences had their eyes really opened for the first time. This was exciting for them to make this connection and pay a little more attention to this music than before.Taj Mahal has said he prefers to do outdoor performances, saying: 'The music was designed for people to move, and it's a bit difficult after a while to have people sitting like they're watching television. That's why I like to play outdoor festivals-because people will just dance.
Theatre audiences need to ask themselves: 'What the hell is going on? We're asking these musicians to come and perform and then we sit there and draw all the energy out of the air.' That's why after a while I need a rest. It's too much of a drain. Often I don't allow that. I just play to the goddess of music-and I know she's dancing.'
Mahal has been quoted as saying, 'Eighty-one percent of the kids listening to rap were not black kids. Once there was a tremendous amount of money involved in it.
They totally moved it over to a material side. It just went off to a terrible direction.You can listen to my music from front to back, and you don't ever hear me moaning and crying about how bad you done treated me. I think that style of blues and that type of tone was something that happened as a result of many white people feeling very, very guilty about what went down.'
. ^ Evans, et al., xii.
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