review and photography by Bibiana Huang Matheis
March 15, 2013 at the Allen Room, Jazz at Lincoln Center’s Fredric P. Rose Hall
Manhattan, New York
Charlie Musselwhite – harmonicas & vocals
Matt Stubbs – guitar
Mike Phillips – bass
June Core – drums
The blues harmonica virtuoso blew his harp impassionately for the entire night and smiled all night long from ear to ear. It took only seconds for the sophisticated crowd to be moved to rhythmic foot stomping, and those who did not rise from their seats to dance, boogied down in their seat. The band was having a great time, loving what they are doing, and their enjoyment and enthusiasm infected the audience instantly.
The maestro is a wonderfully smooth entertainer, and his band was in perfect synchronicity with Musselwhite as they performed tunes from both their new CD “Juke Joint Chapel” (2012), as well as from Musselwhite’s vast repertoire. (The new album on Henriettas Records features an artistic photograph taken by Musselwhite). The finely honed band, combined with the sublime sound quality of the JLC, allowed this performance to shine remarkably. Matt Stubbs showed that he is en par with the best blues guitarists on the scene, a fiery young player who is somewhat reminiscent of the late Sean Costello, with excellent chops and elegant expressionism.
Musselwhite’s tasteful style was more reminiscent of a jazz player than the typical blues harmonica styles that are so popular today. His far reaching phrasing and improvisations are both melodic and sophisticated, with long passages that remind of improvisations by Miles Davis or John Coltrane, mind-boggling in both beauty and complexity. Yet, he made it sound simple and easy, as Musselwhite is foremost tasteful and eloquent, almost understated in his style.
The band was hard driving with a fiercely danceable beat, yet Musselwhite played it smoothly and sweetly, never harsh or overdriven, yet lyrically and expressively with wonderful phrasing and intricate, colorful solos. While the band played electric, they were very much reminiscent of the Delta-Go-Chicago blues style of late 1940s-50s. Every player had a part, foremost it was the full sound of the band without individual showmanship ever overtaking the notion of the full band, and everything fit perfectly and seamlessly.
Musselwhite shared little vignettes of his illustrious life, which spiced up the concert but never became overbearing.
The incredible concert hall was a proper backdrop for this warm and heartfelt show by a truehearted entertainer who warmly connected with his audience. After an intrepid show, the band closed the set with an encore instrumental version of Duke Pearson’s “Cristo Redentor” – typically a tune performed by jazz players, to a standing ovation. Again, Musselwhite went for the feeling, the emotive mood, to close the night with this moving, virtuoso rendition.
Musselwhite plays to the heart, whereas others may play to dazzle. After the show he and Matt Stubbs signed autographs for a long line of fans, patiently meeting each person one-by-one.
People walked away happy and enriched with the realization that they had just enjoyed a show by a superb band fronted by one of the best harmonica players in the world today.
- Bassist Mike Phillips by Bibiana Huang Matheis. Copyright 2013
