Otis Taylor – Pentatonic Wars And Love Songs

I would imagine that being a Blues artist of the first magnitude offers a substantial set of obstacles when one desires to take those blues in new directions, to create a freshness not only for themselves, but for the genre as a whole. Yeah, that kind’a rolled off my tongue rather easily, but it’s no easy task to take a style of music that has so many scripted perceptions, values, and ideals ... not to mention that those who ride on the darker side of this music, music that seems to make more sense when the lights are dimmed, the air is thick, heavy, and laced with a pungent smoke that settles over every note being played. Two of the greatest blues artists from the past who’ve managed to incorporate a rock substance within the blues structure, yet create something new and timeless, were Alvin Lee, and John Mayall ... Otis Taylor passes by both of them on this release, setting the bar a bit higher for future artists not content to move down the same predestined path.

Otis Taylor, who’s music is black as night, delivers something totally unexpected here. While his songs are still heavily laden with blues sensibilities, there’s an airiness found here that I’ve never heard before, he also incorporates an infectious jazz element, an element that I find impossible to describe, but I can assure you that it works every bit as brilliantly as it did for John Mayall on his live version of “California.” Aside from that, Otis has majestically incorporated female backing vocals [by his daughter] that at times are front and center, and at others lend a hand to creating a haunting, mysterious, voodoo, symphonic atmospheric blend of implied chanting and singing; bring to mind the work of Mac Rebennack from his “Night Tripper” days.

Mr. Taylor has not lost his ability to create a trance like adventure, especially with his rapid fire finger picking that at times is overlaid with a minor keyed sax. Otis has a delightful and wondrous way of weaving textures that give his material palatable depth ... and some of his lyrics can be downright painful, belaying a broken weary heart that’s seen way too much of life.

This album, more than any other, incorporates all that Otis Taylor is. Much of the airiness found here comes from his years of playing bluegrass, and equally as much as his music, his personal life is found here, as he took many years off, nearly disappearing and supporting himself by selling antiques, only to make his way back to the blues scene in 1995. In other words, everything that goes into making an honest, substantial blues artist has been considered, challenged and incorporated here ... leaving your ears to hear one of the finest, most thoughtful, and streetwise intellectually graceful albums you’re ever going to come across.

Review by Jenell Kesler