Review: 'Living In The City' by Big Harp George

Big Harp George

By Chris Wheatley

Blues, perhaps more than any other genre, has always had its share of colourful characters. San Francisco’s George Bisharat, who records as Big Harp George, certainly has a back story to match the exuberant sounds on Living In The City, his fourth album to date. Before turning full-time to music, George served as both a criminal defense attorney and as Professor of Law at UC Hastings College. Now, he fronts a cracking seven-piece band of drums, bass, keys, guitar, sax, trombone and backing vocals. George himself plays a chromatic harmonica (the “big harp”) which differs from the usual choice for blues players, the diatonic harp, in its ability to play notes beyond a set scale, by means of a sliding bar. No less a person than Stevie Wonder is another champion of this instrument. We get thirteen original tracks here, constructed from George’s satirical take on all aspects of modern life.

This set kicks off with “Build Myself An App,” a wry lament on the modern pay-per-stream business model of the music industry. “50 damn plays, barely earns me a dime. I’m gonna build me an app, make me some cash.” George’s voice is rounded and smooth, with plenty of character, and it’s all delivered with such warm humour that he has you instantly on his side. Musically, this is a fine blues shuffle and a sure-fire crowd-pleaser. At moments where all the band join in, they stir up a pleasing riot of sound, with stinging brass and thudding drums. It’s a song which swings and dances, building up to a colourful crescendo. The band also includes heavyweights Kid Andersen (bass, guitar), Little Charlie Baty (guitar), and many more.

Title-track “Living In The City” is a delight; a slow, smoky blues with an eccentric edge. City sound effects, 40s-style vocal harmonies and a thumping, walking bass-line merge with contemporary smoothness and George’s charismatic vocals. This track serves as a vibrant showcase for the leader’s splendid harp-playing. The chromatic harp certainly lends an unusual flavour, bright and sharp, and George handles it with admirable dexterity and style. Some lovely, jazzy guitar adds width. “Just take two steps back, raise your hands in the air,” sings George with his ear-pleasing voice.

On “Copayment” the group stretch out with a driving, jiving blues-rock. “I know I’ve been a sucker, for most of my life, in fact I’m reminded daily, by my dear lovely wife.” Lyrically, George may have his tongue firmly in his cheek, but musically these players serve up a first class spread. On the lengthy instrumental passages, and during George’s effervescent solos, the assembled musicians swing with heart and stoke up quite a fire.

“Bayside Bounce” gives us slow, dreamy blues-jazz, which drifts with the innocent joy of a Mark Twain adventure. It’s a measure of the band that, over four-and-a-half minutes of vocal-free music, they tell a wonderful story of your own imagining. There’s so much charm on display that it’s impossible not to get swept along. “First Class Muck Up,” with its faux-fudged beginning, is all rolling, rattling fun. Propelled by some more fizzing harp, the group pump out an easy-rolling freight-train jam which doubtless has audiences up on their feet. Closer “Pusher In A White Coat,” addressing the serious issue of opiate abuse, nevertheless retains enough spirit to take us out on a high (if you’ll excuse the pun.)

Living In The City offers a welcome reprieve from the modern world, made with plenty of good humour and played by first-rate musicians. George’s harp is always compelling, his lyrics and compositions are never less than entertaining, and the band follow him headlong all the way.

Listen to “Build Myself An App”