Charlie Musselwhite
By Chris Wheatley
Any new record by Grammy Award-winning, legendary bluesman Charlie Musselwhite is something to look forward to, and this one brings special significance. Mississippi Son, released June 3rd via Alligator Records, celebrates Musselwhite’s physical return to the beloved state of his birth. Musselwhite was born in Kosciusko, in Attala County and now, after a spell in California, the harmonica-player has relocated to Clarksdale, Mississippi, just a couple of hours drive from his hometown.
This is a player who is justly celebrated as one of the best blues harpists around, having released over forty albums across a highly accomplished career, not least 2020’s Grammy-nominated, Blues Music Award-winning 100 Years Of Blues (with Elvin Bishop.) With an artist who lives and breathes his craft, you would expect Musselwhite’s return to his spiritual homeland to result in something special, and you wouldn’t be wrong. Backed by Ricky “Quicksand” Martin on drums and Barry Bays on acoustic stand-up bass, this is a thoroughly enjoyable set.
“Blues Up The River,” a Musselwhite original, starts things off, and what a fantastic leaping-off point it is. A lazy, sunny, shuffling blues, the track drifts by as magical and alluring as the Mississippi itself. “I won’t drink muddy water, till I’ve had enough,” sings Musselwhite over a fine, sparse backdrop of drums, bass and subtle guitar. As you would expect, Musselwhite’s harmonica has a lot to say here. As visceral and charming as ever, the bluesman’s harp sparkles like the sun on the water.
“Stingaree” rattles and moans, but here again, beneath the classic blues vibe, rays of light pour forth. Musselwhite is obviously loving his new (old) surroundings. You’re listening to a master at work here, as sure-footed as ever. Charley Patton’s “Bee Vine Blues” is a delight, rustling, skipping and swaying like an old railroad car. Throughout this set, the production is wonderful. Plenty of open space is left for the imagination to inhabit and the individual components sound crystal clear, but never cluttered, too clean or too muddy.
Musselwhite’s take on the classic “Crawling King Snake” does justice to this enduring standard. Harp flutters, drums skip and bounce and the bass rounds off the edges nicely. “My Road Lies In Darkness” treats us to Musselwhite’s wonderful guitar playing. With just strings and voice, he conjures up a whole world of depth and emotion. Blues guitar has always been about expression over complexity, and this is as expressive as a player gets. It’s a highly impressive display from the veteran.
“Drifting From Town To Town” takes us on a visceral, dusty journey through the old country. A word must be said regarding Musselwhite’s accomplices. Martin’s drumming is a joy – restrained and yet wholly captivating. Bays’ stand-up bass provides a sublime support, both melodic and rhythmic. “A Voice Foretold” takes us out with more of that sweet guitar and flowing harp.
Fittingly, Clarksdale occupies a special place on The Mississippi Blues Trail. This is where Bessie Smith met her sad end, and the town has ties to many other giants of the blues, including Son House, John Lee Hooker, Muddy Waters, Sam Cooke and Junior Parker. Clarksdale remains home to some of the best blues festivals going – a living historical document which daily hums with music.
You can feel that spirit throughout this excellent album.
Order link for Mississippi Son Here
Listen “Blues Gave Me A Ride”
I Hope to see him in central PA soon, great as always