Carlos del Junco is, hands down, one of the world’s best harmonica players.  Sticking strictly to diatonic harp, his use of the overblow technique expands the range of what is, by design, a limited instrument.  Simply put, there’s very little the man can’t do on the humble harmonica.  

Thankfully, del Junco keeps his virtuosity in check on “Steady Movin,” his sophomore outing on the NorthernBlues label.   Sure, there are moments here of utterly astonishing technical prowess – witness the solo take on “Amazing Grace,” in which del Junco explores the song’s structure and melody in endlessly inventive ways – but as a whole the disc is a well-paced and thoroughly musical outing.

Opener “Diddle It” sets the pace, a rollicking ride that gives del Junco and friends a chance to toy with convention.  From there we’re treated to a dazzling display of musical ideas, from Breit’s “Dull Blade” (sounding exactly like a cheesy 60’s spy-flick-theme should sound) through a tribute to DeFord Bailey, one of the harmonica’s unsung heroes (Bailey was, for many years, the only black performer on The Grand Ol’ Opry).  The disc’s title comes from Sonny Boy Williamson’s stream-of-consciousness “Movin’ Down The River Rhine,” a solo excursion that may just reveal the true origins of rap.

The band – returning percussionist Jorn Juul Anderson, new bassist Marc Rogers, with Denis Keldie once again contributing keys - plays like the proverbial well-oiled machine, negotiating tricky changes with intuitive ease.   Old friend John Dickie contributes vocals on “Mashed Potatoes Canada,” while del Junco limits himself to singing a pair, which he does quite well.  The rest is instrumental, and while there’s not a lot of pure blues content, the obvious and infectious joy of music-making is much in evidence.

One needn’t be a harp-o-holic to appreciate del Junco’s adventurous explorations of the instrument’s capabilities.  But if you’re at all interested in how versatile the harmonica can be in the hands of an out-and-out master, “Steady Movin’” is nothing short of revelatory.

Set aside the technical proficiency and the somewhat cerebral nature of few of the compositions here, though, and the result remains an enjoyable romp.  And that’s what matters in the end.

Highly recommended!