Skin Tight Blues2002Sweetgrass RecordsSGBCD2002

Skin Tight Blues - 2002 - Sweetgrass Records - SGBCD2002

Written by Calvin Daniels

"Skin Tight Blues" is an interesting musical experience bringing together Aboriginal blues artists from across North America. The idea for this unique recording belongs to Ted Whitecalf of Sweet Grass Records of Saskatoon.

"I've always had the love for the music itself," he says, adding when he thought about the music of Aboriginal blues artists he knew "it was so unique" that it was something he had to pursue.

"The wealth of native blues talent across North America deserves to be known around the world," states the CD's cover, and that was clearly Whitecalf's goal.

"I talked to people. they said, 'Wouldn't that be a good project to work on'," says Whitecalf. "I started to think I needed to pursue this, because that seed was planted."

The idea was reinforced when Whitecalf talked to Tom Ware of Blues Nation, a noted Aboriginal performer. "That kind of inspired me as well," says Whitecalf.

To put it simply, this CD blew me away. The CD jacket suggests it is the first compilation of its type, and when you listen to it, you're left questioning why it has taken so long to bring the blues of First Nations' peoples together on a single CD.

The styles cross a range of blues-influenced music. Some songs, such as Butch Mudbone's "Big Mountain Blues", are straight-ahead blues, albeit with lyrics that are particular to Aboriginal roots. Other cuts such as "Wailing Blues" from Keith Secola have a sound influenced more by traditional powwow music. The Pappy Johns Band comes aboard with "Blame It On Monday", with some wonderful sax work by Al Kroll, adding a more jazzy feel to the effort.

Some of the songs have a strong First Nations voice, dealing with a theme particular to the culture, such as Jani Lauzon's powerful "Real Rez Blues" and Ken Rhyme's "Caught You White-Handed".

When it all comes together, this 14-cut effort featuring seven Canadian and seven American artists eloquently states the case that First Nations people can wail the blues just as impressively as any other cultural group.

Choosing the artists for the recording was a challenge in itself, with some 18 artists considered. "It was very difficult, and I wish I could have used all of them," says Whitecalf before adding there are already thoughts of coming out with a second volume of "Skin Tight Blues" to provide an outlet for more Aboriginal blues voices. "It shows the wealth of talent that is out there."

For Whitecalf and Sweet Grass Records, the CD represents somewhat of a change in direction. The label is noted for Powwow music, but the blues effort changes that focus a bit.

"It's turning a new chapter to a different style of music our people are involved with," says Whitecalf. "It lets people know Sweet Grass is more than one thing. We realized we needed to expand into different areas."

The move in the new direction has been well received since the release of "Skin Tight Blues".

"Initially, the response has been very good," says Whitecalf. "It's always interesting to do something that hasn't been done before. It's been very exciting for Sweet Grass Records and the people who have been involved with it.

"It was great to bring together the talent that is out there and put it in an album for the people to enjoy."

Copyright 2003. Review by Calvin Daniels.

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