Low Country Blues

From the opening track of Gregg All man’s Low Country Blues – a funky, foot-stomping version of Sleepy John Estes’ ‘Floating Bridge’ – you can hear the profound difference 14 years, a new producer and a liver transplant can make in a man.

Basically a covers album, Low Country Blues contains an engaging mix of 11 familiar and obscure songs reportedly chosen by Allman from a stack of blues recordings sent to him by producer T-Bone Burnett. An original Allman composition, ‘Just Another Rider’, rounds out the dozen tracks. The smoky alto voice remains as distinctly recognisable as ever, but there’s newly gained wisdom and vigour in Allman’s lyrical style. Some of this sonorous imprint can be assigned to a 63-year-old’s naturally maturing artistry, but a major portion of credit for the sound of Low Country Blues must also be attributed to Burnett. Burnett has succeeded in recreating the special timbral quality of early Memphis soul and R&B recordings that emanated from Sun Studios, for example, during the 50s and 60s. The album’s sidemen, including pianist Mac Rebennack (aka Dr John), and Burnett’s no-electric-bass decree also contribute to the old school ambience. Allman’s Burnett-infused rendering of Bobby ‘Blue’ Bland’s ‘Blind Man’ exemplifies the throwback theme with its expansively bright, brassy fanfare accompanied by Allman’s trademark soaring growl, accentuated by the tiniest tinge of reverb in the mike.

It’s the kind of nuanced result that can only spring from a deeply respectful relationship between simpatico creative temperaments, which Low Country Blues possesses in spades.