Not so long ago, the idea seemed
fresh: Bring together some of the finest musicians in the business and
have them record on a common theme, be it a tribute to a particular
artist, genre or instrument. In recent years, however, this concept
has been exploited repeatedly, and its novelty value has diminished
greatly.
That’s a good thing, actually, because
it means that such recordings live or die on their own merits, and not
on the names or reputations of the artists involved. Ideally, a summit
session of name artists will create moments of synergy in which the
players drive each other to new heights of spontaneity and creativity.
That’s good. At the other end of the spectrum is the meandering, unstructured
jam, where everyone takes a turn and the result is dull and generic.
That’s bad.
Superharps resides on the
favorable side of that continuum for the vast majority of its 63-plus
minutes. It does this by spotlighting only one or two of its harpmeisters
on each tune, and keeping most performances to a coherent four or five
minutes. Best cuts include the Billy Branch showcase, "Mean Little Mama",
which features the set’s most exciting harp breaks; James Cotton’s instrumental
version of Paul Williams’ gem from the late ’40s, "The Hucklebuck" (with
some tasty guitar from Kid Bangham); and "I Put My Baby Out," with Sugar
Ray Norcia on harp and vocals. My, but the man can sing.
The final cut, "Harp to Harp," is
11-plus instrumental minutes of slow blues, with around-the-horn harp
solos for everyone. While it may sound heavenly to the harp fanatic
or student, the typical blues listener might find it endless. Think
of it as a bonus track on an otherwise intriguing and richly diverse
recording.
— Bryan Powell