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John “JB” Bigham has a very diverse musical background, playing percussion and writing music for Miles Davis, playing guitar and keyboards for the groundbreaking rock-funk band Fishbone, and touring as a side man and playing on sessions for artists like Eminem, Dr. Dre’, Nikka Costa, and Everlast. Bigham also released one of the most highly acclaimed CDs of 2003 as The Soul of John Black, which was recognized as opening a brand new door on soul music by scores of reviewers and listeners. On that release, Bigham displayed amazing chops as a songwriter, guitarist and singer, and mixed elements of hip-hop, funk, and Afrobeat into his soul concoction, giving the genre a fresh new face.
Fast forward to 2007, and Bigham has shifted his musical focus to the blues with his latest release, The Good Girl Blues (Yellow Dog Records), with equally effective, and satisfying, results. Things get off to a great start with the opening cut, “The Hole,” which could best be described as a 21st Century field holler. Though the song’s roots are African American folk music circa Leadbelly or Josh White, the funky guitar riff and spirited harmony vocals propel the song into a higher dimension. “The Moon Blues” is a slow and shadowy number where Bigham’s vocal delivery is reminiscent of Al Green. “I Got Work” features Bigham’s serpentine slide guitar (played on an old Stella). “Fire Blues” is a sultry number that highlights those tight harmony vocals.
The aptly titled “Moanin’” is an emotional lament, highlighted by Bigham’s wordless vocal and frantic acoustic guitar, while “Slipin’ and Slidin’” oozes with swampy atmosphere, accentuated by DJ Phizz Ed’s turntable wizardry. “Swamp Thang” continues the vibe with more sinewy guitar and a sensual vocal, and “Feelin’s” is classic textbook funk. Bigham’s acoustic guitar chops are striking and really raise things to a higher level on these songs.
Like he did with soul music on his first release, John Bigham has taken the blues and has not only put a fresh coat of paint on them, but he’s also done some impressive remodeling to the structure as well by adding elements of hip-hop, gospel, and funk to the mix, while leaving the foundation solidly in place. Purists may not like the finished product, but fans with eyes to the future of the blues will be pleased by this groundbreaking release.
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