If you grew up in the early 1970s, you might be more familiar with the blues legend Taj Mahal than you realized, thanks to his soundtrack for the hit film Sounder. Since then, the real deal bluesman and his music have graced many films and soundtracks, including The Hot Spot and Once When We Were Colored. As he approaches his 75th birthday, Taj Mahal racked up another screen credit in Wyland’s short documentary, Blue Planet: Triptych, which celebrated its world premiere at the 2017 Tribeca Film Festival with a special post-screening concert by the Phantom Blues Band, fronted by Mr. Taj Mahal himself.
Awkwardly, the film itself, written, produced, directed, and featuring uni-named environmental artist and activist Wyland, is pretty much a big nothing. We see Wyland mope around the mucky aftermath of Deepwater Horizon Oil Spill and listen to his platitudes, like “it will take all 7 billion of us to save this planet” (in which case, we’re done for, since the 2.5 billion people of China and India, or at least their governments, clearly aren’t on board). However, he tantalizes us with scenes of the Phantom Blues Band recording the forty-eight environmentally themed blues songs he wrote, in a New Orleans studio.
Technically, the film is rather unremarkable, to put it diplomatically, but it is well worth sitting through if you get to hear Taj Mahal and the Phantom Blues Band play afterwards. It is a heck of a band, including NOLA’s Jon Cleary on keyboard, Willie K (“the Hawaiian Jimi Hendrix”) on guitar, and perennial jazz poll-topper Steve Turre (known for his long tenure in the Saturday Night Live band) on trombone and shells.
Despite some quickly resolved sound issues, “Dirty Oil” was an appropriate tune to kick off the set. It certainly highlighted Wyland’s eco message, but more importantly, it really brings out the Delta in Taj Mahal’s voice. “Going Back to the Ocean” sure sounds a lot like another well-known Blues standard, but there’s certainly a long “cut-and-paste” tradition in Blues, so who cares, especially when the Phantom Blues Band digs into it. “My Home is Your Home” nicely dialed it down for Nick-I Hernandez’s vocal turn and Cleary’s solo, both of which were quite eloquent. Throughout the set, Cleary laid down some tasty lines on a Roland trying to sound like a piano, while a chugging Hammond gave it a firm bottom, all of which is just such a kind combination of sounds.
Arguably, “Little Ocean Pearl” was the highlight of the set, featuring Taj Mahal on harmonica, Willie K on uke, and Turre on the shells. It is indeed fitting Turre’s shells had a feature spot, given the ocean theme. In this case, his solo was especially melodic and rich in sonic color. “Queen Honey Bee” also sounds like a hummable cross-over hit, with a lovely melody and “honeypot” lyrics that definitely suggest “blues” connotations. There was actually a surprising degree of textural and rhythmic variety in the set, with the pseudo-calypso “All Gone Now” aptly summing up Wyland’s message at the end.