Corey Harris' Blues Explosion Demolishes 'Sco

Veteran performer needs no band to bring full sound

What began with a long line and a belated start Saturday night at the 'Sco turned into one of the more successful events booked in the club this year. A crowd of over 250 people packed the house to see singer/songwriter/bluesman Corey Harris play an intimate set of soulful guitar solos.

Playing a Nashville steel switched up with a standard acoustic guitar, Harris strummed his way through a repertoire ranging from his own originals to classic Delta Blues favorites. With a sound reminiscent of past greats like Son House and Muddy Waters, Harris' songs were met with enthusiastic applause at every turn.

Kin to past years' performances from R.L. Burnside and T. Model Ford - and even similar in some respects to Gillian Welch's 1998 performance - Harris eased through his set with the grace and agility of a seasoned performer. Clad in a full Kappa jumpsuit and beanie, Harris hardly fit the stereotype established by his predecessors. But nevertheless, his attire was representative of his generation, and his following. While Harris can wail as convincingly as any, it was this twist of modernity that made him all the more popular with Saturday's young crowd.

While most of Saturday's audience members were students, Harris also drew blues fans from the surrounding areas. One man was so moved by the performance that he took it upon himself to accompany the bluesman with his own improvisational harmonica. Though slightly distracting at times, the lone harmonicist underlined Harris' infectious stage presence. Long into the night, the harmonicist could be seen dancing about in a state of bluesy euphoria weaving in and out amidst the packed rows of star-gazing on-lookers.

Solely as a guitar player, Harris left little to be desired. His musical wisdom far exceeds his years, and as a slide player Harris places himself with the contemporary masters. The clarity and richness of his vocal ability were fully on cue as he eased through one song after another of classic tunage. In this respect Harris continues the legacy that former African-American folk legends such as Richie Havens set up decades ago. Based on the evening's successes there is no question that Harris is weel on his way to placing himself at the forefront of this tradition

The high points of the evening were many. The selections from Greens From The Garden, Harris' latest release on Chicago-based label Alligator Records, were the most impressive. "Basehead," a roots song with strong stylistic elements from New Orleans, was one of Harris' best. Without a doubt however, the standout of the evening was the touching "Honeysuckle," that Harris' executed with the compassion and dexterity that the audience had been lulled into taking for commonplace.

Few live performers that will take the 'Sco's stage this year can boast the accomplishments of Harris. The guitarist has lent his efforts to the likes of Dave Mathews and Ani DiFranco, not to mention his Grammy-nominated collaborations with Billy Bragg and Wilco's tribute to Woody Guthrie on Mermaid Avenue.

Harris, who took a break from his slot opening for California roots/folk artist Ben Harper to play the 'Sco show, ran through two hour-long sets. One of the friendliest performers to grace Oberlin, Harris' warmth and jovial spirit was a refreshing change from sometimes untouchable bands that take the 'Sco stage, and he spent his set break conversing with students. When the evening spun to a close one thing was for certain: Corey Harris is a performer whose warmth and musicianship leaves an impression as deep as the rich roots from which he rises.

At Play in the Fields of the Lord: Blues master Corey Harris took a break from his tour with Ben Harper to stun the crowd at the 'Sco on Saturday night with a delightful set of originals and Delta Blues classics. (photo by courtesy Alligator Records)