THE GOSPEL ACCORDING TO TAJ
ACOUSTIC MU SIC IS my roots, my chapel,” says Taj Mahal, the international treasure that adopted his stage name from one of the most iconic temples on the third stone from the sun. The maestro graciously invited Guitar Player to his home, where he took us to school and to church, delivering an unforgettable sermon on the sanctity of music.
Approaching the Taj Mahal residence in Berkeley, California, a Regal resonator tone accompanied by wind chimes emanates from the front porch, which is covered in bountiful springtime flora. The sound is timeless, the style familiar, yet exotic. I’m accompanied by Jules Leyhe, a bottleneck whiz who provided the Allman-centric lesson in GP’s July 2018 slide issue and is currently my guitar partner in my band, Spirit Hustler. Jules has been helping out the legendary roots musician during the pandemic, and he set up what turned out to be one of the most informal and informative interview experiences one can imagine.
Upon his arrival, Leyhe recognizes that Mahal is fingerpicking “Mkutano,” which he confirms has an East African influence. Taj. So began our trip through time and space with one of the most worldly players walking the earth. As it turns out, he’s also one of the most unpretentious and downright hilarious mother-pluckers on the planet.
