Dr John & The NiteTrippers, Ronnie Scott's

The New Orleans legend makes a virtue of his age

share this article

Dr John, with the voice that every bluesman wants
Carl Hyde

Blues is an old man’s game. To do it properly you really have to have lived, and to have the scars and the criminal record to show for it. How do I know? Because Mac “Dr John” Rebennack is living proof. As he shuffled on at Ronnie Scott’s last night to join his NiteTripper four-piece, with a walking stick in each hand and his dreadlocked pony tail hanging over one shoulder, he had the look of a man who’s done himself serious damage over the years. But his music was all the better for it.

For starters, life has given him the voice that every bluesman wants, a throaty growl that renders lyrics unintelligible but tells a story of its own, a cautionary tale of substance abuse and neglect, a glimpse of the Big Easy’s dark side. It went hand in glove with “Qualified”, a tune about hangin’ out in housing projects from his landmark 1973 album In the Right Place; it gave a whiskery, tobacco-stained kiss of life to “Wrap Your Troubles In Dreams”, covered on 2012 Armstrong tribute album Ske-Dat-De-Dat; and, with nothing but Herlin Riley’s drums for an accompaniment, it made a masterpiece of “The Monkey”.

A younger man couldn’t have played the blues like this

On “How Come My Dog Don’t Bark (When You Come ‘Round)” it seemed to merge with Sarah Morrow’s rasping trombone lines and on classics like “Gris-Gris Gumbo Ya Ya", "Right Place Wrong Time” and "I Walk On Guilded Splinters" it was every bit as filthy and funk-addled as Rhoda Scott’s organ.

The ivory-tinkling piano introductions that punctuated the set were just as rich and saw Rebennack lay out the whole history of New Orleans, from Jelly Roll Morton to Professor Longhair. His gloriously stiff-fingered guitar playing on a melancholic 12-bar had everything you could want from the blues, and the grooves that he mustered, with help from bassist Donald Ramsey, were uncluttered and essential, the kind that only come from a deep knowledge of tradition and a disdain for gratuitous flash.

When the time came for Rebennack to reach for his sticks and shuffle off again, with his NiteTrippers still in full swing and the crowd on their feet, it felt all too soon. Had he been a younger man he might have stayed for an encore or two, but a younger man couldn’t have played the blues like this.

Follow Thomas Rees on Twitter

He had the look of a man who’s done himself serious damage over the years, but his music was all the better for it

rating

5

explore topics

share this article

Support the future of arts journalism

Subscribe to theartsdesk.com

Thanks so much for choosing genuinely independent arts journalism theartsdesk’s mission has never been more important – in an age of relentless algorithmic recommendation, sponsored content and unreliable AI, the expertise and discernment of individual critics deeply embedded in their specialist areas is absolutely vital.

If you want more of that in your life, why not subscribe now?

If you do this before the 31st August, you’ll be able to keep at this “founders rate” for life: your subs will never increase! You can choose to subscribe annually for just £40 simply click here
or monthly for £5 per month simply click here.

Not ready to subscribe?

If you want to support with a little extra or aren’t ready to subscribe just yet, there’s also the option to give direct to our crowdfunder to support our imminent redesign and exciting expansion with new features and collaborations Simply contribute here: https://gofund.me/c3f6033d.

However you choose to be involved, you can proudly say that you are picking the right side in the battle for truth and humanity in the modern information landscape. And we will be very glad to have you on board!

more new music

Surrealism, social observation and more muscular sound from the Leeds quartet
A powerful personal outpouring of joy and pain - with a great beat
The London quartet have taken to playing large venues with ease, as this career-spanning set showed
The Lebanese-French musician's father was behind a unique musical innovation
The Philadelphia punk rockers continue to impress
A partial account of how Brit-punk absorbed an aspect of reggae
The Fez Festival Of World Sacred Music and the Fes Gathering bring the world together
Bristol band aren't happy but offer up the occasional sing-along
A new album is unveiled and old tunes are played for the last time