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C.W. Stoneking is an artist for whom ‘unexpected’ is probably the default setting. How else to describe such a fine purveyor of American roots music who also happens to be a towering, youthful-faced Australian man? He surprises first-time listeners, throws curveballs at long-time fans, and everything he does contains at least some background level of bafflement for all involved.
There are multitudes in Stoneking’s music. It’s probably easiest to describe him as a ‘blues artist,’ but the term disguises what makes his music special. There’s so much in there. 1920s pre-war blues, New Orleans jazz, jug band music, hokum, country, calypso, elements of jump jive, early rock’n’roll and gospel. His gift is that he brings them all together without anything sounding out of place. He finds the strands that connect all of these different styles and gently braids them together. It’s what he values more than anything. When so many on the blues scene are trying to sound ‘authentic’ – whatever that is – it’s that unity of sound that allows Stoneking to actually achieve it, and with apparent ease, too. Back in the day, no-one was ‘just’ a blues musician, or a jazz or country musician, and so neither is he.
There are multitudes in Stoneking’s music. It’s probably easiest to describe him as a ‘blues artist,’ but the term disguises what makes his music special. There’s so much in there. 1920s pre-war blues, New Orleans jazz, jug band music, hokum, country, calypso, elements of jump jive, early rock’n’roll and gospel. His gift is that he brings them all together without anything sounding out of place. He finds the strands that connect all of these different styles and gently braids them together. It’s what he values more than anything. When so many on the blues scene are trying to sound ‘authentic’ – whatever that is – it’s that unity of sound that allows Stoneking to actually achieve it, and with apparent ease, too. Back in the day, no-one was ‘just’ a blues musician, or a jazz or country musician, and so neither is he.
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