Shifting hearts with iconic modern bluesman Keb’ Mo’

Keb’ Mo’ is still getting acquainted with his Weber F20-F octave mandolin, but he’s been busy making records that reflect our concerns for making the world “a better place.”

Keb’ Mo’s been busy. Since we last spoke to the iconic modern bluesman in the early winter of 2019, he’s released not one, but two full-length albums and embarked on an ambitious winter tour, bringing the music to the people, which, when you think about it, is what bluesmen do.

At the point of that initial conversation, Mo,’ who’s been known to pick the occasional eight-string on tape or on stage, had recently acquired a Yellowstone F20-F octave mandolin, but he hadn’t had a chance to really explore it, noting that he takes his time getting acquainted with a new toy, especially when it’s something a little outside of his considerable comfort zone.

“Often, it takes years for me to really incorporate an instrument,” Mo’ said mid-December, “because you have to know it, and know how to use it.”

In the past, the acknowledged master of six-string and slide styles, has taken a similarly thoughtful pace with instruments like the five-string banjo, letting the tunings, fingerings and historic playing styles sink in as part of his process of exploration.

“The octave, though, it’s a different instrument,” he said. “It’s a very big sound, like a piano.”

In the video for the recycling anthem “Don’t Throw It Away,” Mo’ works a standard mandolin, chiming it beneath his instantly recognizable voice as he relates his concerns for the earth and our habits regarding its health. It’s one of many standout tracks on Oklahoma, the first disc Mo’ released in the last six months.

Oklahoma is marked not inly by Mo’s terrific songwriting and interpretative powers, but also by its awareness, its social concerns, especially in songs like “This is My Home” and “Put a Woman in Charge.”

“I sing about things that matter to me.”

“There's no end,” he said, wistfully shaking his head. “Topics are always there. Just look out your window. Look on TV. Listen to your friends. Topics are there all the time. I think when you write about them, they resonate.”

These values coincide with Weber Fine Acoustic Instruments, which uses no clear-cut timber in any of its mandolins.

“That's hugely important,” Mo’ agreed. “Carefully harvesting wood is a huge deal, and (owner) Tom Bedell is a hugely conscious person. I know right off the bat, he's going to do his best to do everything the right way. He's one of those guys who is in the business of being the change in the world.”

In league with those ideals, Mo’ is a longtime supporter of Mark Johnson’s Playing for Change project, serving as an inspiration to the founder since they met in 2000, and offering select royalties to the group’s foundation, which builds music and arts schools for children around the world. You’ve seen the popular videos, with musicians both famous and unknown jamming along in public to classic songs like “Stand By Me,” “Teach Your Children” and Mo’s “Better Man.”

“I'm not trying to change anybody's mind,” Mo’ said. “I'm just trying to make people feel a little more open. That can come in the form of an attitude change, an opinion change, a perspective change, but what I'm looking for is just for people to feel better about who they are. That's pretty deep. That's a big responsibility. Changing minds, no, but I like to shift the heart just a little bit.”

In addition to Oklahoma—its title track references the horrific Greenwood Massacre of 1921—Mo’ also released Moonlight, Mistletoe & You in October, his first full-on holiday album.

“You only have to make one,” he laughed. “That's the good thing.”

Moonlight features classic tracks by Charles Brown, Irving Berlin and Koko Taylor as well as a batch of originals co-written with the likes of Nashville stalwarts Beth Nielsen Chapman, Gary Nicholson and the legendary Mac Davis. The best of the bunch is the hilarious, not-quite-Grinchy “Christmas is Annoying.”

At a recent New York stop on the ensuing Jingle Bell Jamboree tour (named for his 2011 Christmas single, and featuring a crack band including his son K. Roosevelt on drums), Mo’ talked excitedly about his Yellowstone, noting that he’s itching to get back to it when his commitments allow.

Mo’ actually grabbed a notepad, eager to scratch out possible alternative string gauges and tunings, asking, for example, about Sarah Jarosz’ bouzouki-like approach and Sierra Hull’s use of an octave for guitar-like backup on vocal numbers, in addition to her ace playing on throaty sounding fiddle tunes.

He also picked up his phone, searching out videos of other octave players, feeding his insatiable desire to always learn more about his craft and the history behind it.

“That octave mandolin is just sitting there, waiting for me,” he chuckled. “I just have to figure out how it fits with Keb’ Mo!’”