An Díaz and the Yokatta Brothers – Komorebi In New Orleans
Self-release
7 songs – 24 minutes
An Díaz is an Argentinian singer-songwriter, now relocated to Paris, France, where she joined forces with the Yokatta Brothers, three blues musicians from Northern France. Manu Slide provides guitars, harp and backing vocals, Stéphane Bhan contributes electric bass and backing vocals and Julien Mahiuex underpins everything with drums and backing vocals. Díaz is a powerhouse singer who throws herself into each song, with splendid support from the Brothers.
Komorebi is a Japanese word for “light shining through trees’ leaves” – an expression of joy or relief, which to Díaz represents the uplifting essence of blues music. Komorebi In New Orleans was recorded in New Orleans and is essentially a love letter to the music of the deep South but particularly the Big Easy. It is also an impressive follow-up to Alana, the band’s 2023 release that was favorably reviewed in Blues Blast! in January 2024.
Komorebi In New Orleans is closer to an EP than a full album, with the seven tracks clocking in at just 24 minutes, but the band covers a lot of ground in that time. We kick off with “Must Be Doin’ Fine”, a cleverly constructed track that begins with a swampy, acoustic Howlin’ Wolf feel (Díaz even emulates his “Smokestake Lightnin'” howl) before ending each verse with a harmony-laden declaration that “we must be doin’ fine”. “Alone Around You” nods towards The Meters and Andy Bey with its repetitive single note riffing, while the bizarrely named “Sandwich Bored Man” is based around a hard-driving John Lee Hooker-esque boogie groove. The old-timey “Child Free Blues” starts off as if it is going to be a traditionally light-hearted yet salacious ode to the joys of sexual congress. Instead, Díaz cleverly subverts expectations by celebrating the benefits of a life sans offspring. She even adds in a gloriously off-the-wall kazoo solo for good measure.
One of the album highlights is “Who Knows”, which has a bridge that recalls some chord progressions by The Doors, before a prison-gang style a capella breakdown before the band piles back in. The bleaker “Hidin’ In Plain Sight” addresses the issue of mental health against a backdrop of some lovely steel guitar by the aptly named Monsieur Slide and superb gospel-style backing vocals. The closing number, “KillJoy” is a neat gospel-soul number.
Komorebi In New Orleans is a very enjoyable and impressive release and well worth investigating, particularly if your tastes lean towards modern, acoustic-driven blues/roots music.
