On the site of NorthernBlues label owner Fred Litwin tells about his project. We read that its genesis is linked with the birth of Borealis Records, leading Canadian folk label (the spoken word artist, actress and singer-songwriter Evalyn Parry is a very interesting exponent of the Borealis philosophy) Since 2000 NorthernBlues has left its mark on the blues, and not only that of Canada, as it took its pioneering role quite seriously. So seriously that in this short time the label has become synonymous of quality. Litkin expresses his ambition in these words: “I don’t want just another shuffle – I want originality, I want crossover, I want exciting, I want different, and I want every NorthernBlues Music CD to be exceptional”. NorthernBlues succeeds in attaining its goals. Our first contact was through the sublime and innovating John And The Sisters (with amongst others Kevin Breit, who made again a brilliant record this year, together with that other pioneer Harry Manx, ‘In Good We Trust’) After that we got acquainted with the solo releases by Eddie Turner (first ‘Rise’ and now ‘The Turner Diaries’), but that’s only the tip of the iceberg. Arguably the most important musician of the label is Paul Reddick. He’s held in great esteem by top producer Colin Linden. After three CD’s with The Sidemen (a Toronto based band) Paul released ‘Rattlebag’ on NorthernBlues (still under the name of Paul Reddick & The Sidemen, but it’s the first album that goes stylistically a lot further), followed by ‘Villanelle’, all CD’s covered in nominations and awards. As a number of older recordings aren’t currently available any more and probably also in an effort to put his career in the spotlights, ‘Revue: the Best Of’ was released earlier in 2007. The remarkable thing is that Reddick, singer, harpist and tunesmith, has assimilated the different blues traditions, which he masters as no one else, but that he simultaneously renews the blues from within. His intrinsic strength prevents this from becoming a nameless, faceless brew, but he succeeds in confronting styles in mutual respect. And far he goes. Jazz with blues in ‘Template Blues’, Latin with blues in ‘Queen’s Hotel’, folk/country with blues in ‘Round This Time Of Year’ (by the way a great alternative X-mas song) are examples of this wondrous mix. The inventive use of brass is prominent all over. But it can also sound like vintage Howlin’ Wolf, Muddy Waters or Sonny Boy. How he conjures up something totally new using the old elements à la Canned Heat in ‘Hook’s In The Water’, is something that we, humble blues barbarians, find amazing. All these shapes of Paul Reddick can be found on ‘Revue’, and in a constant variation. So there are no excuses any more to ignore this innovating blues man!