Today!

The guitar on Today! does more than place chords beneath a singer. Low notes hold the pulse while another line moves above them, giving one player several simultaneous responsibilities. Before describing Mississippi John Hurt’s music simply as relaxed, listen to the coordination that makes it feel that way.

Originally issued by Vanguard in 1966, the twelve-track album is supplied here in Craft’s 2025 remaster. These are performances from that album, not a compilation of Hurt’s 1928 recordings or later concert selections. Familiar titles can occur in more than one recording. Humorous material, a murder narrative and religious song share the programme without requiring the same emotional interpretation; a consistent instrumental approach connects their differences.

Two jobs within one guitar part

Begin with the repeated bass notes, then redirect attention to the line moving above them. What can resemble separate rhythmic and melodic instruments is coordinated by one player. A steady pulse need not be mechanical, and numerous notes do not necessarily imply haste. Follow how that activity continues or changes while the singer develops a phrase. Apparent ease is an outcome of control, not evidence that little is happening.

Gentle delivery can carry a violent story

Louis Collins tells of a killing. A flowing melody and restrained delivery do not turn its subject into peaceful everyday life. Nor should the song be presented as proof that Hurt witnessed the event himself. Separate the narrated character from the performer’s biography, and consider how persistent instrumental movement carries troubling material. Emotional force need not depend on raised volume or a rough vocal surface.

A style is not a single mood

Coffee Blues, Hot Time in the Old Town Tonight and the closing Beulah Land point toward the breadth of the repertoire. It would be misleading to classify every track as the same blues form or assume Hurt originated every song. Existing popular material, inherited songs and his own writing meet within a recognisable playing style. On a return visit, compare subject and duration after first locating the bass pulse and upper line. Consistency then becomes easier to distinguish from repetition.