Like the Rolling Stones' Brian Jones and Keith Richards or Led Zeppelin's Robert Plant and Jimmy Page before him, Jack White is also a student of the blues.
White has taken a practical step towards spreading the word by gaining ownership of the blues label Document Records and a plannedrelease of material by legendary blues stars Charlie Patton and Blind Willie McTell.
On Lazaretto, the influence is there, one step removed, as White channels the sound of the Stones and Led Zeppelin in a mostly high octane approach to blues-influenced rock. This is his second solo album since White Stripes -- and it's a blinder.
The approach is uncompromising but there's excellent light and shade, too. For example, we segue from the full-on sound of the title track to the wistful, violin-based Temporary Ground. White moves comfortably from blistering guitar to piano, in a style reminiscent of the Stones' sometime pianist Nicky Hopkins.
One of the tracks that really impressed me is the instrumental High Ball Stepper, which displays the full range of White's and his band's abilities. It's well structured and features excellent interplay from White's guitar, Lillie Mae Fischer's tantalising violin, Maggie Bjorklund's pedal steel and Brooke Waggoner's piano.
Lazaretto illustrates yet again Jack White's talent for songwriting and for creating a sound dripping in rock originality. Yes, White's eccentric both musically and personally, but he's a unique voice in a music world too short of them.
