One of the most prominent figures in late 20th century blues, singer/multi-instrumentalist Taj Mahal played an enormous role in revitalizing and preserving traditional acoustic blues. Not content to stay within that realm, Mahal soon broadened his approach, taking a musicologist's interest in a multitude of folk and roots music from around the world -- reggae and other Caribbean folk, jazz, gospel, R&B, zydeco, various West African styles, Latin, even Hawaiian. The African-derived heritage of most of those forms allowed Mahal to explore his own ethnicity from a global perspective and to present the blues as part of a wider musical context. Yet while he dabbled in many different genres, he never strayed too far from his laid-back country blues foundation. Blues purists naturally didn't have much use for Mahal's music, and according to some of his other detractors, his multi-ethnic fusions sometimes came off as indulgent, or overly self-conscious and academic. Still, Mahal's concept was vindicated in the '90s, when a cadre of young bluesmen began to follow his lead -- both acoustic revivalists (Keb' Mo', Guy Davis) and eclectic bohemians (Corey Harris, Alvin Youngblood Hart).