Johnny Iguana's Chicago Spectacular

Johnny Iguana
Johnny Iguana's Chicago Spectacular
Delmark

This album is subtitled "A Grand and Upright Celebration of Chicago Blues Piano." Pianist Iguana is a Philadelphia native who moved to Chicago after joining the late Junior Wells' Band. This is his first album under his name, although I am familiar with him from the group The Claudettes. Producer Larry Skoller helped provide the organizing theme for this recording as Iguana pays tribute to seven Chicago blues piano legends. Helping him on these sessions are some of today's finest players, including Michael Casey or Kenny Smith on drums; Bill Dickens on bass; Billy Flynn, Bob Margolin, John Primer, Lil' Ed Williams, or Philip-Michael Scales on guitar; and Mathew Skoller or Billy Boy Arnold on harmonica. Singing on this album are Matthew Skoller, Billy Boy Arnold, Lil' Ed Williams, John Primer, and Philip-Michael Scales.

There is plenty to enjoy such as when Iguana evokes Joshua Altheimer's style while Billy Boy Arnold revives Big Bill Broonzy's "Hot Dog Mama" that closes this album. Iguana also suggests Big Maceo on Arnold's revival of John Lee Williamson's "You're an Old Lady." These selections' swinging feel may be due in part to Kenny Smith's drumming and Billy Flynn's fleet guitar.

The album kicks off with Iguana saluting Memphis Slim behind John Primer's vocal on "44 Blues." The rendition is based on Slim's 1959 recording with Willie Dixon, and while Iguana ably pounds on the ivories, one wishes that Caskey was a tad less prominent on the drums here. Primer also handles the vocal on Howlin' Wolf's "Meet Me in the Bottom," with Iguana hinting at Little Johnny Jones' style.

Guitarist and songwriter Philip-Michael Scales contributes an intriguing role rendition of Gil Scott-Heron's "Lady Day and John Coltrane," which allows Iguana to show off a jazzier side. Lil' Ed Williams sings and plays slide guitar on Otis Spann's "Burning Fire" and Elmore James' "Shake You Moneymaker." On these selections, Iguana recalls Otis Spann and Big Moose John Walker, respectively. Lil' Ed sings and plays strongly, and Caskey's drums are not as prominent. Matthew Skoller handles the vocal and plays choice harmonica on "Stop Breakin' Down." This performance is based on Junior Wells' "South Side Blues Jam" recording and again Iguana channels Otis Spann.

I again note that there were no bass players on these selections as Iguana wanted the bass lines to emanate from the studio piano and his left hand rather than a bass player. These selections come off as solid, traditionally rooted Chicago blues. There are four instrumentals with bass player Dickens added to Iguana and Caskey. While displaying Iguana's technique and skillful playing, these selections are enjoyable but a bit too much flash and show for this listener's taste.

If imperfect, overall "Johnny Iguana's Chicago Spectacular," is a showcase of Iguana's considerable talent, and a very notable salute to Chicago blues piano legends.

I erected my review copy from Delmark Records. Here is a video of Johnny Iguana playing Big Maceo's "Chicago Breakdown."

Kim Wilson Take Me Back: The Bigtone Sessions

Kim Wilson
Take Me Back: The Bigtone Sessions
M.C. Records

"Take Me Back" is Kim Wilson's first new release in three years. The album presents mostly straight-ahead Chicago-styled blues that Wilson recorded at Big Jon Atkinson's Bigtone Studios at different times and locations. These tracks were recorded live without overdubs and in mono. There are a variety of musicians backing Kim's vocals and harmonica. Guitarists on this album include Jon Atkinson, Billy Flynn, Danny Michel, Kid Andersen, Robert Welsh, and Rusty Zinn. Robert Welsh and Barrelhouse Chuck are the pianists, while Kedar Roy, Greg Roberts, and Troy Sandow are on bass, and Johnny Viau adds horns. Drummers on these sessions include Marty Dodson, Ronnie Smith, June Core, Malachi Johnson, and Al West.

There are nine reworkings of tunes from Jimmy Nolen, Howlin' Wolf, Larry Williams, Little Walter, and Jimmy Rogers, along with seven Wilson originals. After a crisp take on Nolen's "You've Been Goofin'," we are treated to one of several Little Walter flavored instrumentals, the rollicking "Wingin' It." Wilson's "Fine Little Woman" sounds like a cover of a lesser-known Little Walter recording with Billy Flynn channeling Robert Lockwood Jr. Wilson remains an unforced singer who is equally authoritative handling Howlin' Wolf's "No Place To Go," Percy Mayfield's "Strange Things Happenin'," and Jimmy Rogers' "Money, Marbles & Chalk." Then there is Wilson's Louisiana swamp-blues "Play Me" and the relaxed late-night harmonica instrumental "Strollin'."

Closing with another marvelous Little Walter styled instrumental "Out of the Frying' Pan," "Take Me Back," is another consistently well-performed Kim Wilson recording that will please many.

I received my review copy from MC Records. Here is Kim Wilson from a 2019 performance.

John Primer & Bob Corritore The Gypsy Woman Told Me

John Primer & Bob Corritore
The Gypsy Woman Told Me
Vizztone/ SWMAC Records

This is the third recording by the former Muddy Waters-Magic Slim sideman and harmonica player Bob Corritore. Supporting Primer's vocals and guitars and Corritore's harp are a variety of other artists including guitarists Jimi 'Primetime' Smith and Billy Flynn, pianists Bob Welsh and Ben Levin, bassists Kedar Roy, Mike Hightower and Troy Sandow, and drummers June Core and Brian Fahey. Part of this recording of traditional Chicago blues was recorded at Greaseland Studios, and Kid Andersen plays organ on one track.

Primer is in good form with his straight-forward vocals that conjure up Muddy Waters and Magic Slim, while Corritore comes off like little Walter on some tracks and Sonny Boy Williamson elsewhere. The studio bands keep a crisp shuffle groove going and provide tight backing. There are plenty of strong Chicago blues performances, including the title track that Muddy Waters made famous, Jimmy Rogers' "Left Me With a Broken Heart," and the reworking of Little Milton's "Walking the Back Streets and Crying" into a 50s sounding Chicago band blues. Primer plays some driving slim on his original, "Little Bitty Woman," which musically evokes Junior Parker's "Mystery Train." The backing players sit out on an emphatic cover of Lil Son Jackson's "Gambling Blues." At the same time, Primer's "Walked So Long," is performed acoustically with Sandow playing upright bass and Fahey using brushes.

John Primer remains a treasure as he continues to play first-rate down blues in the classic Chicago blues vein with sympathetic backing from Corritore. With an imaginative selection of material and the idiomatic support provided, Primer and Corritore have another gem.

I received my review copy from Vizztone. Here are John Primer & Bob Corritore performing.

Mark Hummel Way Back Machine

Mark Hummel
Way Back Machine
Electro-Fi Records

This is the latest recording in Mark Hummel's quite distinguished 35-odd year career with over 33 recordings, including several documenting his Blues Harmonica Blowouts. A substantial portion of this new release documents his relationship with The Deep Basement Shakers, who specialize in primal, joint-rockin', barrelhouse blues n' boogie. This East Bay Duo is Aaron Hammerman on piano and guitar and Dave Eagle on percussion, washboard/spoons/train whistles/animal calls/etc. Other playing on this include Kid Andersen on bass, Billy Flynn and Rusty Zinn on guitar, and Alex Pettersen on drums. Joe Beard adds guitar and vocals to three selections.

This recording focuses on the blues that pre-dated the electrified Chicago blues of the post-World War II era, along with a few choice originals. On this recording, Hummel sings with his usual authority, although his harmonica playing on this album is more in the vein of John Lee 'Sonny Boy I' Williamson than Little Walter. The band captures an easy rocking swing while guitarist Flynn (heard on most of this) is typically excellent as he channels Willie Lacey and Big Bill Broonzy.

Standout tracks include the topical original from RW Grigsby "Flim Flam," about the scammers in the world; Baby Boy Warren's "Hello Stranger"; Tampa Red's "So Much Trouble"; "Play With Your Poodle"; and Sonny Boy Williamson 1's "Cut That Out," which some may know from Junior Wells' recording. "Road Dog", with just the Barrelhouse Shakers is an imaginative skiffle style blues et to the medley of "Sloppy Drunk." Percussionist Eagle I found goes a bit over the top here and a couple of places elsewhere (including a rendition of Blind Boy Fuller's "Rag Mama Rag" and the instrumental "Breathtaking Blues," which is rooted in "Saint James Infirmary"). Hammerman, however, is a reliable, straight-forward pianist. Still, with solid blues performances like Robert Nighthawk's "Pepper Mama," and Jazz Gillum's "Gillum's Windy Blues," there is much to delight listeners. The latter number displays Hummel's ability to capture the reedy harmonica style of Gillum, with Flynn's sparkling guitar, a feature of an overall skiffle blues styled performance.

The three selections with Joe Beard's delta-rooted vocals are highlights here. With Kid Anderson on bass and Alex Pettersen on drums, Beard turns a sterling cover of Eddie Boyd's "Five Long Years," with a simple groove and terrific harmonica. Hummel contributed an original, "Say You Will," that Beard turns into a droning blues in the manner of early John Lee Hooker. A lively rendition of "Mean Old Frisco," provides a close to this album of first-rate performances of older blues gems mixed with a few choice originals.

I received my review copy from a publicist. Here is Mark performing as part of a Little Walter tribute band at last year's Calgary Blues Festival.

Hail to The Cash Box Kings

The Cash Box Kings
Hail to the Kings
Alligator

The new recording by the Chicago based Cash Box Kings is a terrific CD of traditionally rooted Chicago blues. Take the excellent rhythm section of bassist John Lauter and drummer Kenny 'Beedy Eyes' Smith with Queen Lee Kanehira guesting on keyboards and Little Frank Krakowski on rhythm guitar; have a real, real, real good singer in Oscar Wilson; and add superb guitar and harmonica from Billy Flynn and Joe Nosek respectfully, and one has one fabulous band. Shemekia Copeland guests on one song, Xavier Lynn adds lead guitar to two, Derek Hendrickson takes over the drum chair on two, and Alex Hill adds percussion to two. Nosek and Wilson collaborated on nine of the 13 tracks (with John Hahn on one), Nosek wrote two by himself, and there are two novel covers.

One has to be impressed by how tight, and in the pocket, Lauter and Smith are throughout the shifting tempos and material. Flynn is superb whether channeling B.B. King on the opening shuffle "Ain't No Fun (When the Rabbit Has the Gun)," the Freddy King of King's Federal recordings on "'Take Anything I Can" with its boogaloo groove (think King's instrumental "Texas Oil"); and Jimmy Rogers crossed with Blue Smitty on "Smoked Jowl Blues." With Nosek full-bodied harp backing and solos, they provide first-rate support for Wilson's robust and nuanced singing. Wilson sounds comfortable handling a hot shuffle like the opening "Ain't No Fun," a Jimmy Rogers' styled performance on "Smoked Jowl," and the Muddy Waters' styled "Poison in My Whiskey." With Flynn's slide guitar evoking Earl Hooker, the Cash Box Kings recast Mercy Dee's "Sugar Daddy" into a terrific Chicago blues. The closing "The Wrong Number" is ebullient Bluebeat Beat styled performance in the manner of Washboard Sam and Jazz Gillum.

The songs are marvelous, idiomatic blues laced with irony and humor, including the highly amusing duet between Wilson and Shemekia Copeland, "The Wine Talkin'." Nosek handles a couple vocals including "Back Off," and is an adequate vocal but lacks Wilson's authority. Nosek and Wilson team up for the humorous duet "Joe, You Ain't From Chicago," where Joe starts off naming a place to get Italian Beef but it is in Elmwood Park, and Wilson states that isn't in Chicago. Against a Bo Diddley groove, Nosek sings about going to Maxwell Street, riding the redline after dark and seeing Smokey Smothers, while Wilson sings Joe doesn't know the Loop from Cabrini Green.

The highpoint may be "Bluesman Next Door," about people who say they like the blues, but don't want Wilson living next door. He sings about folks saying he is the top singing up on stage, but if they see him in the neighborhood, they would probably call a cop. Besides Wilson's terrific singing, Xavier Lynn plays the first-rate solo. This song stands out among the consistently excellent music heard on this superb CD.

I received my review copy from Alligator. Here is Alligator's promotional video for "Ain't No Fun (When the Rabbit Has the Gun)."

Willie Buck Willie Buck Way

Willie Buck
Willie Buck Way
Delmark Records

Reviewing Delmark's 2010 expanded release of Willie Buck's 1982 album, "The Life I Love," I observed that the music was "strong traditionally rooted Chicago blues that one hears played so well less frequently nearly three decades later." Buck, whose career extends back decades, remains a strong blues singer who is displayed on the 17 new selections on this new release. Backing Buck, who is solely a songwriter and singer, are Billy Flynn on guitar; Thaddeus Krolicki on guitar; Scott Dirks on harmonica; Johnny 'Fingers' Iguana on piano; Bob Stroger on bass and Jimmy Mayes on drums. Big Spider Beck plays harmonica on three selections and piano on two while Harmonica Hinds plays harp on two.

Muddy Waters is a strong influence on Buck's music as one can hear on Billy Flynn's original, "Can't Say Something Good About Me." But while he delivers a vocal robustly, he does not try to sound like Muddy. Buck also sings with a relaxed, swinging quality as on the opening "You Want Me To Trust You." The backing is solid, idiomatic Chicago blues with the Krolicki taking most of the leads while Iguana impresses with his Otis Spann influenced playing. Dirks is a more than capable harmonica player while Beck evokes Mojo Buford on "Can't Say Something …," which also has a stinging Flynn solo under a spoken part. Buck's capabilities as a singer are also displayed on his "There's a Woman," a song with a backing evoking Howlin' Wolf .

There is plenty of variety on this album including the unplugged "My Mind Might Freeze Up" and "Twenty-Four Seveni" with Krolicki on acoustic guitar and Hinds on harmonica. There is also strong, relaxed shuffle rendition of "Crawlin' King Snake" which is usually taken at a slow tempo. Beck rips off a strong harmonica solo on this. Another standout track is Buck's sermon to his fellow men, "The Men Ought To Learn (To Treat The Women Right)," with superb backing and a focused solo from Krolicki.

While the title track musically hints at "Blow Wind Blow," Buck lets us know that he is a blues legend and an all-around man with Iguana playing  fine blues piano. Billy Flynn plays some Muddy Waters' styled slide guitar on an excellent rendition of Leroy Carr's "Blues Before Sunrise," that owes much to Muddy Waters' recording of this song. With echoes of the melody for "Sloppy Drunk," "I'd Rather Leave You," closes this album on an easy rocking vein. It has another solid Flynn solo. Other selections are generally of similar quality with strong vocals and wonderfully backing. Like Willie Buck's prior recordings, "Willie Buck Way" is an excellent album of traditionally styled Chicago blues.

I received my review copy from Delmark Records. This review appeared in the March-April 2019 Jazz & Blues Report (Issue 383), although I may have made some minor changes. Here is Willie singing "Blow Wind Blow." Please excuse the slightly distorted audio.

Tribute: Delmark's 65th Anniversary

Various artists
Tribute: Delmark's 65th Anniversary
Delmark Records

As Delmark celebrates 65 years since founded in St. Louis by Bob Koester, new has come out that the label has been sold which hopefully will keep this historic and visionary blues and jazz label healthy for years to come. This "Tribute" recording has eleven newly recorded blues to help in the celebration. It should be noted that these are new recordings of prior recordings by various blues artists on Delmark. There is a house band with either Mike Wheeler and/or Billy Flynn on guitar on several tracks, Roosevelt Purify on keyboards, Melvin Smith on bass and Willie Hayes on drums.

Omar Coleman sings strongly and plays nice harp on his tribute to Junior Wells, "Train I Ride," with guitar from Wheeler and booting sax by Hank Ford. Lurrie Bell & the Bell Dynasty with Eddie Taylor Jr do Carey Bell's "One Day You're Gonna Get Lucky," likely recorded at the same session that produced their Tribute to Carey Bell album. Steve Bell's harmonica shines on this. Billy Flynn emulates the late Jimmy Dawkins' distinctive guitar style behind Linsey Alexander's fervent vocal on Dawkins' "All For Business." Demetria Taylor effectively growls performing Big Time Sarah's "Riverboat." Jimmy Burns performs his amiable take on Big Joe Williams' "She Left Me A Mule To Ride," without band accompaniment. His performance is not as percussive as that of Williams but he sings quite ably.

Lil Ed Williams and Dave Weld cover "Speak My Mind," by his uncle J.B. Hutto and it is a solid rendition if Ed does not quite match J.B.'s vocal here. Jimmy Johnson with Dave Spector do a strong Magic Sam's "Out of Bad Luck," with Sumito 'Ariyo' Ariyoshi adding some fine piano behind Johnson's marvelous vocal and fine guitar from him and Spector. Corey Dennison and Gerry Hundt provide a lively acoustic duet on Sleepy John Estes' "Broke and Hungry" with tight mandolin runs against the rhythmic guitar, with a strong crying vocal. Mike Wheeler evokes Jimmy Johnson on a fine cover of an Otis Rush classic, "So Many Roads," which is followed by Shirley Johnson's fine singing on the Little Willie John classic "Need Your Love So Bad," that Bonnie Lee previously waxed for Delmark.

Ken Saydak's solo piano and vocal barrelhouses Roosevelt Sykes' rollicking "Boot That Thang," closing this most entertaining collection of fresh blues cover recordings.

I received my review copy from Delmark Records. This review appeared in the July-August Jazz & Blues Report (Issue 379).  Here is Bob Koester interviewed about Delmark about 5 years ago.

Mud Morganfield They Call Me Mud

Mud Morganfield
They Call Me Mud
Severn Records

This is the third Severn release for the late Muddy Waters' son Larry 'Mud ' Morganfield. He is joined by some of Chicago's blues musicians to provide authentic, down-home blues touches. Those heard in addition to guitarist Rich Kreher, Mud's co-producer are: Billy Flynn on guitar, Studebaker John on harmonica and backing vocals, Sumito Ariyo Ariyoshi on piano, E.G. McDaniel on bass and Melvin “Pookie Stix” Carlisle on drums. Guests include Billy Branch on harmonica, Mike Wheeler on guitar and Mud’s daughter Lashunda Williams, who joins her dad on a loving duet, ‘Who Loves You." Several tracks have horns adding a vintage R& B feel.

While there are a couple of new versions of recordings his father made, most of the songs on this are his originals, so this release allows Mud to shine as more than someone recreating his father's music. Certainly the use of horns and original material enables Mud to establish his own personality, despite the similarities of his voice to his father as on the opening title track. This song has some B.B. King styled guitar to the fore while Studebaker John's harp blends in with the horns as Mud boasts about his prowess (likening himself to an earthquake and hurricane). It is followed by a strong modern blues "48 Days," (since his woman has left as he pleads for her to return), and then then a nice soul-blues lament "Cheatin' Is Cheatin'," followed by the churning soulful funk of "Who's Fooling Who?" with biting guitar and harmonica breaks.

Vocally he comes off as honest and convincing as he does on solid cover of Muddy's "Howling Wolf," and "Can't Get No Grindin'." There is some fabulous slide guitar, as well as standout piano and harmonica, on the former number, while Ariyoshi and Studebaker John add to the rollicking flavor of the latter performance. Mike Wheeler contributes strong guitar to the funky "24 Hours," His duet with his daughter is a superb classic soul ballad performance, while "Oh Yeah," is a terrific blues at times suggestive of John Lee Hooker's "Boom Boom."

The album closes with a captivating, jazz-tinged instrumental "Mud's Groove," that features Billy Branch on harmonica and is one of three selections with Mud on bass. It closes an engaging album that certainly should appeal to anyone wanting to listen to some real straight-ahead blues with a soul touch.

I received my review copy from a publicist. This review originally appeared in the March-April 2018 Jazz & Blues Report (Issue 377) and I have made a few minor stylistic changes. Here is a video of Mud performing his bfather's "The Same Thing."

Kim Wilson Blues and Boogie Vol. 1

Kim Wilson
Blues and Boogie Vol. 1
Severn Records

This latest album from Kim Wilson finds him in somewhat of what some might describe as a retro-blues vein. Recorded at a number of sessions, it was mostly recorded and mixed by guitarist Nathan James at Sacred Cat Studios, Oceanside, California; except fora couple tracks recorded and mixed by Big Jon Atkinson at Big Tone Recording Studios, Hayward, California. Among those playing the late pianist Barrelhouse Chuck and drummer Ricard Innes. Others heard backing Wilson include Billy Flynn, Atkinson, Marty Dodson, James, Larry Taylor, and Malachi Johnson.

This consists mostly of songs that Kim states he "always wanted to do. However, I have to put my own twist on everything.” The focus on the his is Chicago blues and the harmonica masters such as Little Walter, Sonny Boy Williamson and 'especially' James Cotton to whom this recording is dedicated to. Even Wilson penned originals like the opening harmonica romp "Bonus Boogie," are styled in the manner of Little Walter instrumentals. Then there are solid interpretations of songs previously recorded by Elmore James ("No Love in My Heart", "Sho Nuff I Do"), Little Walter ("Teenage Beat", "Blue and Lonesome" and "Mean Old Frisco"), Sonny Boy Williamson ("Ninety Nine"), Little Milton (Same Old Blues"), and Jimmy Rogers "(You're the One") with solid backing in the style of the fifties and sixties originals. The recording of the songs adds to this retro-blues flavor.

Wilson has always been a terrific harmonica player as well as a natural, assured vocalist and the performances here certainly showcase his considerable talents along with the tight, idiomatic backing. Kim has recorded several similar albums previously and this is certainly one that fans will appreciate, although it would hard to call this very entertaining set, primarily of covers, essential.

I received from my review copy from a publicist. This review originally appeared in the November-December 2017 Jazz & Blues Report (Issue 375), although I made a few edits to correct typos and clarify some points. Here is Kim Wilson performing with Kirk Fletcher and the late Barrelhouse Chuck.

 

The Cash Box Kings Royal Mint

The Cash Box Kings
Royal Mint
Alligator Records

Those wanting some house party, rocking real deal blues need go no further than The Cash Box Kings' new disc, the first for Alligator. With the strong singing from Oscar Wilson and harmonica and occasional vocals from Joe Nosek, guitar from Billy Flynn and/or Joel Patterson, drums from Kenny 'Beedy Eyes' Smith or Mark Haynes, keyboards from Lee Kanehira, this is one straight shot of Chicago blues mixed with a dose of jump blues and a touch of rockabilly.

The rollicking reworking of Amos Milburn's hit, "House Party," certainly kicks this off on the right start and one takes notice of Wilson's strong singing along with Nosek's full toned harmonica. It is followed by a solid rendition of Jimmy Reed's "I'm Gonna Get My Baby," with strong singing and harp and a terrific shuffle groove. It is on cover of a lesser known Muddy Waters number, "Flood," that Wilson's vocals evokes the legendary Chicago giant while Flynn's slide guitar suggests Waters' guitar style and Kanehira is equally solid. An acoustic rendition of Robert Johnson's "Traveling Riverside Blues," set to the "Rollin' and Tumblin'" music and the cover of "Sugar Sweet" additionally showcase how strongly Wilson and company evoke Waters' classic sound. On Junior Wells' "I'm a Stranger," Kanehira lays down greasy organ under the vocal while Flynn's slide is in Robert Nighthawk vein

As a singer Nosek  is less impressive, although a honest, unforced and straight-forward vocalist.  His topical original, "Build That Wall," which is set to a Tex-Mex rockabilly backing, is a delightful with a Chuck Berry flavored guitar break. "Blues For ChiRag," is a strong urban, topical blues about violence in Chicago today, and the humorous shuffle "If You Got A Jealous Woman Facebook Ain't Your Friend," with some terrific guitar from both Flynn and Patterson besides Wilson's full-bodied singing. Another party song is the rendition of Clifton Chenier's rocker "All Night Long," with solid horns, a terrific piano break and solid horns along with a terrific Flynn solo. Nosek's easy going singing and harp delights on the raggy, closing number, "Don't Let Life Tether You Down."

"Royal Mint" is chock full of some exceptional performances, and the level of the music is never less than very entertaining. Listening to this, it is easy to see why they have a strong fan base, one that is certain to expand.

I received a review copy from Alligator. Here The Cash Box Kings perform Muddy Waters' "Blow, Wind, Blow."

Billy Flynn Takes the Lonesome Highway

Billy Flynn
Lonesome Highway
Delmark Records

As Tom Hyslop observes, for all the recordings Billy Flynn has played on for Delmark over several decades “it is hard to believe” that this release is first his for the label as a leader which places him in the spotlight, not simply as the fluid, straight no chaser, blues guitarist (and harmonica player and percussionist), but as a songwriter and an able vocalist. With a core backing band of Roosevelt Purifoy on keyboards, E.G. McDaniel on bass and Andrew ‘Blaze ’ Thomas on drums, Flynn contributes sixteen idiomatic originals along with a cover of “The In Crowd.” Several tracks employ horns and Deitra Farr duets with him on two selections.

Flynn has provided a nice variety of songs which provides him a chance to display his versatility as a guitarist with a dash of harmonica as well. There is a rock and roll flavor to his guitar (evocative of Chuck Berry who just passed away as I write this) on the opening “Good Navigator,” which is a delightful duet with Farr. “Small Town” is a nice, low-key performance with a sober vocal and guitar suggestive of Earl Hooker with a dash of harmonica for good measure. The title track is a strong Otis Rush styled West Side Chicago blues with a strong vocal and some superb Rush-like guitar soloing, while the instrumental take of The ‘In’ Crowd" is a driving instrumental (shades of Jimmy Dawkins) with some strong organ under Flynn’s funky mix of chords and single note runs. Another solid West Side Styled blues is ”The Lucky Kind."

“Hold On,” with more harmonica, is another duet with Farr set to a Jimmy Reed groove with crisply played guitar (echoes of Eddie Taylor) and harmonica breaks. “Jackson Street” sounds inspired by Robert Nighthawk’s “Jackson Town Gal” and Flynn adds some solid Nighthawk influenced slide guitar, while the rollicking “Long Long Time” is akin to J. B. Lenoir’s “How Much More.” The funky “I Feel ‘Um“ opens with Christopher Neal’s booting tenor sax with some jazz-inflected playing akin to Fenton Robinson. The instrumental ”Blues Express“ finds Flynn’s string-bending suggesting Freddie King, while his guitar playing and deliberate vocal on ”Sufferin’ With the Blues” is modeled after Albert King, and his playing emulates B.B. King on the closing “Christmas Blues.”

In addition to his chameleon like ability to suggest a number of legendary blues guitarists, Flynn’s idiomatic originals,  choice harmonica playing and  natural, heartfelt singing, make this a gem of a recording. It does not hurt to have such crisp backing throughout on this gem of a new blues album.

I received my review copy from Delmark. Here is Billy Flynn in performance.

Mud Morganfield's Tribute to His Father - Muddy Waters

If one closes one eyes while listening to For Pops | A Tribute to Muddy Waters the new Severn Records release by Mud Morganfield & Kim Wilson, one might think one is listening to Muddy Waters himself. The idea for the album came from folks suggesting to Severn that after they released albums by Mud Morganfield and The Fabulous Thunderbirds, Severn had to get Mud and Kim together. So they were asked and agreed.

In putting an album together, they put together a band of Billy Flynn and Rusty Zinn on guitars, Barrelhouse Chuck on piano, Steve Gomes on bass and Robb Stupka on drums to support Mud’s vocals and Kim’s harmonica. Then it was decided to do an album of Muddy’s songs and selected a mix of both well known and lesser known songs associated with Muddy Waters. The recording was done live with everyone in the same room.

Included are 14 renditions of such Muddy Waters recordings as Gone To Main Street; Just To Be With You; Still a Fool; She's Got It; I Love the Life I Live, I Live The Life I Love; Blow Wind Blow; Nineteen Years Old; and Trouble No More. This is a marvelous backing band with Kim Wilson at the top of his game and Mud (Muddy’s oldest son) sounding so much like his father throughout these solid re-creations of the originals.

As noted, listening to this is almost like listening to a Muddy Waters recording, and folks have been copying Muddy’s music from over six decades from Junior Brooks and Louisiana Red to this present album. At the same time, no matter how enjoyable it is to listen to this album, it doesn’t replace the original recordings. No one has more right to perpetuate his father’s legacy than Mud Morganfield.  As good as the recreations here are, this listener wishes interpretative liberties had been taken with Muddy Waters’ music.

I received my review copy from a publicist. Here is Mud Morganfield in performance.

Barrelhouse Chuck Driftin' From Town To Town

Barrelhouse Chuck Goering is one of the most accomplished traditionally oriented blues pianists (and organists), having been mentored by Little Brother Montgomery and Sunnyland Slim, amongst others. Last year I was delighted to discover his 2006 recording with harmonica ace Kim Wilson and others, My Eyes on You (The Sirens). He has been touring with Kim Wilson the past few years and now Barrelhouse Chuck & Kim Wilson's Blues All Stars has a follow-up recording on The Sirens Driftin' From Town To Town.

Chuck and Wilson both handle the vocals and are supported by guitarists Billy Flynn and Jeremy Johnson; bassist Larry 'The Mole" Taylor; drummer Richard Inness; and Sax Gordon on Baritone and tenor saxophones.The band is as solid as the personnel would indicate for a stunning recording of straight-ahead, Chicago blues. Chuck handles most of the vocals on this starting with the title track, a wonderful original by him that showcases his wonderful piano playing and vocals as well as Wilson's harmonica mastery. He also revives a couple of Floyd Jones numbers, including the terrific Stockyard Blues, and a fine cover of Sunnyland Slim's She's Got a Thing Going On. 

Wilson has wonderful vocals on Howlin' Wolf's I'm Leaving, with a terrific guitar solo and Goering pounding the ivories, and Chuck Berry's Thirty Days. Goering channels Johnnie Johnson on this rollicking piece of rock and roll. Billy Flynn does a nice salute to Jody Williams on his rendition of Williams' Lucky Lou, while Johnson takes the first guitar solo on Stockyard Blues, and is featured on the opening instrumental, Cal Green's The Big Push. Wilson evokes Little Walter on a terrific instrumental K&C Boogie, with Chuck's piano helping propel the performance on, while Chuck on organ does a nice take on Booker T & the MGs Time Is Tight.

Throughout, Taylor and Inness provide a firm, supple foundation, whether the performance is an easy rocking shuffle groove or a moody, slow blues, like Floyd Jones You Can't Live Long. In addition to the superb traditionally oriented Chicago blues here, this benefits from the mining of lesser known blues recordings that stand out compared to much of what passes for blues today. Hopefully it will not be another six or so years before Barrelhouse Chuck and Kim Wilson return to the studio.

I purchased this release. Here is Barrelhouse Chuck with Billy Flynn and Catherine Davis.

Al Miller's In Between Time

Harmonica player and singer, Al Miller, is a contemporary of Paul Butterfield, Charlie Musselwhite and Mike Bloomfield who was among the first wave of white Chicago bluesmen. He worked with Chicago Slim and Johnny Young, was in a band The Wurds which was the first white blues band signed by Chess, spent a couple years in San Francisco working with Bloomfield, and returned to the Windy City. In the early 1990s he recorded a debut CD, “Wild Cards” for Delmark which featured Willie Kent, Dave Spector, Tad Robinson and Steve Freund. In 1999 and 2000 he assembled some of Chicago’s finest talent including John Primer, Dave Spector, Willie Smith, Ken Saydak, Billy Flynn, Harlan Terson and Kenny Smith, which Delmark has just released as … In Between Time.

This album is one of straight-ahead Chicago blues. As Scott Dirks says in the liner booklet, “Al Miller isn’t out to reinvent the wheel, or shoehorn disparate genres into an ill-fitting blues hybrid and call it “original … .” He mixes in a few idiomatic originals with covers of songs by Johnny Young, Jimmy McCracklin, Percy Mayfield, Elmore James, and Eddie Taylor. The varying line-ups share one thing in common, and that is playing old school blues, whether a slow blues and rocking shuffle. 

Whether listening to Miller reprise Johnny Young’s My Baby Walked Out with Barrelhouse Chuck contributing two-fisted piano; or John Primer channeling Magic Sam (on vocal as well as guitar) for a strong rendition of B.B. King’s I Need You So Bad, this recording shines. Miller is an able vocalist, but his harp really shines such as his original Old Friends, with a nice latin groove. The title track is a Muddy Waters flavored original with Billy Flynn on slide followed by a rollicking take of Johnny Young’s instrumental I Got It, with more tough harmonica from Miller. 

On A Better Day, Flynn channels Earl Hooker’s wah-wah slide guitar on a recording that evokes Hooker’s recording, You Gotta Lose. Another Johnny Young cover, Tighten Up On It, has more explosive harmonica. It is followed by John Primer taking the vocal on Elmore James’ 1839 Blues, on an accompaniment (Ken Saydak on piano) suggesting Otis Spann’s Hungry Country Woman. Billy’s Boogie is a lively feature for Flynn’s fretwork followed by Flynn channeling Bo Diddley on Miller’s cover of Little Walter’s Make It Alright. Rob Waters adds organ as Miller imaginatively reworks Percy Mayfield’s uptown Bachelor Blues into a Chicago blues, while Primer is featured in a tribute to one of his mentors, Sammy Lawhorn, on Primer’s Lawhorn Special.

Al Miller is a capable singer and an excellent harmonica player. He is complemented by some excellent players on a mix of originals and covers of songs that have not been over-recorded. With a generous helping of over an hour of music, … In Between Time is an exceptional, straight-ahead, Chicago blues recording.

Delmark sent me a review copy of this.  

Celebrating the band’s 20 years, Delta Bound is the new Delmark release by Mississippi Heat, the band that is led by harmonica player Pierre Lacocque who also contributes most of the new material. Mississippi Heat has always been a band that has focused on an ensemble sound and supporting its singers. Inetta Visor is still the band’s vocalist, but for this album as an additional treat the band’s original featured vocalist, Deitra Farr, returns for three songs. The rest of the band consists of guitarists Giles Corey and Billy Satterfield; Chris ‘Hambone’ Cameron and Johnny Iguana on keyboards; Joseph Veloz on bass and Kenny Smith on drums. In addition to Deitra Farr, there are guest appearances from Chubby Carrier on accordion for one track, as well as guitarists Carl Weathersby and Billy Flynn.

Lacocque’s growth as a harmonica player is immediately evident with chromatic playing on the torrid opener “Granny Mae,” as Visor is jubilant about her lover returning after 8 long weeks with Smith displaying why he is among the finest living drummers. “Look-A-Here” is a classic Chicago blues shuffle with Deitra Farr handling the vocal about a mistreating lover. Given the infrequency that Deitra Farr has recorded, the three new vocals here with a clean, natural singing is a special treat and Lacocque’s harp also stands out on this and throughout. Farr is long-due for a new album under her own name. Chubby Carrier adds his accordion to “New Orleans Man” with its second line groove and Visor’s singing about her man from Louisiana man who loves everything about her. 

A highlight of this recording might be the rendition of “Don’t Let Me Be Misunderstood” that many will be familiar from the Animals recording but was originally waxed by the great Nina Simone. Visor is outstanding here and it is one of the selections on which Weathersby lends his searing guitar. Billy Flynn’s guitar adds a nice touch behind Deitra Farr on “What’s Happening To Me.” “Going to St. Louis” is a jazz-tinged number with a light latin groove with Kenneth Hall on vibes, and the leader on chromatic harmonica. I can’t praise enough Velez and Smith for the the groove they lay down. Weathersby returns to add his fire behind Visor on “Mr. Mistreater,” while “Lemon Twister,” is a nicely paced instrumental with nice interplay between Johnny Iguana on organ and Lacocque on harp as well as a sharp solo from guitarist Giles Corey. “Sweet Ol’ Blues” is a new song about the blues being a trusty companion with another strong vocal from Farr. 

One continues to get impressed by Mississippi Heat. Pierre Lacocque continues to write interesting and varied new blues songs which are rooted in the blues and not blues-rock.Match the material with the tight backing, strong solos and excellent vocals and he continues to bring us after 20 years first-rate and fresh-sounding, new blues. 

I received my review copy from Delmark.  Here is Mississippi Heat with Inetta Visor singing in performance.

Jimmy Dawkins Kant Sheck Dees Bluze

Felix Wohrstein’s liner notes to Dawkins’ new Earwig recording, Kant Shek Dees Bluze, state that “there are no Jimmy Dawkins imitators.” If not generating imitators, Dawkins has certainly influenced at least one artist, Bobby Radcliffe, who similarly employs a driving attack, “combining piercing sustain and staccato.” 

Dawkins' first album Fast Fingers, is one of the few blues albums to win the Grand Prix of the Hot Club of France and he was voted by Downbeat critics as rock/pop/blues act deserving wider recognition. Despite this critical acclaim, his career never sustained the level of public recognition as other, probably lesser artists. Perhaps it was due to his serious “all for business” nature and his music. No flashy theatrics, just a heavy dose of straight blues. 

While he has continued to record overseas, Kant Sheck Dees Bluze is only his second U.S. album in over 15 years. Earwig has brought together a solid studio band that includes “Professor” Eddie Lusk on keyboards, Billy Flynn on rhythm guitar, Johnny B. Gayden on bass and Ray Scott on drums. Two of the vocals here feature singer Nora Jean Wallace who sounds as a promising talent, but the bulk of the vocals are delivered by Dawkins who may have a limited range, but invests his vocals with much feeling. 

The songs are all originals, although one can hear allusions to Sonny Boy Williamson’s Help Me on the title track (as he sings that he can’t shake these blues) or Magic Sam’s All Your Love on Wes Cide Bluze. The lyrical themes are typical of Dawkins, as he sings about the troubles of everyday, not simply those between a man and a woman, but also the economic and social problems of poverty. 

While the lyrics of the topical Made the Hard Way may be superseded by events, its not an untypical Dawkins theme, nor are his sentiments that life is a struggle, but people must keep struggling and holding on to keep their dreams and hopes alive, as expressed in the religious song, Gotta Hold On, that closes the record. Dawkins offers plenty of searing guitar, with his backing of Nora Jean Wallace’s My Man Loves Me being particularly effective, however, some of his playing is busier than on earlier recordings. 

While there is a generous 65 minutes, and like other Dawkins recordings there is the flavor of a club jam. Some performances would have benefited by being shorter and more focused. No question however that Jimmy Dawkins remains one of modern blues’ major talents, and this is a most welcome release.

This 20 year old review originally appeared in the July 1992 Jazz and Blues Report (Issue 172) and I likely received my review copy from the label.  Here is Jimmy performing in 1991.

Billy Boy Arnold's Heartfelt Big Bill Broonzy Tribute

The last year and a half saw two books about the great Chicago-based blues artist big Bill Broonzy. Bob Riesman’s I Feel So Good, emerged as the major chronicle of Broonzy’s life, correctly information about his date and place of birth and his development of his musical career. While he made use of archival interviews and other materials, one of his sources was bluesman Billy Boy Arnold was captivated by Broonzy as well as Broonzy’s friend, John Lee ‘Sonny Boy’ Williamson and while Billy Boy wanted to record with Broonzy, Broonzy directed him to musicians more in keeping with the contemporary blues scene.

Now over fifty years after Broonzy’s passing, Billy Boy has recorded a tribute album, Sings Big Bill Broonzy on Electro-Fi. It is produced by Eric Noden who plays acoustic guitar and others supporting Billy Boy are Billy Flynn on electric guitar and mandolin, Beau Sample on acoustic bass and Rick Sherry on washboard, percussion and clarinet. The 15 songs, all written by Broonzy, selected were recorded between the late 1930s and the early 1950s.

Bob Riesman in his liner notes that they attempt to play in the spirit of Broonzy’s work, rather than recreate the recordings. The lack of piano as well as Billy Boy’s harmonica helps to insure that. Arnold’s vocals also do not possess the ebullient quality that Broonzy brought to his recordings (the late John Cephas was one of the few singers of the past few years who had a comparable vocal style), but then again Muddy Waters’ vocals also lacked Broonzy’s good-natured exuberant quality when he recorded his Broonzy tribute shortly after Broonzy’s passing.

There is the lament of Sweet Honey Bee followed by the lively, relaxed swing of Going Back To Arkansas where Sherry contributes washboard and clarinet to help contribute a flavor of some of the Broonzy-Washboard Sam collaborations. Arnold added additional lyrics to the nice slow blues, Girl In The Valley a.k.a. Water Coast Blues, with Sherry again adding washboard while Flynn contributes mandolin in support. Key to the Highway is among the best known songs heard here and done quite strongly with some nice guitar in the backing.

These performances do also highlight Broonzy’s gift at crafting sophisticated songs with irony and wit in his expression of the blues, analogizing to a rooster in Looking Down At Me, or take the voice of a prisoner in Cell No. 13 Blues. The rendition of the former song is done in the fashion that Sonny Boy Williamson might have performed the song with a nice harmonica break. There is the mix of the contemporary and traditional in I Want You By My Side, that adapts the melody of Careless Love, and has a crisp Billy Flynn guitar solo.

The easy swing is also present when Billy Boy sings about Living On Easy Street, where he tells women if you want money get your man on the WPA but if you want good loving you got to do what I say. When I Get To Thinkin’, is nicely reworked and a bit more laid back than the Muddy Waters more emphatic 1960 recording that is a bit more threatening towards his lover. Arnold also provides his own spin to Broonzy’s fanciful It Was Just a Dream with its surrealistic imagery has been revived and reworked by a number of bluesman, most notably the late Louisiana Red, as he sings about waking up in the White House and the President shaking Bill’s hand.

This recording was heralded in Bob Riesman’s Broonzy biography, and its release has met the expectations for it. Today, one might find it hard to appreciate how significant Big Bill was in the history of the blues. Along with Riesman’s book, this tribute recording addresses that in a fine and spirited manner.

I was provided my review copy from the label.  Here is a video clip of the legendary Big Bill Broonzy.

Here is Billy Boy Arnold doing a Sonny boy Williamson number.

Mud Morganfield Is The Son of the Seventh Son

The eldest son of the legendary Muddy Waters, Mud Morganfield was originally given a drum set by his father when he was 7, and began singing in the early 1980s, but it was not until 2005 when Mary lane coaxed him on stage that he started treated music as his profession in a serious fashion. Appearing at the 2007 Chicago Blues Festival led to interest in him similar top that of his younger brother Big Bill Morganfield. He has had some earlier recordings, but now he has a new recording, Son of the Seventh Son, produced by Bob Corritore on Severn Records that should help take his recognition and career to the next level.

Backing Morganfield’s vocals are guitarists Rick Kreher and Billy Flynn, pianist Barrelhouse Chuck (Goering); bassist E.G. McDaniel with Kenny ‘Beedy Eyes’ Smith on drums. Producer Corritore and Harmonica Hinds share the harmonica duties for these February 2011 recordings. With the exception of a couple covers of Muddy Waters recordings and originals by Studebaker John Grimaldi and Billy Flynn, Mud Morganfield contributed originals and the performances are pretty much in his father’s style.

From the opening notes of the reworking of J.T. Brown’s Short Dress Woman, to his own Blues In My Shoes, celebrating his father’s legacy, Mud Morganfield evokes his legendary father. The performances are solid blues in the style of his father and the backing band does a solid job or evoking the Muddy Waters Band sound of the mid-sixties through the end of Waters’ celebrated career. This is a solid band that sounds so at home playing in the style of Waters.

Mud may not quite match his father’s style, but he comes close. The level of the performances are solid throughout although several stand out including the opening reworking of his father’s recording of Short Dress Woman, Studebaker John’s Son of the Seventh Son, the amusing Catfishing, (where he goes all the way to the bottom because that’s where all the fat cats go) on which Barrelhouse Chuck is on organ and Harmonica Hinds is on harp, and Health on which Corritore shines in his harp accompaniment as Mud strongly sings about having money and fame don’t mean anything if one does not have good health. The playing is strong throughout and certainly captures the flavor of Muddy Waters recordings from the seventies. I am not sure who takes the guitar solo on Loco Motor, but the guitarist does a good job of evoking Jimmy ‘Fast Finger’ Dawkins in his guitar solo.

As suggested, Mud does a strong job of conjuring up his late father’s blues and the backing band certainly contributes to the overall feel of this band. Certainly if there can be “Blues Brothers” tribute bands, the eldest son of one of the greatest blues artists can do his part in keeping his father’s sound alive, especially when he contributes a number of strong originals that he ably performs. While he may not be an original performer, Mud Morganfield certainly is keeping his legendary father’s sound alive, supported by an excellent band. The result is a release sure to interest fans of his father’s classic Chicago blues.

I received my review copy from Severn Records. Here Mud plays his father's Mannish Boy.

Willie 'Big Eyes' Smith Takes Us Way Back

Willie ‘Big Eyes’ Smith is best known for his tenure as drummer with the great Muddy Waters. Later he was the foundation of the Legendary Blues Band, formed by former members of Waters’ Band and in the years since has played on numerous recordings as well as occasionally showcased his harmonica playing, an instrument he actually recorded on prior to joining Muddy.


Bob Corritore has produced a new Hightone release, Way Back, that showcases Smith’s harp as well as his amiable vocals on some choice covers as well as idiomatic originals. His son Kenny Smith handles drums on most tracks here while the band and guests include James Cotton (superb playing on I Don’t Trust You Man and If You Don’t Believe I’m Leaving ), Pinetop Perkins, Bob Stroger, Bob Margolin, Calvin ‘Fuzz’ Jones, Bob Stroger, Billy Flynn Little Frank Krakowski and Johnny Rapp.


Smith sings in a very natural, likable manner and delivers the opening Don’t Say That No More, in a very ingratiating fashion while tossing in harp In a Little Walter manner on Read Way Back and Walter’s Tell Me Mama (actually a Washboard’s Sam number, Back Door). He lacks Walter’s tone, but his driving harp playing has its own attraction. Guitarists Rapp and Krakowski generally stay in the background here, helping push the groove along, although there is some fine playing on Woman’s World. Pinetop Perkins is expectedly splendid throughout. Producer Corritore’s harp and Billy Flynn’ guitar is featured on Lowdown Blues and I Want You to Love Me, two tracks where Big Eyes takes the drum chair. Blues and Trouble is a terrific duet with Margolin who adds some great slide guitar.


Throughout this album, the backing band is wonderful whether taking the tempo down or rocking a shuffle. There are no frenzied hyped-up grooves here, just some first class old school blues playing, and some strong versions of classics as well as some choice originals by Smith results in a fine album that will appeal to lovers of the Chicago blues.


Received review copy from either the record label or a publicist for the label. This review was originally written for the DC Blues Calendar, newsletter of the DC Blues Society in 2006, but am not sure if it was published.

Soulful and Loving Tribute for the Chicago Blues

A delightful surprise is a new double CD, “Chicago Blues: A Living History,” (Raisin Music). It is an attempt to portray a sketch of the evolution of Chicago Blues over the past seven decades as performed by two generations of the idiom’s greatest tradionalists. Featured on this recording are Billy Boy Arnold, John Primer, Lurrie Bell and Billy Branch, backed by a stellar band of guitarist Billy Flynn; keyboard whiz, Johnny Iguana, bassist Felton Crews and drummer Kenny Smith with Matthew Skoller adding his harp on a few tracks. Also present are special guests Carlos Johnson and Mike Avery who add addition spice to this rich blues stew.

Included are renditions of classic blues recordings by the likes of both Sonny Boy Williamson, Muddy Waters, Little Walter, Howlin’ Wolf, Elmore James, Memphis Slim, Otis Rush, Buddy Guy, Earl Hooker and Magic Sam. The music here is traditionally oriented and remains true to the originals without being slavish copies. Let me point out that the ‘legendary’ John Mayall Blues Breakers album with Clapton is comprised of mostly covers, and the music here is simply better. I don’t care whether or not Clapton is a guitar god, the truth is that The Living History Band is a much stronger band than Mayall’s band and the musicians here invigorate the tradition from which their careers are rooted.

Billy Boy Arnold opens with songs from John Lee ‘Sonny Boy’ Williamson, Tampa Red and Big Bill Broonzy with Billy Flynn conjuring up Tampa Red’s distinctive slide sound before pianist Iguana does a solo rendition of Big Maceo’s “Chicago Breakdown.” Things get a bit more modern as John Primer does Muddy’s “Feel Like Going home,” followed by Lurrie Bell’s exuberant vocal on Elmore James’ “I Believe,” with Flynn adding slide and Billy taking his usual sharp solo. Primer puts an emphatic stamp Wolf’s “Moanin’ at Midnight,” with Skoller adding harp. While B.B. King’s music is not Chicago Blues, his influence is all pervasive and the rendition of “Three O’Clock Blues,” introduces us to vocalist Mike Avery, a cousin of Magic Sam, a riveting singer that Lurrie Bell’s guitar complement so well. Billy Boy handles “Memphis Slim USA,” a bit subdued compared with Slim’s recording that had Matt Murphy’s slashing guitar on it, but the energy picks up when Billy Branch lights into Little Walter’s “Hate to See You Go.”

The second disc opens with primer in a Muddy Waters bag again on “Sugar Sweet,” with Branch adding fine harp and then Jimmy Reed’s “Can’t Stand to See You Go,” as the band aces the lazy boogie Jimmy Reed groove and Skoller adds some Reed-sounding harp. Its followed by Billy Boy reworking his own “I Wish You Would,” before Primer takes the lead on Rice Miller’s “Your Imagination,” with Skoller displaying his virtuosity as he emulates the second Sonny Boy’s style. Lurrie Bell handles the Otis Rush classic “My Love Will Never Die,” followed by Billy Branch’s interpretation of Junior Wells’ “Hoodoo Man Blues,” which is derived from the Delmark recording, not Wells’ original. Billy Flynn takes the spotlight on Earl Hooker’s “Hooking It,” displaying not only his chops but his musical good taste followed by Avery handling his cousin’s “Out of Bad Luck.” Branch returns for a strong treatment of James Cotton’s “One More Mile,” before the one ringer track as Carlos Johnson handles the vocal and guitar on John Lee Hooker’s “The Healer.” No question Hooker had in impact on Chicago, but its odd that they represent Hooker with this as opposed to the great recordings like “Boom Boom,” on which Chicago musicians had played. Johnson does an able Carlos Santana impression. Johnson is lead guitarist behind Bell on Buddy Guy’s “Damn Right I Got the Blues,” which is included to represent the continuing development of Chicago blues, although I would have preferred a reworking of one of Guy’s earlier recordings.


As I stated this is a sketch of the Chicago Blues as it evolved. One can think of a variety of artists who were skipped like Floyd Jones, J.B. Hutto, Jimmy Rogers, Big Walter, Carey Bell, Sunnyland Slim, John Brim, Otis Spann and many others. But this album does it job of lovingly bring to life some terrific songs. And as stated, Mike Avery is a helluva singer who somebody should do a full recording by. This is accompanied by a booklet with plenty of information on the original performers and the artists on the disc. For more information, visit www.raisinmusic.com or www.chicagobluesalivinghistory.com.