Bob Corritore & Friends - Spider in My Stew

Bob Corritore & Friends - Spider in My Stew - Vizztone/SWMAF Records

This album is yet another compilation from Bob Corritore with the veteran blues harmonica teamed with some of today's most outstanding blues artists for many wonderful traditional Chicago blues. Among those heard, with Corritore's harp backing, are Sugaray Rayford, Lurrie Bell, John Primer, Alabama Mike, Diunna Greenleaf, Francine Reed, Johnny Rawls, Oscar Wilson, Willie Buck, and Bill & Shy Perry. Bell, Primer, Rawls, and Bill Perry also contribute guitar. Other guitarists on this album include Bob Margolin, Junior Watson, Kid Ramos, L.A. Jones, Jimi 'Primetime' Smith, and Jimmy Rapp. Among the keyboard players are Fred Kaplan, Shea Marshall, Doc Holiday, and Bob Welsh. Bob Stroger, Adrian Marie, Kedar Roy, and Troy Sandow are among the bassists, while the drummers include Brian Fahey, Andrew Guterman, Marty Dodson, and June Core. Shea Marshall and Doug James are heard on saxophone.

With this contemporary group of blues all-stars, one should not be surprised with just how good some of these performances are, starting with Oscar Wilson's robust singing on a cover of Fenton Robinson's "Tennessee Woman." Sugaray Rayford's "Soul Food" is one of the few originals here. It sounds like a hot 50's Memphis shuffle as he exuberantly shouts about going to get Big Mama's Soul Food. Corritore's fat wet tone evokes Papa Lightfoot here while drummer Marty Dodson channels Fred Below. Alabama Mike transforms Chuck Willis' "Whatcha Gonna Do" into what it might have sounded if Jesse Fortune had recorded it in Chicago. Junior Watson is outstanding on guitar. Mike also updates Harmonica Slim's "Drop Anchor."

Koko Taylor sang the original rendition of Willie Dixon's "Don't Mess With The Messer." Diunna Greenleaf makes this song her own on a recording that evokes Willie Dixon's productions. Here Corritore playing more in a Sonny Boy Williamson II manner. Add Doug James' rousing baritone sax solo and one has a gem of a performance. Willie Dixon also wrote the title track, which Lurrie Bell pours his heart into with fervent singing and white-hot guitar while Corritore shines on chromatic harmonica. Johnny Rawls contributes a soulful B.B. King-styled "blues, "Sleeping With the Blue." 

With trebly guitar from Kid Ramos and Johnny Main, Francine Reed powerfully updates the Staples Singers "Why Am I Treated So Bad" and Bob Dylan's "I Shall Be Released." Another standout selection is Willie Buck's channeling of Muddy Waters on "Soon Forgotten." Jimi 'Primetime' Smith's guitar, Fred Kaplan's piano, and Corritore's harp contribute to evoke the Chicago blues legend on this stellar cover. Everything on this album is wonderfully played, and again Bob Corritore has put together a collection of first-rate Chicago-styled blues with so many outstanding selections.

I received my review copy from VizzTone. Here is Bob Corritore and Sugaray Rayford.

Ronnie Earl And Friends

Ronnie Earl
And Friends
Telarc 83537

1- All Your Love; 2 - Rock Me Baby; 3 - I'll Take Care of You/ Lonely Avenue; 4 - Mighty Fine Boogie/ 5 - One More Mile/ 6 - Bad Boy/ 7 - Twenty-five Days/ 8- No More/ 9- Last Night/ 10 - New Vietnam Blues/ 11 - Marie/ 12 - Blue and Lonesome/ 13 -Looking Good. 68:17

Earl, g; Dave Maxwell, p (exc-13); Jimmy Mouradian, b (exc-3, 10, 13); Levon Helm, d (exc. -13); Luther 'Guitar Junior' Johnson, -1, 6 vcl, g; Kim Wilson, vcl, hca - 2, 5, 8, 9, 12; James Cotton, hca - 4, 5, 8; Irma Thomas, vcl -3, 10; Michael 'Mudcat' Ward, b -3, 10; Paul Marrochello, g -10; Tim 'Juice' O'Connor, g -10. Woodstock, NY. Oct. 30, 31 and Nov. 1, 2000.

This is an all star session led by guitarist Ronnie Earl on Telarc. Those heard on this include Luther’ Guitar Junior’ Johnson, Levon Helm, David Maxwell, Irma Thomas, James Cotton and Kim Wilson for a program of blues mostly performed in the Chicago blues vein. While several recent albums have displayed Earl’s very interesting fusion of jazz and blues, this album marks a return to a straight blues setting.   Earl is joined by an excellent band that includes piano from Dave Maxwell and drums by Levon Helm of The Band.  Vocals are shared by Kim Wilson, Luther ‘Guitar Junior’ Johnson and Irma Thomas. In addition to several tracks featuring both of their harmonicas, there is a harmonica duet by Wilson and Cotton.

Dave Maxwell strongly evokes the spirit of Otis Spann on his feature "Marie." Two instrumentals serve to spotlight Earl, one being the short closing rendition of Magic Sam’s "Lookin’ Good." Luther Johnson contributes a top notch version of Magic Sam’s "All Your Love." Irma Thomas does a wonderful rendition of Bobby Bland’s "I’ll Take Care of You," which segues into Ray Charles’ "Lonely Avenue."  Her other vocal is "New Vietnam Blues," a updating of Junior Wells’ recording, "Viet Cong Blues," reflecting the social changes of the past three decades.  Kim Wilson shines as a vocalist on "Rock Me Baby" and James Cotton’s "One More Mile," one of the titles that have both Cotton and Wilson on harmonica.

There is terrific playing throughout, whether the interplay between the harmonicas of Cotton and Wilson on "Mighty Fine Boogie," Earl’s evocation of Mel Brown and Buddy Guy on the Irma Thomas vocals, and Maxwell’s consistently solid piano. There are a couple places where Earl’s playing strikes one as a bit busy (particularly "All Your Love"), but his playing never overwhelms the vocal. And Earl quite capably plays the supportive role on the tracks with Cotton and Wilson, adding some nice fills. This is quite an enjoyable blues album.

This review was written for Cadence from who I wrote this review in 2001. I have inserted paragraph breaks. Here is Luther 'Guitar Jr." Johnson and Ronnie Earl performing together.

Lil ‘Ed & The Blues Imperials Jump Start Their Houserocking Blues

Alligator Records has just released the labels eighth album by Lil ‘Ed & The Blues Imperials, “Jump Start. Only Magic Slim and the Teardrops has a lengthier tenure of playing down classic Chicago blues and like Slim, Lil ‘Ed Williams benefits from having stability in his group. In fact, the present line-up of cousin James ‘Pookie’ Young on bass; Michael Garrett on second guitar and Kelly Littleton on drums has been together for nearly 25 years, since right before Ed’s second album, Chicken Gravy & Biscuits. This helps explain the tightness of the performances heard here.

Fans of Lil ‘Ed & the Blues Imperials will find little new on this collection of hard driving slide blues and Chicago shuffles. With the exception of a J.B. Hutto cover, Ed wrote or co-wrote the songs here. There is a mix of a slow, straight blues such as You Burnt Me, where after being left out on the street Ed asks why would he want her back, and the amusing slide-burner Born Loser, on which Ed sings about living on the edge and walk on the wild side but opportunity knocked and his door was locked, and murphy’s law is his motto. On the driving House of Cards, Ed tells his woman that she was living in a dream and the game has turned around and her house of cards is tumbling down after dealing Ed a bad hand with her dating another man.

Jump Right In, is an amusing song about this woman telling him to jump right in to the pool and she’ll teach him to swim and when he is ready for his swimming test she’ll take him to her deep end. Michael Garrett takes the solo on this. Marty Sammon’s organ adds atmospheric to Life Is A Journey, which he wants to share with his woman. Musical Mechanical Electrical Man musically channels uncle J.B. Hutto’s Please Help, as he tells his woman he will fix her up as he has a plan. Ed’s evokes his uncle further on his fervently performed cover of Hutto’s “If You Change Your Mind” with Sammon adding piano behind Ed’s passionate sining and driving slide guitar. It may be the stand-out performance on an album that is consistently entertaining and full of heartfelt blues.

Like the entire body of recordings by Lil ‘Ed and the Blues Imperials, Jump Start will get the party rocking with its good-time houserockin’ blues.

I received a review copy from Alligator Records. Here is Lil 'Ed & the Blues Imperials at the 1993 Pocono Blues Festival. I was at this show. Nearly two decades later they are still going strong.

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.

Jimmy Burns Lively Live at B.L.U.E.S. CD-DVD

Here is a review I recently wrote for a couple of publications. I made a minor change in what may have been published elsewhere to clarify a point about two songs on the DVD not on the CD

Younger brother of the veteran bluesman Eddie Burns, the Mississippi-born bluesman has distinguished his modern Chicago blues with some tastefully integrated soul accents. His latest Delmark disc (and DVD) is Live at B.L.U.E.S., the celebrated Chicago club. With his solid band of second guitar, Tony Palmer; Greg McDaniel, bass; and James Carter, drums, Burns launches his live set with what is perhaps his signature song, Leaving Here Walking, with striking guitar and his vocal of leaving and going back to his woman back in Mississippi. Its a crisply delivered performance with a solid solo as well. Mixing in other Burns originals like Better Know What You’re Doing and Miss Annie Lou with fresh, interesting reworkings of Little Walter’s Can’t Hold Out Much Longer, and Elmore James’ Wild About You, Baby, Burns showcases his aching, soulful singing with fine playing. Perhaps a few songs go on a bit too long and some solos are more jams over a bass vamp, but this is a live performance after all and is representative of the solid performances by Burns that this writer has seen. A bonus is a guest appearance by Jesse Fortune who is terrific on Lowell Fulson’s Three O’Clock Blues which is mis-attributed to B.B. King. There is nearly 70 minutes on the CD and the DVD has an additional two songs for 80 minutes. I have never been the B.L.U.E.S. and wonder if the room is a narrow room with a somewhat small stage as many of the camera angles of the performers are directed upward at the faces or instruments of Burns and band members and not many at eye level and less crowd shots say than the wonderful videos of Mississippi Heat and Tail Dragger. Still the additional songs are not filler and could have been interchanged with some of the songs on the CD without changing the quality of the cd. Thanks Delmark for another solid CD/DVD release.

Chicago's Blues Queen Goes Old School

Its been several years since Koko Taylor has had a new album. This is remedied by the new Alligator release, The Old School. As the title suggests, the recording is directed to hard-hitting, old-school Chicago blues and includes five interpretations (most definitely not copies) of older songs along with some originals that Chicago’s Blues Queen handles in her own hold-nothing back style. One track is by The Blues Machine, and the other eleven tracks have a studio band led by Criss Johnson and drummer Willie ‘The Touch’ Sutton and guest appearances from Bob Margolin, Billy Branch an Kaz Kazanoff. Most of the new tunes are from Koko and Gonna Buy Me a Mule is a striking song as she tells her man she’s gonna take the place of him and the jaunty warning You Better Watch Your Step, with Billy Branch (excellent throughout) playing some Jimmy Reed inspired harp. Bob Margolin adds slide guitar to Memphis Minnie’s Black Rat, and Lefty Dizz’s Bad Avenue. The arrangements of both tunes are a bit cluttered and the performances come off as too hectic. Criss Johnson who did the arrangements on this album, would have done well to have listened to Koko’s first Alligator album, I Got What It Takes, and have allowed more spaces in the backing, and not have come across overbearing like so much recent Chicago styled blues of the past few decades. I have no fault with Koko’s performances as she sings really well here sounding so at home with the material. Its also nicely programmed with very nice covers of a couple songs associated with Muddy Waters, Don’t Go No Further, and Young Fashioned Ways. Just wish the attempt at being ‘old school’ by the band had a bit more of a lighter, swinging groove than they play with here. If I was giving this stars, 4 1/2 to Koko and 3 for the backing, or overall 4 stars.