Bob Corritore and Friends Don't Let the Devil Ride

Bob Corritore and Friends
Don't Let the Devil Ride
SWMAF/Vizztone

This collection of choice Chicago blues covers and idiomatic originals is the latest from harmonica player Bob Corritore. From a variety of sessions, and with a variety of vocalists and musicians he has put together another choice dozen blues performances. Amongst those present here are vocalists Willie Buck, Oscar Willis, Bill 'Howl-N-Madd' Perry, George Bowman, Alabama Mike, Tail Dragger, and Sugaray Rayford. Among the supporting musicians are such guitarists as Big Jon Atkinson, Junior Watson, Jimi "Primetime" Smith, Chris James and Rockin ' Johnny; pianists Henry Gray, Bob Welch and Fred Kaplan; bassists Troy Sandow, Kedar Roy, Patrick Rynn, and Bob Stroger; and drummers Marty Dotson and Brian Fahey. This is not a complete listing of supporting musicians.

Just a few notes on the performances here. Willie Buck contributed the opening Jimmy Reed styled blues, "Woke Up This Morning," with his slightly mush-mouth singing and Corritore's Reed-styled harp playing making for an enjoyable performance. Oscar Wilson handles the singing on a straight cover of Little Walter's recording, "Tell Me Baby," with some real fine harp and Henry Gray pounding away on the piano. Wilson's other vocal is a solid, lazy Corritore original, "Fork in the Road," with Gray present again. It is followed by a lazy, amusing Sugaray Rayford original "The Glide," with a terrific vocal and a clever double entendre lyric. Behind Alabama Mike's moody vocal on a cover of "Laundromat Blues," Corritore plays some blistering chromatic harp. Bill 'Howl-N-Madd' Perry provides a swamp blues feel on his "Willie Mae," with a Gulf Coast rumba groove. On "I Was a Fool," George Bowman's gritty singing is backed by Corritore's big-toned chromatic along with austere backing from Atkinson, Sandow, and Fahey, while on Alabama Mike's "Blues Why You Worry Me?," the backing suggests "Scratch My Back."

Tail Dragger closes out this set for a Muddy Waters' styled blues, "Thundering and Raining," where he sings about a tornado coming and his baby not on the ground. It is not a fancy performance, but sung with heart and ably backed. That pretty much characterizes all the music on this latest album from Corritore. Fans of classic Chicago blues will find much to enjoy here. Recommended.

I received my review copy from VizzTone. This review appeared originally in the July-August 2018 Jazz & Blues Report (Issue 379). Here is a performance by Corritore and Sugaray Rayford.

John Primer & Bob Corritore Ain't Nothing You Can Do!

John Primer & Bob Corritore
Ain't Nothing You Can Do!
Delta Groove Music

Delta Groove just issued a new recording by the Chicago veteran John Primer and harmonica player Bob Corritore, who is one of the co-producers of this as well. Bring some the likes of Henry Gray or the late Barrelhouse Chuck on piano, Big John Atkinson or Chris James on guitar, Troy Sandow or Patrick Rynn on bass and Brian Fahey on drums and one has a terrific band for the traditional Chicago Blues follow-up to the acclaimed 2013 "Knockin' Around These Blues."

The material is a mix of strong originals and choice covers with the music evoking the late Muddy Waters (Primer was guitarist in Waters final band) with a touch of Magic Slim, with whom Primer played with for many years with the driving, insistent groove. The instrumentation here also lends this the sound of a Muddy Waters recording (with Corritore's harp lending the feel of the Waters Band when James Cotton was in it), although I believe Waters only recorded John Lee 'Sonny Boy' Williamson's "Elevate Me Mama," which has terrific piano from the late Barrelhouse Chuck.

Originals like the topical, opening "Poor Man Blues," who is living the best way he can, and the closing slow, closing Muddy Waters-styled "When I Leave Home," bookend terrific renditions of Johnny Temple's "Big Legged Woman," with Muddy Waters' styled slide; Snooky Pryor's Vee-Jay classic, "Hold Me In Your Arms," has Henry Gray on piano; Magic Slim's chugging "Gambling Blues"; and a Corritore feature, "Harmonica Boogaloo." The Chuck Brooks-penned title track was originally recorded by Albert King. It is a slow blues where Primer authoritatively tells his woman know that no matter what she does, nothing will stop John from loving her or drive him away. With solos from Henry Gray, Corritore Jon Atkinson and Primer himself, Primer and band conjures up the Mississippi King Bee (Muddy Waters) himself here (and elsewhere).

A rendition of Don Nix's "For a Love of a Woman" and Howlin' Wolf's "May I Have Talk With You," where Primer plays some Elmore James's style slide on a rollicking shuffle adaptation of Wolf's song round out a terrific recording that is as a good an evocation of classic Chicago blues (particularly the great Muddy Waters band of the late fifties through early seventies) as has been heard in the past few years.

I received a review copy from Delta Groove. Here is an album teaser.

Chris James and Patrick Rynn Find That Trouble Don't Last

As Bill Dahl observes in the liner booklet to "Trouble Don't Last," the new Vizztone Records release by Chris James and Patrick Rynn, "the blues tradition has always been central to" their approach to music. Vocalist/guitarist James and bassist Rynn joined forces in Chicago two decades ago and played behind a number of legends as well as established themselves on their own with several choice albums. On "Trouble Don't Last" they are backed by drummer June Core (Robert Lockwood, Jr, Charlie Musselwhite and others) and harmonica players Aki Kumar and Rob Stone who even are both heard on two of the twelve selections.

Starting with the opening "Shameless," the duo give as good a lesson on how to play traditional Chicago Style blues with Core laying down a crisp shuffle groove followed by a strong interpretation of Calvin Frazier's "Lilly Mae" with Kumar's harp wailing behind James' warning to her if he finds her misbehaving on Hastings Street. James is a terrific 'old-school' guitarist and Rynn and Core lay down a solid backing. There is some nice unison guitar-harp playing here on a selection that evokes the early 50s recordings from Joe Van Battle's Hastings Street shop. There's a lively reworking of Freddie King's "Lonesome Whistle Blues," with a dual harp horn section followed by a terrific Muddy Waters' styled "Going Down to the Ocean" which was inspired by the days Rynn played with the Griswold Brothers in Toledo, and with some deep blues guitar from James. The title track is built around some nimble finger picking fretwork with a simple rhythm and Kumar's supporting harp and followed by a strong down-home flavored treatment of R.C. Smith's "Down Drive Me Away." "Good Idea At The Time" is a brooding blues (in a John Lee Hooker vein) with James singing about sitting in jail and no one to blame but himself so he has to do his time.

Sunnyland Slim's reworking of the "Rollin' & Tumblin'" theme, "Roll, Tumble and Slip" receives a lively reworking (with harp solos from both Stone and Kumar) that exhibits not only the excellent musicianship, but strong ensemble playing that is characteristic of this entire recording. James is a straight-forward singer who does a solid job delivering his originals and with Rynn and the rest of the band has provided another blues gem.

I received my review copy from VizzTone. This review appeared in the November-December 2015 Jazz & Blues Report (Issue 363). Here is a video of the two in performance.

Guy Davis Kokomo Kidd

MC Records has just issued Guy Davis' latest release "Kokomo Kidd," with nine originals and four covers. Davis is joined by Professor Louie on piano, John Platinia on slide and electric guitar, Mark Murphy on bass and cello, Gary Burke on drums, and Chris James on mandolin and rhythm electric guitar. Charlie Musselwhite and Fabrizio Poggi each guest on harmonica for one track while Ben Jaffe adds tuba to the opening title track.

Davis is an appealing folk and blues performer and the songs here provide a varied palette of blues that can be seen from the jaunty opening title track about a gentleman who was the grease in the corrupt prohibition era to keep the machine running. The next song, "Wish I Hadn't Stayed Away So Long," with its wistful sense about regretting his hobo's life. He adds some marvelous harmonica and banjo that adds to the flavor of the performance. "Taking Just A Little Bit of Time" has some nimble fingerpicking and a restrained, gruff, vocal.

Davis suggests Bob Dylan at times with several of his vocals including the cover of "Lay Lady Lay," but also "She Just Wants To Be Loved," about a lady who keeps going back for pain when all she wants to be loved with Professor Louie's organ and Chris James' mandolin helping the performance build in intensity. Charlie Musselwhite adds some nice harmonica to a pretty straight rendition of "Little Red Rooster," with Professor Louie adding strong piano as Davis singing capably, but Platania's slide guitar comes off as a bit over the top. Much better is the gem, "Maybe I'll Go," with an accompaniment and a vocal that evokes Mississippi John Hurt. The jaunty "Have You Ever Loved A Women" has Poggi adding his country blues styled harmonica for a lively acoustic performance. Tommy Johnson's "Cool Drink of Water" is a hauntingly beautiful recording and unfortunately Davis' gruff vocal nor the somewhat stilted rhythm suffer compared to the original. The reggae groove adds to the appeal of the closing "Wear Your Love Like Heaven."

"Kokomo Kidd" features a number of gems as well as some less successful songs, but as a whole displays his maturity as a performer and his open ears and imaginative approach to his music.

I received my copy from MC Records. This review originally appeared in the November-December 2015 Jazz & Blues Report (Issue 363), although I made few stylistic changes and corrections. Here is Guy chatting and then performing.

 

Rob Stone Gotta Keep Rollin’

 

It has been several years since Rob Stone had a splendid album of post-war Chicago-styled harmonica blues and VizzTone has just issued “Gotta Keep Rollin’.” Certainly with the presence of Chris James and Patrick Rynn with whom Stone played together and with Sam Lay, one can expect strong playing and support. Others here include Willie Hayes on drums and Dave Maxwell on piano with appearances by Eddie Shaw, John Primer and Henry Gray.

Certainly the mood is established with the opening shuffle “Wait Baby” followed by the rendition of “Wonderful Time” with Stone’s harp channeling the first Sonny Boy Williamson as opposed to Little Walter with Maxwell playing bouncy piano as James takes a sprite solo. It is as much a joy to listen to Primer’s’ guitar as Rynn and Hayes rocking a crisp shuffle groove supporting Stone’s straight-forward singing on “Lucky 13.”

Shaw adds his immediately recognizable tenor sax to “Anything Can Happen,” with a clever lyric and rollicking backing. “She Belongs to Me” is a nice rendition of a Jazz Gillum number (not the Magic Sam song) with a menacing lyric as Stone threatens to cut this gent if he fools around with Stone’s woman. Billy ‘the Kid’ Emerson’s “Move Baby Move” is a rocker with an original lyric set to a groove of Big Joe Turner’s “Shake Rattle and Roll,” while “Strollin' With Sasquatch” is a nice relaxed instrumental on which Stone showcases his fat, controlled tone.

Henry Grey is present on “Wired and Tired,” a rocking performance that suggest the late sixties Muddy Waters band recordings with Mojo Buford and followed by a nice reworking of Blind Willie McTell’s “Cold Winter Day” with choice John Primer guitar. James’ employment of a slight echoey tremolo to his playing adds to the spirit of the rendition of Lonesome Sundown’s “It's Easy When You Know How.”

I said about Stone’s last album “Back Around Here” (Earwig), “Stone treats the idiom as not simply history, but as a living tradition to be celebrated.” Stone’s strong performances and the wonderful band on “Gotta Keep Rollin’” provide us with another terrific Chicago blues recording.

I received my review copy from VizzTone. My review of his earlier album appeared in 2010. This review priginally appeared in the January-February 2015 Jazz & Blues Report (Issue 358). Here is a clip of Rob performing.

John Primer and Bob Corritore are Knockin’ Around These Blues

The fact that John Primer and Bob Corritore share the billing on a new Delta Groove release, Knockin’ Around These Blues, is certain to be welcome to fans of real deal blues. Primer, a member of Muddy Waters last band and a long time member of Magic Slim’s Band, has deservedly acquired a reputation as among the finest living ‘old school’ Chicago blues artists still with us. The fact that Bob Corritore (who produced this) has teamed up with Primer for this new release is doubly welcome as his recent collaborations have been generally outstanding. The album was recorded in two sessions. One session in Phoenix with Chris James on guitar, Patrick Rynn on bass and Brian Fahey on drums. The other session was in Chicago with Billy Flynn on guitar, Bob Stroger on bass and Kenny ‘Beedy Eyes’ Smith on drums. Pianist Barrelhouse Chuck is on both sessions. 

The personnel listing should give a sense of what to expect, and indeed this is a recording that fans of classic Chicago blues will savor. While most of the album are covers, the songs covered such as the opening rollicking rendition of Jimmy Reed’s The Clock, will be fresh and even the most familiar songs, Little Walter’s Blue and Lonesome (with some real nice slide guitar), and Robert Lockwood Jr.’s Little Boy Blue (sounding as if Muddy Waters had recorded), are reworked so they sound new. Primer sings and plays strong, Corritore wails and Barrelhouse Chuck pounds the 88s. 

The originals are Primer’s When I Get Lonely, which has the feeling of some of Eddie Taylor’s fifties recordings and Corritore’s Harmonica Joyride, a rollicking feature for him. Other highlight’s include Primer’s take on Artie White’s Leanin’ Tree, taking that soulful blues to Pepper’s Lounge, Lil Son Jackson’s Cairo Blues, transformed into a Chicago blues shuffle and a rendition of Lightnin’ Hopkins’ Going Back Home sounding as Muddy Waters might have done it back in the sixties. 

Bob Corritore has to be thanked for his efforts to bring deserving blues performers into the spotlight. John Primer should have been a household name amongst blues lovers for several years, and if there is any justice, the stellar Knockin’ Around These Blues will elevate him to this status. He is among today's finest blues performers.

I received my review copy from Delta Groove. John Primer will be performing at the Chicago Blues Festival, the Mississippi Valley Blues Festival, Safeway Waterfront Blues Festival, the Pennsylvania Blues Festival, the Riverfront Blues Festival and other blues events this summer. Here is John performing They Call Me John Primer from a few years back.

Incidentally here is a link to my blog entry where I reviewed several of John's earlier albums.

Tail Dragger And Bob Corritore Are Long Time Friends

Chicago blues performer, Tail Dragger has a new release in collaboration with Bob Corritore on Delta Groove, Longtime Friends In The Blues. Tail Dragger has built a career on his Howlin’ Wolf inspired style while Corritore is not only a fine harmonica player, but also a terrific producer of classic Chicago styled blues recordings. Corritore and Tail Dragger met the day after Wolf passed in 1976 at a tribute to Wolf and became friends, hence the album title. Corritore has assembled a terrific band here that includes former Howlin’ Wolf pianist Henry Gray; guitarists Kirk Fletcher and Chris James with patrick Rynn on bass and Brian Fahey to help evoke the spirit of the great Wolf.

Tail Dragger certainly does a credible job in suggesting the music of the legendary Wolf and the solid band provides performances firmly in Wolf’s style. The guitarists Fletcher and James certainly along with pianist Gray, Corritore’s harp embellishments and the rock solid rhythm provide of pastiche of Wolf’s recordings . The sound of Wolf is evoked from the opening moments of I’m Worried and Sugar Mama (the latter includes Gray sharing the vocal); through the relentless Through With You; the driving shuffle of Done Got Old; the rollicking Boogie Woogie Ball that spotlight’s Gray two-fisted piano; and the closing Please Mr. Jailer, where Tail Dragger pleads to the judge let his woman go free when she is accused of murder but she wouldn’t hurt a flea.

Tail Dragger is not quite as powerful a singer as Wolf was, and his diction is a bit slurred, but like his prior recordings on Delmark, has provided us with solid and idiomatic recordings backed by a thoroughly idiomatic and sympathetic backing band. There are mostly originals in a Wolf vein that are nicely performed. This certainly will appeal to fans of Tail Dragger as well as lovers of traditionally oriented Chicago blues.

I received a review copy from Delta Groove Productions. Here is a video of Tail Dragger and Bob Corritore.

Outstanding 2010 New Blues Recordings

Continuing my look back at 2010 releases, here are ten choice new blues recordings. These are not in specific order.

Ronnie Earl Spread The Love (Stony Plain) About this terrific CD of blues and jazz guitar I wrote, “Ronnie Earl can takes us from the alley up into the heavens with his playing. He can play with grit yet touch us in our hearts and soothe our minds.”

James Cotton Giant (Alligator). Strong latest album by the harmonica legend with his current working band thats shows his harp playing as strong as ever. It “is a strong addition to Cotton’s rich musical legacy and is also valuable to document the terrific music that Cotton has been playing with his working band.”

Chris James & Patrick Rynn Gonna Boogie Anyway (Earwig Music). Second CD by guitarist and bassist who are well-versed in classic Chicago blues, whether backing legends like Jody Williams, or playing their own music. About this I wrote, “James and Rynn’s musical partnership has produced a second marvelous helping of blues delicacies.”

Andy Cohen Built Right On The Ground (Earwig Music). Andy Cohen has been playing older music styles on guitar, piano, dolceola and assorted instruments for several decades now and has had a number of recordings over the year. Of this, I observed, that it “showcases not simply how good a player he is and the extensiveness of his repertoire, but also the warmth and genuineness of his vocals. This recording is a must for lovers of acoustic and traditional blues.

Samuel James For Rosa, Maeve, and Noreen (Northern Blues). An unusual album of acoustic songs and storytelling that is deeply rooted. Samuel James “doesn’t shout his vocals as almost speaking them as his performances are somewhat conversational. Samuel James’ music is distinctive and fresh sounding. The result is a most beguiling recording that evokes older blues styles but is full of contemporary stories.”

Lynwood Slim and the Igor Prado Band Brazilian Kicks (Delta Groove). Brazilian Igor Prado’s excellent CD, Watch Me Move” (Chico Blues), grabbed my attention. Here he and his band are fronted by the strong singer-harmonica player, Lynwood Slim. Besides Prado’s spectacular playing, this band rocks and swings. “Listening to the collaboration between Lynwood Slim and the Igor Prado Band reinforces the enthusiasm I have shown towards Prado a few months ago. Slim’s own contributions display his fine singing and terrific harp playing on an album that amazes in how good it is. This is clearly among the best blues recordings I have heard in 2010.”

Robin Rogers Back in the Fire (Blind Pig). A final testament to a wonderful singer who just passed away, but was much loved by her fellow musicians and those who knew her. About her I noted that she sang “with complete authority and total conviction.” This is a terrific recording and stands as evidence of the strong music she produced before she left us.

Shakura S’Aida Brown Sugar (Ruf). My opening paragraph of my review says it all. “Born in Brooklyn, raised in Switzerland and long resident in Toronto, Ontario, Shakura S'Aida, is an international artist whose involvement in the Canadian music scene has been ongoing for the past 30 years, enriching the jazz, blues and classic R&B communities with her soulful voice, enthusiastic personality and commitment to music as an art form. Recently signed to Ruf Records, she has a new disc, Brown Sugar, that certainly will establish her as a significant vocalist.


Chris Cain So Many Miles (Blue Rock’It Records). Highly underrated West Coast blues performer who n ever disappoints. His music may lack flash but has plenty of substance. “Cain’s ability as a guitarist is displayed as his driving solos are concisely delivered, interesting driving solos, swinging with unexpected twists. Chris Cain’s sound is soulfully delivered blues with an urbane jazzy spicing and So Many Miles showcases this exceptionally.”


Eden Brent Ain’t Got No Troubles” (Yellow Dog Records). Pianist and vocalist eden Brent has certainly emerged this year as a strong performer (2010 BMA Award winner for her piano). Here latest recording “mixes a marvelous pianist and vocalist with strong material, sympathetic backing and varied, imaginative programming resulting in a terrific recording that should appeal to blues and roots music fans.”

Rob Stone's Lively Celebration of Chicago Blues

Chicago harmonica player Rob Stone was new to these ears until I heard him on several tracks on a new Earwig disc by Chris James and Patrick Rynn, “Gonna Boogie Anyway.” Stone is a long-time associate of James and Rynn and they worked together as the C-Notes, which included touring with drummer Sam Lay. Stone had an album on Earwig 7 years ago, Just My Luck,” and the label has just released his new album, “Back Around Here,” which reunites Stone with the pair along with pianists David Maxwell and Aaron Moore, drummers Willie Hayes, Willie ‘Big Eyes’ Smith and Sam Lay, and a sax section led by Rodney Brown. The result is a set of classic Chicago blues that rocks and swings.

As a harmonica player, Stone has a fat tone that shows the influence of Little Walter, Big Walter, the two Sonny Boys and Junior Wells, while vocally his influences include Sam Cooke and Ray Charles as well as Muddy Waters and Howlin’ Wolf. Eight of the twelve songs were co-penned by Stone, James and Rynn and are solid idiomatic tunes. I really like Stone’s unforced, unaffected singing which is mixed with some exceptional ensemble playing.

The title track is a marvelous rocker with great piano from maxwell and a cutting solo from James as the saxophones add an uptown flavor. Aaron Moore’s piano is the anchor behind the slower tempo and Sonny Boy II styled harp on Sonny Boy I’s “Love You For Myself,” with Moore taking a terrific solo. Magic Sam’s “Give Me Time,” is in a more R&B tinged vein with James supplying guitar evoking the blues legend who left this world way too young 40 years ago which is followed by a terrific shuffle about spending too much, “I Need to Plant a Money Tree,” with some very effective Big Walter Horton inspired harp and Jeff Stone adding guitar to that of James to help sustain the driving groove.

“Chicago All Night,” has a rumba groove with Maxwell setting the tone with his two-fisted playing as the saxes riff away. “Sloppy Drunk Blues,” has been recorded numerous times, but Stone’s interpretation goes back to the Leroy Carr rendition as James lays off here as Maxwell and Rynn provide support. “Can’t Turn Back The Clock,” is a rocking boogie with Maxwell, Rynn and Sam Lay, with a terrific piano boogie woogie solo from Maxwell. “It’s Hard But It’s Fair,” is an bluesy reworking The 5 Royales classic vocal group rocker. “Dragon Killers,” is a hot instrumental that suggests Little Walter’s “Roller Coaster.” His playing on this shows plenty of drive as well as a clean, full-bodied tone.

Stone is a regular at the Chicago House of Blues’ “Back Porch Stage,” and the strong, Windy City sounding blues heard here, one can understand why. He plays strong blues that plays tribute to the music that is his inspiration. But as evidenced by the music on “Back Around Here,” Stone treats the idiom as not simply history, but as a living tradition to be celebrated.


For purposes of FTC regulations, a publicist working for the record company supplied my review copy.

James and Rynn Keep the Boogie Going

This writer first came across the San Diego based pair Chris James and Patrick Rynn at the 2007 Pocono Blues Festival where they backed Jody Williams. In 2008 they produced a terrific album of Chicago styled blues, on Earwig, “Stop and Think About It,” that displayed their considerable skills in playing straight-ahead Chicago inspired blues. They have a follow-up to that Blues Music Award winning disc on Earwig, “Gonna Boogie Anyway,” that perhaps places James crackling, good guitar playing a bit more prominently on a set of some less than obvious covers and strong idiomatic originals. For this they have assembled some notable guests that include pianists Henry Gray and Dave Maxwell, harmonica players Bob Corritore and Rob Stone, drummers Sam Lay and Willie Hayes, and saxophonist Johnny Viau.

Listening to them romp through Jimmy Reed’s “Can’t Stand To See You Go,” showcases James’ natural and convincing vocal delivery with Henry Gray pounding on the ivories like he did on a few of Jimmy Reed’s recordings, but it contrasts with the equally compelling duet by James and bassist Rynn, the original “Headed Out West,” that sounds like it could have been written by Eddie Taylor. The title track is a hot rocker featuring Henry Gray again pounding out the piano with hot sax riffs with James taking a hot solo that rocks and swings in a manner that would have Jody Williams smiling with, I presume Viau blasting away to close this number out. “The Tables Have Turned” is a nice Tampa Red styled number (without the slide), without Rynn on upright bass, Maxwell on piano laying down some tough piano as Stone adding some nice harp. “Life Couldn’t Be Sweeter,” is a hot shuffle with Chris james tossing in some Elmore James’ styled slide and delivering his upbeat lyric about his gal being so good. There are two separate parts of “Money Don’t Like Me.” Part 1 that opens this disc is an original where James sings about liking money but it don’t like him, adding guitar that evokes the legendary Magic Sam, while Part 2 is an instrumental take on this them, with more Magic Sam-inspired guitar and Viau taking a raspy sax solo suggestive of Eddie Shaw. Its important to note that James evokes, not recreates, Magic Sam’s sound for his driving solos. Then there is a strong interpretation of Robert Lockwood’s “Mean Black Spider,” that the two do as a duo along with excellent renditions of a couple of early Bo Diddley numbers including the closing “Little Girl” with Bob Corritore’s harp and Henry Gray’s piano spotlighted on this rocking Chicago blues.

“Gonna Boogie Anyway,” follow-ups the prior award-winning recording with more of the strong playing, vocals and striking ensemble playing that made listening to that recording so rewarding. James and Rynn’s musical partnership has produced a second marvelous helping of blues delicacies. This writer looks forward to more such helpings in the future.


This review originally appeared in the July 2010 Jazz & Blues Report (Issue 327). For purposes of the FTC regulations, this was supplied by a publicist for the record label.

Bob Corritore's Bluesy Friends Help "Harmonica Blues" Shine

Bob Corritore has been championing blues for four decades, first while living in Chicago and producing albums by under-recorded harmonica masters Little Willie Anderson and Big Leon Brooks, then later after moving to Phoenix, Arizona, as a radio programmer on KJZZ as well as the operator of The Rhythm Room where so many blues greats and lesser known acts have played over the past couple decades. Corritore is a pretty fair harmonica player with a swinging touch and a nice fat tone and has recorded and played with many over the years, which have been represented on various compilations under his name or by the artist (such as a superb Robert Lockwood album). Delta Groove has just issued a solid new compilation of 15 performances, “Harmonica Blues,” on which Corritore adds his harp to a varied group of artists, some of whom are no longer with us.


The opening “What Kind of Man Is This,” has him supporting the late Koko Taylor with a solid band that includes the Bob Margolin. Louisiana Red is in fine form backed by Corritore and Rhythm Room regulars Chris James and Patrick Rynn, while Dave Riley, with whom Corritore has shared albums with is solid on a tune by the late Frank Frost. Its interesting hearing the late Nappy Brown on the Piedmont-ish “Baby Don’t You Tear My Clothes,” with atypical guitar from Kid Ramos and Johnny Rapp lending this a unique feel. Eddie Shaw is present for “1815 West Roosevelt,” an atmospheric instrumental with Shaw’s raspy sax complimenting Corritore’s harp, while Robert Lockwood reworks “That’s All Right,” with henry Gray on piano for a terrific take on the Jimmy Rogers classic. Big Pete Pearson really tears vocally into “Tin Pan Alley,” with Chris James and Johnny Rapp’s guitar among the sup[port and Corritore sounding terrific on chromatic harmonica.


Tomcat Courtney, another down home bluesman that Corritore has championed and recorded struts on “Sundown San Diego,” while That’s My Baby,” is a slightly frenzied Eddy Clearwater rocker. “Things Have Changed,” is a strong performance by pianist Henry Gray with the late Chico Chism, while Pinetop Perkins is heard on an engaging, if unremarkable “Big Fat Mama.” Chief Schabuttie Gilliame does a fresh take on “No More Doggin’” as if it was John Lee Hooker’s song, while Honeyboy Edwards has the company of Corritore, James and Rynn to help hold his performance of “Bumble Bee,” together. Carol Fran’s “I Need to Be Be’d With,” is a terrific vocal and the disc closes with a solid Little Milton performance that is a bit more down home in its flavor. It is a solid ending to a very spirited compilation of very good to superb performances. Bob Corritore’s solid harp enlivens all of these performances, but at no time does he overshadows the blues legends and masters he shares the recordings with on this most entertaining compilation of real deal blues.

The review copy was sent by the publicity firm for the recording company. Delta Groove’s website for this release is Harmonica Blues.  

Guitarist Chris James and bassist Patrick Ryan have been working together for quite some time, playing the clubs in Chicago, touring with Sam Lay for several years as well. This writer saw them as part of Jody Williams backing band at the 2007 Pocono Blues Festival (seen above with James to the left and Ryan obscured by Williams guitar) and had a chance to chat with Chris finding him as knowledgeable as he was a marvelous player. Earwig has just issued a release by the duo, Stop and Think About It, which is a terrific recording of old school Chicago-styled blues.
James fronts the recording with his powerful vocals and his terrific guitar (evoking the late Robert Lockwood and Williams). He and Ryan are joined by a variety of backing musicians including harmonica player Bob Corritore with whom they have toured Europe, pianist Dave Maxwell, drummers Sam Lay and Willie Hayes and saxophonist Jonny Viau. They mix in some wonderful originals that suggest John Brim, Little Walter along with covers of songs from Elmore James (four numbers, of which only Hawaiian Boogie, may be well known), Jay McShann, Bo Diddley, and Snooky Pryor.
Whether the title track, a strong shuffle taken a relaxed tempo; a remake of Jay McShann’s Confessin’ the Blues, with a terrific tenor solo from Carla Brownlee and strong piano from Julien Brunetaud; and Mister Coffee is a easy rocker with hints of Jimmy Rogers and John Brim as James sings about being man who grinds so fine,” with Corritore adding harp. Early in the Morning, is one of the Elmore James covers here with some nice slide along with horns using the “Fannie Mae” riff. Hawaiian Boogie, is often is played with a no-holds bar manic tempo the performance here benefits from James’ restraint which does not diminish the power of this rendition. You Got to Move, is one of the songs Elmore recorded for legendary Harlem record man Bobby Robinson, and with Brownlee’s baritone helping give bottom to the performance, James lays down a first-rate vocal, and takes a terrific solo. Its so refreshing to hear someone put his own stamp on Elmore’s music yet remain true to the music’s essence. James is a tad bit out front on the vocal on Snooky Pryor’s Someone to Love Me, but it still is a solid performance. Relaxing at the Clarendon,” is a fine instrumental that displays more of James’ strong slide style taken at a walking tempo. Mix in the fine rendition of “Bo Diddley’s Mona, and one has little to find fault with Stop and Think About Me. When I saw James and Ryan backing Jody Williams I could appreciate how good they were as musicians, but this stellar release shows even more, how good they are out in front. This was an unexpected blues delicacy and highly recommended.