Jose Ramirez - Major League Blues

Jose Ramirez - Major League Blues - Delmark

Originally from Costa Rica, singer-guitarist-songwriter Jose Ramirez has been making a name for himself in the Blues World. While residing in the Washington, DC area, he won the 2019 DC Blues Society's Battle of the Bands. He then competed in the Blues Foundation's International Blues Challenge, where he finished second overall. Ramirez was poised to start touring in support of his debut album "Here I Come" when the Covid-19 pandemic put a wrench in his plans. He now lives in Florida and makes his Delmark debut with "Major League Blues," which he will be touring in support of. 

Of "Here I Come," I wrote that it was "not merely an impressive debut of a promising artist. Anson Funderburgh's top-flight production and a fabulous studio band provide the foundation for Jose Ramirez to showcase his gifted songwriting along with his terrific vocals and guitar playing. It is a superb recording." Much can be said about the present recording, full of solid idiomatic originals and a couple of choice covers. Six songs were recorded in September 2020 with Antonio Reyes on drums, Kenny Watson Jr. on bass, and Andre Reyes Jr on keyboards. Evan Hoffman is on Latin percussion on one track, and Shelly Bonet provides backing vocals on one track. The other four selections were recorded in Chicago in August 2021 with The Delmark All-Star Band of Bob Stroger on bass, Willie 'The Touch' Hayes on drums, Roosevelt Purifoy on Hammond B3, and Billy Flynn on guitar. Jimmy Johnson appears on one track for what was his final studio recording.

The present album is of a similar quality to "Here I Come," opening with the title track on which Ramirez trades licks with Jimmy Johnson. The title song alludes to him reaching the major league of blues by signing with Delmark. The lyric also notes some of his influences, including Johnson and Lurrie Bell. It is followed by the blue lament "I Saw It Coming" with Purifoy taking a chicken fried steak organ solo along with Ramirez's heartfelt singing. The other two tracks with the Delmark All-Star Band are fresh renditions of Eddie Taylor's "Bad Boy" and Magic Sam's "My Love Is Your Love." There is plenty of solid fretwork to go with the tight, complementary backing.

The others songs are similarly entertaining. Ramirez is a skilled songwriter who handles traditional themes of relationships quite well. There is a neat melodic hook to "Whatever She Wants," where his heart, soul, and pride belong to her. In addition to a pleading vocal, Ramirez's solo is striking with his phrasing and development. Also outstanding is the Latin-flavored "Are We Really Different" that might evoke early Santana with a bilingual vocal from his Ramirez. The other selections similarly display why Jose Ramirez has become a Major League Blues artist.

I received a review copy from Delmark Records. It has been a while since I posted new reviews, so happy to get this one up. Jose is currently touring in support of this album which you can check out on his Facebook page. Here is Jose Ramirez in performance.

JIMMY JOHNSON - Every Road Leads Somewhere

JIMMY JOHNSON - Every Road Leads Somewhere - RUF RECORDS

Jimmy Johnson's infrequent albums are always occasions of great interest for blues lovers. With his wiry guitar attack and high tenor vocals, the Chicago bluesman has produced some very distinctive and fine recordings. This new one is another strong addition to his discography. 

Johnson has contributed some fine originals like the opening “Roots of All Evil” (about money, and sporting a trumpet solo by Claude Egea), “End of the Road,” which contains an appearance by the late Luther Allison who rides the song out with a fiery short solo, and “The Street You Live On,” with its lilting reggae beat. In addition, Johnson's covers of “Black Night,” “Cut You Loose,” and James ‘Thunderbird’ Davis' “Blue Monday” are fresh, with crisp funky arrangements. 

Throughout this, Johnson plays in his recognizable style that perhaps show the influence of Otis Rush and Albert King more than others, as well as delivering his vocals without too much in the nature of hysterics. In addition to his fine band, Johnson is backed by a nice horn section that includes jazz trombonist Frank Lacy and saxophonist Paul Cerra in addition to trumpeter Egea. With Johnson being in strong form both vocally and instrumentally, he has produced a very fine release.

This review originally appeared in the November-December 1999 Jazz & Blues Report (Issue 242). I have made a few minor formatting and stylistic changes. I likely received a review copy from Ruf Records or a publicist. This may be hard to find, so you may have to find it from used record stores. Here is Jimmy in a performance from 1994.

Steve Gadd Band - At Blue Note Tokyo

Steve Gadd Band - At Blue Note Tokyo - BFM Jazz

This 2019 live recording from the Blue Note in Tokyo showcases the groove-master Steve Gadd. Gadd is, of course, well-known for his presence on many well-known recordings by the likes of Chick Corea, Chuck Mangione, Al Di Meola, and Paul Simon. While Gadd has produced his share of super-intricate, challenging music throughout his five-decade career, on this live date, he was strictly laying a groove in the pocket. He says, "I just love to groove. It's all about just sharing something that feels good." On this recording, he is joined by his band of Walt Fowler on trumpet and flugelhorn, Kevin Hayes on keyboards and vocals, Jimmy Johnson on bass. David Spinozza replaced Gadd's regular guitarist Michael Landau during the Tokyo engagement. 

One should not be surprised that this is a well-played fusion-tinged recording with some feet tapping music starting with "Where's Earth?" from Hays, Landau, and Duke Gadd. It showcases Fowler's evocative muted trumpet, Hays keyboards, and Spinozza's thoughtful guitar playing. Spinozza contributed a lovely Caribbean-laced ballad which Fowler's lyrical trumpet while Hays contributes a vibes-sounding background. There is more Latin flavor on Fowler's "Timpanogos," which is followed by Spinozza's blues "Hidden Drive," a moody performance benefiting from the unhurried, thoughtful playing from the band members. There is also a marvelously atmospheric rendition of the Crusaders' "Way Back Home," which may be the high point of this recording.

Jimmy Johnson's Latin-jazz composition "One Point Five," is the only performance on which Gadd takes a solo, following solid playing from Fowler and Hays. Hays sings on two songs, including a rollicking treatment of Bob Dylan's "Watching the River Flow," that closes this tasteful and very appealing recording.

I received my review copy from a publicist.com. Here is an earlier performance of "Way Back Home" by the Steve Gadd Band.

Maurice John Vaughan - Jimmy Johnson - Luther Johnson Jr

(1) Maurice John Vaughan

Dangerous Road

Blue Suit-116D

1- Talking to Each Other With the Music/ 2 - Dangerous Road/ 3- Two Can Play That Game/ 4- Love Abuse / 5- Mama, She Believed in Me/ 6- In the Midnight Hour/ 7- Stop and Take a Drink/ 8- I Don’t Care/ 9- Lady in the Box/ 10- The Pigeon/ 11- Shoo Fly Shoo/ 12- The Telephone’s Running My Life/ 13- I Can’t Stand Being Alone. 51:41

Maurice John Vaughn, g, s, c; B.J. Emery, tbn, v-4, 7; Ilaria Lantieri, b, v-9, 13; Massimo Bertagna, d- 1, 4, 8, 9, 11, 12, 13; Fred Brousse, g -2, 5, 6, 7, hca -1, 10; Jerome Moho, d- 2, 3, 5, 6, 7,10; Khouki Pontelero, or - 2, 6, 7, 10, p-1, 5; Detroit Junior, p. 8, 11, 12; Allen Batts, or 4, 12; Velvet McNair, v - 4, 7, 13. Milan, Italy & Chicago Il.

(2) Jimmy Johnson & Luther Johnson Jr

Ma Bea’s Rock

Storyville STCD 8050

So Many Roads -1/ Crosscut Saw -1/ Ma Bea’s Rock -1/ Feel So Bad -2/ I Believe My Time Ain’t long -3/ All Your Love -3/ You Gotta Have Soul -3/ My Own Fault -1/ Get Ready Here I Come -1/ Same Old Blues -1/ Got Mind to Travel -3/ Can You Use a Man Like Me -3/ I Got To Be Crazy -3/ Got papers on You Baby -3. 62:18.

-1 Jimmy Johnson v, g; Jimmy Dawkins, g; Sylvester Boines, b; Tyrone Centuray, d. October 15, 1975, Chicago IL.

-2 same as -1 but Andrew ‘Big Voice’ Odom, v. October 15, 1975, Chicago IL.

-3 Luther Johnson Jr, v, g; Willie James Lyons, g; Willie Kent, b; Tyrone Centuray, d. October 17, 1975.

While he has been producing and playing on a variety of recordings the past few years, (1) is Maurice John Vaughan’s first album since his 1993 Alligator album Shadow of the City. Recorded in Italy and Chicago, Dangerous Road displays his soulful mellow baritone, guitar, and saxophone in a variety of blues and soul/funk settings. Along with trombonist B.J. Emery, he is aided by pianist Detroit Junior on three tracks along with other guests elsewhere. In the liner notes, David Whiteis describes Vaughan an “aggressive innovator” as an ironic comment on the title of Vaughan’s self-produced debut album, Generic Blues. Some might dispute calling him an innovator, but his strength is that he is a very good performer. He writes thoughtful original blues such as “Love Abuse” and “I Don’t Care,” knows how to deliver a lyric and he plays thoughtfully, and his solos are full of surprises. His saxophone soloing is particularly noteworthy as he avoids honks and overblowing that one award winning sax player employs to excess. Equally intriguing are the funk numbers such as “Lady in the Box” which incorporates clever Italian repartee from bassist Ilaria Lantieri. However, the reworking of Wilson Pickett’s “Midnight Hour” is pleasant at best, with the rhythm section not as hard-hitting as might have been hoped. Vaughan is not one to hit you over the head with musical cliches. It may take some listening to this disc to appreciate its pleasures, but it will be worth the effort.

(2) is another in Storyville’s reissues of a series of recordings made at various Chicago clubs in the mid-seventies and which first appeared on the French MCM label. Despite being club recordings, they usually were recorded in the afternoon, often minimizing any club ambience. Additionally, the recordings have somewhat dull sound and would have benefitted from more skillful engineering. This writer at one time possessed the original vinyl album of this disc and remembers it as among the better ones in the MCM series. It was among the first LPs to spotlight Jimmy Johnson and Luther Johnson Jr. The original eight songs (the first eight titles) are augmented by two additional Jimmy Johnson performances and four by Luther Johnson Jr. For those familiar with the two artists, there will be few surprises. Their basic approaches have not changed, although they have honed and refined their styles. 

Jimmy Johnson is heard on covers of songs associated with Otis Rush (“So Many Roads), Albert King (“Crosscut Saw”) and B.B. King (“Its My Own Fault”) displaying his stinging guitar and his tenor that cuts through to the listener’s gut. Some composer credits are sometimes mangled as Johnson is wrongly credited as composer of the Temptations hit, “Get Ready,” perhaps his weakest performance. At the time of the recording, Johnson was in Jimmy Dawkins’ Band which provides functional backing. Dawkins’ own guitar is featured on the title cut, a medium tempo instrumental, and behind Voice Odom on Chuck Willis “Feel So Bad.” 

Luther Johnson Jr. was an important part of Muddy Waters Band at the time of his recording, which are solid performances in the West Side Chicago blues vein. He opens with a rippling instrumental homage to Elmore James on “I Believe,” on which he emulates Elmore’s broomdusting slide guitar without (I believe) using a slide. Luther follows with Magic Sam’s “All Your Love,” and then launches into the funky “You Gotta Have Soul.”. The late Willie James Lyons on second guitar and Willie Kent on bass lay down a nice foundation, although Tyrone Centuray’s wooden drumming adds little. The new Luther Johnson tracks are quite nice to have available. “I Got To Be Crazy” is a powerful adaptation of a fine George ‘Wild Child’ Butler lyric. Despite the quality of the music, the sound quality will probably deter more casual listeners who might want to check out the more recent recordings by both. Fans of either will certainly enjoy this disc.

This is a review I wrote for Cadence in 2001. As was customary, full discographical information was provided although I do not remember what 'c' was for Maurice John Vaughan. The s was for saxophone and g for guitar. I should have had v for vocals there as well. I likely received my review copies from the publication.  I have made only minor changes to punctuation. Both may still be available although the cover for Ma Bea's Rock is from a later Storyville reissue.

Jimmy Johnson Every Day Of Your Life

Jimmy Johnson
Every Day Of Your Life
Delmark Records

Going to the 2019 Chicago Blues Festival, one of the acts I was most anxious to see was Jimmy Johnson, who was celebrating his 90th birthday. I had not seen him since he played the Pocono Blues Festival in 2007, and his performance that night did not disappoint. Johnson's new CD does not disappoint, and it is striking how strong his vocals are as well as his guitar playing.

On this recording of five originals and four interpretations, Johnson is supported by two different groups. Those playing behind him include guitarist Rico McFarland on guitar, Roosevelt Purify or Brother John Kattke on keyboards, J.R. Fuller or Curt Bley on bass, and Pooky Styx or Ernie Adams on drums. On one selection, Johnson accompanies himself on piano.

There is an appealing mix of material opening with the title song that Johnson wrote about living one's life as if it is one's last. A marvelously paced performance, his soulful tenor is complemented by a thoughtful, well-constructed guitar solo demonstrating his lean tone and twisting rapier-like playing. Purifoy also songs strongly here.  A  relaxed, first-rate cover of "I Need Your Love So Bad," is followed by "My Ring." Set against a reggae groove, it has poignant lyrics as he remembers getting married, and that was the last time he saw his woman smiled. Among the other auditory delights here is a marvelous rendition of Fenton Robinson's "Somebody Loan Me a Dime," and Percy Mayfield's "Strange Things Happening." Then there are fascinating, well-crafted originals like "Rattlesnake" and "Down in the Valley."

Accompanied solely by his piano, Johnson caps off this recording with a moving, thoughtful rendition of a Bobby Bland classic "Lead Me On." Johnson still performs at a high level and is provided with excellent support here. Add in the terrific originals and covers, and the result is one of the best new blues albums of 2019.

I received my review copy from Delmark Records. Here he is seen performing a Curtis Mayfield number at the 2019 Chicago Blues Festival.

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.

Jimmy Johnson
End of the Road
Ruf Records

Jimmy Johnson’s infrequent albums are always occasions of great interest for blues lovers. With his wiry guitar attack and high tenor vocals, the Chicago bluesman has produced some very distinctive and fine recordings. This new one is another strong addition to his discography. Johnson has contributed some fine originals like the opening Roots of All Evil (about money, and sporting a trumpet solo by

Jimmy Johnson at the 2007 Pocono Blues Festival

Claude Egea), End of the Road which contains an appearance by the late Luther Allison who rides the song out with a fiery short solo, and The Street You Live On, with its lilting reggae beat.

In addition, Johnson’s covers of Thunderbird Davis’ Blue Monday, Black Night and Cut You Loose are fresh, with crisp funky arrangements. Throughout this, Johnson plays in his recognizable style that perhaps show the influence of Otis Rush and Albert King more than others, as well as delivering his vocals without too much in the nature of hysterics.

In addition to his fine band, Johnson is backed by a nice horn section that includes jazz trombonist Frank Lacy and saxophonist Paul Cerra in addition to trumpeter Egea. With Johnson being in strong form both vocally and instrumentally, he has produced a very fine release.

This review originally appeared in the November/December 1999 Jazz & Blues Report (Issue 242). It is available from third party sellers on amazon. Photo of Jimmy Johnson © Ron Weinstock. Here is a video of Jimmy Johnson performing with Dave Spector.

A Blues Festival Without Real Blues

I just received the latest Blues Rag, the Baltimore Blues Society's newsletter, and there was a discussion of some recent blues and other festivals by (I presume its President) Bob Sekinger. There was some discussion of the fact that it was a sellout but that some rumblings that it lacked enough 'real blues,' and some usual suspects were missing. The line-up included Derek Trucks, Joe Bonamassa and a local band Old Man Brown, all of which had blues elements in their music. Then came the statement "HAB has been billed as a 'roots' festival the last few years and I believe that's the way to go to attract a larger audience. The proliferation of blues only fests the last 15 years has been great in the short term sense for both the acts and the afficondos, but I don't think it does much to expand the blues audience. I loves me a good blues festival, but would love to see more music festivals where blues is included." He then goes into a discussion of some festivals of the Woodstock era that included some blues and how such festivals (Texas International Pop Festival) turned folks on to some blues acts that was booked.

I should mention that I was one of the usual suspects that were missing. My issue is not lack of enough 'real blues,' but the lack of any blues. Rock guitar heroes like Bonamassa may be involved in blues education (but to what extent would he discuss the cultural aspects of blues and not simply evolution of blues music devoid of its cultural context), and Derek Trucks is a brilliant genre-spanning performer, but how does it help spread the blues when an event, even if it is a roots festival, called Hot August Blues does not present any blues performers. Bob mentions that at the Texas International Pop Festival some who went to see Grand Funk Railroad or ZZ Top, got blown away by B.B. King, James Cotton and Freddie King. The problem with Bob's argument when considering this year's Hot August Blues, was there was no Jimmy Johnson, Long John Hunter, Lazy Lester, Lady Bianca, Sista Monica, Eddie C. Campbell or any of numerous others that could have been listed to blow away those coming to see Bonamassa or Trucks.

Blues acts also rarely get booked at pop festivals. Certainly, Derek Trucks and Joe Bonamassa get booked by far more blues festivals than pop festivals book a Jimmy Johnson or Long John Hunter. Furthermore, blues festivals not only present blues music but is a source of generally good paying gigs for a number of performers who certainly can use the gig. I have no problem with certain 'rock' acts, whose music is heavily rooted in the blues playing blues festivals as it may enable some acts to indeed be exposed to a wider audience, but to the extent such festivals end up limiting the bookings available to blues performers, then it is a double edged sword.

One final point. One should not assume that many who go to a pop or other festival to hear a mega-star will be wowed by the blues performer. In fact, the reverse may happen. Brett Littlehales, a fine DC area harp player and singer, noted that Hammond Scott, by having Dr. John's set immediately precede Bon Jovi at this year's New Orleans JazzFest, managed to get Dr. John booed in his hometown. Those Bon Jovi fans illustrate the principal that one should never underestimate the musical intelligence of the average pop music lover.

An Underrated Jimmy Johnson album

Jimmy Johnson, since turning from soul into the blues, developed into one of the blues most distinctive singers and guitarists. Born Jimmy Thompson, he adopted the name Johnson like his more famous brother Syl, while brother Mac was a well respected bass-player (best known for his work with Magic Sam. Initially showing up as a second guitarist behind Jimmy Dawkins and Otis Rush, his recordings as part of the fist batch of Alligator's Living Chicago Blues brought his music front and center to the attention of blues lovers. While he recorded for the MCM label as part of series of recordings made in Chicago clubs (although during day so the ambiance was more like a studio recording than a live date), his recordings for Delmark certainly shown what a distinctive singer and tunesmith (able to turn a clever phrase) he was. Add to this his distinctive (almost ethereal) high tenor and his rapier-like guitar work, Johnson brings his own voice to his originals as well as his interpretations of classic blues.

One recording by him is Livin' the Blues on the French Black & Blue label which is available for download from emusic and Amazon lists the CD. Not sure who the personnel is on this, but they are a pretty solid group. Much of the material are covers but Johnson makes such overdone songs as Jimmy Reed's You Don't Have To Go, his own as one hears a tinge of the classic Bill Doggett instrumental, Honky Tonk. Similarly he adds a West Side Chicago flavor to Elmore James' The Sky Is Crying, laying out a really strong solo that matches his heartfelt vocal. Sam Cooke's Bring It On Home To Me, opens with some sparkling guitar before he launches into the vocal on an arrangement that stays true to the original. The rocking shuffle, Pretty Baby, is a retitled Ride With me Tonight. Not as original a rendition, but still this is solidly handled with some rollicking piano. Johnson adds a funky groove and a slightly quicker tempo to Born Under a Bad Sign. Since I downloaded this I do not know who played on this session, I cannot say who the vocalist is on the two closing selections, Quicksand and When There's A Will, There's A Way, but it may be John Watkins based on the listing of Johnson albums at allmusic.com.

At its worst, Johnson provides us with solid covers, but at its best, he does make some overly recorded songs sound fresh and his vocals and guitar are typically first-rate. There are one-dimensional acts out there who are far better known than Jimmy Johnson, and to quote Fats Domino, "Ain't That a Shame."

Here (from youtube) is Jimmy backed by Dave Specter doing, You Don't Know What Love Is. Jimmy performs several songs with Dave on Dave's excellent Delmark album, Live in Chicago, available on CD and also on DVD.

Jimmy Johnson Highpoint of Excellent Dave Specter Live CD/DVD

Guitarist Dave Specter has built up quite a performing and recording resume over the past two decades. His crisp, inventive blues guitar has added elements of organ funk and jazz to his swinging guitar playing. Delmark has just issued the latest in their live CD/DVDs of blues performers, “Live in Chicago” by Specter. Recorded and Videographed at Buddy Guy’s Legends, and Rosa’s Lounge, we are treated to some of his taut instrumentals along with performances by guests Tad Robinson, Jimmy Johnson and Sharrie Williams. The DVD (which my review is based on) runs close to 90 minutes while this writer estimates that the CD has approximately 70 minutes of music.

The DVD opens at Legends with pictures of great blues legends on the wall with Specter and his band of Brother John Kattle on keyboards, Harlan Terson on bass and Marty Binder tearing into a medley of ‘Boss Funk/Riverside Ride,’ some choice soul-jazz blues funk that displayed not only Specter’s hot guitar playing, but the terrific interplay between the band members. This is one terrific rhythm section that swings and keeps the groove rocking in the pocket. keying on the music and the musicians, the camera work was first rate and focused where it belonged the most. After the instrumentals, Tad Robinson is brought up and handles three vocals, ‘What Love Did to me,’ ‘How I got to Memphis,’ and ‘What’s Your Angle.’ Robinson is amongst the most soulful of the blues-eyed blues vocalists working today and he also adds some choice harmonica to the first and third number. His soulful reworking of Tom T. Hall’s ‘When I Get to Memphis,’ may be his most impressive vocal here, and the band does a great job of supporting him, with Specter adding some nice solos.


After another driving original instrumental ,’Texas Top,’ Jimmy Johnson is brought up and turns in what are even for him exceptional performances. he opens up with an extended take on Jimmy Rogers’ ‘Out on the Road,’ with some brilliant guitar and an even more compelling vocal. Listen to him phrase ,”Take me back, take me back, take me back, baby, darling try me one more time,” to see how takes this tune and makes it his own. It is nothing against David Specter, who has a really fine solo on this number after Johnson’s, to say that the 79 year old Johnson steals the show on his three numbers that also include a strong ‘Feel So Bad,’ and the Willie Cobbs’ standard, ‘You Don’t Love,’ which is not included on the CD. Based on his stint here, Johnson certainly merits his own live CD/DVD.

The DVD shifts gears and moves to Rosa’s Lounge with a nice funky organ-guitar shuffle, ‘The Hollywood Park Shuffle,’ (not on the CD), followed by the funky ‘Is What it Is,’ with plenty of tasty guitar and organ. Then Sharon Lewis brings up her big voice to belt out a trio of songs, ‘In Too Deep,’ ‘Every Goodbye Ain’t Gone,’ (not on the CD) and ‘Angel.’ ‘In Too Deep,’ is a driving shuffle that Sharon belts out about catching her man with another woman, with solid solo breaks from Specter and Kattle, while ‘Every Goodbye Ain’t Gone,’ is a slower number with a nice funk groove as she tells her cheating lover, that every goodbye she makes does not mean she’s gone. the closing ‘Angel,’ suggesting me of a soulful southern rock groove which allows Specter and band to change gears and allows Lewis to show her vocal and musical versatility.

This is an impressive live recording/video. Specter is not simply a first-rate musician and leads a terrific band, but he is also willing to share the spotlight with others. With Jimmy Johnson’s truly stunning performances and the other strong music here, it may be the best live blues DVD that Delmark has issued. Highly recommended.