Henry Gray & Bob Corritore Sessions Vol. 2: Cold Chills

Henry Gray & Bob Corritore
Henry Gray & Bob Corritore Sessions Vol. 2: Cold Chills
SWMAF Records/ Vizztone

This is the second volume of performances the late Henry Gray made with Bob Corritore, the Phoenix blues promoter, harmonica player, and record producer. It collects 14 performances (and one phone message) recorded over the span of a couple of decades. Gray was a mainstay of Howlin' Wolf's band for over a decade before relocating to Louisiana. He passed away in January 2020 at the age of 95. I wrote about the previous volume, "This is a solid and delightful collection of classic Chicago blues with a touch Louisiana swamp blues mixed in. Given that this is labeled Vol. 1, one looks forward to a further release of Henry Gray's blues sessions with Bob Corritore." That further release has arrived.

Besides Gray's Chicago piano, he sings on eight tracks. Other vocals are provided by John Brim, Jimi' Primetime' Smith, Eddie Taylor Jr., Tail Dragger, and Chief Schabuttie Gilliame. The impressive musicians heard here include guitarists John Brim, Bob Margolin, Eddie Taylor Jr., Robert Lockwood Jr., Johnny Rapp, Illinois Slim, Johnny Burgin, Chris James, and Kirk Fletcher. Chico Chism handles drums on most selections with Brian Fahey, Steve Cushing, and Marty Dodson also are heard. Bassists include Bob Stroger, Troy Sandow, Paul Thomas, Patrick Ryan, Pops McFarlane, and Mario Moreno.

Gray was a husky pianist influenced by the great Big Maceo, but with his own distinctive style and phrasing. The opening selection "Cold Chills' is a strongly performed slow blues he first recorded over a half-century ago. Margolin and Corritore add strong guitar and harmonica in support. There is a rollicking rendition of GL Crockett's "Look Out Mabel" with a hint of "Mystery Train" in the melody. A John Brim phone message telling Bob he should hook up with Gray leads to Gray backing Brim on a terrific Chicago blues "Moonlight Blues." It is followed by Eddie Taylor Jr.'s fine rendition of Jimmy Rogers' "Going Away Baby." Gray's backing on these tracks are terrific. Also, Tail Dragger is heard on the slow Howlin' Wolf styled "Hurt Your Feelings," and the rocking shuffle "Birthday Blues." Chris James and Kirk Flecther enliven this last recording.

Gray provides a robust vocal to "Mother-in-Law Blues" with a choice Robert Lockwood Jr. guitar solo in addition to Gray's choruses. The is plenty of energy in Gray's rendition of J.B. Lenoir's "The Mojo," and even an unusual cover of Hank Ballard's "The Twist." This number was from Gray's last Phoenix session with Corritore. This collection of Henry Gray performances closes with a robust rendition of "Going Down Slow," with outstanding guitar from Johnny Rapp. The performances here are consistently enjoyable with several exceptional ones. As I said about the earlier release, this is a delightful collection of Chicago blues with a touch of Louisiana swamp blues.

I received my review copy from Vizztone. Here is a performance by Henry Gray and Bob Corritore of Jimmy Rogers "Blues Won't Let Me Take My Rest."

John Brim Ice Cream Man

John Brim
Ice Cream Man
Tone Cool / Rounder

John Brim made several classic Chicago blues recordings in the 1950s, and he occasionally has surfaced over the past four decades. He guested on Bob Margolin’s recent Alligator album and Margolin has helped Brim with this, his first ever full album. 

Margolin is joined by harmonica player Jerry Portnoy and others to help Brim reprise three of his Parrot/Chess recordings, Tough Times, Ice Cream Man and Be Careful. Margolin’s presence is major a factor in why this captures much of the feel of Brim’s fifties recordings on these three, on Brim’s originals (the topical Wake Up America) and versions of Muddy Water’s Standin’ Around Cryin’ (with splendid Margolin slide) and Little Walter’s Can’t Hold Out Much Longer. Brim, like Jimmy Rogers, sings in a cleanly articulated, relaxed manner. 


While he may sound a tad rusty four decades older, he still sings with a warm, relaxed honesty. Margolin’s dedication to perpetuating the classic Chicago blues sound makes this a solid session of interest to any with an interest in Chicago blues.

This review originally appeared in the November 1994 Jazz & Blues Report (Issue 194). I likely received a review copy from Rounder Records.Here is his original rendition of the title track. This may be only available used or as a download.

Eddie Taylor In Session

Eddie Taylor
In Session: Diary of a Chicago Bluesman 1953-1957
Jasmine

This is a public domain British reissue with some terrific blues that involved Eddie Taylor, a brilliant guitarist most associated with Jimmy Reed, but who is heard heard on a number of classic (mostly) Chicago blues recordings along with his own recordings for the Vee-Jay label. The Mississippi native is best known for his association with Jimmy Reed, but played on numerous sessions in the 1950s and 1960s for labels like Parrot, Blue Lake, Chess as well as Vee-Jay who he had four singles released under his own name. In the 1960s he shared on album on Testament and backed up Carey Bell and others for Delmark, Bluesway and other labels. He also made several albums under his name including for Advent (later on Hightone) and Antone's.

This reissue includes several selections from Jimmy Reed and Johnny Lee Hooker including Reed's "Ain't That Loving You Baby" and Hooker's "Dimples." But in addition to these hits, he is heard behind John Brim on "Ice Cream Man" (with great Little Walter harp) and the topical blues "Tough Times"; Sunnyland Slim's terrific take on the "Rolling and Tumbling" theme, "Going Back To Memphis," as well as Slim's "The Devil Is a Busy Man"; a trio of songs (including "Schooldays on My Mind" and "Ain't Times Hard") from Floyd Jones with Sunnyland Slim on piano and Snooky Pryor playing some great harp; and Little Willie Foster's "Falling Rain Blues." Taylor's own sides are equally superb including "Bad Boy," his remake of Little Johnnie Jones "Big Time Playboy" and a "Catfish Blues" variant, "Stroll Out West," which was unissued until released on an album years later.

Longtime fans of the blues will likely be familiar with many of these recordings as this contains some real gems of the Chicago blues of the fifties. Sound is good and Bob Fisher's liner notes provides a nice background of Taylor and the music here. This is an easily recommended reissue, especially for those who do not have many of the recordings on this.

I purchased this. Here is a clip of Eddie Taylor in 1970.

Eisenhower Blues Has Some Excellent Post-War Blues

The following review appeared in the September/October 2006 Jazz & Blues Report (Issue 286) I have made minor corrections. I should note that my original review did not include the recording's subtitle, Post-War Urban Blues Classics From the Eisenhower Era (1952-1960).

While J.B. Lenoir waxed a blues protesting the hard times during the administration of President Eisenhower during the 1950s, most of the recordings compiled on Eisenhower Blues (Empire Musicwerks) lack such a topical center but simply are strong blues recordings with most having a down home flavor.  

Long-time collectors will have some or many of these performances, but these remastered sides sound really nice. Others will discover a number of little known artists that have much to say. There are a couple of gems from Lenoir, including the title track and the lively medium tempo boogie, Fine Girls. The CD opens with John Brim’s topical Tough Times, with Jimmy Reed on harmonica. 

Others heard here of note include Jody Williams (as Little Papa Joe)  doing a peppy Lookin’ For My Baby; Harp player and vocalist Dusty Brown (recently heard on Severn’s Chicago harp anthology) on his fine downhome Yes, She’s Gone, more down home harp and vocals from Little Sammy Davis (who is still active and occasionally on Imus’ radio show) doing 1958 Blues based on the Rollin’ & Tumblin’ riff; and Joe Hill Louis’ Jealous Man (as Johnnie Louis) which sports a wild guitar break. There is Sunnyland Slim’s Goin' Back to Memphis, another Rollin & Tumblin’ variant; Willie Egan’s wild Fat Domino-inspired rocker Wow Wow Wow; a couple from Baby Boy Warren with Calvin Frazier on guitar and Washboard Willie (I believe on washboard), including Mattie Mae, adapted from a John Lee ‘Sonny Boy’ Williamson recording; an early Albert King recording (showing a bit of Elmore James influence), (Be on Your) Merry Way; and Little Willie Foster’s tough Fallin’ Rain Blues.” 

There are other equally fine songs by others on this collection with annotation from Bill Dahl making for a treasure trove for the blues fan. 

As a sample of this here is Dusty Brown's Yes, She’s Gone.

Blues Before Sunrise's Enlightening Blues Interviews

Blues Before Sunrise: The Radio Interviews
Steve Cushing
2010: University of Illinois


Steve Cushing hosts a long-running, syndicated blues radio program. "Blues Before Sunrise" on WBEZ on Chicago and he has compiled a collection of interviews on that program that should be of interest to anyone interested in the blues. What sets this book of interviews apart is that he does not focus on persons that were household names or written about extensively. What is valuable also is the depth that many of the interviews here are in the fashion of some of the interviews that were in living Blues in that publication's glory days. There is a common format to each of interviews as Cushing discusses the circumstances of how the interviews took place.


This book is divided into three parts. The first is entitled "Ancient Age" and includes interviews with Yank Rachell, Jesse Thomas, Alberta Hunter and The Grey Ghost. There is insight about their personalities as well as their career. Rachell provides insights on John Estes, Sonny Boy Williamson I, as well as his own style. Alberta Hunter's has her talk about some of her associates and some of the facts of her career while Jesse Thomas talks about T-Bone (and how T-Bone got some guitar stuff from him), Lloyd Glenn and his various recordings, both pre-war and post-war. Pianist Grey Ghost was part of a vibrant Texas piano blues tradition and reminiscences about life and some of his contemporaries. Neither Thomas not The Grey Ghost are presented extensively in interviews (my friend Eleanor Ellis did do one with Thomas) so having these available are invaluable.


Part Two is entitled "Postwar Glory" and has lengthy interviews with John and Grace Brim, Jody Williams. Rev. Johnny Williams and Little Hudson. Of these Jody Williams revived his musical career in the past several years, while the Brims provide insight into the scene in Gary, as well as a recording career that took them to Detroit with Big maceo and Chicago where they did sides with Little Walter. Jody Williams is among the most significant blues guitarists though was disgusted by the industry after he was ripped off of composer credits for "Love Is Strange." He chronicles his time with Howlin' Wolf and Bo Diddley here as well as his own choice recordings. With the late blues mandolinist/guitarist, Johnny Williams made among the earliest recordings in the post-war Chicago scene and provided recollections of numerous artists on the scene. Little Hudson is among a number of artists like Big Boy Spires and Moody Jones who made some memorable recordings but never became big names.


Part 3 is entitled "Esoterica" and has interviews with Tommy brown, Ralph Bass, Cadillac Baby and Richard Stamz. Tommy brown is still with us and regales Cushing and us with a flamboyant story of his career as a blues shouter, comedian and more. There are some tall tales as represented by a claim to have spoken with Otis Redding the night before he died. The problem with this is Brown claims Redding came to the DeLisa to see him, but Redding performed in Leo's Casino in Cleveland before taking his fatal flight. Brown is not the only interviewee who has embellished his career, and while one can appreciate his music, some of his claims here may be overstated. Ralph Bass discusses his lengthy career in recording and while I was familiar with his time with King Records, I was unaware of his prior stint at Black & White and his role with "Open The Door Richard," as well as recording T-Bone Walker, Jack McVea and Helen Humes. Cadillac Baby was another character detailing his club and recoding activities while Stamz was a very popular Chicago radio host I was totally unfamiliar with.


Living Blues Co-Founder Jim O'Neal provides a cogent foreword to the interviews here. Cushing concludes the book with a brief history of the radio show and how it has changed from the early days when he conducted it live he developed a relationship with many of his listeners and how syndication and time has changed aspects of this. It is the coda on a fascinating selection of interviews. One wonders what other interviews Steve might have included.  One might only hope sales of this would encourage a follow-up volume. "Before Sunrise: The Radio Interviews" is highly recommended.


I purchased my copy.

Steady Rollin' Bob Margolin Gets "Down In The Alley"

Bob Margolin came to the notice of folk during his lengthy tenure in Muddy Waters Band, with which he played a significant role in helping maintain the classic Muddy Waters sound. After his time with Muddy he has been one of those trying to keep alive the classic “old school’ Chicago blues sound alive and vibrant. “Down in The Alley” was the first of three albums he would record for Alligator Records and the following review appeared in the January/February 1994 Jazz & Blues Report (Issue 188). I likely received my review copy from Alligator Records at the time. Bob Margolin certainly has become one of the foremost interpreters of older blues styles since his time in Muddy Waters’ band. Since leaving Muddy’s band and setting out on his own, he has devoted himself to playing blues in the manner of Muddy and of others of what Bob terms the old school. He has become a fine interpreter of the classic Chicago Blues tradition. His new album shows his continual maturation as a blues performer, and although he will never win an award as a blues vocalist, his singing is more forceful with a phrasing that almost overcomes his natural limitations. Of special interest are guest appearances by John Brim (who reprises his Tough Times in a duet with Margolin, and Nappy Brown, who shows a different side as he sings the Clovers’ Down in the Alley and Big Maceo’s classic, Worried Life Blues, backed only by Margolin’s guitar. Margolin covers considerable musical territory raging from a rocking Boogie at Midnight, Elmore James’ Twelve Year Old Boy, and his own Big Tree Blues, with some very nice slide. Dave Maxwell on keyboards, Ronnie Earl on guitar, and Kaz Kazanoff on saxophone (who co-produced this with Bob) help out on what is Margolin’s best recording. His strong idiomatic playing continues to impress and he is ably supported throughout. While he may not have the voice of Muddy Waters or Nappy Brown, his phrasing shows their influence and helps, with the strong band playing, make for a very entertaining set of blues.