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.

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.