Mike Guldin & Rollin’ & Tumblin’ — “The Franklin Sessions” — Blue Heart Records

Mike Guldin is a veteran bluesman from Eastern Pennsylvania with an ear for music that swings easily behind his gruff vocals.

His fifth album, “The Franklin Sessions,” brings together his aptly named Rollin’ & Tumblin’ band plus a handful of musical aces who help polish off the nine crackling originals and three covers that spark this lively session.

The album title comes from the Franklin, Tenn., Rock House studio of Grammy-laden Kevin McKendree, who produced and contributed his always top-notch keyboard skills.

The talented players also include James Pennebaker, David Santos, Yates McKendree, Tim Hooper, Bill Sharrow, Billy Wear, Mikey Junior, Su Teears, with the Philadelphia Funk Authority Horns – Dale Gerheart, Kyle Hummel, Neil Wetzel, Andrew Kowal – with background vocals from the McCrary Sisters.

The opening track “Franklin Shuffle” sets a swinging groove that shuffles along behind Guldin with McKendree’s son Yates driving the beat and dad Kevin on roadhouse piano. It sets just the right tone for all that follows.

An extended-jam version of Howlin’ Wolf’s “Killin’ Floor” follows, adding honky-tonk piano flavor to the stinging guitar solo on this tough blues classic. Guldin and the McCrary Sisters then make a fervent gospel plea for “love and compassion and understanding” on “The Right Thing.”

“Sometimes You Gotta Roll the Dice” strides in with second-line style from New Orleans, and then “Blow Wind Blow” strikes a Chicago blues note with some fiery guitar licks. The Authority Horns step up next to punch along the soulful throwback, “Prisoner Of Love.”
Another tough shuffle, “Smokin’ Woman,” rolls along until “Two Hearts” shows up with vocalist Su Teears joining Guldin for the horn driven duet that leans on Philly soul for inspiration.
The honky-tonky “Sad and Lonely” is nicely juiced with keys and guitar, and “Gettin’ Over You Is
Workin’ Over Me” turns a tongue-twister title into a bit of jaunty remorse.
The finale is a hard-rocking version of Sleepy John Estes’ “Divin’ Duck Blues,” with Mikey Junior dipping a hot blues harp into this classic blues stream.

All of this adds up to a joyous musical romp propelled by a musical enthusiasm that you should enjoy along with this talented and energetic crew. This music is just sheer fun, and maybe it’s just me, but it seems like that’s getting harder to find these days. Enjoy it soon and often.

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“Killin’ Floor” from The Franklin Sessions:

Track list & credits:

Blues Blast Magazine is ready for you to vote for the best in blues.

The magazine is offering its 16th year of awards in various blues categories, with final selection done by popular vote. The nominees are selected using a group of blues music industry professionals, including music critics, journalists, festival promoters, music venue managers, producers and musicians.

Voting begins July 1 and continues until Aug. 18 on the mag’s website. Voting is free and open to anyone, but you can only vote once. The winners will be announced at the annual BBMA show on Sept. 23.

It seems like any of the nominees would make an excellent choice for your blues listening. Here they are:

Contemporary Blues Album

Silent Partners – Changing Times

Joe Louis Walker – The Weight Of The World

Jimmy Hall – Ready Now

Taj Mahal – Savoy

Bruce Katz Band – Connections

Shemekia Copeland – Done Come Too Far

Traditional Blues Album

John Primer – Hard Times

Lil Jimmy Reed & Ben Levin – Back to Baton Rouge

Martin Lang and Rusty Zinn – Mr. Blues, Mr. Blues

Jimi Primetime Smith & Bob Corritore – The World in a Jug

Cash Box Kings – Oscar’s Motel

John Németh – May be the Last Time

Soul Blues Album

Stan Mosley – No Soul No Blues

Annika Chambers & Paul DesLauriers – Good Trouble

Billy Price – 50+ Years of Soul

Eddie 9V – Capricorn

Johnny Rawls – Going Back to Mississippi

Alabama Mike – Stuff I’ve Been Through

Rock Blues Album

Ally Venable – Real Gone

Sass Jordan – Bitches Blues

Gráinne Duffy – Dirt Woman Blues

Mighty Mike Schermer – Just Getting’ Good

Mike Zito Albert Castiglia – Blood Brothers

Jeremiah Johnson – Hifi Drive By

Acoustic Blues Album

Doug MacLeod – Raw Blues

Bob Margolin & Bob Corritore – So Far

Catfish Keith – Still I Long to Roam

Charlie Musselwhite – Mississippi Son

Hudspeth & Taylor – Ridin’ the Blinds

Mick Kolassa – They Call Me Uncle Mick

Live Blues Album

GA-20 – Live In Loveland

John Primer – Teardrops for Magic Slim

Alastair Greene – Alive In The New World

Doug Deming & the Jewel Tones – Goovin’ and Gooove Now!

Too Slim & the Taildraggers – Brace Yourself

John Németh & the Blue Dreamers – Live from the Fallout Shelter

Historical Or Vintage Recording

Bob Corritore & Friends – High Rise

Duke Robillard – Duke’s Mood (Live In Bremen – 1985 & 2008)

Floyd Dixon – Fine! Fine! Thing!

Bob Corritore & Friends – Women in Blues Showcase

Doug Deming & the Jewel Tones – Double Down

New Artist Debut Album

DaShawn Hickman – Drums Roots & Steel

Lady J Huston – Groove Me Baby (Album)

Yates McKendree – Buchanan Lane

Eric Demmer – So Fine

Dyer Davis – Dog Bites Back

Dylan Triplett – Who Is He

The Özdemirs – Introducing The Özdemirs

Blues Band Of The Year

Doug Deming & the Jewel Tones

GA-20

Phantom Blues Band

Cash Box Kings

John Németh & the Blue Dreamers

Rick Estrin & the Nightcats

Male Blues Artist

John Németh

John Primer

Alabama Mike

Charlie Musselwhite

Sugaray Rayford

Taj Mahal

Female Blues Artist

Crystal Shawanda

Annika Chambers DesLauriers

Diunna Greenleaf

Kat Riggins

Shemekia Copeland

Rory Block

Sean Costello Rising Star Award

D.K. Harrell

Ben Levin

Silent Partners

Skylar Rogers

Dylan Triplett

Yates McKendree

Producer Of The Year

Joe Bonamassa & Josh Smith

Kid Andersen

Tony Braunagel

Mike Zito

Bob Corritore

Tom Hambridge

Electric Guitarist Of The Year

Laura Chavez

Paul DesLauriers

Joe Louis Walker

Kid Andersen

Christone “Kingfish” Ingram

Chris Cain

Acoustic Guitarist Of The Year

Doug MacLeod

Eric Bibb

Brandon Hudspeth

Jontavious Willis

Rory Block

JJ Appleton

Slide Guitarist Of The Year

Joanna Connor

John Primer

Lil’ Ed Williams

DaShawn Hickman

Catfish Keith

Sonny Landreth

Bass Guitarist Of The Year

Bob Stroger

Rodrigo Mantovani

Danielle Nicole

Andrew Gohman

Jerry Jemmott

Russell Jackson

Keyboard Player Of The Year

Kenny “Blues Boss Wayne

Ben Levin

Bruce Katz

Dave Keyes

Kevin McKendree

Anthony Geraci

Percussionist Of The Year

Derrick D’Mar Martin

Tom Hambridge

Tony Braunagel

Kenny “Beedy Eyes” Smith

Tony Coleman

Jimmi Bott

Rodd Bland

Harmonica Player Of The Year

Big Harp George

Bob Corritore

Charlie Musselwhite

Dennis Gruenling

John Németh

Jason Ricci

Horn Player Of The Year

Kaz Kazanoff

Sax Gordon Beadle

Jimmy Carpenter

Eric Demmer

Vanessa Collier

Deanna Bogart

Vocalist Of The Year

Billy Price

Shemekia Copeland

John Németh

Oscar Wilson

Dylan Triplett

Kat Riggins

Blues Video Of The Year

Angelique Francis – “Ashamed”  – https://youtu.be/TkXm8KA8ENY

Hudspeth & Taylor – Little Girl in Rome – https://youtu.be/Piea3U2-_KM

Jimmy Hall – Jump for Joy – https://youtu.be/LUHABMKhX5k

Alabama Mike – Fat Shame – https://youtu.be/KCvHwJILBzQ

Eric Bibb – Family – https://youtu.be/HYhwUgl3P0U

Derrick Procell – Hello Mojo – https://youtu.be/NWUOtNSJp9M

I heard James Carr sing for the first time a few nights ago on the radio. Well, to be accurate, I wasn’t listening to the actual radio, but to an archived radio show, on my computer, played through a good speaker system.

To be even more accurate, I was listening to a replay of my favorite radio show (actually, the only radio show I listen to), the Rhythm Revival on public radio station WMNF in Tampa, Fla. It’s hosted by the Rev. Billy C. Wirtz and Marvelous Marvin Boone, whose combined musical knowledge is dazzlingly encyclopedic and thoroughly enjoyable.

But I digress.

As part of their regular Friday afternoon gig showcasing great old music that most people have probably never heard, they played the powerfully soulful 1967 song “Pouring Water on a Drowning Man” by Carr, who died in 2001 at the age of 58, after a relatively brief career creating this gorgeous music.

After that tantalizing introduction, I found more information on Carr’s career and more of his music in that magic box called the internet. For starters, you can still buy (or stream) “The Complete Goldwax Singles of James Carr,” the 28 soul-filled songs he recorded for the now-defunct Goldwax label in the 1960s, on Kent Records, which is now owned by Ace Records in England. Goldwax, by the way, seemed to be tied to the fate of Carr, and it folded in 1969, at the end of Carr’s run of powerful single recordings.

Naturally, I listened. I’ve heard some great soul men in my time, but Carr’s gritty, passionate vocals grabbed me at that purely instinctual level where the artist rips the music from the bottomless depths of his tortured soul and pours it into yours. Yes, it’s that good.

Most of these songs are slow and steamy, overflowing with heartache and desperation, each one delivered as intensely as though it could be his last. Even the uptempo numbers are furiously passionate. I don’t know who the musicians are all on these recordings, but they groove in complete sympathy with the power of Carr’s rich voice, which he brought with him from his youthful days singing in his pastor father’s Baptist church choir. He’s another of the many great soul singers who crossed over from the sacred to the secular with their music, bringing with them it’s fervor, if not its message.

In fact, Carr was a member of the gospel group The Redemption Harmonizers (along with another potential great in O.V. Wright) that drew the attention of Roosevelt Jamison, a singer/songwriter who would become James’ manager.

The Goldwax label is where Carr recorded the music the rivaled that of Wright and Otis Redding with its emotional intensity. After his first few sides, he recorded what would become his signature song in 1966, “The Dark End of the Street.” It’s been covered by a variety of artists, but none really match the sheer soul power of Carr’s version. And the lyrics themselves were appropriately dark, matching his deep soul interpretation: “At the dark end of the street/That’s where we always meet/Hiding in shadows where we don’t belong/Living in darkness to hide our wrongs.”

Sadly, Carr was troubled with mental health problems — some reports indicate bipolar issues — and his career never really flourished, despite comeback attempts in the late ’70s and the ’90s.

However, his recorded legacy, especially on the Goldwax sides, is quite simply, magnificent. The sheer power of his voice is magical.

Just when you thought you couldn’t reach any deeper into the heart of soul music, James Carr sweeps out of that primeval place where soul music lives and takes you there with him. You should make the trip.

Sweet, sweet soul music. There’s nothing quite like it.

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Here’s an informative and interesting article on Carr’s life from the Soul Cellar web site.

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Here’s an audio version of “Dark End of the Street,” followed by a much later live performance:

Arlen Roth & Jerry Jemmott — “Super Soul Session!” — Blue Heart Records

The title of this splendid album is already a great description of its music — super and soulful. But I would add one word: smooooth.

This smooth, soulful music is the result of combining the talents of two sensational musicians from an era when soul music sweetened the land — guitarist Arlen Roth, the “Master of the Telecaster,” and bassist Jerry Jemmott, “The Groovemaster,” a member of the legendary R&B group, King Curtis & The Kingpins.

Both men lent their considerable talents to some of the biggest names in music in the late 1960s and ’70s. They include Paul Butterfield, Art Garfunkel, John Prine, Pete Seeger, the Bee Gees, Simon and Garfunkel, James Taylor and more (Roth), and Aretha Franklin and B.B. King (Jemmott, who is currently grooving with the Little Village people and Kid Anderson’s Greaseland studio.)

For this session they gathered keyboardists Bruce Katz and Alex Salzman, rhythm guitarist Tom Gage, drummer Chris Parker, the Uptown Horns and special guests Joe Louis Walker and African vocalist Mukamuri.

Then they added a selection of a few of their favorite songs, some of which they were instrumental in creating as session and touring musicians.

The result? This super smooooth soul session. The tracks are all classics, instantly recognizable as the soundtracks from many a life back in their days.

Mukamuri, a solid soul singer from Zimbabwe and based in Doylestown, Pa., and from whom we need to hear much more, reaches back in time and mood to open the set with “I’m Just a Mortal Man,” from Jerry Lawson of The Persuasions.

“(Sweet Sweet Baby) Since You’ve Been Gone” is the first of several pure instrumental tracks highlighting Roth and/or Jemmott. These selections make an unusual musical statement here, dispensing with familiar lyrics and cutting to their soulful essence. It’s a refreshing take, with Roth’s fluid guitar leading the way, ahead of a punchy horn section.

“Dancing In the Street,” another instrumental, follows with its rock steady groove dedicated to James Jamerson, one of the best of the bass players, complimented nicely by smooth slide guitar.

Joe Louis Walker takes us back to the B.B. King standard, “The Thrill is Gone;” Mukamuri returns with Lexie Roth on the soaring Jackie Wilson number, “(Your Love Keeps Lifting Me) Higher and Higher” and then an instrumental “Chain of Fools,” still gorgeous without Aretha. Walker comes back with a vengeance on “Shake,” one of last songs Sam Cooke recorded before his death, and Mukamuri breathes new life into Dobie Gray’s giant hit, “Drift Away.”

Roth shows up with his voice and his slide for a swampy version of the Rolling Stones’ “Down Home Girl,” by Artie Butler and Jerry Leiber (which is worth mentioning simply because Leiber’s name, usually with Mike Stoller’s, turns up on so much great music from that era).

Roth turns his guitar into the vocalist on a lively version of “The Weight,” and Mukamuri steps back in with a soulfully countrified version of “Good Time Charlie’s Got the Blues, with some lovely guitar work.

“Memphis Soul Stew” is a track from “King Curtis Live at Fillmore West,” with original Kingpin Jemmott back, introducing himself and the narrating the recipe for this simmering soul standard with Ronee Martin.

The session ends fittingly with a stirring instrumental version of “America the Beautiful” with Katz on piano and organ that revives the soul-drenched spirit of Ray Charles’ eloquent 1972 version.

This album offers a gorgeous take on some of the most memorable musical moments from the defining era of soul music. It’s fresh, it’s nostalgic — it’s great listening. Slip into it slowly late at night with some smooooth whiskey. It’s guaranteed to fill that hole in your… well, you know.

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“I’m Just a Mortal Man”:

Larry Taylor & the Taylor Family — Generations of Blues: West Side Legacy — Nola Blue Records (June 16)

Larry Taylor has created the best kind of tribute band.

It’s the kind that involves the real deal, not imposters — in this case family members, carrying on a Chicago blues tradition.

The father, Eddie Taylor, was a fixture on Chicago’s West Side blues scene. His distinctive guitar work was a driving force behind the music of Jimmy Reed, Snooky Pryor, John Lee Hooker, Floyd Jones, Elmore James and more, until his death in 1985.

In 2015, Taylor’s son Larry, a singer and drummer, got his brothers and sisters together to create a tribute to their father and the West Side blues that nourished them. Since then, that album project grew to become a salute to the 100th anniversary of their father’s birth in 1923.

This tough, old-school session includes 13 songs performed by the Taylor family’s second and third generations: with five written by Eddie Taylor, one by Vera Taylor, four by Larry Taylor and three blues covers.  

It’s truly a blues family affair. And since that family is steeped in the deep tradition of Chicago’s West Side blues, it’s blues with a feeling, doubled down on by these rich family connections. The entire session breathes new life into the classically tough Eddie Taylor songbook and adds a pair of blues chestnuts for good measure.

Eddie Taylor Jr. plays guitar on nine tracks recorded before his death in 2019. Larry Taylor handles most of the vocals, Larry’s son, Lil’ Jet, raps on an adaptation of Bill Withers’ “Ain’t No Sunshine.” Sisters Brenda and Demetria contribute fiery vocals and brother Tim handles most of the drums.

Larry Taylor opens it all up with a hard-driving “She Treats Me Just the Same” with relentless drums and stinging guitar and the harp-backed shuffle “Take Your Hand Down”; Demetria Taylor follows with a scorching vocal on “Bad Girl.” Johnny Taylor slips in with the bouncy “I Feel Do Bad,” then Brenda Taylor takes the next two fierce turns with “I Found Out” (a Vera Taylor composition) and “Talk to Your Son” (from J.B. Lenoir).

Demetria comes back hard on Magic Sam’s “You Belong to Me;” Eddie Taylor Jr. offers fine take of “Big Town Playboy:” then Larry carries on with a “Penitentiary Blues,” “I Paid My Dues,” then Larry’s son, Lil’ Jet raps “No Shine.” Larry returns for a swinging “Jump Down American Queen,” and the closer is the gorgeous harp-centric instrumental, “Larry & Eddie Jr.’s Groove.”

“Generations of Blues” by the talented Taylor family happily revives Chicago blues with a tough, old-school attitude, and adds a spicy topping with a contemporary vibe.

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An interesting recent interview with Larry Taylor about revitalizing the West Side blues.

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Larry and Demetria Taylor, two of Chicago blues artists Eddie and Vera Taylor’s musical children, sing Eddie Taylor Sr.’s song “Bad Boy (Bad Girl)” at Antones Nightclub in Austin, Texas, on Jan. 27, 2023, in honor of the 100th anniversary of their father’s birth.

Track list and credits:

Tracy Nelson — “Life Don’t Miss Nobody” — BMG (June 9 release)

Somewhere in the swampy recesses of my mind, the song “Mother Earth,” sung by Tracy Nelson, floats around in a soulful haze.

I know it was originally a mournful Memphis Slim song from 1951, but it first caught my attention on Tracy Nelson’s 1968 debut album with Mother Earth the band, “Living with the Animals,” which featured her hauntingly powerful six-minute version of “Mother Earth” the song, which had already given its name to the San Francisco band.

All of that is just my long-winded way of saying that I’ve always loved Nelson’s terrifically tough and soulful work, and now she’s at it again with her first album in 10 years, “Life Don’t Miss Nobody.”

Life may not miss anyone, but Nelson’s return, with a select group of her musical friends, shows us what we’ve been missing. Joining her on this splendid session are Irma Thomas, Marcia Ball, Willie Nelson, Charlie Musselwhite, Mickey Raphael, Terry Hanck, Kevin McKendree and Jontavious Willis. And more. Check all the stellar credits at the end.

The music comes from equally diverse sources: Stephen Foster, Ma Rainey, Hank Williams, Aleck “Sonny Boy Williamson II” Miller, Sister Rosetta Tharpe, Willie Dixon, Allen Toussaint, Doc Pomus, Chuck Berry and Gene McDaniels. Plus a pair of originals.

But that’s fine. As Nelson says, “I’ve been wanting to do every one of these songs for a really long time. I wanted to get a little bit of everything, all the kinds of music that I love.”

It’s an eclectic set. Some highlights include the rocking gospel opener “Strange Things Happening Every Day,” an old Sister Rosetta Tharpe standard, complete with rollicking piano by Kevin McKendree. A sweetly soulful “There Is Always One More Time” by Ken Hirsch and Doc Pomus follows, with Mickey Raphael’s lyrical harp wrapped around soaring vocals that flow through Nelson’s 78-year-old pipes as smoothly as vintage wine.

The title track, one of the originals by Nelson and partner Mike Dysinger is a philosophical turn that ruminates on the complexities of life : “The world has a way of taking back its toys.” A sprightly duet with Willie Nelson on Hank Williams’ “Honky Tonkin’” mines a country vein that makes it sound like the song was written just for them.

There’s a wonderful old-timey feel to “Yonder Come the Blues” from Ma Rainey, and a tough down-home resonance to “Your Funeral and My Trial,” with Jontavious Willis joining with vocals and Resonator guitar on the spirited track from the works of Aleck “Sonny Boy Williamson II” Miller.

And that’s just the tip of the musical iceberg. Add in Allen Toussaint’s “I Did My Part,” Stephen Foster’s “Hard Times” (two versions, including an acoustic gem), Willie Dixon’s “It Don’t Make Sense,” Gene McDaniels’ “Compared To What,” the original (with Marcia Ball) “Where Do You Go (When You Can’t Go Home),” Chuck Berry’s chestnut “Brown Eyed Handsome Man,” and you have a splendid album of fine music performed by musicians who sound like they live and breathe this material.

That’s “Life Don’t Miss Nobody.” Don’t you miss it either.

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Here’s Tracy Nelson celebrating “Mother Earth”:

Here’s a gathering that has echoes of the new album:

“Life Don’t Miss Nobody” Track Listing and Credits

Strange Things Happening Every Day – Public Domain/Sister Rosetta Tharpe / Lead Vocal – Tracy Nelson/Drums-John Gardner / Upright Bass-Byron House / Piano-Kevin McKendree / Electric Guitar-Mike Henderson/ Background Vocals – The Angelics (John Gardner/Byron House/Mike Henderson/Kevin McKendree
There Is Always One More Time – writers: Ken Hirsch & Doc Pomus / Lead Vocal – Tracy Nelson
Drums-John Gardner / Electric Bass-Byron House / Piano-Kevin McKendree / Electric Guitar-Larry Chaney/ Background Vocals-Dianne Davidson, Vickie Carrico, Reba Russell, Issac Ferguson Dillard / Featured Guest: Harmonica-Mickey Raphael
Life Don’t Miss Nobody – writers: Mike Dysinger & Tracy Nelson / Lead Vocal/Wurlitzer Piano– Tracy Nelson/ Drums-John Gardner / Upright Bass-Byron House / Piano-Steve Conn / Acoustic Guitar & Cuatro-Larry Chaney/ Congas & Guiro-Mike Dysinger / Alto Sax-Jack Warner / Trumpet-Dominique Caster / Trombone &-Chase Carpenter (*arrangement)
Your Funeral And My Trial – writer: Sonny Boy Williamson / Lead Vocal – Tracy Nelson
Drums-John Gardner / Upright Bass-Byron House / Piano-Kevin McKendree / Electric Guitar-Mike Henderson/ Featured Guest: Jontavious Willis-Vocal and Resonator Guitar
Yonder Come The Blues –Public Doman/Ma Rainey / Lead Vocal – Tracy Nelson
Drums-John Gardner / Upright Bass-Byron House / Piano-Steve Conn / Electric Guitar-Larry Chaney /Clarinet-Doug Mosher
I Did My Part – writer: Naomi Neville aka: Allen Toussaint / Lead Vocal – Tracy Nelson
Drums-John Gardner / Electric Bass-Byron House / Electric Guitar-Roger Alan Nichols / Piano-Kevin McKendree/Background Vocals-Tracy Nelson, Marcia Ball, Irma Thomas / Featured Vocals-Irma Thomas & Marcia Ball/ Baritone Sax-Jack Warner / Trumpet – Dominique Caster / Tenor Sax-Gabriel Collins (Carpenter Arrangement)
Hard Times – Public Domain/Stephen Foster / Lead Vocal & 12 String Guitar – Tracy Nelson
Drums-John Gardner / Bowed Upright Bass-Byron House / Accordion-Steve Conn / B3 Organ-Jim Pugh/Electric Guitar-Larry Chaney / Background Vocals-Dianne Davidson, Vickie Carrico, Reba Russell
Honky Tonkin’ – writer: Hank Williams / Lead Vocal – Tracy Nelson
Drums-John Gardner / Upright Bass-Byron House / Larry Chaney-Electric Guitar / Steel Guitar-Mike Johnson/Acoustic Guitar-Roger Alan Nichols / Harmonica-Mickey Raphael / Featured Guest Vocal – Willie Nelson
It Don’t Make Sense – writer: Willie Dixon / Lead Vocal – Tracy Nelson
Drums-John Gardner / Electric Bass-Byron House / Piano-Kevin McKendree / Electric Guitar-Mike Henderson/Background Vocals-Tracy Nelson, Issac Ferguson Dillard / Featured Guest: Harmonica-Charlie Musselwhite
Compared To What – writer: Gene McDaniels / Lead Vocal – Tracy Nelson
Drums-John Gardner / Upright Bass-Byron House / Piano-Kevin McKendree / Electric Guitar-Roger Alan Nichols/Featured Guest: Vocals and Sax-Terry Hanck
Where Do You Go (When You Can’t Go Home) – writers: Tracy Nelson/Marcia Ball / Lead Vocal-Tracy Nelson/ Drums-John Gardner / Electric Bass-Byron House / Piano-Kevin McKendree / Electric Guitar-Roger Alan Nichols/ B3 Organ-Jim Pugh / Background Vocals-Tracy Nelson, Dianne Davidson, Vickie Carrico, Reba Russell, Issac Ferguson Dillard
Brown Eyed Handsome Man – writer: Chuck Berry / Lead Vocal Tracy Nelson
Drums-John Gardner / Upright Bass-Byron House / Piano-Kevin McKendree / Electric Guitar-Larry Chaney/ Background Vocals-Dianne Davidson, Vickie Carrico, Reba Russell / Featured Guest Vocals – Marcia Ball, Irma Thomas, Reba Russell, Dianne Davidson, Vickie Carrico
Hard Times (Solo Version) – Public Domain/Stephen Foster / Lead Vocal & Acoustic 12 String-Tracy Nelson

Bob Corritore & Friends — “High Rise Blues” — VizzTone

Once again, Bob Corritore opens the door to his seemingly endless supply of fine Chicago-style blues in another star-studded album filled with tough, old-school blues.

Corritore’s interesting backstory is well known by now, or should be. In 1981, the then-25-year-old blues harp player moved from Chicago to Phoenix, where he opened his blues club, the Rhythm Room in ’91. The club became not only a showplace for great blues artists, but a source of recording sessions that he’s stored away for years, and which are now emerging as the backbone of his powerful “From the Vaults” series.

The result is albums like “High Rise Blues,” which overflow with great music from great artists, especially the uniquely tough, hard-driving blues style born and raised in Chicago. Corritore shows up with his soaring harp on these cuts, holding his own, even enhancing the work of the bluesmasters.

These 14 tracks, all previously unreleased and reaching back to 1992, are a master class in Chicago blues taught by some of its premier practitioners, many long gone, including Bo Diddley, Jimmy Rogers, Koko Taylor, Magic Slim, Sam Lay, Pinetop Perkins, Chico Chism, Luther Tucker, John Brim, Eddy Clearwater, John Primer, Willie “Big Eyes” Smith, Lil’ Ed, Bob Reidy, Manuel Arrington, and Eddie Taylor, Jr.

The tracks here read like the lineup for a legendary blues festival. They include Jimmy Rogers, “Last Time”; Magic Slim, “Buddy Buddy Friends”; “Chico Chism”; Luther Tucker, “High Rise Blues”; Koko Taylor, “Twenty-Nine Ways”; Manuel Arrington, “Candy Bars”; Eddie Taylor Jr., “Short Haired Woman”; Sam Lay, “Honey Where You Going”; John Primer, “Why Are You So Mean To Me”; Pinetop Perkins, “Grinder Man”; Bo Diddley, “Little Girl”; John Brim, “Hard Pill To Swallow”; Willie “Big Eyes” Smith, “She’s Alright”; Eddie Clearwater, Bob Reid, “Sail A Ship”; and Lil’ Ed, “Caught In The Act.”

You can easily tell just from the names in that list that this promises to be great listening. And it is.

If you’re a fan of great Chicago blues (and how could you possibly not be?), store this one in your own blues vault for safekeeping.

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Here’s “Last Time” from the album:

Tracks and more from the CD back cover: