It produced a generation of singers (most of whom came to the music from their gospel roots), that defined music that was indeed one step from the blues, with all its soulful heritage.
Johnnie Taylor, “The Philosopher of Soul,” was one of those singers, not to mention, one of the greatest. His voice may not have been one of the silkiest, but it was one of the most raw and passionate.
Taylor’s music is being celebrated this year, the 90th anniversary of his birth, with a compilation of his work released on Stax Records / Craft Recordings, “One Step From the Blues.” The album overflows with a dozen of Taylor’s finest, including selections from his prolific Stax Records years, from his signing in 1966 to the label’s closing in 1975. It was Stax who aptly decided that Taylor was the “Philosopher of Soul.”
Taylor’s career included much more than his Stax recordings, but those sides helped to define his sound and his popularity. He was nominated for three Grammys, won a Pioneer Award from the Rhythm and Blues Foundation, and was inducted into the National Rhythm & Blues Hall of Fame and the Blues Hall of Fame.
Taylor grew up singing in gospel groups in West Memphis, Ark., and joined the legendary gospel quartet, the Soul Stirrers, in 1957, when he replaced Sam Cooke, who had moved on to his secular career. Taylor later joined Cooke’s SAR label, and then moved to Stax after Cooke’s death. When Stax lost its star, Otis Redding, to a plane crash in 1967, the soul mantle fell to Taylor, who responded with years of great music. (Here’s a photo of Taylor in 1967.)
Those years are represented here with some of Taylor’s best: The breakthrough single in 1968, “Who’s Making Love” (it sold over a million copies), followed by “Steal Away,” “Stop Doggin’ Me,” “Cheaper to Keep Her,” “I Had a Dream” and “Save Your Love for Me.” There are more, and they all paint a picture of one of America’s finest soulmen.
This is a gorgeous collection of some of Taylor’s signature soul. If you’ve never heard his passionate pipes, this a great place to start. If you have, these tracks should add to the magic. They will fill any hole in your soul.
Here’s a live performance of “Who’d Makin’ Love”
Track list: 1. Steal Away 2. I Had a Dream 3. I’d Rather Drink Muddy Water 4. Part Time Love 5. Cheaper to Keep Her 6. Separation Line 7. Doing My Own Thing, Pt. 1 8. Somebody’s Sleeping in My Bed 9. That’s Where It’s At 10. Stop Doggin’ Me 11. Save Your Love for Me 12. Woman Across the River
The long and winding road of the musical career of Turner, the younger brother of legendary blues guitarist Freddie King, has carried him through the highways and byways of gospel, blues, soul and R&B. And Turner’s last ten years have seen a renewal of his still soulful 85-year-old pipes, thanks to the prescience and perseverance of Nola Blue label owner Sallie Bengston (you can hear her handclaps and backup vocals on a couple of songs here!).
Turner started his career playing guitar for The Kindly Shepherds, a gospel group that he joined on guitar and background vocals for several recordings. At that time, Turner also started playing with his brother at Chicago clubs, where he later joined Dee Clark’s R&B band. Turner then toured with Clark and later the Soul Stirrers in the early 1960s, where he played bass for those legendary gospel quartet pioneers. He eventually rejoined his brother’s band and toured on the blues side of the highway.
Bengston launched her Nola Blue label with Turner’s album “Journey” 10 years ago on Turner’s 75th birthday. The “BT” release celebrates Turner’s 85th year, and the tenth for Nola Blue. That’s a lot of celebrating, but these new sides are up to the occasion. They run the length of his stellar career and cover a variety of styles that never lose sight of Turner’s deep, old-school gospel and blues roots.
He starts it all off with the raucous “Bump Miss Susie,” written by the great R&B songwriter Rudolph Toombs and recorded by Big Joe Turner. Benny Turner easily handles the uptempo, blues-shouter style before slowing down for the classic, gospel hued “Goin’ Down Slow,” first recorded by its composer, St. Louis Jimmy Oden in 1941.
Turner highlights his funky bass work on “The Walk,” a reminder of the teens doing the stroll on American Bandstand. Then Clayton Ivey’s B3 lends passion to the very soulful “That’s When I Call on You,” a 1958 Dee Clark tune. Next is a strong cover of the little-known Muddy Waters song, “Born in This Time,” with another aching Turner vocal.
Turner adds background vocals behind his own lead to mimic Hank Ballard and the Midnighters’ chestnut, “Finger Poppin’ Time,” with Billy Davis, an original Midnighter, on guitar. “Smoke My Peace Pipe (Smoke It Right)” is an homage to Turner’s New Orleans years with a salute to Big Chief Bo Dollis, and Marva Wright on background vocals. (The “big chief” reference is to a group called the Wild Magnolias, which participated in the local “Indian masking” traditions and performed New Orleans Mardi Gras music. The group’s lead member was called the Big Chief, and Dollis became Big Chief in 1964.)
“”Drunk” is a Turner original, a whimsical ode to the bottle, with a tough Jimmy Reed-style shuffle pouring on the music. Two more Turner songs close the session with his down-home guitar leading the gorgeous instrumental “Sleepy Time in the Barnyard.” The fitting finale, “Who Sang It First” is a tribute to the origins of the blues that Turner so obviously cherishes, a paean to all those early bluesmen and blueswomen who actually did sing it first — creating America’s classical music.
Speaking about this session, Turner says: “I had a great time working on this album with some of my favorite musicians and reminiscing about my musical history, from picking up the guitar again to revisiting my gospel roots, to finally recording some of my favorites….the songs “Born In This Time” and “Who Sang It First” are a very important reminder of the history of slavery and the roots of the blues that should never be forgotten.”
What should also never be forgotten is Benny Turner’s own immeasurable contribution to this music. “BT” is an instant classic, with roots that go deep into the heritage of the blues. Ignore it at your peril!
Track Listing and Credits: Bump Miss Susie 2:52 – Rudolph Toombs; Unichappell Music, Inc. Lead Vocals – Benny Turner; Background Vocals – Charlie Burnett, Bobby Gentilo, Paul Murr, Nate Young Guitar – Bobby Gentilo Upright Bass – Charlie Burnett Piano, B3 – Nate Young Drums – Paul Murr Going Down Slow 5:35 – James Oden; Universal-MCA Music Publishing Division of Universal Music Corp. Lead and Background Vocals – Benny Turner Guitar – Will McFarlane Harmonica – Harrell “Young Rell” Davenport Bass – Benny Turner Keys, B3 – Clayton Ivey Drums – Justin Holde The Walk 4:01- Jimmy McCracklin; Arc/Conrad o/b/o Arc Music, Inc. Vocals – Benny Turner Guitar – Derwin “Big D” Perkins Horns – Sax Gordon Bass – Benny Turner Piano, B3 – Shawn Allen Clavinet – Bobby Gentilo Drums – Jeffery “Jellybean” Alexande When I Call On You 4:12 – Dee Clark; Arc/Conrad o/b/o Conrad Music Lead Vocals – Benny Turner Background Vocals – Tiffany Pollack, Bobby Gentilo Guitar – Will McFarlane Guitar – Bobby Gentilo Upright Bass – Charlie Burnett Wurlitzer, B3 – Clayton Ivey Percussion – Bobby Gentilo, Benny Turner Drums – Christy Enge Born in This Time 4:28 – Willie Boyd and Maurice Jarre; Sony/ATV Harmony and Sony/ATV Melody Lead Vocals – Benny Turner Background Vocals – Tiffany Pollack First Rhythm Guitar – Will McFarlane Second Rhythm Guitar – Bobby Gentilo Banjo – Benny Turner Bass – Benny Turner Upright Bass – Charlie Burnett Piano – Keiko Komaki Wurlitzer, Hammond B-3 – Clayton Ivey Percussion – Bobby Gentilo Drums – Jeffery “Jellybean” Alexande Finger Poppin’ Time 4:11 – Hank Ballard; Embassy Music Corporation Lead and Background Vocals – Benny Turner Guitar – Billy Davis Bass – Benny Turner Piano, B-3 – Keiko Komaki Piano, Wurlitzer – Nate Young Handclaps – Benny Turner, Jeffery “Jellybean” Alexander, Sallie Bengtson, Keiko KomakiDrums – Jeffery “Jellybean” Alexande Smoke My Peace Pipe (Smoke It Right) aka A Tribute to Big Chief Bo Dollis 3:32 -Wilson Turbington; GOPAM Enterprises Inc. o/b/o Turbine Music Lead Vocals – Benny Turner Background Vocals – Warner Williams Background Vocals – Marva Wright Lead Guitar – June Yamagishi Rhythm Guitar – Bobby Gentilo Rhythm Guitar – Jack Miele Bass – Benny Turner Keys and B-3 – Keiko Komaki Clavinet – Nate Young Bass Drum – Norwood “Geechie” Johnson Drums – Jeffery “Jellybean” Alexande Drunk 2:51- Benny Turner; Nola Blue Music Lead Vocals – Benny Turner – Bass and Vocals Background Vocals – Benny Turner, Sallie Bengtson and Bobby Gentilo Guitar – Will McFarlane Guitar – Steve Grills Harmonica – Harrell “Young Rell” Davenport Bass – Benny Turner Piano – Bobby Gentilo Wurlitzer – Clayton Ivey Percussion – Bobby Gentilo Justin Holder – Drum Sleepy Time in the Barnyard 4:59 – Benny Turner; Nola Blue Music Lead Guitar – Benny Turner Guitar – Bobby Gentilo Upright Bass – Charlie Burnett Piano – Nate Young Drums – Paul Mur Who Sang It First 3:59 – James George and Benny Turner; Nola Blue Music Vocals – Benny Turner Background Vocals – Kassie Netherland Miele and Tiffany Pollack Guitar – Will McFarlane 2nd guitar – Jack Miele Bass – Benny Turner Wurlitzer – Clayton Ivey B-3 – Joe Krown Drums – Justin Holder All tracks produced by Benny Turner; Tracks 4, 6, 8 co-produced by Bobby Gentilo
Her weapons are powerhouse vocals that spring from the roots of Koko Taylor and Janis Joplin, and a lyrically passionate message of revival. She wants to tell everybody about the sincerity of the blues – the raw emotion in every note of that music.
Riggins and her band, aptly named the Blues Revival, does all of that and more on “Revival,” the latest album devoted to her mission: “I thank God that my passion is my purpose,” she says, “that is to help preserve this endangered species called the blues.”
“Revival” is the sixth album from Riggins, a Miami native whose gritty vocals and powerful singing style are peppered with generous hints of R&B, soul, gospel and rock ‘n’ roll – but deeply rooted in the blues. Ten original songs by Riggins and producer Tim Mulberry are filled with vivid lyricism that showcases the joyous benefits of the blues. Mulberry is also featured on bass, drums, keys and horns; the remaining Revivalists are Eric Guess on guitar withbackground vocals from Shaelyn Mulberry and Mark Barner. Riggins was nominated as Soul Blues Female Artist for 2024, and she’s been reviving international audiences for years.
“Revival” the album and the musical crusade open at full throttle with the rocking blues “Lucky,” and Riggins’ tough vocals: “I know just what I like / I like to wheel and whine / And bump and grind / And get on down tonight.”
The almost-title track “Revived” carries a message of R&B renewal behind funky organ riffs: “Look at my new walk / I’m stepping high / I got a real good feeling inside / Feeling revived.”
“Southern Soul” keeps the persistent party beat going: “Ain’t nothing like a southern soul / Blues all in my toes / Rockin’ roll folk singing.” There’s a tough new attitude matched by Riggins’ vocals in “New Level” – “I got a new attitude to match my dreams / I’m on a whole new level / And it’s plain to see / I got to be me.” The pace slows for the melodic rhythms and plaintive plea of “Set Me Free”: “Like singing the blues without feeling / Now why oh why keep trying / My patience is dying / Just set me free.”
Riggins has her mojo advice working on “Mojo Thief,” with a warning: “Everybody’s got a mojo / You just gotta let yours work / but don’t you be / no mojo thief.” There’s a bluesy philosophy behind the fierce vocals of “Chasing Time”: “I can’t rush into tomorrow / Or get back yesterday / But I keep / Chasing time.”
A strong statement of personal worth rolls in on the tough rhythms of “Mighty” – “Let the meek take the Earth / The universe / is for the mighty.” “Old Time Way” is a hard-rocking reminder of the musical good old days: “Nowadays the music plays / But the feeling ain’t the same / as the good old days / I wanna go back.”
The thoughtful closer is the optimistic “Healer,” a gently sung ballad with a folk-song feel that slowly builds a message of hope, the ultimate revival: “Maybe I can bring somebody peace / Maybe make somebody feel loved / If I could just provoke a little hope in this world / It’ll spread left, right, below and above.”
Kat Riggins wants to revive the potent spirit of the blues that lives in her soul and share that spirit with every soul within the sound of her magnificent voice. She wants to move your heart – and your hips. “Revival” joyously does both.
Here’s a Kat Riggins live performance:
Tracklist: 01. Lucky 02. Revived 03. Southern Soul 04. New Level 05. Set Me Free 06. Mojo Thief 07. Chasin’ Time 08. Mighty 09. Old Time Way 10. Healer
This fine album has been out for a few months, but I can’t ignore it any longer. It’s too good. Not that I was actually ignoring it, you understand.
“Set Me Free” combines the elegant jazz phrasings of jazz veteran Frank Catalano’s sax with the toughness of blues stalwart Lurrie Bell’s guitar and vocals. The album, produced by Catalano and released on his own label, is a heady blend of jazz and blues, with a mix of classic covers and originals, plus a sprinkling of sprightly instrumentals. The talented supporting cast consists of Tom Vaitsas on piano, Aaron Mitter on bass, and Kurt Lubbe on drums.
A little background on these talented music veterans is in order here. Both men have worked their way through devastating life events. Catalano and Bell are both Chicago natives and have worked that music scene for decades. Catalano started playing saxophone when he was 7 years old (Pearl Bailey and Louie Bellson at age 12, and Tony Bennett at age 16, for starters), and has since played with numerous artists across a wide spectrum of music, including jazz and blues. He released his first solo album “Cut It Out “on Delmark Records in 1988. At 16, Catalano was in a life-threatening car accident that cut off a finger on his hand. Following reconstructive surgery, he was able to restart his career.
Bell, the son of famed harmonica player Carey Bell, has also had a storied career. In his teens he played with Eddy Clearwater, Big Walter Horton, and Eddie Taylor, and toured with Koko Taylor for four years. His first solo album, “Everybody Wants to Win,”came in 1989. After treatment for debilitating bipolar and schizophrenia illnesses, Lurrie released “Can’t Shake This Feeling”in 2016, which received a Grammy nomination.
They’ve joined forces here to bring you a taste of the best of both their worlds, with magical musical results. This effervescent session opens with a bright, upbeat version of the blues chestnut, “Everyday I Have the Blues,” with Bell’s liquid guitar solo and Vaitsas’ piano floating throughout. Catalano’s honking sax drives everything home.
They follow that with another cover, a smooth and sensuous take on Elmore James’ “The Sky Is Crying,” styled deliciously like the opening track. Bell’s gruff but expressive vocals highlight both cuts. The title track is a glorious jazz-inflected shuffle that lets everyone shine.
“Shaking” is a sax-laced jazzy instrumental tapestry with Bell’s light guitar accents. The classic “Georgia on My Mind” opens with an elegant sax solo followed by Bell’s rich vocal turn. “Tuna Town” is an original instrumental that lets Catalano soar on sax. Bell’s tough vocals enrich “I’m Ready,” the quintessential blues from Willie Dixon/Muddy Waters. “Kicking” is another sprightly jazz/blues instrumental with Catalano’s sax attack and Bell launching sharp blue guitar riffs. Everything comes to a haunting close with Bell’s aching version of Etta James’ “At Last.”
Catalano says of his music: “I love improvising and feeling the vibrations of the music … I’m honored that Lurrie wanted to record together and feel this album is definitely about bringing people together. I think people will really enjoy our versions of “At Last” and “Georgia on My Mind” as well as the blues standards and originals.”
And Bell says: “I’ve been playing since I was 5 or 6 years old. The blues caught my ear and I never looked back. The blues speaks to the facts of life. I wake up and hear the blues in my ear; the blues is always with me.”
Both of these artists have lived their lives through their music, and that spirit shines on “Set Me Free.” You should let it shine on you.
“Set Me Free” from the album:
Tracklist and credits: 01. Everyday I Have The Blues 02. The Sky Is Crying 03. Set Me Free 04. Shakin’ 05. Georgia On My Mind 06. Tuna Town 07. I’m Ready 08. Kicking 09. At Last Lurrie Bell: vocals, guitar Frank Catalano: saxophone Tom Vaitsas – piano Aaron Mitter – bass Kurt Lubbe – drums
I have to admit that I had never heard the music of Khalif Wailin’ Walter until he sent me his latest album a few months ago. And I have to admit I’m glad that he did. It’s filled with fine old blues styles with a few contemporary twists.
This isn’t exactly Khalif’s first rodeo, or even his first album. It is his first since 2018’s “Nothin’ Left To Lose.” He’s been working in Chicago blues since the late ’80s, when, as he puts it:
“Chicago chose me. I was there for only one day and I visited the Kingston Mines and the Wise Fool’s Pub. The music totally blew my mind. Chicago said that’s where I needed to be, and that is and always will be home for me. I quit the travelling rock band the next day, sold everything, and bought a one-way ticket to Chicago. I had no Plan B.”
Khalif has toured with his uncle and mentor, blues veteran Carl Weathersby and played in the band of legendary bluesman Lonnie Brooks. He’s toured worldwide and put in multiple Chicago blues festival appearances. In short, he’s paid his dues. Most likely, more than his share.
Khalif has put all of that hard work, experience and his multi-faceted talents into this bluesy, ballsy collection on “Phoenix Risin’.” He wrote the songs; recorded, produced, mixed, and mastered the album. He plays guitar and bass, and performs all auxiliary percussion. His excellent backers here are pianist Chris Rannenberg, tenor sax players Martin “Tinez” van Toor and Tommy Schneller, with Paul Jobson on organ, and New Orleans session drummer Barry Wintergarden.
Khalif kicks off the session with “Connie-Lee,” a soulfully sung shuffle with an old-school flavor, kicked gently along by horns and some tasty honky-tonk piano, with a stinging guitar solo. It’s one of my favorites from the album. “Please Lie To Me” follows, a spirited plea with sprightly piano. “The Streets” — “a struggle to survive” — is a slow scorcher that leads into punchy title track, an ode to his musical survival.
“I’m Through Cryin’” features a razor-sharp guitar intro to a sturdy blues and vocals that shift into a toughness that matches his fierce guitar work. “Big Bootyed Woman” chugs into view with a updated take on a traditional blues theme, and “I’m Your Love Doctor” shows off some smooth crooning wrapped in eloquent guitar.
“Stone Cold Busted” adds a modern social media theme to a raunchy horn-filled romp with roadhouse piano, and “Chi-Town Sound Check” is a punchy instrumental that winds up and delivers its own wicked conclusion to a stellar session.
Khalif Wailin’ Walter has poured his heart and soul — and many musical talents — into “Phoenix Risin’,” and the result is this sharply done album with its roots firmly in the fertile Chicago blues soil. Give it a listen. You’ll be better off for this soulful musical experience.
A note on the Timezome record label: The link at the top takes you to the label, a German website that will require you to use a translator, unless your Deutsch is excellent.
Here’s a sample of Khalif at work live:
Tracks and credits: 1) Connie-Lee Khalif: Gtr, Bass, Vocals, Aux Percussion Chris Rannenberg: Piano Barry Wintergarden: Drums Tommy Schneller: Tenor Sax Jürgen Wieching: Bari Sax 2) Baby, Please Lie To Me Khalif: Gtr, Bass, Vocals, Aux Percussion Chris Rannenberg: Piano Barry Wintergarden: Drums Tommy Schneller: Tenor Sax Jürgen Wieching: Bari Sax 3) The Streets Khalif: Gtr, Bass, Vocals, Aux Percussion Jacek Prokopowitz: Organ/Piano Barry Wintergarden: Drums 4) Phoenix Risin’ Khalif: Gtr, Bass, Vocals Gary Winters: Trumpet, Flugelhorn Barry Wintergarden: Drums 5) I’m Through Cryin’ Khalif: Gtr, Bass, Vocals, Aux Percussion Paul Jobson: Organ Barry Wintergarden: Drums Tommy Schneller: Tenor Sax Jürgen Wieching: Bari Sax 6) Big Bootyed Woman Khalif: Gtr, Bass, Vocals Gary Winters: Trumpet, Flugelhorn 7) I’m Your Love Doctor * Khalif: Gtr, Vocals Marcis Kalnins: Bass Rolands “Rolx” Saulietis: Drums Artis Locmelis: Organ 8) Stone Cold Busted Khalif: Gtr, Bass, Vocals, Aux Percussion Chris Rannenberg: Piano Barry Wintergarden: Drums Martin “Tinez” van Toor: Tenor Sax Evert Hoedt: Bari Sax 9) Chi-Town Soundcheck Khalif: Gtr, Bass Barry Wintergarden: Drums All songs written, recorded, mixed and mastered by Khalif except *Recorded by Toms Lisments, Marcis Kalnins, & Khalif
Blues Roadhouse 