Lil’ Jimmy Reed – Caress Me Baby

Wolf Records International

www.liljimmyreed.com

12 tracks, 55 minutes 19 seconds

At the age of 87, Leroy Atkins, better known as  Lil’ Jimmy Reed, is in the small group of revered blues elders that includes greats such as Buddy Guy (89), Bob Stroger (94), Bobby Rush (92) and Taj Mahal (82).  He maintains an active performance schedule, both in his home territory (Alabama, Mississippi, Louisiana and contiguous states) and overseas. Over the years, many of his performances have been recorded but not released. Vienna, Austria-based Wolf Records has assembled Caress Me Baby from six 2015 in-studio recordings and six live performances at the 2017 Calgary International Blues Festival. The live tracks capture the rapport that Atkins has with his audience. This record is a complete presentation of Atkins’ artful homage to the original Jimmy Reed.

Atkins transformation into Lil’ Jimmy Reed is a classic blues yarn. He was born in tiny Hardwood, Louisiana and grew up in a shotgun shack. There was a blues club nearby, and Atkins absorbed the music pouring from the joint. He began playing harmonica and progressed to a 3-string cigar box guitar. Atkins’ father bought him a Gibson electric guitar, and he quickly gained proficiency on the instrument. Atkins was a Jimmy Reed fan and learned to play the harmonica in a neck rack while accompanying himself on guitar so he could play Reed’s songs. When Atkins was about 19 years old, he was asked to take over one of Jimmy Reed’s shows (the alcoholic blues star was too drunk to perform). Atkins delighted the crowd, and after that night, he became known as Lil’ Jimmy Reed.

The supporting musicians on Caress Me Baby include frequent Atkins collaborators, Bob Hall on piano and Hilary Blythe on electric bass. These two British musicians have often toured with Atkins. The drumming duties on the album are handled by a pair of percussionists – Neil Burton and Mick Klogoss.  This group handles the relaxed, economical Jimmy Reed blues grooves with skill and a touch of reverence.

Atkins covers six Jimmy Reed songs on this album.  “Down In Virgina”  is a classic Jimmy Reed shuffle. Atkins has mastered the upper register harmonica blow bends that Jimmy Reed included in many of his songs.  He employs that technique in the opening chorus and in a solo later during this track. The bandleader’s vocals also evoke Reed, although his voice is fuller and slightly grittier than his mentor. Atkins also contributes a tasteful guitar solo on this track. “Goin’ to New York” is one of Reed’s better-known tunes. It is a cheerful mid-tempo shuffle with a generous helping of upper-register harmonica licks from Atkins.  “Big Boss Man” is strongly identified with Jimmy Reed because he turned the song into a blues standard. It was actually written by Reed’s manager, Al Smith, and Luther Dixon. This up-tempo shuffle with its stomping back beat is a signature groove in blues, rock and other genres. Atkins and his band deliver an exuberant cover of this classic tune. “I’m Goin’ Upside Your Head” is associated with Jimmy Reed, but it was written by the great Chicago blues singer and drummer, Johnnie Mae Dunston. This song adopts the stomping groove made famous by “Big Boss Man”. “Honest I Do” is another classic Reed tune, and its languid yet passionate declarations of romantic devotion are impeccably delivered by Atkins. (CLICK HERE to see a video of this song live)

The title track, “Caress Me Baby” is a deeper cut from the Jimmy Reed catalog. It is a slow, lump-de-lump blues. Once again, Atkins channels Reed’s harmonica work and vocal style with great success. He also delivers a high-energy guitar solo on this track.

The rest of the album is a collection of Atkins originals and other blues covers. “Tell Me What’s On Your Mind” was written by Atkins. This slow blues tells the timeless story of troubles in a romantic relationship. Atkins gives his harmonica a first-position, upper register work-out in this six-minute track.  Atkins’ “Early In The Morning” adopts an up-tempo groove that evokes the Elmore James version of “Dust My Broom”. Atkins gives the harmonica a rest on this track,  opting for some stinging guitar work instead. The tempo and groove on Atkins ’ “I’m in Love With You” is identical to “Early In The Morning”, but the lyrics are different.

The three other cover tunes on this record are artfully selected. “T.V. Mama” was first recorded and released by Big Joe Turner in 1953. It was written by the singer’s wife, Lou Willie Turner. Atkins plays this song as an up-tempo shuffle evocative of Elmore James (in fact, James played guitar on the original Big Joe Turner version).  “When You Leave, Don’t Take Nothing” is another tale of love gone wrong. Written by pianist Stanley Banks, it has been covered by a number of contemporary blues artists including Demetria Taylor (daughter of guitarist and Jimmy Reed accompanist Eddie Taylor) and the late Chicago-based southern soul blues artist Artie “Blues Boy” White. Atkins’ version of this song is a meaty slow blues punctuated with his spare, slashing blues guitar licks. Atkins also covers the Elmore James classic, “12 Year Old Boy”, the scandalous and funny song about the affair between a man’s girlfriend and an underage neighbor. He takes this tune at a dirge-like tempo, which fits the subject matter quite well.

It has been said that Jimmy Reed has often been imitated but never duplicated. Atkins career has been a tribute to the great bluesman who died before his 51^st birthday. While he can’t duplicate the idiosyncratic original, his heartfelt, authentic performances on Caress Me Baby will please blues traditionalists that are longing for the loose-limbed grooves of late, great Jimmy Reed.

Writer Chris Gillock is a blues harmonica player, vocalist, band leader, non-profit board member, music journalist and retired investment banker. He is also an occasional blogger – you can find his blog at https://g-freethoughts.blogspot.com/. Chris is also a music writer for the Evanston (IL) Roundtable.

Tinsley Ellis – Labor of Love

Alligator Records

www.tinsleyellis.com

13 tracks

Tinsley Ellis follows his 2024 Alligator hit record Naked Truth with another superb album of all original tunes. Ellis returns deep to the roots of the blues with an acoustic album of songs. He’s done a lot of solo touring and his acoustic act has been a big hit. Here he showcases new music inspired by his recent tours.  It’s powerful stuff. This is raw and edgy stuff done by a guitarist that at the top of his game. These 13 tracks are expressions of his love of the blues.

“Hoodoo Woman” begins the set. It’s done in a  hill country style with a throbbing beat and some slick guitar and mandolin by Ellis. Here and on two other cuts he showcases mandolin for the first time in his recorded career. “Long Time” follows and here we get a song that hearkens to John Lee Hooker and his trademark groove. Ellis blows the listener away with his guitar work. “To A Hammer” is a somber and slow blues with a haunting groove and showcases more of Ellis’ talent as he pays a sort of homage to Skip James.

Next is “Sad Sad Song,” a down home cut with some pretty mandolin lead.  The lyrics are sad but the delivery and tempo is upbeat, making this sad, sad song seem a tad more happy. The had clapping percussion is a cool effect. “The Trouble With Love” is a nice love song where Ellis bemoans about not standing the vagaries of a relationship.  He finger picks his Martin to great effect. Then it’s “Sunnyland” where Tinsley breaks out his National Steel Guitar and howls out the vocal lead in typical Son House fashion– well done! “Whole Wide World” is up after that and Ellis describes our needs and those of the whole wide world. What we all need is love. He sings and plays with emotion and feeling.

“Sweet Ice Tea” is a foot stomping, front porch, down home  cut that is vibrant and cool as he sings about the staple, every day beverage of the South and describes the need for soul food and sweet iced tea. We get taken to church with “I’d Rather Be Saved.” Ellis begins by humming spiritually and then then gets into this gospel tune where he sings of being mistreated by a mean, old boss man.  He gives us a field holler sort of song with simple yet slick and repetitive guitar accompaniment and it’s just so nicely done. “Too Broke” is an up tempo and rollicking tune where he plays the mandolin almost like a banjo, attacking the strings with passion. He gives good financial advice here, “If you don’t want to worry, stay broke all the time.”  I’s good to be too broke to worry!

“Low Land Of Sorrow” has Tinsley asking for a ride into the city as the coming storm is going to wipe him out like the last one did in his home in the low lands that gets ravaged by the hurricanes. Beautiful work by Ellis on his National once again, slipping and sliding perfectly. Next is “Fountain Of Love” where Ellis gives us some slow and soulful blues sung and played with deep, deep feeling. It’s another pretty cut and Tinsley delivers it emotively. The album’s final song is “Lay My Burden Down,” another Gospel track where Ellis sings of  going to his final resting place. He’ll be sleeping in the ground, he’ll meet his make upstairs who answered all his prayers and washed his sins away.  He again sings and plays with passion and a forthright directness. It’s superb.

I’ve seen Tinsley Ellis over the years and have enjoyed his live music so much. His recordings all resonate so well with me. Here with this release we see and hear a raw and stripped down version of Ellis and it is a wonderful thing to witness. The raw and rootsy approach to music that he obviously delivers from the bottom of his soul gives the listener something to savor and enjoy in a fulfilling way. He takes us on an outstanding musical journey and leaves us fulfilled and having hope, something we all need in these times.  I urge you to grab this and add it to your musical collections!

Blues Blast Magazine Senior writer Steve Jones is president of the Crossroads Blues Society and is a long standing blues lover. He is a retired Navy commander who served his entire career in nuclear submarines. In addition to working in his civilian career since 1996, he writes for and publishes the bi-monthly newsletter for Crossroads, chairs their music festival and works with their Blues In The Schools program. He resides in Byron, IL.

Pavlov’s Dog – Wonderlust

RUF Records – 2025

www.davidsurkamp.com 

11 tracks; 50 minutes

Pavlov’s Dog has always existed at the intersection of rock, classical, and folk reflection. On Wonderlust (2025) — their first album of original material in years and their most stable lineup yet, anchored by David and Sara Surkamp alongside Abbie and Rick Steiling and Mark Maher — that blend is on full display. Listeners expecting blues, however, will find an album rooted first and foremost in progressive and classic rock, where violin and synthesizer flourish and atmosphere often takes precedence over grit.

While Wonderlust sacrifices some of the immediacy and raw emotional power of traditional blues, it gains a layered, expansive prog-rock sound, full of intricate arrangements, lush instrumentation, and adventurous sonic textures – a testament to a band that has been evolving since the 70s.

The album’s back half is its strongest, as the band leans fully into familiar prog-rock territory, producing ethereal, spacey rock with polished execution.

A solid electric guitar shuffle opens “Collingwood Hotel” before Abbie Steiling’s violin weaves in. David Surkamp sings, “Crushed by more disasters than you ever could survive. Checking out of the photographs, someone knock on wood. I’m lost on my way to the Collingwood hotel.” Several voices of varying pitch call out, creating gorgeous overlapping harmonies with striking resonance.

“Solid Water, Liquid Sky” continues the multi-layered approach. Soft acoustic guitar and delicate violin brushes provide texture, while Steve Bunck’s steady drums anchor the track.

On “Canadian Rain,” wailing yet subdued electric guitar introduces a prog-rock sensibility. Surkamp’s high-pitched, Bowie-inspired vocals carry lines like, “Just another way to say it never had to be that way. Most time love is lost wondering why… Leave my heart to the cold Canadian rain,” matched by well-paced piano from Maher and an impressive, gaudy guitar solo brimming with distortion. Another verse finds Surkamp crooning, “I was blinded by the light. With every on on you, fear isn’t a part of you, as you blow them all away.”

“Can’t Stop the Hurt” kicks off with powerful electric guitar and prominent synthesizer, propelled by a unique rhythm. Surkamp’s high-flying vocals soar before he drops into a lower register, while a shrieking, sliding synthesizer solo serves as the track’s centerpiece.

Heavy splashes of guitar, synth, and drums mark “I Told You So,” which moves into a funky, prog-rock groove. The song simmers with strange, mysterious flavor, touching lightly on blues, as Surkamp sings, “I’m not picking up the upstairs man… Cow black leather won’t keep you warm.”

The instrumental “Calling Siegfried” opens with gentle synthesizer melodies over an ambient, ethereal, jazzy backdrop reminiscent of Caravanserai. Soft violin and delicate synth interplay create a hauntingly beautiful texture.

Several tracks on the album’s first half are less successful. “Anyway There’s Snow” lacks soul, blues, and strong vocals, while “Jet Black Cadillac” and “I Wait for You” falter with weak lyrics. The album truly finds its momentum only midway through.

Ultimately, Wonderlust is a mixed but compelling collection, balancing uneven beginnings with a back half of richly textured, progressive rock that underscores Pavlov’s Dog’s enduring musicianship and willingness to explore new sonic territory.

Writer Jack Austin, also known by his radio DJ name, Electric Chicken (y Pollo Electrico en Espanol), is a vinyl collector, music journalist, and musician originally from Pittsburgh.

Gina Coleman – Unequivocally Blue

Guitar One Records

www.ginacolemanmusic.com

11 tracks, 39 minutes 14 seconds

Gina Coleman has one of the most interesting back stories in the contemporary blues world.  Through a series of serendipitous events, she changed her life’s direction in 1999 and became the leader of Misty Blues, a band that has gained a solid following over the years. Coleman and Misty Blues have received a lot of airplay from B.B. King’s Bluesville station on Sirius XM. That band’s creative cover tunes featuring Coleman’s unique voice bring fresh, high-energy interpretations to familiar to blues classics.

With Unequivocally Blue, Coleman has stepped out of the Misty Blues large band format to showcase her skills as a  singer/songwriter with a much smaller group. The album sticks close to blues and roots territory, with Coleman’s throaty contralto front-and-center. She has brought two of her Misty Blues bandmates into the studio to record these songs. Guitarist Stuart Fleischman provides harmonic support and contributes agile solos. Coleman’s multi-talented son, Diego Mongue, is the rest of the rhythm section, multi-tracking bass, drums and percussion on the album. In addition to providing all of the vocals, Coleman contributes some tasty cigar box guitar work. The recording was produced and engineered by Ronan Chris Murphy.

The record opens with “No More To Give”, a moody, G minor lament about the pain of an exploitive romantic relationship. Coleman’s cigar box guitar riff underpins her vibrato-soaked vocal work. Mongue adds rumbling drums to the foreboding mix.  The combination evokes emotional darkness.

The second track shifts the mood completely. “Days Gone By” opens with a jaunty strut that sounds a bit like Johnny River’s 1964 hit record, “Memphis Tennessee. Some tasty slide guitar and a driving rhythm create a dance-able tune. Coleman’s lyrics describe nostalgic memories that will “never get old.”

The title track, “Unequivocally Blue”, is a swinging,  jazzy blues with Mongue’s bass figuring prominently in the mix. His walking bass line anchors the tune, and he contributes some short solo passages before Fleischman’s guitar takes over. Coleman sings about the varieties of blues music and asserts that she is “unequivocally blue.”

“Let Them Blues” is an old-school shuffle with Coleman encouraging troubled people to “let them blues fill your soul.”  “Ain’t No Giving Tree” is a blues rhumba, with lyrics expounding on Coleman’s unwillingness to be a doormat. “Fly With Me” uses a 6/8 time signature to provide drive for Coleman’s minor-key ode to freedom and companionship. “Up Above My Head” features Coleman’s gospel-tinged vocals as she celebrates the spiritual aspects of music. “Nothing’s in Vain” is a slow, deep ballad. “Stomp Stomp” is the funkiest track on the album.

The album closes with “Will My Blues”, which features Mongue’s work on Latin percussion and his wistful bass solo. Coleman’s poignant lyrics touch on mortality and the legacy of music left behind.

Unequivocally Blue is a solid effort by Coleman and her supporting cast. This album should please fans of Misty Blues.

Writer Chris Gillock is a blues harmonica player, vocalist, band leader, non-profit board member, music journalist and retired investment banker. He is also an occasional blogger – you can find his blog at https://g-freethoughts.blogspot.com/. Chris is also a music writer for the Evanston (IL) Roundtable.

Rumor had it that the harmonica virtuoso of John Primer’s Real Deal Band, Steve Bell, was a man of few words. “He speaks through his instrument,” it was said. “If you want to know Steve, listen to him play.” Though there might be no finer endorsement of a musician’s genius for communicating through his musical instrument, Steve is no stranger to turning a fair phrase or two.

“I just have to be asked the right question,” he said with a wry smile. “You ask me; I’ll answer it.”

We met halfway between his place and mine at what used to be known as a fast-food Rock n’ Roll restaurant. Only now it stands as an oversized greenhouse mall with no conceptual connection to the burgers and fries mass manufactured in its kitchen. I asked if he was hungry as we sat down.

“I don’t eat this kind of food.”

What seemed to be a good idea for a meeting place close to Steve’s Blue Chicago gig last Friday night, since postponed, now seemed an awkward choice. While the place had no culinary attraction for either of us, it was relatively empty except for a string of Door Dash drivers lingering near their scooters. Turns out, this was the perfect quiet spot for us to chat.

Steve Bell was born in 1967 in Waukegan, IL to native Macon, Mississippian Carey Bell Harrington and Atlanta, Georgian Dorothy Ann Stroger. His father was, for a spell, one in the long line of great harmonica players for Muddy Waters that included the likes of Little Walter, Jr. Wells, Walter Horton and James Cotton. When older brother Lurrie gravitated to the guitar as a youngster, Carey handpicked Steve to follow in his footsteps.

“I wanted to play drums, wanted to be a drummer. But another brother, James, started messing around with them and he was good. I played too hard. So, they said, ‘No, no, no, no, Steve.’ Dad picked me to play harmonica,” he mused. “Look here, I carry this old picture of me on my phone. That’s me at the age of four.”

The photo, taken from high above that little boy sitting in a chair is, frankly, adorable. In it, Steve is clad in a striped jump suit holding, with both little hands, a harmonica almost bigger than the width of his shoulders.

“After my father showed me some stuff, he said, ‘Now you got to go out and learn the rest on your own.’”

“So, I went out on my own. Sometimes, you know, through records, sometimes at my dad’s rehearsals, and sometimes with Billy Branch. They’d sit and play, and I’d play along with them.”

A quick scroll on Steve’s phone revealed a stage shot of Carey, his mouth obscured by his hands cupping his harp, as pics of harp players invariably do. He had the same eyes as the man sitting across the table, drooping downward at the outside edges, sad and forlorn. Steve is the spitting image of his father Carey above the nose.

“See, I was destined to follow my dad,” Steve observed.

Carey Bell Harrington, born in 1936, loved the sax sound of Louis Jordan but his family couldn’t afford one. So, the boy taught himself to play harmonica and was proficient enough to join his pianist godfather Lovie Lee’s blues band at the age of 13. When Carey turned 20 in ‘56, Lee convinced him to move to Chicago with him. Carey quickly assimilated the Chicago style by learning directly from both Little Walter and Big Walter at the legendary Club Zanzibar. When interest in harp players waned in the late ‘50s and early 60s, stints as a bass player kept him working on the music scene. But by the time he married and had children, he returned full time to harmonica, leading on his debut album Carey Bell’s Blues Harp (Delmark DS 622 /1969.) The Muddy Waters period followed in early to mid ‘70s during Steve’s childhood, followed by a few years touring with Willie Dixon’s Chicago Blues All Stars.

“Yeah, man, these musicians were always over at the house, and I just naturally would play along. And no one ever said, ‘stay out the way, son;’ it was my way of growin’ up.”

Steve Bell continued to play harp and when guitarist John Primer left Magic Slim in the mid-‘90s to form his own band, he wanted a harp slinger.

“It was down at the Checkerboard where the dude at the door, Willie Sutton, was the one who recommended me to John,” explained Steve. “He asked, I said yes, and we been together ever since. And John became like a father figure to me after my dad died in 2007.”

These days, Steve Bell lives in Kosciusko, Mississippi with his wife to be close to two daughters and some grandchildren. The miles pile up, however, from traveling back and forth to Chicago and other locations to perform with the Real Deal Band.

“I take a bus or a train; it depends on the money I’ll earn when I get there. I missed last Friday night’s gig at Blue Chicago because the bus broke down in Atlanta, so that didn’t work out. But I was here for Saturday’s gig at Blue Chicago and Sunday’s in Aurora.”

Having to travel to Atlanta to get to Chicago is a brutal extra 200 hundred miles out of the way.

“Hey, that’s the musician’s life.” Steve said philosophically. “If you want to play music, that’s what you got to do.”

Depending on The Real Deal’s schedule, he often stays in the Windy City with a sister for weeks at a time and gets to visit with a 3rd daughter nearby.

“This time, though, I headed back in just one week. We’re heading out to Omaha and Lincoln, Nebraska before Christmas, then I go home until after New Years.”

Renowned in the blues world, John Primer’s Real Deal Band has the status and large following to play frequently in Chicago without exclusivity to any one club. On any given weekend night, a blues lover might find them performing at Rosa’s Lounge, Buddy Guy’s Legends, Blue Chicago, Hey Nonny in Arlington Heights and many other venues in surrounding and distant suburbs. They are in high demand in faraway places; Steve and the guys have made appearances at festivals, theaters and clubs all over the world. In early 2026, The Real Deal Band is slated for shows in the Netherlands, Germany, Belgium and Luxembourg in March then for a swing thorough Florida in April.

Bell’s harp sound is known for its muscularity and musicality in his ability to extend lines and sustain notes. He’s a powerhouse. We asked if he’s ever run out of gas during a particularly long passage.

“No, not ever. I can’t say why, but it’s never happened. I smoke cigarettes some, but I’m in good shape. I take vitamins. My dad smoked too, Pall Malls. But he never complained about losing his breath during a solo either.”

He’s a natural, he explained. He rarely practices and rarely thinks about his playing except while he’s on stage.

“I just learned from my dad, it came to me like… It just did. Phrasing is everything, isn’t it? See the sound I got? I used to play just like my dad – from note to note. I thought about it one day and I said, ‘Wait a minute, I got to try and find my own.’ So that’s what I did. I went and put something harder together. Put in some Billy Branch and put in some Sugar Blue in there too. I just flipped it. So, I’m like, ‘okay, I’m going this way.’ But I still got my dad in there every time. Yeah.”

The subject of Steve’s approach to playing continued. How is it that he not only feels the music so deeply but keeps his chops together without the behind-the-scenes rigor usually demanded to keep technically on top? One recalls Miles Davis’s insistence that his musicians respond to each other during performance and eschew practicing runs and stock phrases beforehand. Without quoting Davis, Bell ascribes to this notion as well.

“I practice on stage,” Steve said flatly. “Over-rehearsing would take the juice out of it. It’s not to say I haven’t learned my instrument. I spent years toiling at it, breaking through barriers of fatigue that are required to really know it. But at some point, it’s inside and getting it out on stage is the best way to go.”

Blues Music is a way of being, it’s deeply embedded, it does not take repetition to get to it. Put him on a stage with John Primer, his late cousin Eddy Clearwater, Buddy Guy or whoever it may be in the Blues pantheon, and he’ll channel his father, and more, without missing a beat.

Bell does talk through his instrument after all. And, at times, he plays beyond himself. (“Don’t play what’s there, play what’s not there:” Miles Davis.)

“Yeah, it happens all the time,” Steve explained with passion. “I’m like, man, how did that come out of me? Wow. All my tears came out just last Saturday and Sunday night; I hit some notes, man, like, damn – I guess it was my dad that came to me. It was his stuff—just hit me all at once. I’ll be on the stage, and the people won’t even know it. I get that feeling and cry when it comes. I’m trying to hold it in, but it just grabs me. I’ll tell John later, ‘I didn’t see that note coming tonight but it sounded so good.’”

Steve speaks fondly of his 30-year relationship with John Primer.

“John’s been a good guy to me, man. Good person, too. You know, he’s got a feeling, like, for a dad. Him and Lisa (John’s wife and manager), they’re a nice thing. Uh-huh. Now, every now and then he might cuss me out, but he does it as an elder would to someone he loves. I don’t mind,” he laughed. “At times, he’s right; I respect him for that.”

“John’s going strong, isn’t he? Oh, man, John is strong,” bragged Steve about his mentor. “He’s a champ; he never seems to age.”

Elder statesman John Primer does the driving on the long trips, an unusual role for a bandleader.

“But he wants it that way, and we go along with it,” said the sideman.

Instruments and amps accompany them. “We are the road crew.” Though, Steve’s array of instruments is relatively unburden-some space-wise, being a professional harp player is not without its physical drawbacks.

“My harps are expensive, man. They’re $60 apiece. But I have to keep up; because I play so hard, the reeds wear out. Every time I order a set, I’m spending $350. Heck, guitar strings are only ten bucks but I gotta go and replace my whole instrument,” he lamented.

Bell plays Hohner Special 20s and the discussion turned to a prospective sponsorship.

“I need to look into that,” he said matter-of-factly.

One doesn’t need convincing that a musical artist of Steve Bell’s caliber and renown is certainly deserving of it.

“See, people think it’s easy to play the harp, but it’s not. It’s hard. You got to know what you’re doing. And even though you must play a lot to learn it, you can’t get sick of it. See, you can learn the guitar and bass or drums quick, I think. You can learn that. But the harp… yeah. Without knowing all its ins-and-outs, you can’t. You just can’t,” he repeated for emphasis. “I told a guy the other day, I’m going to try the horn. The sax. I think I can play that; I’m going to try the horn now. I got the wind for it. I just got to get one.”

Steve’s appreciation for the high standards of musicianship on the Chicago blues scene is deep and wide. Having played throughout his childhood in the ‘70s with many of the greats in his own home, he now gravitates towards the inheritors of those greats. There’s John Primer, of course, and bandmates Melvin Smith on bass and Lenny Media on drums. (Steve Bell’s work with Primer and The Real Deal Band is best showcased on Hard Times {BHP JP2022-LP01}). But he plays with others that are the best of his own generation as well.

“Well, the Mike Wheeler Band really cooks, I like to sit in with them. Rico McFarland, Zora Young, too. I was on one of Sharon Lewis’s CDs. I like to play with my brothers Lurrie, James and Tyson. You know, we all recorded the Bell Dynasty album as a tribute to my Dad a couple years ago. (Lurrie Bell & the Bell Dynasty -Delmark DE 855.) I’d like to put us together again if we can. You name it, man, I like to play with everybody. Any time, any place.”

When asked if he had any notions of pursuing a life outside of that of a musician, Steve reflected on the path he took to get here and the path that lies before him.

“I’m locked into music. Yeah, it’s just locked in,” he said assuredly. “Sometimes I sit back and relax and be like, man, I feel like doing something else. But no, I’m with the music. This is my life. When I think about, I say, ‘I’m taking my dad with me all the way.’”

Journalist Peter Hurley is a noted Chicago Blues writer and photographer. Mr. Hurley’s passion for Blues music and its accompanying photography was first inspired by the 1960s albums Chicago Blues Today Vol. 1, Jr. Wells’ It’s My Life, Baby and the Chess Records Little Walter compilation Hate To See You Go.

Terry Robb – Howlin’ Waters

New Folk Records

www.terryrobb.com

13 Tracks – 31 minutes

Vancouver born and now Portland, Oregon based Terry Robb is a well-recognized acoustic guitar player. His finger-picking style has drawn attention on national and international stages, but across his decades of playing, he has demonstrated a capability for most blues guitar techniques. ZZ Top’s Billy Gibbons is a fan of Terry and calls him the “Master of the Telecaster”.  His abilities have been recognized by The Cascade Blues Society particularly. That society annually announces Muddy Awards, so named for Muddy Waters, to individuals and places that keep the blues alive in the Pacific Northwest. The award for Best Acoustic guitar was given to Terry Robb so many times that the association just named the trophy for him.  The Society also gave him a Lifetime Achievement Award in 2017. He was inducted into the Oregon Blues Hall of Fame.

He has toured the country with Buddy Guy, Steve Miller, Robin Trower and John Fahey. He has a close friendship with fellow local performer Curtis Salgado and has played with him frequently. His music was featured in The Game of Thrones tv series and appeared on tv on Late Night with Conan O’Brien.  He also has appeared at Portland Trail Blazers basketball games and collaborated with the Oregon Symphony.

This album features thirteen original songs by Terry. With the obvious naming of the album offering attention to the two blues stalwarts, Howlin’ Wolf and Muddy Waters, as a nod to their longtime influence they have had on American music and blues in general. Terry cites his solo playing is directly influenced by people like Blind Blake and Reverend Gary Davis. His style varies from traditional blues to ragtime with stabs into jazz and classical styles.

Terry on guitar and vocals are joined by Dave Captein on upright bass, Gary Hobbs on drums, Eddie Parente on violin, David Vest on piano, Lisa Mann on vocals and electric bass, and Hank Lionhart and Ray Merideth providing additional vocals. Captein and Hobb are currently regular band members with Terry and appeared on his previous album,  Confessin’ My Dues.

He gets things hopping with the opening instrumental, “St. Charles St.  Rag” clearly demonstrating his fingerpicking style.  He moves things along with another high-energy instrumental “Alleluia Shuffle”.  Dave’s bass introduces “Back Door Mirror” before the band kicks into gear in a jazzy instrumental with Terry burning up the frets.

The first vocal track is a country blues with the Eddie’s violin and Lisa’s duet with Terry as they sing “I feel like I’m riding on a “One Way Train” to sorrow”.  On a slow blues, Terry cries ” I used to be alright “But Not Now” as Terry goes the solo route again. “When it Gets Cold” is a moody solo instrumental well reflecting the intent of the title.

“Boogie in 7” gets some John lee Hooker sound kicking in with Eddie’s violin again playing a major role. Terry declares “howlin’ waters, burnin’ sky, rising time, bug your eyes, open a can, feel the heat, go to the hook, stomp your feet”. “Hobbs Captain” slows things back down and shifts into a quiet jazz mode. “Fires In the Country” deals with the massive fires that have impacted many parts of the country as Terry references “smoke in the air, people acting crazy, crazy running scared.”.

“Katie & Arnie” is another short, bouncy instrumental. “Ride to Ticina” moves into a slow jazz

mode with a cinematic feel almost letting you see the views. The vocalists sing I “Tripped and Fell” in love with you” with David Vest’s piano kicking in and Terry’s guitar rolling along.

John Fahey is another friend of Terry’s and is cited as a person that has also had influence on his style after producing an album for him. Terry concludes the album with “Fahey at Bush Park”, a closing instrumental.

The album is a pleasant trip through the many shades of Terry’s virtuosity. His music proves that guitar pyrotechnics that are so ingrained in many current blues rock performers are not required to deliver a quality blues experience. Terry’s fingerpicking offers a master class in acoustic guitar playing.

Writer John Sacksteder is a retired civil engineer in Louisville, Kentucky who has a lifelong love of music, particularly the blues. He is currently the Editor of the Kentuckiana Blues Society’s monthly newsletter.

The Joel Dupuis Band – Very Best Fool

Self Released

www.thejoeldupuisband.com

10 tracks

This London, Ontario band, that was awarded London blues band of the year in 2024, is an electrifying three piece band. They are led by the 2024 London guitar player of the Joel Dupuis and offer up a no-holds barred rocking set of performances. Featuring Joel on guitar and lead vocals, Glenn Kitchen on drums and Mark Shickluna on bass, they are a truly rocking blues band. Joining them on the recording are Jeremy Powell on organs for two cuts, Justin Brown on keys for two, and added guitar by Pat Harrington on another.

“Borrowed Time” opens the album. Strident vocals, driving guitar and pretty keys make this one full and enjoyable. Breathy vocals and a guitar groove are the trademarks on “Mind Games.” Big solo guitar helps sell this cut, too.

“Very Best Fool” offers a slower, driving beat and  more hard hitting guitar licks. Then it’s “Big Look” with a driving beat and more stratospheric guitar. Hard hitting tracks to open the album!

Then it’s “February,” where Dupuis and the band  gives us a slow number to savor. Big organ on this one also fleshes things out well along with the stinging guitar. “Miss Mary” is up next, and this one drives with heavy guitar and a big groove.

“Persephone” pays homage to a woman I guess Joel compares to the Greek Queen of the underworld and Goddess of the dead, grain, and spring with more standout guitar and rocking good licks. Then we have “So Tired” with the added guitar and a slower little boogie going for it is complex and coolly done.

“Wake Up” gives us both keys and organ on top of the big guitar sound in this slow and solemn cut. It is slow and steady and then builds in complexity and passion until a prolonged fade that takes the listener home. It works. “Goodnight, Good Day, Good evening and Goodbye” finishes up the album. Here we get moving to a more rousing and bouncing cut that mixes down home with British invasion into a slick mix of music.

If you’re a blues rock fan I am sure you will find something in this to enjoy. This is some very heavy, rocking blues along with some more traditional blues blended in here and there; the axe work leaves no prisoners. It’s intense and I think folks will like it!

Blues Blast Magazine Senior writer Steve Jones is president of the Crossroads Blues Society and is a long standing blues lover. He is a retired Navy commander who served his entire career in nuclear submarines. In addition to working in his civilian career since 1996, he writes for and publishes the bi-monthly newsletter for Crossroads, chairs their music festival and works with their Blues In The Schools program. He resides in Byron, IL.