Jimi “Prime Time” Smith – It’s My Time
New Folk Records – 2025
11 tracks; 49 minutes
Blues may be one of the only musical genres where artists can hit their prime in their 60s. Jimi “Prime Time” Smith’s first solo album in 15 years, It’s My Time, proves that and lives up to its’ title. Time is a terrific, authentic record that could only have been produced by an artist with a lifetime of blues in his blood. It’s refreshing in that there seems to be no studio trickery. It’s more like a bunch of friends walked into a room, turned on the mics, and played their truth – like a live album with no audience. Eight of the eleven songs are Smith originals that he wrote in the months following a breakup. He was racing against the clock to record them before a tricky back surgery, uncertain of his ability to perform thereafter (it worked out fine). The result is a wonderful collection of songs that are bound to appear on blues playlists and secure Smith international bookings. The harp playing of blues mensch Bob Corritore is a welcome addition. Smith has played with Corritore for several years in Arizona, but it’s their Chicago blues connection that shines through here. Their duo performance on “My Time” is a vintage acoustic treat and Smith’s new manifesto. Many of these songs feel like being transported back to the Checkerboard Lounge.
Smith himself is front and center with his Lucille-style Epiphone and soulful vocals throughout, but there are also solid contributions from his chosen band. Toby Lee Marshall’s organ work echoes “the other” Jimmy Smith. Dave Foley’s horns add a timeless touch and boost the dynamic range. Allen “The Captain” Kirk knows how to shuffle on drums and co-producer/mixer/engineer John Wright capably holds it down on bass and percussion.
“Don’t Let The Devil Ride”, written by Neal Roberson, leads off the record and is one of the strongest tracks. Smith’s guitar, Marshall’s organ, female backup singers, and the bouncy rhythm section add to the joyful gumbo. The second track “Back On The Road” is lyrically the blues variant of “On The Road Again” and it has an upbeat, piano-led roadhouse vibe and stinging guitar jabs. “Moving On” sounds like Smith is ready to pack his records and seek greener pastures. The last two songs “Will It Ever Change” and “Serious” are Luther Allison covers. Smith really stretches out and lets it rip on the eight-minute encore “Serious”. Jimi is very familiar with the Allison family, having played with son Bernard Allison extensively. It’s experiences like that and playing with the likes of Jimmy Reed, Hubert Sumlin, Eddie Taylor, Sunnyland Slim, Jimmie Johnson, Big Walter Horton, Albert King, Etta James, and many others that give Smith’s music that been-there, lived-that, real-deal blues feel. His mother Johnnie Mae “The Big Boss Lady” Dunson was one of the first female drummers and songwriters of the blues, which allowed him to grow up around Chicago’s legends. Her son has produced a strong record. These songs will wear well on the road. The future is bright for the young-at-heart Jimi “Primetime” Smith.
