The blues wasn’t born in Chicago, nor did it only exist there, but it became an indelible part of the city’s landscape. As the endpoint of so many migrations from the South during the 1920s through the 1950s, Chicago was perfectly situated to embrace the blues. Throw in some record labels with the wherewithal to document what was happening, and the City of Big Shoulders ended up as probably America’s primary home of the blues.
Start with Muddy Waters and Howlin’ Wolf, and throw in Little Walter, Sonny Boy Williamson I & II, Robert Jr. Lockwood, Tampa Red, Willie Dixon, Jimmy Reed, Otis Rush, Magic Sam, Bo Diddley, Buddy Guy, and many, many more giants. There are dozens of great blues musicians who have called Chicago home. The purpose of Chicago Blues: A Living History is not only to put these giants into the context of a single place on the map, but to call attention to those who are carrying on the tradition to this day.
Chicago Blues: A Living History
This second album in the series brings back the four “bridge” artists from the 2009 Grammy-nominated release – John Primer, Billy Boy Arnold, Lurie Bell, and Billy Branch. (These four players began their careers working with many of the aforementioned blues stars, and continue to play with the younger ones working today.) In addition, Buddy Guy, James Cotton, and Magic Slim, three more “bridge” performers with bigger national awareness, are brought aboard, and three younger performers – Ronnie Baker Brooks, Zora Young, and Mike Avery – step up to greater exposure.
The basic backing band of contemporary working musicians is on hand once again. Guitarist Billy Flynn, keyboardist Johnny Iguana, bassist Felton Crews, drummer Kenny Smith, and harmonica player Matthew Skoller do a wonderful job shifting through all the different styles being documented on these two discs. As with the first album, songs are chosen from the repertoire of many Chicago blues legends, run through in roughly chronological order, and featuring different leaders culled from the guys named on the front cover. With very few exceptions, the performances are worthy interpretations of first-rate material.
The (R)evolution Continues
The 75-year-old Billy Boy Arnold opens the record with the oldest material, songs originally recorded by Lonnie Johnson, Tampa Red, and the first Sonny Boy Williamson (from whom a very young Arnold took at least a few lessons on harmonica, according to Wikipedia, and they wouldn’t lie). His relaxed vocals and sparkling harp playing are pure delights, and the band has a great time aping the sound of 1940s-era blues ensembles, created when the style was figuring out how to deal with electricity and bigger groups.
65-year-old John Primer, who played with Muddy Waters the last few years of that man’s life, and was a long-time side-man with Magic Slim, handles some classic Chess blues numbers from the 1950s. Singing Muddy Waters’ “Canary Bird,” Jimmy Rogers’ “Chicago Bound,” and Howlin’ Wolf’s “Howlin’ For My Baby,” Primer captures the pride and the youthful exuberance of his predecessors. He also does a nifty bar-band version of Chuck Berry’s “Reelin’ and Rockin’,” included here because the St. Louis native Berry helped found rock 'n' roll by recording in Chicago. Primer’s guitar is also nasty and powerful.
Lurrie Bell, 52 years old, is the son of the great harp player Carey Bell, and a terrific vocalist and guitarist. He sings a fine Floyd Jones number (“Stockyard Blues”), a swinging Muddy Waters song (“Diamonds At Your Feet”), and a moving original he wrote in tribute to his father (“Got To Leave Chi-Town”). Billy Branch, 57, who apes Carey Bell’s harp style on that latter number, does an interesting if not-quite-on-the-money take on Elmore James (“Yonder Wall”), and masterfully and salaciously knocks out Little Walter’s “Mellow Down Easy” before sliding into a soulful take on Bo Diddley’s self-titled classic, marred only by a mercifully brief rap which just makes him sound out of touch.
Buddy Guy & James Cotton
As for the three big name invitees, they do not disappoint. Buddy Guy holds nothing back either vocally or on guitar with his searing “First Time I Met The Blues.” James Cotton recreates his take on Jackie Brenston’s “Rocket 88,” and does some blistering duels with Billy Branch in the process. Magic Slim reunites with Primer for a bluesy take on Chuck Willis’ R&B song “Keep A Drivin’.” Slim may not have the name recognition of Guy or Cotton, but his guitar playing ranks up there with the best blues players today.
The three lesser-known artists that are given their place in the sun are a mixed bag. Zora Young is a passionate, soulful tenor vocalist who handles Sunnyland Slim’s “Be Careful How You Vote” with aplomb. Mike Avery, Magic Sam’s cousin, does a decent job on Sam’s majestic “Easy Baby,” but nobody can do justice to a cover of one of the most powerful blues recordings in history.
Steve's Bottom Line
Ronnie Baker Brooks is the son of Lonnie Brooks, and is trying hard to carry on blues traditions and make them relevant and exciting to today’s youth. He does a great job on his dad’s “Don’t Take Advantage Of Me,” but overplays on his own less-than-engaging “Make These Blues Survive.”
The album title implies that Chicago blues is both revolutionary and evolutionary. Brooks may find a way to pull off both ends of this dichotomy, as so many of his predecessors being honored here have done. He’s got talent, for sure, enough to hang with the many amazing musicians and singers brought together for this very enjoyable double album. (Raisin' Music, released June 21, 2011)
