This next chapter in Bob Corritore’s blues adventure showcases stunning collaborations with some of the top performers on today’s blues scene. Story-telling songs with great singers and champion bands provide the ultimate setting for each of the featured guests and Corritore’s masterful harmonica. Bob has the unique ability to bring out neverbefore captured aspects of well-known singers, achieving exciting and heartfelt performances! From Bob’s cornerstone of straight, traditional Chicago Blues to his explorations with early R&B, Mississippi country blues and soul/blues, Bob Corritore captures the nuanced purity of each style, creating a guided tour of the many aspects of Blues, its tradition and extensions.

Well crafted songs, mostly horn driven. And some boogie piano with a honest voice.  What more do you need?

For this album Mick assembled his favorite team of musicians, beginning with producer and guitarist Jeff Jensen, teamed with a solid group of Memphis based musicians: James Cunningham, Bill Ruffino, Rick Steff, Tom Lonardo, Carl Casperson, Eric Hughes, Marc Franklin and Kirk Smothers. Joining them was harmonica ace Bob Corritore on a very special song.

Electric Swamp Funkin’ Blues is Selwyn’s most “in your face” recording, and proves why he has become a “must see” live artist. On the new album, Selwyn and his band move from searing, raw songs like Never Should Have Gotten Out Of Bed and Talking Heads to the tender Labour Of Love and the gentle, romantic Soulmate. The band, featuring longtime members Regi Oliver on saxophones and Donald “Huff” Wright on bass, fits perfectly into each song, creating just the atmosphere Selwyn intended.

Organic modern and old school blues songs. John F. Klaver is on his best with touching fingerpicking guitar.

Jojjo and Amedee met in high school as guitarists for the Fontainbleau Jazz Ensemble. After several years away, playing different musical venues, they reconnected at a benefit show featuring Dr. John and Rockin' Doupsie. After playing music together again, they realized that they had something incredible to offer the community. Thus, the Pontchartrain Shakers were born, driven by the deep roots in the blues and the sweet interweaving harmony of traditional jazz

Before the musicians formed The Dibs, they had already showcased their talents in various formations. The band's figurehead is singer and percussionist Peter Jacobs. Peter is supported instrumentally by drummer Jeff Jr. Gijbels, bassist Guy Engelen, guitarist Stanley Patty, and Bart Billekens on Hammond and piano.
'Just For You' is The Dibs' debut album. It contains 11 songs, no fewer than 10 of which originated with the quintet. And those who regularly read our reviews know that's a plus for us.
The album opens impressively with the funky 'No Sleep'. The instrumental pieces fall into place immediately, allowing Peter to go all the way. Original ideas can be found in 'Stop Fooling Around' and its follow-up, the contradictory 'Sick And Tired', both of which are introduced by nothing but steady drums. The same goes for 'Live Life', which has a jazzy feel. ‘Like Lovers Do’ is a magnificent ballad that embodies the best of blues and soul. For pure soul, skip to ‘Relentless’. New Orleans subtly surfaces a little later in ‘Getting Older’. The band then works its way through ‘Last Chance’ with a blues-rocking flourish. The Dibs close with the bluesy ‘Together’, which leads into a stirring gospel.
Musically, there's certainly something for everyone, but pay close attention to the lyrics as well.
It's beyond doubt that these are true musicians at work here. If I may point out one minor point, it's that very but also very occasionally, Peter's vocals seem to get lost a little bit in the mix. Nevertheless, Peter, Guy, Jeff, Stanley, and Bart can be proud of ‘Just For You’.

That the now 77-year-old blues legend Duke Robillard has been quite productive throughout his career becomes clear from the fact that this journalist had quite some trouble determining exactly how many solo albums the man has released: I arrived at 36, but colleagues mention somewhere between 35 and 38 – and that’s without counting the albums by Roomful of Blues and The Fabulous Thunderbirds in which the guitarist was also active.
The shoes of a Jimmy Vaughan cannot simply be filled by just anyone, of course, but even in 2026 Duke Robillard proves why he was allowed to do so back then. While there is nothing particularly innovative to be heard on the man’s latest offspring, 'Blast Off!', even the performances of already well-known songs such as 'Warm and Tender Love' (a 1966 classic by Percy Sledge), the funky 'Confusion' (originally by Allen Toussaint), the sizzling, wonderfully layered 'Lowdown' (by Tom Waits, with whom Duke Robillard toured two decades ago), and the instrumental 'The King' (by Count Basie) sound remarkably fresh and energetic. The cover of 'Lowdown' in particular is delightful and adds a slightly rougher edge that is (a little too) absent from most of the other tracks.
Naturally, 'Blast Off!' also includes original material, although with 3 out of 12 songs (two of which are entirely instrumental) that number remains rather modest. The fact that Duke Robillard wrote the one self-penned track that also features vocals, the somewhat sensitive 'Feel My Cares' – a blues ballad in which Robillard himself sings instead of leaving everything to the (better, though not exceptional) vocalist Chris Cote – when he was just 17 years old may be telling, though the guitarist’s repertoire has long been filled with reinterpretations of well-known (and lesser-known) songs.
'Blast Off!' offers an engaging journey through familiar genres, from jump blues and ragtime to R&B, jazz and big band, sometimes accompanied by rather cheesy lyrics, but Duke Robillard – who produced the album himself – makes excellent use of the accompanying musicians on his debut for the Nola Blue label, and together they ensure that the album remains fairly cohesive. The strong horn section in particular deserves mention.
A good album with slightly too few surprises to be added to the very top of Duke Robillard’s discography, but with more than enough craftsmanship to make it worth the purchase.

Blues brings people together – So don’t hesitate to enjoy on the rhythms of  Omar & Igor. 

Slideways, is the new album (and 10th Alligator release) from Chicago’s own Lil’ Ed & The Blues Imperials. The album features 12 of 13 original songs and was co-produced by Williams along with Alligator president and founder Bruce Iglauer. Slide guitarist, vocalist and songwriter Lil’ Ed Williams—like his musical forebearers, guitar masters J.B. Hutto (Ed’s uncle), Elmore James and Hound Dog Taylor—is a giant of the genre. He and his band —bassist (and Ed’s half brother) James “Pookie” Young, guitarist Mike Garrett and drummer Kelly Littleton—have been delivering gloriously riotous, intensely emotional, wickedly playful Chicago blues to audiences around the world for nearly 40 years together – the same four guys (that’s an amazing story in and of itself!). And now with Slideways they’ve made what is, according to Iglauer, “the crowning achievement of their entire career.
The songs are saturated with Lil’s swinging slide guitar playing and raw vocals, all wrapped up in a cheerful mix of splashing slide guitar boogies, raw shuffles and heart-rending slow blues.

A very talented guitarist with a bright future ahead

Some artists or bands are eagerly anticipated when they announce a new album. Well, for me, that includes Germany's B.B. & The Blues Shacks. The fact that this band can't be pigeonholed into a single blues genre, but instead presents the entire spectrum with class, places them among the top. They do this again on their new album, ‘Blues Is A Stew’, a title that perfectly reflects their diversity.
The album contains 15 tracks, no fewer than 11 of which were penned by brothers Michael ‘Maddy’ and Andreas Arlt. The band also consists of Hennig Hauerken (upright and electric bass), Fabian Fritz (piano and organ), and Andre Werkmeister (drums and percussion), supplemented by guest musicians for the horn section.
The band kicks off with a swing with their own composition, ‘That Kind Of Woman’, where Andreas's sensitive guitar work immediately shines. Michael introduces the follow-up, the harmonica-based shuffle ‘Till The Break Of Dawn’. He does the same with ‘Let Me Know’. For a slow soul blues, the quintet turns to Little Milton's signature ‘Dead Love’, and the band’s version of ‘Please Don't Leave’ is also a stunning slow blues track. However, the band doesn't rely on others for slow blues songs. For proof, be sure to listen to the fantastic and original ‘When A Long Time Friend Is Gone’. Steaming rhythm & blues can be found in ‘Wrong Direction’. For a truly beautiful Chicago blues, check out ‘Gold Diggin' Woman’.
Michael's brilliant vocals and blues harp, complemented by Andreas's sublime six-string parts, make this album another blues album that exudes class. That class can certainly be attributed to the rhythm section and keyboardist. Without them, this album wouldn't have reached this high level.
In short, ‘Blues Is A Stew’ is a finely cut diamond of a blues album.

Dutch singer-songwriter with strong poetic lyrics and a diverse musical style.

Mark Cameron uses his multiple skills to compose not so familiar blues songs.  Surprisingly good!

The album gives a vivid image of Bourne and Kansas City. Really a vibrant album!

Ana Popovic is always convincing: if not with her appearance, then with her voice and guitar. 

Powerful and raw vocals, and phenomenal guitar playing: Duwayne Burnside made my day!

Each song carries the weight, experience and hard-earned wisdom Ellis learned over four decades on the road, infusing ‘Labor Of Love’ with an emotional authenticity that is palpable from start to finish. So, this is Ellis’ second all-acoustic album (following 2024’s ‘Naked Truth’), and the first to feature all original material. For the album, Ellis used six different open tunings on his beloved 1969 Martin D-35, his 12-string Martin D-12-20, and his 1937 National Steel O Series guitars. He also, for the first time in his career, played mandolin on three of the album’s songs. The instrumentation and the tunings, he notes, create endless possibilities, and he finds himself constantly invigorated by the music. On the album you’ll hear echoes of Mississippi Delta blues, and even more specifically, blues from the Bentonia region, as popularized by long-ago blues giant Skip James and kept current by Bentonia bluesman Jimmy “Duck” Holmes. During a break from recording ‘Labor Of Love’, Tinsley spent some time in Mississippi with Holmes and performed with him at his legendary juke joint.

Authentic fingerpicking blues from the deep south, with roots in slavery but it touches your soul.

On July 25, 2025, Stef Paglia played at the Open Air Festival in Brezoi, Romania. Stef's band consisted of Tom Eylenbosch on Hammond and backing vocals, Carlo Van Belleghem on bass and Sven Bloemen on drums and backing vocals. The band had such a great time that it turned into a fantastic performance. Stef and his bandmates immediately decided to immortalize this performance on a CD. The album contains eight songs, six of which are originals from the EP ‘Light & Darkness’ and the album ‘Never Forget’. The other two tracks are The Meters' ‘Cissy Strut’ and Neil Young's ’Old Man’.
Opener ‘Stand Up!’ immediately reveals a well-oiled band, where the musical pieces fit together seamlessly. Stef is a master at coming up with catchy riffs, as can be heard on ‘The Unknown’, after which the accelerator is pressed a little less with ‘Take Away’ and ‘Warmth Instead Of Cold’. Things get funky when Sven’s drums put the instrumental ‘Cissy Strut’ on the rails, featuring a superb performance from Tom on Hammond. Stef then gets to showcase his impressive guitar playing on the inspiring, eight-minute instrumental ‘Mystery Heaven’, reminiscent of the first formation of Fleetwood Mac. The album closes in crescendo with the beautifully constructed ‘Old Man’.
‘Live’ is an album that offers plenty of variety. Alongside solid blues rockers are instrumental highlights that fully showcase Paglia's talent and craftsmanship.

​Powerful vocals on raw storytelling, really enjoyable album.

Call it blues rock, southern rock or roots:  it’s just fantastic fun.  Love it and you wil too!

Drummer, singer, producer and songwriter Tom Hambridge deserves his place in the Hall of Fame.

The variation on ‘The Blues Is My Biography’ reflects Billy Branch’s talent.  His music takes you by the b…soul. And I love it!

In the previously published volume, which focused on the period 1941-1956, we already learned that, although he may not have enjoyed the fame he deserved, guitarist Robert Lockwood Jr. played a pioneering role in bridging the gap between Delta and Chicago blues. The fact that he inherited both the Delta blues skills he acquired from his stepfather, Robert Johnson, and his effortless mastery of urban Chicago blues and rhythm & blues certainly contributed to this. He was also a sought-after session musician, to whom pianists and harmonica players owed their success.
This second volume again contains songs Robert recorded under his own name, as well as tracks where he appears as a valuable sideman.
To distribute the number of tracks evenly across the two volumes (28 tracks on volume 1 and 27 tracks on volume 2), the periods partially overlap. That's why this volume starts with the 78 rpm ‘I'm Gonna Dig Myself A Hole / Dust My Broom’, which Lockwood Jr. recorded under his own name in 1951. Both songs are credited to Lockwood, although Arthur Crudup recorded ‘I'm Gonna Dig Myself A Hole’ six months before Robert. The original version of ‘Dust My Broom’ was written by Robert Johnson. ‘I'm Gonna Dig Myself A Hole’ is a typical blues, and you'll more than likely hear the legendary Otis Spann on piano. ‘Dust My Broom’ was immortalized by Elmore James through the use of slide. The pianist on duty here is probably Sunnyland Slim.
In 1954, Robert recorded his last 78 rpm album under his own name, ‘Aw Aw Baby / Sweet Woman’. Besides his brilliant guitar work, Sunnyland Slim is back on piano. The A-side is certainly modeled after Johnson's ‘Sweet Home Chicago’. ‘Sweet Woman’ is a slow blues with a great, smooth, slightly jazzy guitar. When Robert switches to the guitar solo, he displays his immense creativity.
Lockwood Jr. can be found behind many popular artists, such as John Brim, Freddy King, Eddie Boyd, Little Walter, Sonny Boy Williamson, Muddy Waters, J.B. Lenoir, Willie Cobbs, Ernest Cotton, and Sunnyland Slim.
All these artists are represented here with one or more tracks. What these recordings clearly demonstrate is that Robert Lockwood Jr. refined the tight Chicago sound through his talent on the six strings. He then swings again on Freddy King's ‘That's What You Think’.
Robert sometimes collaborated on two guitar parts with Luther Tucker. Both parts then matched wonderfully with the rhythm section. A beautiful example can be found towards the end of Little Walter's instrumental ‘Rocker’. A delightful guitar part, where Lockwood Jr’.s creativity soars, surrounds Sonny Boy Williamson's ‘Cross My Heart’. Robert also effortlessly found his place in J.B. Lenoir's rhythm & blues ‘She Don't Know’, and be sure to check out his part in Willie Cobbs' ‘Slow Down Baby’. Simply sublime! He echoes this in Ernest Cotton's ‘Going Back To Memphis’, as well as in Cotton's instrumental ‘Uhm Beautiful’, and certainly also in Sunnyland Slim's ‘Worried Bout My Baby’.
In 1960, Robert Lockwood Jr. moved to Cleveland and that same year he was present when Otis Spann recorded his groundbreaking album ‘Otis Spann Is The Blues’. This compilation ends with three songs from that masterful album, including a remake of ‘Little Boy Blues’.
Robert Lockwood Jr. never embraced the image of the ‘hard-drinking bluesman’. On the other hand, he held dignity and professionalism in high regard, and was sometimes labeled authoritarian as a result. The fact that his demeanor led to brilliant recordings can be heard on these two volumes in the ‘Right Hand Man’ series. A more than justified tribute!