The Top Ten

1) Rick Estrin and the Nightcats: Groovin’ at Greaseland

Once again, this veteran blues institution hits it out of the park. On Groovin’ In Greaseland, Estrin and company put together a solid collection of originals which feels like songs that you have already been listening to your entire life, yet they are as new and fresh as a bakery at sunrise. These songs, for the most part Estrin originals, fit my ears like a comfortable pair of shoes which still have a lot of miles left in them. Each song is an individual, self-contained gem that has listeners following this great band to several destinations along the blues highway. It is the original songwriting that puts Groovin’ at Greaseland at the top of the heap and that is why it is the 2017 Album of the Year.

2) Kim Wilson: Blues and Boogie Volume 1

Kim Wilson’s October 20, 2017, release Blues and Boogie is easily his best studio effort since 1997’s My Blues. Here, Wilson sheds the baggage of his recent soul-pop-blues offerings under The Fabulous Thunderbirds banner and gets down to what he does best, which is straight ahead natural blues…and boogie. This Severn Records release features a cadre of blues heavyweights and includes the late Barrelhouse Chuck on piano and the world’s greatest blues drummer, Richard Innes, who we also lost coming up on three years ago in March. Recorded at Nathan James' Sacred Cat Studios in Oceanside, California, this album is so good it is hard to imagine it coming in at number two this year.

3) Jimmie Vaughan Trio featuring Mike Flanigin: Live at C-Boys

Live at C-Boy’s captures a moment in time and puts listeners in an atmospheric setting that is vintage cool and vintage Vaughan…which of course is the same thing. Vaughan is actually a regular special guest with the B3 player Mike Flanigin and part of his trio which also included the legendary drummer Barry “Frosty” Smith, who passed away last year. He has been playing in Austin with these two musicians for a few years now when he isn’t on the road with his own Tilt-A-Whirl band. So, the question remains does my well- known affection for B3 trios and for the guitar playing of Vaughan influence my selection in slotting this album at #3 this year. The answer is: You’re damn right it does.

4) The Peacemakers (Self Titled)

This self-titled album comes from the next generation of Austin, Texas, blues men. These are all accomplished veteran players, mind you, who have kept this famous music town's blues flame burning while that town has exploded into a Texas sized version of its former self. The Keller brothers, Mike (guitar) and Corey (drums), are joined by guitarist Willie Pipkin, bassist Johnny Bradley and vocalist/harp man Greg Izor. If you like the Little Elmore Reed Blues Band or the music of Greg Izor, you will love The Peacemakers. The Peacemakers present some real low-down blues played the straight natural way.  

5) The Cash Box Kings: Royal Mint

This release is The Cash Box Kings’ debut on Alligator Records. The Cash Box Kings is a great Chicago blues collective which led by vocalist Oscar Wilson and harp man/vocalist Joe Nosek. The band suffers from an embarrassment of riches in the guitar slot as both Billy Flynn and Joel Paterson handle the six string chores here. Traditional blues juxtaposed with songs that sport topical themes make Royal Mint as interesting as it is fun. This band just keeps getting better with each recording and demonstrates that traditional Chicago blues can have a contemporary edge to it and swing, all at the same time. 

6) Chris Cain Self Titled                                                                                                 

Veteran blues man Chris Cain's sound has often been compared to that of B.B. King. If you are a blues singer and guitarist that is never a bad thing. However, on this brand new Little Village Foundation release, Cain brings so much more to the session. Not only does Cain play his guitar evoking the sounds of Guitar Slim and Albert King, but plays piano on several tracks and alto sax on another. Produced by Kid Andersen and Jim Pugh, this is the best album of Cain’s long career. He is joined by Pugh on organ as well as the rhythm section of bassist Larry Taylor and drummer Tony Braunagel.

7) The Dylan Bishop Band: The Exciting Sounds of the Dylan Bishop Band

This eighteen-year-old Texan’s debut album represents a true beacon on the blues horizon. Original songs highlight this wonderful set. This album produced by Billy Horton at his Fort Horton Studios in Wyldwood, Texas is a real revelation. He is backed by a wonderful band of veterans which includes sax giant Doug James. Jimmie Vaughan even guests on two tracks. This release might put listeners in mind of those early Nick Curran records put out on the Texas Jamboree label. Dylan is mature beyond his years and if this CD is any indication, he will be making compelling music for years to come.

8) Patrick Recob: Perpetual Luau

Patrick Recob is a Kansas City, Missouri, based bass player and, as it turns out, a terrific vocalist and songwriter who recorded an entire album in Oceanside, California, at Nathan James’ Sacred Cat Studios. Nathan even plays guitar on most of the album. Laura Chavez played on three of the album’s thirteen tracks. The ubiquitous west coast drummer, Marty Dodson, is heard playing here and wonderful contributions are made by percussionist extraordinaire Mike Tempo. The great James Harman has his fingerprints all over this recording as well. He blows harp on three tracks and, along with Nathan and Patrick, is the album’s producer. He even closes out the proceedings with a spoken word reading of a Recob original. This album represents one of the most pleasant surprises of the year.

9) Oscar Wilson: One Room Blues

This Airway Records release was co-produced by label owner and tenor sax man Sam Burckhardt along with the ubiquitous guitar virtuoso, Joel Paterson. They took some very familiar blues tunes out for a ride and in the process found head room in some old favorites. Songs such as Lowell Fulson’s Reconsider Baby, Percy Mayfield’s Lost Mind and River’s Invitation, Bobby Bland’s Further On Up The Road, B.B. King’s Your Letter and others are subtly reimagined. The real star here is the natural unaffected voice of Oscar Wilson. He demonstrates a real aptitude for his craft. His ability to put his own spin on some very familiar material is refreshing and fun. In that upside-down blues world where vocal histrionics are revered and even rewarded, it is great to hear a singer who understands the true art of singing the blues. Subtlety, nuance and impeccable phrasing are all hallmarks of Wilson’s approach to this material.

10) Joakim Tinderholt: Hold On

Tinderholt is an Oslo, Norway, based guitarist and vocalist who is a prodigious talent. Hold On will have listeners holding on as Tinderholt races up and down the back roads of Americana gathering up musical ideas he can incorporate into his own great material.  Along the way he even finds some old discarded items in need of refurbishing. Tunes like Don and Dewey’s Farmer John and the Billy Robinson penned classic Number 9 Train, which was a hit for Tarheel Slim, stand beside some great originals like Tinderholt’s homage to Bo Diddley, Jungle Bo and Anything is Better Than Nothing. This is Tinderholt’s second CD and first for the Rhythm Bomb record label.

The Next Ten

11) B.B. and the Blues Shacks: Reservation Blues

After nearly 30 years and more than a dozen albums, one of the world’s preeminent blues bands is back. Not that B.B. and the Blues Shacks went anywhere. They just strolled through the world of soul-blues for a few years. On Reservation Blues, they return to their strength, straight ahead West Coast meets Chicago 50’s and 60’s era blues. Once again guitarist Andreas and harp man/vocalist brother Michael, the Arlt brothers, reassert themselves as a dominant force in the blues world. This, their Rhythm Bomb Records debut, is one of the band's strongest outings of their entire career.

12) Rockin’ Johnny Burgin: Neoprene Fedora

The bay area blues tribe gathered yet again in San Jose at Kid Andersen’s Greaseland Studios in support of guitarist and vocalist Rockin’ Johnny Burgin. The opening track sets the tone as this seven-minute instrumental includes a variety of sounds which coalesce under the general vibe of Gidget being banged by Quentin Tarantino. Everything is thrown into this ambitious ocean of ideas. Part way through the album Burgin and company leave the shores of the blue Pacific and venture down to the Gulf Coast for a few numbers. This sixteen-track gem, which was produced and engineered by Kid Andersen, clocks in at over 75 minutes and yet never wears out its welcome.                                                

13) Dexter Shaw and the Wolftones: Dexin’

Shaw, a British baby boomer of the 1950’s, and his band play a gritty, down-home style of blues that owes much of its influence to early Jimmy Rogers, Robert Jr. Lockwood or Willie Johnson. Shaw is a guitarist and bassist. He is joined by childhood friend, the great Steve “West” Weston on harmonica of Trickbag renown, as well as vocalist Jeremiah Marques. Pianist Pete Sonny Nash and drummer Mike Thorne help to round out this veteran blues band. Four Muddy Waters penned tunes are included here along with songs written by Little Walter, Jimmy Rogers, Howlin’ Wolf, Hound Dog Taylor and others. These fit nicely with a couple of originals penned by Marques, Shaw and Nash.

14) June Core: Rhythm and Blues

June Core is a first call drummer. He had worked out of Cleveland with Johnny Shines as well as Robert Lockwood Junior before relocating to California 30 years ago. Core was a founding member of the legendary Soul Drivers which also featured Mighty Mike Schermer and Andy Santana. After that it was a long stint with Little Charlie and the Nightcats and on to Charlie Musslewhite’s band. This brand new “solo” outing features eleven tracks of all original music and features many of the great musicians Core has worked with through the years including Mike Schermer, Charlie Baty, Charlie Musselwhite, Jim Pugh, R.J. Mischo, Kid Andersen, Chris Cain, Rick Estrin and others. There are also terrific vocal turns by John Blues Boyd and Alabama Mike as well.

15) Greg Izor and Marco Pandolfi: Homemade Wine

Recorded in Austin, Texas, February 18th and 19th,2017, both Izor and Pandolfi back one another as they swap original tunes and vocal duties not to mention guitar and harp licks on this terrific CD. These two kindred spirits speak the universal language of the blues like they grew up on the same back porch. Yet, they reside on different continents. Pandolfi is an Italian where as Izor is an American based in Austin. This live, in studio recording is as fresh, as it is fun and full of spirit.

16) Chris Corcoran Band: Blues Guitar Grooves

This British guitarist’s 2017 release is a true case of truth in advertising. Here Corcoran and this great band pay homage to that time in music where instrumentals ruled the world and the guitar God wielded supreme power over the land. From blues to surf and from movie soundtracks to bachelor pad exotica and jazz, the mighty instrumental had a guitar heavy influence. Corcoran taps into this time and place and the results are spectacular. Here seven original tunes tie together four covers which include a menacing take on Henry Mancini’s A Shot in the Dark, a horn heavy reading of Milt Jackson’s Bag's Groove and swinging versions of Guitar Gables' Congo Mombo and Albert Collins' Don’t Lose Your Cool. This release is the Instrumental Album of the Year.

17) The Kokomo Kings: Too Good to Stay Away From

This hard-charging Swedish quintet has done it again. After last year's Artificial Natural release, which was another real favorite at BLUES JUNCTON, they come right back at us with this exciting spring 2017 offering. Twelve original tunes all written by bassist Magnus Lanshammar are at times poignant, A Wasted Day is Lost Forever, and also fun, I’m Your Plumber, and at times even silly, Girl From The Moon. The vocal duties are shared by guitarist Martin Abrahamsson and harp man Harmonica Sam. Lead guitarist Ronni Busack Boysen makes tasty choices throughout and drummer Daniel Winero keeps things swinging. This band is a true ensemble whose members all make indispensable contributions to the proceedings.

18) Wee Willie Walker and the Anthony Paule Soul Orchestra: After A While

One of the great stories to emerge from the world of blues and vintage soul music is the rediscovery and career renaissance of the great Willie Walker. These thirteen tracks feature Walker who is still at the top of his game. His performances here leave no doubt that he is in a class by himself. As for guitarist Anthony Paule, he sounds like he has found the perfect vehicle for his talents. He, along with his partner in life and music, Christine Vitale, wrote or co-wrote many of these songs and they have emerged as a formidable songwriting team. Covers include the Eddie Curtis penned 50’s classic Lovey Dovey from the Atlantic Records vaults and the Issac Hayes/Dave Porter penned Your Good Thing (Is About to End) from the 60’s era Stax catalogue. 

19) Konstantin Kolesnichenko: Minor Differences  

The latest offering by the Ukrainian harmonica master Konstantin Kolesnichenko, is what it feels like when jazz and blues climb into the same bed and make passionate love. After listening to his 2016 release entitled Hypnotized, I became an instant fan of his music. I have revisited that recording many times in the past several months. This release makes a handsome companion piece to Hypnotized. Kolesnichenko is an exceptional musician. He leads his talented quartet down many of the same roads that made so many of those great 50’s and 60’s Blue Note Records such timeless classics. This all instrumental affair conjures up the aural experience of bachelor pad cool. Minor Differences is brimming with maturity, sophistication and soul. Lord knows we could use some of that here in 2017.  

20) Bia Marchese: Let Me In

This is the third time in the last four years that Chico Blues Records hits us with a year-end surprise that reminds us why we wait until the year is over to announce the winners of the BLUES JUNCTION Productions Awards. The album Let Me In was produced by bassist Rodrigo Mantovani who is a long-time member of the Igor Prado Band. This, Marchese's debut album demonstrates her ability to interpret material from a wide range of sources from Carol Fran, Wynona Carr, Lavern Baker, Johnny “Guitar” Watson, Pee Wee Crayton, Big Mama Thornton and others.   Marchese is a vocalist who approaches this material with sophistication and maturity.

21-40 (Listed Alphabetically)  

Andy T Band: Double Strike

Double Strike is clearly a transitional album for Andy T. His longtime vocalist and fellow musical companion Nick Nixon is retiring though he sings on six of the album’s thirteen tracks. However, without missing a beat, (pun definitely intended) Alabama Mike steps up to the mic and delivers the goods. The album’s co-producer, along with Andy T, is fellow guitarist and occasional collaborator Anson Funderburgh. Anson’s guitar plays a larger role here than on previous collaborations. They are joined by the Texas Horns of Mark “Kaz” Kazanoff on tenor sax, Al Gomez on trumpet and John Mills on baritone. This great ensemble leads listeners through a very satisfying program of mostly original blues. 

Big Creek Slim: Good Mill Blues The Greasy Chicken Sessions Vol. 1

Marc Rune is a Danish blues man who goes by the moniker of Big Creek Slim. He not only released this fine CD in 2017 he also released the Greasy Chicken Sessions Vol. 2 entitled, Bad Luck Child. Both releases feature a blues man in full control of his prodigious talent as both a vocalist and guitar player. He mines the sounds of acoustic blues and does so with a command of the genre that is nothing short of astonishing.  He fits in some great original material with old covers and takes listeners down an old country road.   

Black Patti: Red Tape

This Munich, Germany, based band mines the songs from the pre-war era of acoustic blues and does so in a fresh and compelling way. Black Patti is vocalist, guitar player and harp man Peter Crow C. along with Ferdinand "Jelly Roll” Kraemer on vocals, guitar and mandolin. They are joined by guest bassist Ryan Donohue who also adds some background vocals to the proceedings. This, the band’s second album, could be nothing more than an exercise in ethno-musicology if it weren’t for the fact that the band has written a thirteen-song program of entirely new material. Black Patti who took their name from Mayo Williams’ short lived “race record” label of the late 20’s, is making music seldom heard, but worth a listen.

Don Bryant: Don’t Give Up On Love                                  

At 74 years of age Don Bryant still retains that beautiful, muscular yet nuanced voice that was such a hit in Memphis back in the day when fronting Willie Mitchell’s band. In the early 70's he met and married Ann Peebles. It was Bryant’s songwriting talents that seemed to get much of the attention as his big hit, I Can’t Stand the Rain, helped to propel the career of Peebles. A contemporary of Al Green, Syl Johnson and Otis Clay suffice it to say he is one of the last cats that is still on this side of the ground and we can all be thankful for that. It is simply great to hear a Bryant recording again.

Chickenbone Slim: The Big Beat                                           

Chickenbone Slim is the alter ego of the San Diego based bluesman Larry Teves. On this album Teves goes north to Kid Andersen’s Greaseland Studios in San Jose and makes a damn good record. All original tunes with some fresh ideas that tap into universal themes and a kind of sideways look at life make for a fun romp through the world of vintage Americana, a little country and mostly blues. Guitarist and vocalist Teves also puts to good use the prodigious talents of multi-instrumentalists Andersen. He along with an all-star ensemble handle this material with intelligence and fearlessness.

Ronnie Earl and the Broadcasters: The Luckiest Man

The 2017 Stoney Plain Records release by Ronnie Earl & The Broadcasters mines some familiar themes for those Earl-Heads out there. Great musicianship and lots of guitar-centric instrumentals highlight this fine outing by this veteran blues man. Originals fit nicely with a handful of covers, some which feature vocalist Dianne Blue. There is even a Sugar Ray Norcia original where the Bluetones band leader reunites that ensemble with one time guitarist, Earl.

Howell Devine: Howl                                                                                                         

From Jim Pugh’s Little Village Foundation comes yet another compelling and very interesting recording which, in many ways, defies convention and embraces that notion all at the same time. Howell Devine is essentially Joshua Howell on vocals, guitar and harmonica along with Pete Devine on drums, washboard and jug. The two are augmented by bassist Joe Kyle Jr. Like many of Pugh’s Little Village releases which fall under the blues spectrogram, this offering was recorded at Kid Andersen’s Greaseland Studios. It is Andersen who can be heard playing organ on two tracks on Howl. This, the band’s fourth album, is somewhat defined by those two tracks. It demonstrates the versatility of this band and points out that you can put songs by Grant Green and the Meters alongside tunes by Blind Blake, Sonny Boy Williamson, R.L. Burnside and Hound Dog Taylor…if you are Howell Devine that is. 

Egidio “Juke” Ingala and the Jackknives: Switcharoo

This veteran Italian ensemble is one of the world’s leading practitioners of the Chicago style of blues. They have been compared to the Aces. This, the band’s Rhythm Bomb Records debut, features the album’s producer Little Victor playing guitar on seven of the album’s fourteen tracks. He even steps up to the mic and sings on two songs. The other special guest is pianist Carl Sonny Leyland. He contributes his prodigious talents to eight tunes here. The band itself is the real star, as each member of the quartet contributes mightily to the proceedings. They are Ingala of course on vocals and harmonica, guitarist Marco “The Kid” Gisfredi, bassist Max Pitardi and drummer Enrico “Henry” Soverini. These cats speak that esoteric and often misunderstood language of the blues with articulated nuance. 

Nathan James: What I Believe

James' 2017 offering is what Charlie Lange is calling, “a self-produced gem.” James wrote all the songs and sings and plays on this material that, while not traditional blues in any real sense, has a bluesy feel. Guests include the harp of Kim Wilson and James Harman. Songs that are insightful, thoughtful and with just the right amount of wit make What I Believe a real standout.

The Jelly Roll Men: Jelly Roll Shuffle          

Jelly Roll Shuffle represents this Norwegian ensemble’s debut album. This great live band went into the studio and made a great old school blues album. Terrific song selection by a variety of blues men from Roosevelt Sykes, Big Walter Horton, Otis Spann, Tampa Red and others highlight this exceptional set. A few originals keep things fresh. The Jelly Roll Men are Kent Erik on harp and vocals, Thomas “Pee Wee” Grim on guitar and vocals, Big Martin Rosten on upright bass and Kai Evans behind the drum kit. The album was mixed in San Diego, California, by Danny Michel. This is a very impressive debut.

Jesus On A Tortilla: Tonight is the Night                                      

On their first album, Gone to Main Street, this Italian based quartet played faithful renditions of early post war Chicago electric blues. Here they expand that conversation to include an old B.B. King number and even four originals which add a little West Coast jump and swing to the mix. It is a big leap forward for these dedicated practitioners of the form. Recorded over two days in February of 2017, Jesus On A Tortilla records the old fashioned way and the results are a shining example as to why that music is timeless. Jesus On A Tortilla is comprised of Lorenzo “Mumbles” Alai on harmonica and vocals, Kevin “Blind Lemon” Clementi on guitar, double bassist Massimilino “Ximi” Chiara and drummer Matteo “Shuffle” Ferrario. Special guest Henry Carpaneto’s piano is a very welcome addition to the proceedings. 

Martin Lang: Ain’t No Notion                                                                                     

Harp player and vocalist Martin Lang’s third album is a wonderful old school blues workout which speaks in the language of the Meyer brothers’ 50’s era Aces. Ain’t No Notion features guitarists Rusty Zinn and Billy Flynn as well as guest vocalist, the suddenly ubiquitous, Oscar Wilson, who sings on five of the album’s thirteen tracks. From the opening track, Frank Frost’s Backscratcher where Lang blows through a Leslie speaker, to Herbie Hancock’s Watermelon Man, where Zinn plays his guitar through the same speaker, the band leads listeners on a dark, moody, atmospheric journey to groove central.    

The Love Light Orchestra Featuring John Nemeth

The overall sound of the Love Light Orchestra runs straight through Bobby Bland and his arranger Joe Scott. The band of course took their name from Bland’s 1961 hit, Turn On Your Lovelight. This nine-piece little big band features the vocalist John Nemeth. This big band blues, as it is sometimes called, is the perfect vehicle for Nemeth’s prodigious natural pipes and a return to form after a couple of missteps in an otherwise meteoric career.

Adrianna Marie and her Roomful of All-Stars: Kingdom of Swing           

It has been twenty years since the neo-swing movement came and went. Now, after all this time, singer Adrianna Marie comes blasting out of the gate with a full throttle swing album, sans the “neo.” Produced by Duke Robillard, this isn’t a bunch of punk or rockabilly musicians trying to latch onto the flavor of the month, but serious players who have virtually lived in the genre for their entire careers. One of the distinguishing characteristics of this album is the use of original material to go along with some creative interpretations of Johnny Otis, Duke Ellington, T-Bone Walker and others. Congratulations to Adrianna Marie for this well-conceived and executed foray into this sub-genre of American music.

The Paladins: New World                                                                              

New World is the first full length studio album of new material to be released by the Paladins since El Matador in 2003. Guitarist and principal vocalist Dave Gonzalez is back in the saddle, writing nine of the eleven tracks and doing all the vocal work this time out. He is joined once again by longtime bandmates bassist Thomas Yearlsey and drummer Brian Fahey. Yearlsey served as the project’s recording engineer as the album was recorded at his Thunderbird Analog Recording Studio in Oceanside, California. New World might come as a shock to long time Paladin fans as the album opens with three somewhat contemplative Gonzalez originals before mining more traditional themes.

John Primer/Bob Corritore: Ain’t Nothing You Can Do!

Bob Corritore returns to his familiar musical stomping grounds of Chicago’s south side. He again picks up John Primer and takes him for a ride on some well-traveled pavement. Primer’s long association with Magic Slim is very apparent. It seems the spirit of Morris Holt aka Magic Slim is oozing out all over this album. Backed by the late Barrelhouse Chuck, Henry Gray, Big Jon Atkinson, Troy Sandow, Patrick Rynn, Chris James and Brian Fahey, they play what Charlie Lange calls, “stompin’ shuffles, dance floor packers and treacherous slow blues.”

San Pedro Slim: In Times Like These 

Once again Slim explores the flip side of the American dream. He does so in ways that are often full of poignant, biting humor and honesty, which is what makes these songs work in a big way. Part of Slim’s greatest gift is he also channels an artistic vision around themes that are universal, but reflect his own Southern California sensibility. He puts his own spin on the fun in the sun image that the Golden State carries across the globe. The album is the second release on the Mojo King Records label and was produced by bassist Kenny Huff. The underappreciated guitarist, Joe Conde, makes marvelous contributions here as well.

Dave Riley: Fired Up!

Riley, a Mississippi native and long-time journeyman on the Chicago blues scene, has, in recent years, found himself as a member of Bob Corritore’s Phoenix based Rhythm Room All-Stars. For his latest release he has gone from the great Southwest to South America and put out a recording backed and produced by some very talented musicians from Buenos Aires, Argentina. With tremendous support from harp man Junior Binzuagna, this might be the best album of Riley’s long career.

Peter Ward: Blues On My Shoulders

Ward, a long time New England based blues, side man has made a compelling and entertaining album under his own name. All original material, save one tune, penned by the guitarist and vocalist is as well written as it is well executed. Peter Ward is the brother of bass player Mudcat Ward of Sugar Ray and the Bluetones. Members of that band play on several of this album’s thirteen tracks. Other special guests include long time New Englanders guitarist Ronnie Earl and sax man Gordon Beadle.

Monster Mike Welch and Mike Ledbetter: Right Place, Right Time

This album features two of the brightest talents toiling in the blues field today. Both Mikes are accomplished musicians and have been performing for many years even thought they are both relatively young. Here they mine the fertile ground of the Chicago West Side’s soulful blues scene of the 1960’s, but do so with original ideas and songs. Think Ronnie Earl meets Magic Sam. The album’s title is an homage to the famous Otis Rush album Right Place, Wrong Time. However, the two Mikes are definitely in the right place at the right time. 

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