Biography

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Lurrie Bell
Blues In My Soul
Delmark DE 829

One of the greatest living Chicago blues guitarists, Lurrie Bell’s last two CDs have been about stretching him (successfully) to showcase the breadth as well as the magnitude of his art. However for this project he just wanted to get back to the solid foundation of Chicago-styled traditional guitar blues, done with his rare blend of reverence, involvement and individuality and framed largely by his working band. Complete notes by producer Dick Shurman enclosed.

1 Hey Hey Baby 3:09
2 Blues In My Soul 6:01
3 I Feel So Good 4:12
4 She’s A Good ‘Un 4:37
5 ‘Bout The Break Of Day 6:09
6 Going Away Baby 4:13
7 24 Hour Blues 3:54
8 My Little Machine 5:28
9 I Just Keep Loving Her 2:43
10 T-Bone Blues Special 3:20
11 Just The Blues 6:58
12 South Side To Riverside 5:36
13 If It’s Too Late 3:48
14 Blues Never Die 5:38

Lurrie Bell, vocals, guitar
Roosevelt Purifoy, piano, organ
Melvin Smith, bass
Willie Hayes, drums
Matthew Skoller, harmonica (tracks 3,6,8,9,10,14)
Marques Carroll, trumpet and horn arranger (tracks 1, 12)
Chris Neal, tenor sax (tracks 1,12)
Mark Hiebert, baritone sax (tracks 1,12)


1 Hey Hey Baby 3:09 (Aaron T-Bone Walker, Lord And Walker Publishing, BMI)
2 Blues In My Soul 6:01 (Lurrie Bell, Eyeball Music, BMI)
3 I Feel So Good 4:12 (William Lee Conley Broonzy, Songs Of Universal Inc., BMI)
4 She’s A Good ‘Un 4:37 (John H. Eskridge, Conrad, BMI/White, Ghana, BMI)
5 ‘Bout The Break Of Day 6:09 (Amos Blakemore, Bluesharp Music Co., BMI)
6 Going Away Baby 4:13 (James A. Lane, Arc Music, BMI)
7 24 Hour Blues 3:54 (Lurrie Bell, Eyeball Music, BMI)
8 My Little Machine 5:28 (James A. Lane, Arc Music, BMI)
9 I Just Keep Loving Her 2:43 (Walter Jacobs, Copyright Control)
10 T-Bone Blues Special 3:20 (Aaron T-Bone Walker, Lord And Walker Publishing, BMI)
11 Just The Blues 6:58 (E. Boyd, Goodie Two Shoes Music)
12 South Side To Riverside 5:36 (Lurrie Bell, Eyeball Music, BMI)
13 If It’s Too Late 3:48 (James L. Smith, Ghana, BMI)
14 Blues Never Die 5:38 (Otis Spann, Prestige Music Co., BMI)

Produced by Dick Shurman
Album Production and Supervision: Robert G. Koester
Recorded at Riverside Studio, Chicago, February, 2013 by Steve Wagner
Mixed by Steve Wagner, second guessed by Dick Shurman
Photography by Chris Monaghan, MoPho
Design by Kate Moss, Moonshine Design


By the time Lurrie Bell (born December 13, 1958) was in his early twenties, he was the Next Great Hope of Chicago blues. Well steeped in the idiom via his harmonica great father Carey Bell, his Godfather Eddie C. Campbell, and a circle of well-known friends and relatives, he made his studio debut in 1977, recording behind his father (later issued as Heartaches And Pain, Delmark 666) and Campbell, drafted to add funk to the bass line on the title track of Eddie’s King Of The Jungle album while on hand to watch his father participate. A 1978 trip to Berlin with the New Generation Of Chicago Blues package and a stint with Koko Taylor gave him his first real road exposure. In 1982 he and Carey recorded Son Of A Gun for Rooster Blues. Life seemed full of possibilities.
But what Lurrie calls “my trials” are well-known (many are chronicled in the remarkable DVD Mercurial Son and a chapter in David Whiteis’ excellent book Chicago Blues: Portraits and Stories): substance abuse, living on the streets, then, as he was regaining his bearings, the loss of his twin babies a few weeks apart, his devoted lady Susan Greenberg and finally his father in 2007.
I have told Lurrie more than once that he is the most inspirational person I know. It’s not just that he’s persevered through such a daunting barrage. It’s that he never lets his knees buckle; it’s close enough for horseshoes to all sunny side up and indefatigably positive. Lurrie has held on to faith and music for sustenance. With those allies, and the love and support of an impressive roster of friends and family, he has managed to rack up accolades, recognition like multiple Living Blues Artist and Guitarist Of The Year awards and a 3Arts Grant, and more raves and renown for his recent CD The Devil Ain’t Got No Music (including the French L’Academie du Jazz Prix Du Blues Award for Best Blues Recording of 2012) and his tracks on both volumes of the highly acclaimed Chicago Blues: A Living History gatherings (netting a Grammy nomination).
As part of the belated stabilization and renaissance of his career, Lurrie’s last two CDs (on his Aria BG label, named for his surviving daughter) have been about stretching him (successfully) to showcase the breadth as well as the magnitude of his art (and to fulfill a long-held goal of his and Susan’s of recording some of the gospel on which he was raised as a church musician during his southern childhood years). While Lurrie demonstrated convincingly how interesting his facets can be and how boldly he can meet artistic challenges, for this project he just wanted to get back to the solid foundation of Chicago-styled traditional guitar blues, done with his rare blend of reverence, involvement and individuality and framed largely by his working band, in a studio he knows well. As Lurrie sings in the title track, it’s about “this comfortable way of being myself.”
So Lurrie got back to basics. He went through 200 songs submitted to suit his expressed tastes, and picked a balanced program’s worth of keepers. With a little nudging, he wrote a nicely varied three more. “24 Hour Blues” is a loping shuffle with a groove evocative of Magic Slim, recorded on the sad day of our longtime friend’s passing (February 21) and dedicated to him. “South Side To Riverside” is a driving Albert Collins meets Howlin’ Wolf meets James Brown instrumental. “The Blues In My Soul” is an intimate, reflective slow minor affirmation. He fronted his regular line-up. Keyboard master Roosevelt Purifoy has been a frequent part of Delmark sessions. Koko Taylor alum Melvin Smith has been a stalwart on bass. For drummer (and Magic Sam’s nephew) Willie Hayes, this project was his first musical heavy lifting since some medical issues; the relief, joy and inspiration he too provided for all with his sure-handed, untiring propulsion of the dynamics and grooves was palpable. Lurrie loves him some deep Chicago blues harp, and has a high level mutual admiration society with major advocate Matthew Skoller, who has produced or had a major hand in the lion’s share of Lurrie’s much praised recent output and shared many a stage. Matthew brought more comfort along with his accomplished and notably empathetic acoustic and amplified support to half of this CD. We brought in horns led by rising trumpeter Marques Carroll to top off two tracks.
I’ve known Lurrrie since he was an adolescent and was at those ‘77 sideman sessions. There was always respect and rapport, and Lurrie, his manager Rick Bates and I discussed a collaboration for what seemed like ages. Eventually the stars lined up right. Lurrie’s cameo a year ago on Campbell’s Spider Eating Preacher (Delmark 819) gave us a chance to forge a working studio relationship. Blues In My Soul was a joy to produce. Everyone did their homework, was ready to work as a team and wanted to help Lurrie do something special. A lot of love for Lurrie went into this album, and it registered. During rehearsal he was moved to give a well-earned speech to his band about how much he appreciated their professionalism and wanted them to know it right then and there. As for his own part, it’s clear that he chose these songs for a reason, and not only feels them enough to take ownership but enjoys playing them. He applies his revered economy (as a true master of finding THE right note, rather than unleashing a shotgun charge of them), his expressive, vibrato-tinged and personally approached vocals, and his hard-earned stature as an artist who captures the elemental essence and depth of the blues as well as anyone today. Recording engineer and Mixer-In-Chief Steve Wagner, whose personal and musical familiarity with Lurrie and me were major assets, has been at the label for all five of Lurrie’s Delmark albums; he quickly began telling us this was going to be the best. We’ll let the listener judge that – and ponder just how much deep blues power Lurrie Bell can generate in his comfort zone.

Dick Shurman, Producer


Other Delmark albums of interest:
Lurrie Bell, Blues Had A Baby (736)
Kiss Of Sweet Blues (724) with Dave Specter
700 Blues (700)
Mercurial Son (679)
Eddie C. Campbell, Spider Eating Preacher (819) with Lurrie Bell
It Ain’t Over, Delmark Celebrates 55 Years of Blues (800) with Lurrie Bell,
Zora Young, Tail Dragger, Jimmy Johnson…
Carey and Lurrie Bell, Getting’ Up (DVD 1791, CD 791) Live at Buddy Guy’s Legends,
Rosa’s Lounge and Lurrie’s home
Carey Bell, Heartaches And Pain (666) with Lurrie Bell
Tail Dragger, My Head Is Bald, Live at Vern’s Friendly Tavern (DVD 1782, CD 782)
with Lurrie Bell, Billy Branch, Jimmy Dawkins
Detroit Junior, Blues On The Internet (777) with Lurrie Bell, Jimmy Dawkins
Mississippi Heat, One Eye Open, Live at Rosa’s Lounge (DVD 1783, CD 783)
With Lurrie Bell

Management and booking:
Rick Bates/Nancy Meyer
www.batesmeyer.com
Tel: (909) 547 0504

Thanks to Rick Bates, Joe Campagna, Matthew Skoller for extraordinary commitment and diligence, Kenny Smith, Tony Manguillo, Mama Rosa, Mel and the entire Rosa’s Lounge family.

Lurrie would like to thank Bob Koester and Dick Shurman for their unwavering support, Candida Carruthers for everything she does for me, Matthew Skoller my musical brother and all the musicians on this recording.

Dedicated to the late Morris Holt (Magic Slim)

We all send hopes and prayers for a speedy and full recovery and a welcome back to Chicago to Eddie C. Campbell.

CP 2013 Delmark Records
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Chicago, IL 60618 www.delmark.com