Chicago Blues Guide review

Another cut of particular interest is “Son Of The Seventh Son” (a “Studebaker” John Grimaldi composition), and the hyper sexuality that is assertively conveyed by Mud, with Hinds’ braying harmonica solos adding substantial tension, while Barrelhouse Chuck adds foreboding overtones to the proceedings. This tune is a shameless testament to male bravado; the song lurches and plows ahead with masculine passion and fury unabetted.


Also, Mud’s “Loco Motor” burbles with Corritore’s omnipresent harmonica, Barrelhouse Chuck’s joyful piano excursions, while Flynn’s guitar solo swings the outing with great aplomb. With accompaniment such as this, how could Mud not find and bring back the woman he envisions as his ideal?


Mud’s haunting “Midnight Lover” finds him in a more restrained vocal mood, considering the potential implications of his forbidden pursuit of love, knowing full well that his is a path paved with nothing but unfortunate outcomes. All backers on this heavy, deep cut play to the somber side of the scenario. In short, this is a fabulous story blues. Mud is at his best here, and his restrained temperament idyllically suits the no-win situation at-hand. This reviewer hopes to hear more of this side of Mud in the future.


Mud’s reading of his father’s “You Can’t Lose What You Ain’t Never had” is vocally dead-on with the original; but, there is an undeniable lift in emotional intensity that is difficult to put into words that he submits. It inhabits the first syllable of each line of lyrics, with the ending syllables drawn ever-so-slightly out. As such, Mud makes this song his own. The anxiety extended by the slicing slide guitar and keyboard work only adds to the power of this cut.


Mud’s “Blues In My Shoes” is his account of how he came to the station in which he finds himself, as the torch-bearer for both his father’s gloried blues contributions, and how his unique life’s experiences have framed him to be the blues force he has developed into. One wants to reach through the speakers at the end of the song and proclaim to Mud that he owes no justifications for his vast skill set and ancestry.


One of the new songs on Portrait, “Praise Him”, a gospel tune recorded in June, 2021 at Joyride Studios in Chicago, includes Rick Kreher and Delmark Records artist Mike Wheeler in guitar support, Mud providing a solid bass pattern, Cameron Lewis contributing the percussive elements, Luca Chiellini swirling on keyboards, and Felicia Collins, Shantina Lowe, and Demetrius Hall offering soulful backup vocals. This is a tune brimming with life affirmation and faith, and Mud sings with conviction regarding personal conversion leading to a better path through life. A special mention here to “Studebaker” John Grimaldi for arranging this tune.


The additional new song on Portrait, Sonny Boy Williamson I’s “Good Morning Little School Girl,” effortlessly rides the ensemble beauty comprised of Mud’s perfectly sung certain message of interest to the youthful lady who is the object of his affection, while Kreher’s and Flynn’s guitars easily intertwine, with Corritore’s harmonica solo economically and respectfully paying reverence to Williamson (the liner notes don’t credit him for his contribution here), along with Barrelhouse Chuck’s curlicuing keyboard runs , while Smith’s spartan drumming is the ideal percussive framework, and with McDaniel’s bass subtly shaping the necessary low timbre. This could easily be confused for a 1937 Bluebird label release; however, it is not a slovenly recreation, but instead a respectful outpouring of blues energies by a cast who know the tune’s place in Chicago’s blues lore. This tune too was recorded at Chicago’s Rax Trax Studios in 2011, produced by Phoenix, AZ’s Bob Corritore, but mixed by Delmark Records’ Julia Miller.


In total, Portrait is a living, breathing, dynamic blues document of a man who, while he came to the blues world a bit more direct than most, is utilizing his unique personal creative inputs to shape his blues visions, with the advancement of his competences being attained through demanding, hard work that allows him to stand tall upon his merits solely. Period. Without any qualifications whatsoever.


The highly-respectful ensemble approach here makes this a repeated go-to CD for the discerning blues fan. Kudos to all involved.


Sound across this release is vivid and rich due to the remastering by Delmark Records. Bravo.


Word is that Mud is currently recording brand new songs for a future album. While that’s something to greatly anticipate, this Delmark Records release is stirring in a contemporarily classic way, if that even makes any sense. It does, because this CD is proof of it, without stipulation.


For info or to buy the music:

www.mudmorganfieldblues.com

www.delmark.com

< Go Back