In his brief liner notes, harmonica great Charlie Musselwhite states, "Not many people can do an all instrumental harp CD and keep it interesting all the way through." He implies that his friend Bob Corritore has succeeded. I'm afraid I'll have to give that a definite "maybe." While the harmonica is sometimes called a "Mississippi saxophone," the difficulty of making an instrumental harp CD traces to the fact that it's not capable of produciing the variety of sounds most other instruments can. Consequently, it's more suitable in a supporting role.
Bob Corritore is one of the hardest-working and most widely-respected blues harmonica players on the blues scene. He plays in the '50s amplified Chicago style pioneered by Little Walter. He has recently released other Delta Groove albums accompanying singers Tail Dragger, John Primer and Dave Riley. According to his website, he is featured on over 50 CDs. Working out of Phoenix, Corritore is also a record producer, club owner and radio disc jockey. He is well connected in the blues word, and his e-newsletter is must reading for blues fans.
Ten of the twelve songs on the CD are Corritore originals, one of them co-written by guitarist Junior Watson. The two covers are interesting choices. Willie Egan (or Egans) is an obscure country blues singer and pianist who had releases on several small Los Angeles labels in the '50s, and recorded two CDs in London in the '80s. I can't find "Potato Stomp" in his discography, so maybe he wrote it for someone else.
Does anyone remember the brief "exotica" fad of the late '50s? Led by pianist Martin Denny and vibist Arthur Lyman, a number of small groups recorded faux-Hawaiian instrumentals with various percussion instruments and birdcalls in the background. The genre's biggest hit was Denny's "Quiet Village," but Corritore resurrects Lyman's "Taboo" for this album. It's good to hear it again. The retro cover of this CD is no doubt inspired by the covers of exotica albums.
"Taboo" is one of several indications of Corritore's is concern with introducing variety into the CD. Most of the tracks feature guitar solos, and some include sax, piano or organ solos as well. While eight of the songs are up tempo, my favorites are his three slow blues. Corritore turns up the intensity several notches with his wide vibrato. However, these three tracks are more similar than different.
The two songs featuring Jimmie Vaughan on guitar and Papa John DeFrancesco on organ, along with Doug James on sax, remind me of the jazzy R&B of Bill Doggett's combo. Here's "Mr. Tate's Advice," a swinging enough affair, although it probably won't knock your socks off.
"Fabuloco (For Kid)" is a Tex-Mex outing, dedicated to Kid Ramos of Los Fabulocos, who has been battling cancer. Corritore's strongest up tempo performance is "T-Town Ramble," a Chicago-style blues done to the background of "Got My Mojo Workin'." Unfortunately, the remaining up tempo songs are fairly simple and sound a bit like filler.
While there are some excellent tracks on this CD, the whole is less than the sum of its parts. While Corritore has made a valiant effort, he hasn't fully met Musselwhite's challenge.
Tracks: Potato Stomp; Many a Devil's Night; Ruckus Rhythm; Harmonica Watusi; Taboo; Harp Blast; Mr. Tate's Advice; Fifth Position Plea; Fabuloco (For Kid); Shuff Stuff; T-Town Ramble; Bob's Late Hours. (45 min.)
Personnel: Bob Corritore, harmonica; Doug James, tenor, baritone saxophone (3 tracks); Junior Watson, guitar (10 tracks); Jimmie Vaughan, guitar (2 tracks); Fred Kaplan, piano, organ (10 tracks); Papa John DeFrancesco, organ (2 tracks); Kedar Roy, bass (10 tracks); Richard Innes, drums (10 tracks); Dowell Davis, drums (1 track); Brian Fahey, drums (1 track); Todd Chuba, percussion (1 track).
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