Reviews from these publications are listed below in chronological order. Scroll to see all reviews.
Blues21 (Italy)
Blues Bytes
Blues Matters (UK)
Blues News (Netherlands)
Blues Roadhouse
Chicago Blues Guide (2 reviews)
Concert Monkey (Belgium)
Cultura Blues (Mexico)
Culture Blues (France)
Friday Blues Fix
The Grove (Crossroads Blues Society Newsletter)
IL Blues (Italy)
KAXE Fresh Picks
Keys And Chords (Belgium)
Living Blues
Making A Scene
Paris Move (France)
Philly Cheeze’s Rock & Blues Reviews
Poprock (Croatia)
Rock Doctor
Rootstime (Belgium)
Zicazic (France)
Culture Blues (France) (February 18, 2026)
English Translation: He continues… The tireless and highly prolific Bob Corritore—who turns seventy this coming September 27th—announces a new album, *Ernestine Blues*, set for release via VizzTone on April 10, 2026. The record consists of recent recordings drawn from sessions held over the past three years. As always, the Chicago-based harmonica player has surrounded himself with an illustrious lineup of top-tier artists—and the roster is indeed impressive: Pat Thomas (Corritore traveled to Clarksdale in October 2024 to record with Thomas, who passed away in February 2025), Sugaray Rayford, Bob Stroger, Tia Carroll, Johnny Rawls, Oscar Wilson, Carla Denise, Tony Coleman, Charles Wilson, Willie Buck, Jimi “Primetime” Smith, Bob Margolin, Teeny Tucker, Billy Flynn, Anthony Geraci, Ben Levin, Kid Ramos, Johnny Main, Doug James… The album features sixteen tracks, and—for the eighth time—the cover artwork was entrusted to the talented artist Vince Ray.
– Daniel Léon
Blues News (Netherlands) (March 14, 2026)
Harmonica master Bob Corritore returns with Ernestine Blues, a major new collaboration album featuring Johnny Rawls, Sugaray Rayford, Tia Carroll, Bob Stroger and more. The first single, “I Love the South,” pairs Corritore with soul-blues legend Johnny Rawls and sets the tone for a powerful release arriving April 10, 2026 on VizzTone.
Bob Corritore & Friends Announce Ernestine Blues — Star-Studded Blues Album Arrives April 10 on VizzTone
Few modern blues artists collaborate as naturally—and as successfully—as harmonica master Bob Corritore. With Ernestine Blues, his latest album under the banner of Bob Corritore & Friends, the Arizona-based blues champion gathers an extraordinary lineup of vocalists and musicians from across the contemporary blues scene.
Set for release on April 10, 2026 via VizzTone, the album brings together powerful voices and seasoned bands for a collection of story-driven songs that move comfortably between classic Chicago blues, early R&B, Mississippi country blues, and soul-blues traditions.
First Single: “I Love the South” with Johnny Rawls
The first taste of the album arrived on March 13, 2026 with the release of “I Love the South“, a collaboration between Corritore and soul-blues legend Johnny Rawls. The pairing proves once again how naturally Corritore’s expressive harmonica fits within the rich textures of Southern soul.
Rawls’ church-raised vocals carry the song with warmth and authority, while Corritore’s feel-good harmonica lines weave through a tight rhythm section and a joyful chorus of female gospel singers. The result is a bright, uplifting Mississippi-inspired anthem that celebrates the easy living and musical heritage of the American South.
A Who’s Who of Modern Blues
Ernestine Blues was recorded between 2023 and 2025 and features an impressive list of guest artists. Among them are Sugaray Rayford, Bob Stroger, Tia Carroll, Oscar Wilson, Willie Buck, Teeny Tucker, Pat Thomas, and Johnny Rawls, alongside standout musicians including Kid Ramos, Bob Margolin, Billy Flynn, Anthony Geraci, Ben Levin, Doug James and many more.
Each track highlights a different voice and style, with Corritore’s harmonica acting as the connective thread. His long-standing reputation for bringing out fresh, heartfelt performances from established blues singers shines throughout the album.
From deep Chicago blues grooves to soulful Southern storytelling, Ernestine Blues plays like a guided tour through the many branches of the blues tradition—honoring the roots while celebrating the vitality of today’s blues community.
Making A Scene (March 15, 2026)
Bob Corritore was born in Chicago in 1956 and became hooked on blues harmonica at the age of twelve. By the time he was twenty-five, Corritore had moved to Phoenix, where he would eventually become one of the central figures in that city’s blues scene. Ten years later he opened his own club, The Rhythm Room, a venue that quickly became a major destination for touring blues artists. With his house band, The Rhythm Room All-Stars, Corritore regularly backed visiting musicians and helped keep traditional blues alive in a live setting.
Since 2017, Corritore has earned thirteen Blues Music Awards nominations. He won his first Blues Music Award in 2011 for Historical Album of the Year and won again in 2025 for Traditional Blues Album for “Crawlin’ Kingsnake,” recorded with John Primer. He is also nominated for a 2026 Blues Music Award in the category of Best Instrumentalist–Harmonica. This new compilation serves as a brilliant survey of his work with many guest artists, with Corritore playing harmonica on all sixteen tracks.
Corritore opens with “How’d You Learn To Shake It Like That,” written by Snooky Pryor in 1985. The track features Tony Coleman on vocals and drums, Jimi ‘Primetime’ Smith on guitar, Bob Stroger on bass, and Anthony Geraci on piano, as Coleman sings, “I had a good woman, she was as good as gold, she used to let me play but she don’t no more, how’d you learn to shake it like that, you’re daddy was a preacher, your mama an alley cat”.
“Tell Me Darling,” written by Betty Everett and Lucious Porter Weaver in 1959, features Carla Denise on vocals alongside Smith, Stroger, Geraci, Wes Starr on drums, and Doug James on saxophone, as Denise chimes, “Please tell me, how can I go on without your love, you know I want ya, to be my turtle dove”.
“Big Fat Mama,” first released in 2013, features Pat Thomas on guitar and vocals, as she chants, “well everytime she makes a drink, well it’s white lightnin’, and the days are comin’…she got lovely kisses”.
“Blind Man,” written by Sugaray Rayford, includes Rayford on vocals with Smith and Johnny Rapp on guitars, Russ Harwood on organ, Yahni Riley on bass, and Brian Fahey on drums, as Rayford moans, “I been around the world seen many things, saw birds flying in the sky, fish swimming in the sea, but the saddest thing I’ve ever seen is a blind man cry”.
“Ernestine,” written and first recorded by Sam Cooke in 1963, features Smith and Bob Margolin on guitars, Stroger on bass, Geraci on piano, Starr on drums, Doug James on saxophone, and backing vocalists Eboni McDonald, Diamond Porter, and Yolanda Tharrington, with Tia Carroll vocalizing, “Ernestine, Ernestine I believe this is the beginning of the end for me…when your dancing with him, I can tell your mesmerized by his charms”.
“Trouble No More,” originally recorded by Muddy Waters in 1955, features Willie Buck on vocals with Smith and Margolin on guitars, joined by Stroger, Geraci, and Starr. Buck sings, “I don’t care how long your gone, I don’t care how long you stay, but this time baby, I’ll bring you home someday, but someday baby you won’t be trouble, for me, any more”.
“I Love The South,” written and recorded by Johnny Rawls, features Rawls on vocals and guitar, joined by Smith on guitar, Terry “D” Harris on organ, Yahni Riley on bass, and Brian Fahey on drums, with backing vocalists Eboni McDonald, Yolanda Tharrington, and Clarke Rigsby. Rawls sings, “I been up north too long…I need to get back down south, I need to get back home to where I come from…going back to Mississippi where I can smell the green grass after the rain”.
“Going Fishing,” written by Jimmy Reed, features Smith on vocals and guitar, Margolin on guitar, Stroger on bass, Geraci on piano, and Starr on drums, with the lyric, “I was fishin’ one day and it crossed my mind, I want to go fishin’ baby, and I want you to take the line”.
On “Troubles On Your Mind,” written by Henry Glover and Sonny Thompson in 1952, Carla Denise returns on vocals with pianist Ben Levin, as she wails, “you have so many troubles on your mind…now you heard my story everything, I saw is true, I’m gonna leave you behind, you got so many troubles on your mind”.
“Wild As You Can Be,” written by Ricky Harper, again features Carla Denise, with Smith and Margolin on guitars, Stroger on bass, Geraci on piano, Starr on drums, and Doug James on saxophone, as she howls, “you tell me that you love me, but I don’t believe a word you tell me…all you want to do is fight…I don’t believe a word you say, ’cause your lyin’ to me”.
“Pretty Girls Everywhere,” written by Eugene Church and Thomas Williams in 1958, once again features Smith and Margolin on guitars, Geraci on piano, and Starr on drums, while Stroger takes the vocal lead singing, “everywhere I go, there’s some pretty girls there, pretty girls, pretty girls everywhere, when I go to the show there’s a pretty girl there, pretty girls, pretty girls, every where”.
“Standing On The Bank,” written by William Crawford and later covered by Tab Benoit, features Willie Buck on vocals with Smith and Margolin on guitars, Stroger on bass, Geraci on piano, and Starr on drums, as Buck cries, “well I was standing on the bank, when I saw a pretty girl walk and sit down, I would do anything I could to get next to her…well I don’t care, I’m like a catfish, swimming in a deep blue sea”.
“Sorry I Had To Leave You Behind,” written by Albert Holder and Ferdinand Washington, features Charles Wilson on vocals with Kid Ramos and Johnny Main on guitars, Mike Turturro on bass, and Brian Fahey on drums, as Wilson sings, “sorry I had to leave you darlin’, sorry I had to leave you behind, when you broke my heart, I just can’t stay in this old house and listen to your big mouth, sorry I had to leave you behind”.
“She Might Need Me,” written by Joe Tex, features Oscar Wilson of The Cash Box Kings on vocals, with Nick Moss on guitar, Ross Harwood on organ, Rodrigo Mantovani on bass, and Pierce Downer on drums. Wilson sings, “so they say go on to Dallas and leave this old town behind, go see the six flags over Texas…so they say go on to Las Vegas, you’ll have so much fun in Vegas, but if I go to Vegas that’s where she might be, but she might need me and not know where I am”.
“Down in Mississippi,” another Jimmy Reed composition, again features Oscar Wilson with Smith and Margolin on guitars, Stroger on bass, Geraci on piano, and Starr on drums, as Wilson sings, “Down in Mississippi where cotton grows tall, oh yeah, boll weevil, overall”.
The closer, “Shoes,” written by Teeny Tucker and Robert Hughes, features Tia Carroll on vocals with Smith and Billy Flynn on guitars, Stroger on bass, Geraci on piano, and Starr on drums, as Carroll croons, “I got shoes in the closet, lined up across the wall, I got one’s that make me tall, a pair when I want to put a spell on you, I got shoes for every season, I got shoes, shoes, shoes, in every room”.
On this edition of Bob Corritore & Friends, Corritore’s musical adventures once again showcase stunning collaborations with many of today’s finest blues performers. These storytelling songs provide the perfect setting for his masterful harmonica. The performances move through straight traditional Chicago blues, early rhythm and blues, Mississippi country blues, and soul blues. Corritore captures the nuanced purity of each style, creating a guided tour through the many branches of blues tradition and its living extensions.
– Richard Ludmerer
Philly Cheeze’s Rock & Blues Reviews (March 28, 2026)
It’s a thrill for me whenever Bob Corritore releases a new blues collaboration album. His records always feature an amazing cast of guests and deliver a spectacular compilation of real-deal blues. Ernestine Blues, the latest release from Bob Corritore and Friends, is comprised of sixteen bodacious story-telling-centric blues tracks recorded between 2023 and 2025, and packaged once again with brilliant, eye-catching album-art from the fabulous Vince Ray. With Corritore on harmonica, Jimi “Primetime” Smith on guitar, Bob Stroger on bass, Anthony Geraci on piano, and Wes Starr on drums for the majority of the recordings, the list of friends this time around include Pat Thomas, Sugaray Rayford, Tia Carroll, Johnny Rawls, Oscar Wilson, Willie Buck,Carla Denise, Bob Margolin, Teeny Tucker, Kid Ramos, Johnny Main, Billy Flynn, Ben Levin, and Doug James.
Hearing the sound of Pat Thomas’ voice sing “Big Fat Mama” instantly brought back memories of my first excursion to the Sunflower Blues & Gospel Festival at Clarksdale, Mississippi in 2019. He was one of the first acts I saw for that event. He was quite memorable. Thomas sadly passed away last year at the age of 64, and was the son of bluesman James “Son” Thomas. One can honestly feel the blues linage with every note played and every word sung on this recording. I can’t help but break a smile when Eugene Church’s “Pretty Girls Everywhere” rolls in. Fronted by Stroger on lead vocals, this track features Stroger’s thumpin’ bassline and a cookin’ performance by Geraci on piano. Tia Carroll’s vocal delivery on title-track “Ernestine” is a timeless and classic one. Accompanied by Doug James on saxophones with backing vocals from Eboni McDonald, Diamond Porter, and Yolanda Tharrington, this lost gem was written by the legendary Sam Cooke and originally recorded by Patience Valentine as the B-side to her 1963 single “Unlucky Girl”. The deep cuts continue with a cover of Joe Tex’s lost-love ballad “She Might Need Me” from his 1970 album Joe Tex Sings with Strings &Things. Oscar Wilson (The Cash Box Kings) sings this with a suave soulfulness while Corritore masterfully injects a melancholy mood into the song in a way much akin to John Barry on the theme to Midnight Cowboy. I dig it when soul-blues heavy-hitter Johnny Rawls steps in for “I Love the South”. As the first single released for Ernestine Blues, this original track written by Rawls brings the listener along to a trip down to Mississippi where one can enjoy a tall cool glass of sweet tea and take time to smell the grass after a fresh rain. It makes me think of my own earlier years. Corritore’sharmonica is served piping hot with Willie Buck behind the mic on Muddy Waters’ classic “Trouble No More”. This is a surefire shindig. I love the Teeny Tucker song
“Shoes” too. It’s a fun and funky original, perfect for cutting loose on the dance floor.
I’m very much impressed with the musicianship and song selection which Corritore’s series brings to the table. He has definitely hit another out-of-the-ballpark homerun with Ernestine Blues.
– Phillip Smith
Living Blues (March 2026)
By now, blues fans know what to expect from a new album by harmonica master Bob Corritore. Ernestine Blues is the latest Corritore release to feature top-notch musician-ship, old-school attitude, and a small army of collaborators. Corritore remains one of the blues world’s greatest team players—he has a gift for bringing out the best in his fellow musicians. The album’s tracks were drawn from ten recording sessions that took place between 2023 and 2025. As with any Corritore release, there are so many great performances that a review can only point out the highlights.
A powerful reading of Snooky Pryor’s
How’d You Learn to Shake It Like That kicks off the proceedings. Tony Coleman handles the drums and vocals, while guitar from Jimi
“Primetime” Smith and piano from Anthony Geraci flesh out the arrangement. Corritore’s harp is, as always, larger than life. The late Mississippi Delta bluesman Pat Thomas played guitar and sang on the acoustic Big Fat Mama.
Even unamplified, Corritore’s harmonica loses none of its edge. Soul blues powerhouse Sugaray Rayford takes the vocal mic on Blind Man Cry. The haunting minor key lament is anchored by Smiths delicate guitar work and Ross Harwood’s lowdown organ riffs. Chicago stalwart Willie Buck’s vocals do justice to the Muddy Waters warhorse Trouble No More.
Smith and Geraci’s chemistry is immaculate, and Corritore dips into his Little Walter trick bag.
Johnny Rawls’ honey-smooth vocals shine on / Love the South. Terry “J” Harris’ organ rounds out the gentle, melodic arrangement while Corritore takes a low-key, supporting role.
Chicago native Carla Denise lends her high-octane voice to the raw, stripped-down Troubles on Your Mind. Accompanied only by pianist Ben Levin and Corritore, Denise holds her own on a track that’s thick with juke joint atmosphere.
The Cash Box Kings’ Oscar Wilson lends his distinctive, weathered voice to a cover of Jimmy Reed’s Down in Mississippi. Bob Margolin lends his signature behind-the-beat guitar work, and Geraci is once again in fine form on piano.
Ernestine Blues is a reminder that
Corritore is in a class of his own when it comes to bringing an all-star blues jam into the listener’s living room. The album is a wonderful addition to Corritore’s formidable body of work.
– Jon Kleinman
Paris Move (France) (April 8, 2026)
INDISPENSABLE! On the eve of his 70th birthday (this coming September), our favorite blues-session workhorse presents us with a fresh harvest—this time drawn from a dozen recording sessions spread between 2023 and 2025, and almost entirely captured at his regular haunt, Tempest Studios in Phoenix. We won’t insult your intelligence by introducing—yet again—the estimable Bob Corritore (already reviewed many times, nor most of the other players assembled here. Suffice it to say that the bass lines of the eminent Bob Stroger once again anchor two-thirds of the tracks, while the six-string work of Jimi “Primetime” Smith does the same on two others (with Wes Starr’s sticks providing the beat on one fewer), before we go on to list the rest of the guest lineup. A lineup that, more than ever, reads like a veritable directory of the contemporary North American blues scene. Judge for yourselves: alongside Sugaray Rayford, Tia Carroll, Johnny Rawls, Oscar Wilson, Tony Coleman, Charles Wilson, Willie Buck, Carla Denise, Bob Margolin, Teeny Tucker, Kid Ramos, Johnny Main, Billy Flynn, Anthony Geraci, Nick Moss, Johnny Rapp, Ben Levin, and Doug James, the roster also features one of the final performances by the Clarksdale bluesman Pat Thomas (who passed away last February). The cocktail Corritore has concocted for us this time consists of 60% sharp-edged Chicago Blues (shuffles like “How’d Ya Learn To Shake It Like That”; Jimmy Reed’s “Going Fishing” and “Down in Mississippi,” performed by Primetime Smith and Oscar Wilson; “Sorry I Had To Leave You Behind” by Charles Wilson—featuring the incendiary six-string work of Kid Ramos—as well as “Standing On The Bank” and Muddy Waters’ “Trouble No More,” performed by Willie Buck), and 35% vintage Southern Rhythm & Blues (“Tell Me Darling” by Betty Everett and “Wild As You Can Be” by Carla Denise—not forgetting the title track by Tia Carroll—all three benefiting from the driving sax work of Doug James and the piano stylings of Geraci; plus the sincere and touching “I Love The South” by Johnny Rawls; the playful twist number “Pretty Girls Everywhere” by veteran Stroger; the lively “Shoes,” written and performed by Teeny Tucker; the poignant “She Might Need Me” by Joe Tex, performed by Oscar Wilson—frontman of the Cash Box Kings; and the heartbreaking “Blind Man Cry” by Sugaray Rayford). The whole blend is enhanced by a welcome dash of low-down Mississippi Delta blues (“Big Fat Mama,” featuring Pat Thomas) and barrelhouse piano (“Troubles On Your Mind” by Henry Glover, performed by Carla Denise, with Ben Levin in commanding form channeling the song’s original composer). In short, the only names virtually missing from the roll call now are Lurrie Bell, Luther Tucker, Henry Gray, Louisiana Red, Barbara Lynn, Alabama Mike, Big Jon Atkinson, Diunna Greenleaf, Francine Reed, and John Primer—at which point we would finally have a definitive “Best Of” from this extensive series (originally subtitled “From The Vaults”). Across 55 minutes and sixteen tightly packed tracks, Bob Corritore—whose incandescent harmonica illuminates every single one—once again confirms his calling as a torchbearer for authentic, unadulterated, old-school blues and rhythm & blues. And, by extension, as a timeless benefactor to humanity: top-notch and generous!
– Patrick DALLONGEVILLE
Chicago Blues Guide (Review #1) (April 9, 2026)
As harp master and blues ambassador Bob Corritore approaches his milestone 70th birthday, he continues to go full steam ahead with his mission to bring memorable recordings to the masses. With a multitude of blues friends from every corner of the country coming to his Rhythm Room in Phoenix, Corritore can capitalize on these appearances and coordinate incredible recording sessions.
His latest endeavor, Ernestine Blues features a stellar cast of today’s finest musicians including Mississippi natives Johnny Rawls and the late Pat Thomas, Chicago blues stalwarts Oscar Wilson, Bob Stroger, Charles Wilson, Jimi “Primetime” Smith, Willie Buck and Billy Flynn as well as female vocalist favorites like Teeny Tucker, Tia Carroll and Carla Denise. These amazing artists were all recorded between 2023 and 2025.
With such a wide-ranging roster, it’s not surprising to find Corritore going beyond his traditional Chicago blues comfort zone and exploring the roots and extensions of the music he has devoted his life to. This thirteenth release under the moniker, “Bob Corritore and Friends,” Ernestine Blues delves into southern soul, R & B, down-home Delta blues and other genres. The result is sixteen masterful tracks that beg to be played on repeat.
During a recent phone interview, Corritore said “I feel like this is a very engaging album with each of these songs telling their own story, and each chapter in Ernestine Blues taking you to a completely different place.” Corritore also had high praise for all the talented musicians he worked with on Ernestine Blues and added, “I’m always attracted to great vocalists that can really deliver a song and make you feel it.”
The impassioned performances featured on Ernestine Blues run the gamut. There’s a sassy Teeny Tucker strutting her stuff on “Shoes” and B.B. King’s former drummer Tony Coleman laying down the groove with an upbeat “How’d You Learn to Shake it Like That,” on the album’s opening track. Then you’ve got Johnny Rawls serving the sweet tea about his love of easy-going Delta living on the self-penned “I Love the South” while Sugar Ray Rayford takes a heavy-hearted turn on “Blind Man Cry.” Corritore said that “Blind Man Cry” flowed in a very “happenstance” way with Rayford seizing on an arrangement that Jimi “Primetime” Smith came up with “and we just constructed it on the spot.” He added that, “Sugar Ray dug deep into his soul with a song that’s a metaphor for so many things in life.”
While the Texas-born Rayford called upon his gospel roots on “Blind Man Cry,” Corritore also saw to it that several Chicago-based artists received their due. Oscar Wilson of the Cash Box Kings showcases his range with a soulful and beautiful rendition of Joe Tex’s “She Might Need Me,” and then settles back into an unhurried Jimmy Reed vibe on “Down in Mississippi.”
Corritore’s former employer and longtime running partner, the 88-year-old Willie Buck is showcased doing Muddy Waters’ “Trouble No More,” where he is joined by Waters’ former bandmate, Bob Margolin on guitar. Corritore lauded Buck for his purity in preserving the real deal Chicago blues sound. Not to be outdone, 95-year-old Bob Stroger takes his turn with the show stopping “Pretty Girls Everywhere” which he “nailed” in one take.
Ernestine Blues also serves as an introduction of sorts for Carla Denise. After moving to Phoenix from Chicago, she contacted Corritore, and they immediately began collaborating. The former Mississippi Heat frontwoman’s vocal range is featured on three tracks including the toe-tapping “Wild as You Can Be” and her standout performance on “Troubles on Your Mind.”
Of course, we would be remiss if we didn’t mention Tia Carroll’s wonderful reimagining of the title track, written by the great Sam Cooke and first released in 1963 as a B-side to Patience Valentine’s “Unlucky Girl.” Corritore had the gut feeling that “this song is so fun and melodic, it was begging for a remake.” His instincts proved to be correct with gospel singers, Eboni McDonald, Diamond Porter and Yolanda Tharrington adding just the right dash of old-school vocal sass to “Ernestine Blues.” Corritore also singled out Doug James’s vintage sax magic and Anthony Geraci’s sweet piano work for adding some extra snap to this track.
With five decades of producing quality blues recordings under his belt, Corritore remains the ultimate team player who is well-aware of the collaborative nature of producing these albums. After giving props to longtime co-producer, Clarke Rigsby as well as his “right-hand man” Jimi “Primetime” Smith, Corritore gave a special shout-out to the legions of talented musicians (all included in the liner notes) who made Ernestine Blues possible.
As Corritore approaches 70, his harmonica work and production savvy on Ernestine Blues shows that he is at the top of his game. He said his formula is simple; remain true to the melody, serve the song and let his harp complement and adapt to each artists’ unique style. It’s this unselfish mentality that enables Corritore to hit a home run with every one of his much-anticipated record releases.
As one who is driven to preserve blues history and special “moments in time,” Corritore’s lineup of blues recordings, play a key role in keeping the music front-and-center for generations to come. And Ernestine Blues is yet another “keeper” from Bob Corritore’s long string of incredible collaborations.
– Robin Zimmerman
Keys And Chords (Belgium) (April 10, 2026)
Acclaimed harmonica master Bob Corritore returns with Ernestine Blues, a powerful new release featuring an all-star lineup of today’s leading blues artists, including Pat Thomas, Sugaray Rayford, Bob Stroger, Tia Carroll, Johnny Rawls, Oscar Wilson, Tony Coleman, Willie Buck, Bob Margolin, Teeny Tucker, Kid Ramos, Billy Flynn, Anthony Geraci, Ben Levin, and many more.
Marking a compelling new chapter in Corritore’s celebrated blues journey, Ernestine Blues is a showcase of extraordinary collaborations that highlight both the depth of the genre and the artistry of its finest contemporary voices. Anchored by Corritore’s signature harmonica work, the album pairs storytelling songs with exceptional vocal performances and world-class musicianship, creating a rich and dynamic listening experience.
Renowned for his ability to inspire and elevate his collaborators, Corritore draws out fresh, deeply expressive performances from each guest artist—often revealing previously unheard dimensions of their musical voices. The result is a collection that feels both timeless and immediate, rooted in tradition while alive with creative energy.
Spanning the spectrum of blues, Ernestine Blues moves seamlessly from Corritore’s foundation in classic Chicago blues to explorations of early R&B, Mississippi country blues, and soul-infused sounds. Each track captures the distinct character and authenticity of its style, offering listeners a guided journey through the genre’s enduring legacy and evolving spirit.
Friday Blues Fix (April 10, 2026)
I love Corritore’s collections of recordings with all the guest stars. He either releases a set “From the Vault” that he’s done over the past 20-30 years, or he releases a set of more recently recorded songs. This is one of the latter collections, with songs cut between 2023 and 2025. The guest star list is most impressive, with tracks from Pat Thomas, Sugaray Rayford, Bob Stroger, Tia Carroll, Johnny Rawls, Oscar Wilson, Tony Coleman, Charles Wilson, Willie Buck, Jimi “Primetime” Smith, Carla Denise, and Teeny Tucker with instrumentalists Ben Levin, Bob Margolin, Johnny Rapp, Kid Ramos, Nick Moss, Billy Flynn, Anthony Geraci, and many many more. There’s not a bad track in the bunch and it’s all good old traditional blues. Corritore provides his usual superb harmonica throughout the disc and this is one that blues fans will really enjoy from start to finish. Here’s the first single from the album from Corritore and soul/blues master Rawls, “I Love The South.” By the way, I love the comic book-like covers that are such a cool part of Corritore’s albums.
KAXE Fresh Picks (April 13, 2026)
Bob Corritore & Friends/Ernestine Blues. Harmonica player Bob Corritore is on a mission to connect the tradition of the blues to the players and audience of today. A frequent collaborator, over the years, he has showcased legends like John Primer and Henry Gray while also giving a spotlight to contemporary artists like Kid Ramos. This new album covers all of the ground with features from newer names like Carla Denise and Sugaray Rayford to longtime soul and blues voices like Johnny Rawls and Willie Buck. An exploration of Bob’s world of Chicago blues to early R&B, country blues and soul ballads, Ernestine Blues is a home run for fans of the genre.
– Kari Hedlund
Rock Doctor (April 16, 2026)
(Five Stars) Another stunning entry here from this master of Chicago blues harp. Ernestine Blues, unlike his ongoing “from the vault” series, features new recordings cut between 2023 and 2025 with the cream of today’s blues scene. At 16 cuts this is an embarrassment of riches, a deep dive into some of the richest blues you’ll ever hear- straight from the gut.
Ernestine Blues was expertly recorded with an eastside Chicago vibe that just feels oh so right. These are great storytelling songs with great singers and excellent swingin’, intuitive musicians that bring exactly what each song needs. It’s only natural to be curious about Bob’s collaborators when considering this disc and he does not disappoint; Bob Stroger, Johnny Rawls, Sugarray Rayford, Bob Margolin and Kid Ramos are just some of the guys helping turn a good idea into one hell of an album.
On Ernestine Blues as with so many of his other releases, Corritore has the juju to pull exciting and unexpected performances from his guests. This disc is a treasure trove of early R&B, Mississippi country blues and soul/blues grooves, pretty much a guided tour through many aspects of the blues with all of its traditions and extensions, a time traveling expedition powered by beer, chicken grease and an unashamed lust for a good time. It’s a testament to Bob C’s vision and talent that a record like this involving so many special guests has the feel of a single band going into the studio together and just letting ‘er rip.
Bob Corritore eats, sleeps and breathes the blues, and Erinestine Blues is the work of a man put on this earth doing exactly what he was meant to do, and that so many people are willing to take the ride with him is hardly a surprise. If you like the blues you’re going to love this.
HOT TRACKS: Going Fishing (with Jimi Primetime Smith), How’d You Learn To Shake It Like That (with Tony Coleman), Blind Man Cry (with Sugarray Rayford)
– John Kereiff
IL Blues (Italy) (April 4, 2026)
Harmonica player Bob Corritore is a hard worker. The fact that he also runs a club in Arizona where he lives is still a given, but what sets him apart is that he has religiously recorded every artist who has played with him, subsequently releasing a remarkable number of compilations, often entrusting the covers to comic book artist Vince Ray. More than half of the thirty or so albums he has released feature a multitude of artists, some well-known, others less so, alongside our Bob.
And Bob is truly “ours” because in Europe, over the past couple of decades, he has found many admirers and an excellent reputation in blues circles. But his other albums, often in duo with John Primer, Dave Riley, Henry Gray, and Kid Ramos, to name but a few, are also very interesting. Not to mention another hundred or so albums where Corritore appears as a guest. This ” Ernestine Blues ” (Vizztone) is no exception. A core quintet—”Primetime” Smith, Bob Margolin, Bob Stroger, Anthony Geraci, and Wes Starr—is joined by various singers, guitarists, and other instrumentalists. First-rate blues, fine stuff.
The opening track, “How’d You Learn to Shake It,” with its highly suggestive title that leaves little doubt: “Your daddy was a preacher, your mamie an alley cat,” sets the tone for what’s to come. Drummer Tony Coleman sings on a slightly slurred shuffle, Bob’s harmonica emerges, supported by Geraci on piano and Jimi “Primetime” Smith’s guitar, and we’re already at a high level. Pat Thomas is one of the embodiments of rural blues, not coincidentally the son of James “Son” Thomas, and here he delivers an intense “Big Fat Mama.”
Now, pay attention: Blues song of the year 2026: “Blind Man Cry.” It’s true, it’s only March, but it’ll be hard to top… sing… sing the extraordinary Sugaray Rayford … “the saddest thing I’ve ever seen was a blind man cry,” with a great organ in the background courtesy of Ross Harwood. Let’s move on to the tight “Trouble No More” (by Muddy Waters), where Willie Buck is joined by Corritore and Geraci.
“I Love the South,” sung by Johnny Rawls, is an affectionate ode to the Southern states, also a candidate for airwaves. Singer Carla Denise delivers two songs beautifully: the meditative “Troubles in Your Mind,” enhanced by Geraci’s piano, and the agitated “Wild as You Can Be,” where Doug James shines on sax. A leap back sixty years, the Blues with a capital B returns in “Standing on the Bank,” featuring Buck on vocals and a masterful Corritore.
Kid Ramos makes a cameo appearance on “Sorry, but I had to leave you behind.” There’s also time for a tribute to Joe Tex, “She Might Need Me,” sung by Oscar Wilson, which lightens the mood. Teeny Tucker closes with “Shoes,” a joyful, collective blues. A beautiful album that won’t go unnoticed.
– Luca Lupoli
Blues Roadhouse (April 19, 2026)
Bob Corritore and friends deliver a masterclass with Ernestine Blues.
Bob Corritore is a master of two crucial musical skills — he’s a virtuoso on the blues harmonica, and a masterful producer of vital, old-school blues albums.
Corritore is based in his Phoenix, Ariz., Rhythm Room, where he’s gathered great artists for his years-long succession of extraordinary albums whose music digs deep into rich blues history.
Those seasoned vocalists and musicians make up the “Friends” who crank out the blues here for this magnificent set of classic blues stylings.
The result is “Ernestine Blues,” recorded between 2023 and 2025 with an impressive list of guest artists, including Sugaray Rayford, Bob Stroger, Tia Carroll, Oscar Wilson, Willie Buck, Teeny Tucker, Pat Thomas, and Johnny Rawls, backed by veteran musicians such as Kid Ramos, Bob Margolin, Billy Flynn, Anthony Geraci, Ben Levin, Doug James — and more. (Full list of artists by track at end of post.)
Corritore says the sixteen tracks for this album were carefully chosen: “Of all my releases, this is the most storytelling album I’ve ever done. Each song tells its own story, and as you bind them together you get a beautiful book that takes you on many adventures.” Those story-driven songs move effortlessly between classic Chicago blues, early R&B, Mississippi country blues, and soul-blues traditions. Corritore’s sensitive harp work is the thread that connects this elegant tapestry of voices and styles,
Corritore opens with the straight-ahead, tuff-enuff shuffle, “How’d You Learn To Shake It Like That,” a 1985 song by Snooky Pryor, with former B.B. King drummer Tony Coleman’s rugged vocals and rock-steady drums, Jimi ‘Primetime’ Smith on guitar, Bob Stroger on bass, and Anthony Geraci on piano. This stellar lineup, with Corritore’s soaring harp, signals good blues ahead as Coleman growls: “Your daddy was a preacher, your mama was an alley cat.”
The R&B-drenched romp “Tell Me Darling,” written by Betty Everett and Lucious Porter Weaver in 1959, features Carla Denise on vocals and adds Wes Starr on drums, and Doug James on saxophone. “Big Fat Mama,” a blues that dates back to the 1920s and ’30s, features Pat Thomas on guitar and deep blue vocals. “Trouble No More” highlights Chicago’s Willie Buck on the 1955 Muddy Waters chestnut, featuring Waters’ former bandmate, guitarist Bob Margolin.
The soul-blues legend Johnny Rawls brings his church-hewn pipes to bear on his original “I Love the South,” a Mississippi anthem cradled by a gospel chorus. “Going Fishing” is a Jimmy Reed song, revived by Jimi “Primetime” Smith, who first learned to play guitar from Reed.
Denise returns for a soulful vocal performance on “Troubles On Your Mind,” backed by a haunting piano turn by Levin and an ethereal Corritore harp solo. Denise then shifts into a tougher gear for the hard-rocking, sax-fueled “Wild As You Can Be,” originally recorded by Mary Ann Fisher, one of the Ray Charles’s Raelettes. “Pretty Girls Everywhere” is a timeless 1959 rock ‘n’ roll classic sparked here by the equally ageless Stroger. Buck displays his Muddy Waters roots again with his churning original, “Standing on the Bank.”
A swinging harp introduces soul-blues vocalist Charles Wilson on the uptown shuffle, “Sorry I Had to Leave You Behind.” Cash Box Kings vocalist Oscar Wilson offers a delicate version of the Joe Tex song, “She Might Need Me,” with elegant Corritore harp backing. Then on the next track, Wilson goes down home on “Down In Mississippi,” over a sumptuous Jimmy Reed groove.
The energetic closing track, “Shoes,” is sung by Teeny Tucker, the daughter of Tommy Tucker, who created “Hi Heel Sneakers.” Her vocal is laced with the enthusiasm that drives this entire session.
As Corritore noted, “Each song tells its own story, and as you bind them together you get a beautiful book that takes you on many adventures.” Those adventures make for the glorious blues and soul music that fills the tracks of “Ernestine Blues.” Fill your mind — and your soul — with this grand old music.
The “Ernestine Blues” cover art deserves a shout. It’s another gem from illustrator Vince Ray, whose vividly drawn work on a series of eight Corritore album covers gives visual life to the music in their tracks. It’s a welcome throwback to the golden era of LP covers that often turned into wall art.
Tracklist & credits:
1. How’d Ya Learn to Shake It Like That — 4:24Tony Coleman sings and plays drums, with Jimi “Primetime” Smith on guitar, Bob Stroger on bass, and Anthony Geraci on piano.
2. Tell Me Darling — 2:08 Carla Denise sings, joined by Jimi “Primetime” Smith on guitar, Bob Stroger on bass, Anthony Geraci on piano, Wes Starr on drums, and Doug James on saxophone.
3. Big Fat Mama — 2:44 Pat Thomas handles both vocals and guitar.
4. Blind Man Cry — 5:01 Sugaray Rayford sings, with Jimi “Primetime” Smith and Johnny Rapp on guitars, Russ Harwood on organ, Yahni Riley on bass, and Brian Fahey on drums.
5. Ernestine — 2:34 Tia Carroll sings, backed by Jimi “Primetime” Smith and Bob Margolin on guitars, Bob Stroger on bass, Anthony Geraci on piano, Wes Starr on drums, Doug James on saxophone, and backing vocalists Eboni McDonald, Diamond Porter, and Yolanda Tharrington.
6. Trouble No More — 2:22 Willie Buck sings, with Jimi “Primetime” Smith and Bob Margolin on guitars, Bob Stroger on bass, Anthony Geraci on piano, and Wes Starr on drums.
7. I Love the South — 4:40 Johnny Rawls sings and plays guitar, joined by Jimi “Primetime” Smith on guitar, Terry “D” Harris on organ, Yahni Riley on bass, Brian Fahey on drums, and backing vocalists Eboni McDonald, Yolanda Tharrington, and Clarke Rigsby.
8. Going Fishing — 3:12 Jimi “Primetime” Smith sings and plays guitar, with Bob Margolin on guitar, Bob Stroger on bass, Anthony Geraci on piano, and Wes Starr on drums.
9. Troubles On Your Mind — 3:43 Carla Denise sings, accompanied by pianist Ben Levin.
10. Wild As You Can Be — 3:38 Carla Denise sings again, with Jimi “Primetime” Smith and Bob Margolin on guitars, Bob Stroger on bass, Anthony Geraci on piano, Wes Starr on drums, and Doug James on saxophone.
11. Pretty Girls Everywhere — 3:16 Bob Stroger sings, with Jimi “Primetime” Smith and Bob Margolin on guitars, Anthony Geraci on piano, and Wes Starr on drums.
12. Standing On the Bank — 3:36 Willie Buck sings, backed by Jimi “Primetime” Smith and Bob Margolin on guitars, Bob Stroger on bass, Anthony Geraci on piano, and Wes Starr on drums.
13. Sorry I Had to Leave You Behind — 2:58Charles Wilson sings, with Kid Ramos and Johnny Main on guitars, Mike Turturro on bass, and Brian Fahey on drums.
14. She Might Need Me — 3:59 Oscar Wilson sings, with Nick Moss on guitar, Ross Harwood on organ, Rodrigo Mantovani on bass, and Pierce Downer on drums.
15. Down in Mississippi — 3:59 Oscar Wilson sings, with Jimi “Primetime” Smith and Bob Margolin on guitars, Bob Stroger on bass, Anthony Geraci on piano, and Wes Starr on drums.
16. Shoes — 2:43 Teeny Tucker sings, with Jimi “Primetime” Smith and Billy Flynn on guitars, Bob Stroger on bass, Anthony Geraci on piano, and Wes Starr on drums.
– Jim White
Zicazic (France) (April 21, 2026)
English Translation:
As he serenely approaches his 70th birthday, Bob Corritore stands out more than ever as one of the great architects of contemporary blues. A harmonica player of rare elegance, a meticulous producer, and a passionate archivist, he embodies that generation of musicians who bridged the gap between the masters of Chicago Blues and today’s artists. Born in Chicago, he learned his craft in the heart of the South Side—a place where the clubs still vibrated with the echoes of Muddy Waters, Little Walter, and Howlin’ Wolf. At a very young age, he fell in love with the harmonica and forged a style that is at once respectful of tradition and deeply personal.
Having settled in Phoenix decades ago, he founded the Rhythm Room there—a venue that has since become a renowned hub for American blues. It is there that he welcomes, records, accompanies, and shines a spotlight on a multitude of artists, creating over time a true musical family. His project, Bob Corritore & Friends—launched more than twenty years ago—has evolved into an essential series; each volume brings together original collaborations, intergenerational encounters, and performances captured with the warmth and authenticity that have become his signature.
Corritore is not merely a virtuoso harmonica player; he is also a conduit—a man who knows how to bring out nuances, emotions, and colors—often entirely new ones—in the singers and musicians he invites to join him. His discography is a journey through the multifaceted world of the blues—Chicago, Mississippi, soul-blues, early R&B, and rock ’n’ roll—always guided by a profound respect for history and a contagious joy of playing.
With Ernestine Blues—the thirteenth volume in the Bob Corritore & Friends series—the artist delivers one of his most accomplished, narrative-driven, and arguably most moving albums to date. Recorded between 2023 and 2025, the record features an exceptional lineup, including the late Pat Thomas, as well as Sugaray Rayford, Johnny Rawls, Tia Carroll, Willie Buck, Bob Stroger, Oscar Wilson, Teeny Tucker, Carla Denise, Jimi “Primetime” Smith, Tony Coleman, Charles Wilson, and many others. It is a veritable constellation of contemporary blues stars, gathered around Bob Corritore’s warm and expressive harmonica.
Each track tells a story—depicting a scene, a memory, or an emotion. Corritore readily acknowledges it: this is his most “storytelling” album. And it shows. The record unfolds like an open book, with each chapter exploring a different nuance of the blues.
The opener, “How’d You Learn To Shake It Like That,” sets the tone—an irresistible shuffle driven by Tony Coleman, B.B. King’s former drummer, who sings with raw, joyful energy. We then shift to the delicacy of Carla Denise on “Tell Me Darling,” a superb reinterpretation of a Betty Everett R&B classic, before diving into the deeply moving intimacy of Pat Thomas on “Big Fat Mama,” recorded just months before his passing.
Sugaray Rayford delivers one of the album’s most standout performances with “Blind Man Cry,” a dark, metaphorical blues track in which Bob Corritore’s harmonica—played in the third position—takes on the quality of an inner voice.
The centerpiece, “Ernestine,” sees Tia Carroll shine in a 1960s-style R&B-pop vein—a track originally written by Sam Cooke. The song is complemented by cover art created by Vince Ray—a longtime collaborator of Corritore—whose explosive, retro aesthetic perfectly captures the spirit of the project.
The album navigates effortlessly between the eras and territories of the blues. There is Chicago blues, featuring Willie Buck delivering a masterful rendition of “Trouble No More,” backed by the excellent Bob Margolin—formerly Muddy Waters’ guitarist. There is soul-blues, with Johnny Rawls transforming “I Love The South” into a warm anthem, buoyed by gospel backing vocals and an irresistible groove. And there is Mississippi blues, with Oscar Wilson revealing two contrasting facets: ranging from the intimate soul of “She Might Need Me” to the gritty blues of “Down In Mississippi.”
There is still plenty of rock ’n’ roll to be found here, courtesy of Bob Stroger—that ever-dapper nonagenarian—who absolutely tears through “Pretty Girls Everywhere” with youthful energy; there is even some early R&B, with Carla Denise making a powerful comeback on “Wild As You Can Be”—a track that swings like a Ray Charles 45. The album then closes with Teeny Tucker and “Shoes,” a delightful nod to her father, Tommy Tucker, the man behind the classic “Hi Heel Sneakers.” It is a finale brimming with both wit and elegance.
Ernestine Blues” is far more than a compilation; it is a living panorama of contemporary blues—a vibrant tribute to its roots and its myriad metamorphoses. Here, Bob Corritore assumes the role he masters best: that of the catalyst—the musician who knows how to create the ideal space for everyone to give their absolute best.
It is a generous, deeply human record that serves as a reminder that the blues is not a museum, but an ongoing conversation between generations, styles, and emotions. It is an album that, without ever feeling forced, naturally establishes itself as one of the crowning achievements of the Bob Corritore & Friends series.
– Fred Delforge
Poprock (Croatia) (April 21, 2026)
English Translation:
Bob Corritore has been more than just a master harmonica player for years. He is a blues producer and archivist who tirelessly creates and collects unforgettable performances from this musical style. As Bob approaches his 70th birthday, he continues to release one masterpiece after another. These are albums, releases on which he presents his musical favorites, role models, but also colleagues and friends from a wide spectrum of the blues milieu.
Ernestine Blues, which was released on April 10th by VizzTone Label Group with worldwide radio promotion by BratGirlmedia. And just like that, we have another masterpiece in front of us. Along with this text, you also have the appropriate album covers where you can find out everything – who is represented here and who is part of this absolutely rare and exceptional album.
Let’s not forget that Bob is certainly not a beginner there; he has been active on the blues scene for many years and is constantly present at the very top of this scene. And as far as I’m concerned, Bob, with his mouthpiece and vocals on this and that scene, is certainly among my favorites.
Namely, it’s hard to even imagine who this “harp wizard” played with. There’s really no doubt about it – Bob always loved to play and exchange that bluesy synergy, but also to absorb and learn from others. He was never egocentric, quite the opposite: he wanted to be an active participant in his own blues story, but only as an excellent link to the great blues atmosphere.
Bob Corritore is a musician, a harpist who first just listened, and then he set out into that endless blue world in which he plays a very significant role today. Bob is not just a mouthpiece player, as I have already written – Bob has his own club, he is a radio DJ and a music educator. But if we put everything aside, his mouthpiece remains playing. His presentation style strongly unites the unique musical bravura of Little Walter, Junior Wells and James Cotton. Of course, the great thing about Bob himself is precisely his own and original style of mouthpiece playing. It is certainly precisely with this that Corritore gained global recognition. This is truly a great success that simply must be respected and given great recognition.
On the other hand, this kind of clash or clash of generations incredibly depicts all the greatness, power and splendor of the presentation form of Bob and the guest musicians themselves. The result is before you – a unique and excellent album.
Ernestine Blues is the thirteenth release in the “Bob Corritore & Friends” series and, despite everything, it already occupies its extremely important place as the next, or rather, a new chapter in this incredible Bob’s blues adventure. The album, recorded between 2023 and 2025, brings us truly rare recordings where, alongside excellent bands, truly exceptional male and female singers alternate on vocals. All of them together create the perfect backdrop for Bob’s always masterfully exposed harmonica
These 16 songs for this album were carefully selected. And Bob himself points out: “Of all my releases, this is the album with the most stories I’ve ever made. Each song tells its own story, and when you connect them, you get a beautiful book that takes you on many adventures.” And yes, when it comes to style, it is clear that you can hear that blues that goes from the traditional, pure Chicago blues to his explorations and playing with early rock’n’roll, R&B, Mississippi country blues and soul blues ballads. All of this is extremely powerfully united in the skillful and masterful phrasing of his “lipstick”.
However, the main secret lies in the mutual appreciation and respect that has deeply determined this relationship between the musicians. Why? The reason is purely human – decency and respect, which is an absolutely healthy basis for any collaboration. If this is not there, if this is not present, then everything actually falls apart and makes no sense. And therefore this great team of musicians functions precisely on these foundations and that is an additional bonus for this musical work.
Recommendation!
Ernestine Blues brings us a true tsunami of traditional blues with its content that first just invades, slowly and gradually, and then, when it becomes over 30 meters high, it simply covers you and the story is over.
These 16 songs will literally sweep you away with their expression and yes… now and here I should highlight some… oh, no way! The album is listened to in its entirety and those almost 55 minutes will pass in an instant. And now what? Nothing – press again and we start from the beginning and so, the circle keeps opening and closing. I want to be part of that circle. I want to be covered by that big bluish wave… that will take me forever to that bluish world from which I simply don’t want to return.
— Mladen Loncar
Blues21 (Italy) (April 24, 2026)
WELL, HERE WE HAVE OUR HARMONICA HERO AGAIN. ANOTHER MUSEUM PIECE FOR ALL ENTHUSIASTS. ANOTHER GATHERING OF LEGENDS LED BY BOB, ONCE AGAIN, A COLLECTION OF SONGS WHERE THE BLUES NEEDS NO PROLOGUE, NO SIDE PATHS: IT IS BLUES IN ITS PUREST, FULLEST EXPRESSION. CORRITORE IS THE HIGH PRIEST OF THE CEREMONY, WITH THE GENEROSITY AND EXTROVERSION OF PERFORMANCES THAT FEEL COLLECTIVE, ALMOST FAMILIAL, ALLOWING THE LISTENER TO STEP IN AS ONE MORE PARTICIPANT IN THE JOY AND HONESTY THIS ALBUM CONVEYS. WE’RE READY FOR THE NEXT ONE, BOB.
Concert Monkey (Belgium) (April 29, 2026)
English Translation:
Bob Corritore is an American harmonica player who was born in Chicago on September 27, 1956. His life changed forever when, at the age of twelve, he heard Muddy Waters on the radio for the first time. In less than a year, he taught himself to play the harmonica. Bob sought out the great harp players of the era, such as Big Walter Horton, Little Mack Simmons, Louis Myers, Junior Wells, Big John Wrencher, and Carey Bell. From them, he received many tips on playing the harmonica, as well as encouragement. In 1981, Bob moved to Phoenix, Arizona, where, in 1986, he began collaborating with former Howlin’ Wolf drummer Chico Chism. That collaboration lasted twenty years, until Chico passed away in 2007. In 1991, Bob opened the now-famous blues and roots club, The Rhythm Room, and in 1999, he released his debut album, All-Star Blues Sessions. In 2005, Bob brought the Rhythm Room All-Stars—featuring Big Pete Pearson—to the Marco Fiume Blues Passions Festival in Italy. This sparked considerable European interest in Bob Corritore’s fiery harmonica playing. In 2007, Bob received a Keeping the Blues Alive Award from the Blues Foundation. That same year, Travelin’ the Dirt Road—a collaboration with Dave Riley—was nominated for a Blues Music Award. In 2011, the album Harmonica Blues by Bob Corritore & Friends won a Blues Music Award for Best Historical Blues Release. In 2013, Ain’t Nothing You Can Do—the magnificent collaboration with John Primer—was named the Best Blues Album of 2013 by Germany’s Blues News Magazine. A year later, Corritore also received a Blues 411 Jimi Award for Best Harmonica Player. In May 2020, The Gypsy Woman Told Me—the third collaboration between Bob Corritore and John Primer—was released. In the autumn of 2020, three more albums by Bob Corritore appeared as part of the From The Vaults series. For his 2021 album Spider In My Stew, Bob Corritore once again invited a host of guest artists. In 2022, Bob Corritore released Tell Me ‘Bout It (featuring Louisiana Red and Bob Corritore) as part of the From The Vaults series, followed by Down Home Blues Revue and You Shocked Me—both released under the Bob Corritore & Friends banner. On May 26, 2023, Bob Corritore and his friends released High Rise Blues; just four months later, he returned with Somebody Put Bad Luck On Me. On January 12, 2024, another new album by Bob Corritore & Friends appeared in the From The Vaults series—this time featuring recordings with blues singers from Phoenix, Arizona, Corritore’s home base since 1981. The album features twelve tracks recorded between 1987 and 2016. It remains an inexhaustible series: on February 27, 2025, Doin’ With The Shout! was released, followed on October 17, 2025, by Early Blues Sessions—adding two more albums to the collection. The thirteenth album in the series is Ernestine Blues, which contains sixteen recordings made between 2023 and 2025.
The album opens with the steamy blues shuffle “How’d Ya Learn To Shake It Like That,” a cover of a 1985 Snooky Pryor track. Former B.B. King band member Tony Coleman handles the vocals and also provides the shuffle drumbeat. With Jimi “Primetime” Smith on guitar, Bob Stroger on bass, Anthony Geraci on piano, and Bob Corritore on harmonica, the track features a stellar lineup. Bob Corritore adds an extra touch to “How’d Ya Learn To Shake It Like That” with two fiery and rousing solos on his blues harp. A fantastic opener. The very brief “Tell Me Darling” is a soulful rhythm & blues song—a cover of a 1959 track by Betty Everett. On this album, it is sung by the beautiful, melodic voice of Carla Denise. Instrumentally, it is a delight to enjoy the fine, sublime piano playing of Anthony Geraci, the lovely saxophone work of Doug James, and Bob Corritore’s excellent blowing and drawing on the harmonica. In the understated Mississippi Delta-style track “Big Fat Mama,” we hear only Pat Thomas on vocals and guitar, and Bob Corritore on harmonica. This song was recorded four months prior to Pat’s unexpected passing. Pat Thomas was sixty-four years old.
Sugaray Rayford pours his heart out in the heart-wrenching slow blues track ‘Blind Man Cry’. Russ Harwood carries the melody with his warm organ tones, while also providing the necessary depth. The rhythm section—featuring drummer Brian Fahey and bassist Yahni Riley—delivers a sparse yet beautiful accompaniment. The title track, ‘Ernestine’, tells the story of a woman whose boyfriend is snatched away by her best friend at a dance party. This narrative is vividly depicted on the album’s stunning cover art by Vince Ray. ‘Ernestine’ is a cover of a 1963 Sam Cooke original; with her magnificent, soulful voice, Tia Caroll performs the song with great passion and conviction. Eboni McDonald, Diamond Porter, and Yolanda Tharrington form a superb backing choir that perfectly rounds out the vocal arrangement. Jimi ‘Primetime’ Smith and Bob Margolin on guitar, Bob Stroger on bass, Anthony Geraci on piano, Wes Starr on drums, Doug James on saxophone, and Bob Corritore on harmonica provide the instrumental delight. ‘Trouble No More’ represents Chicago blues at its finest. It is a cover of a 1955 Muddy Waters track; indeed, with Chicago blues vocalist Willie Buck and guitarist Bob Margolin (a former member of Muddy Waters’ band) on board, one could hardly ask for a better lineup of musicians. Together with guitarist Jimi ‘Primetime’ Smith, bassist Bob Stroger, pianist Anthony Geraci, drummer Wes Starr, and Bob Corritore, they turn ‘Trouble No More’ into a true celebration.
Soul-blues legend Johnny Rawls penned “I Love The South” himself—an ode to his native region. He sings with deep emotion about his need to return to the South, specifically to his home state of Mississippi, where he longs to catch the scent of green grass after a rain shower. The exquisite voices of gospel singers Eboni McDonald, Yolanda Tharrington, and Clarke Rigsby serve as the perfect complement to Johnny’s vocals. “I Love The South” was previously released as a single and garnered rave reviews across the board. Towards the end of the track, Johnny encourages harmonica virtuoso Bob Corritore to add a powerful solo—an invitation Bob happily accepts. Jimi “Primetime” Smith plays guitar on practically every track on this album. Having learned the instrument under the tutelage of Jimmy Reed, it comes as no surprise that he also takes on the lead vocals for the Jimmy Reed cover, “Going Fishing.” We are once again reminded of Carla Denise’s fantastic voice and impressive vocal range in the track “Troubles On Your Mind.” Aside from a captivating harmonica solo by Corritore, her voice is accompanied solely by Ben Levin on piano. Carla Denise’s fans will be delighted, as they can once again enjoy her beautiful vocal timbre on the swinging big-band number “Wild As You Can Be”—a cover of a Mary Ann Fisher classic. The album’s instrumental highlights are provided by saxophonist Doug James and harmonica player Bob Corritore.
If we are to believe singer Bob Stroger in “Pretty Girls Everywhere,” beautiful girls are present wherever he goes. It is a rock ‘n’ roll cover of a 1959 track by Eugene Church. The fine guitar work is provided by Jimi “Primetime” Smith and Bob Margolin. “Standing On A Bank” is sung by Willie Buck, who also wrote the song himself. The Muddy Waters influences are clearly audible in this track, which features a foot-stomping groove. “Sorry, I Had To Leave You Behind” is a swinging uptown shuffle featuring Charles Wilson on vocals. Charles possesses a soulful voice and sings the song with great feeling. The guitars of Kid Ramos and Johnny Main drive the track forward. Bassist Mike Turturro and drummer Brian Fahey provide the shuffle groove, while Corritore once again delivers a beautiful harmonica solo. For the next two songs, we find Cash Box Kings vocalist Oscar Wilson behind the microphone. First up is the Joe Tex cover “She Might Need Me,” the melody of which is carried by the warm organ tones of Ross Harwood. His second track is the Jimmy Reed cover “Down In Mississippi.” It is a slower number featuring delightful piano work by Tony Geraci. The album concludes with the energetic soul track “Shoes.” Teeny Tucker possesses a powerful and vibrant soul voice, and she sings the song with great passion and conviction.
‘Ernestine Blues’ is not a revolutionary album, nor does it aspire to be. Rather, it is a love letter to traditional blues, meticulously crafted by a musician who not only knows the genre’s history but actively preserves it. The album’s strength lies in the authenticity of the recordings, the impressive roster of guest musicians, and Corritore’s role as a supportive—yet essential—musical linchpin. For purists and aficionados of classic blues, this album is virtually indispensable. For those seeking innovation or a distinct “frontman” experience, it may prove less memorable. ‘Ernestine Blues’ is a rich, historically significant, and musically robust document that keeps the essence of the blues alive. (8/10)
– Walter Vanheuckelom
Blues Bytes (April 2026)
I’ve lost count of how many compilations that Bob Corritore has done using recordings he makes when artists come through town to play at the Rhythm Room.
These collections of wonderfully indispensable recordings get better each time, as I’ve relayed to Bob regarding at least the last three albums.
Here I go again. Ernestine Blues is now at the top of the heap, in my opinion. Sixteen cuts with nary a mediocre one in the bunch. All feature Corritore on harmonica, along with an outstanding collection of backing musicians.
What pushes this one to the top of the charts are the three cuts featuring Carla Denise, a fantastic blues singer from Chicago who also spends part of her time in Phoenix. Ms.Carla’s songs here are just so mind-blowingly good that it makes one wonder why there’s no full album in her name.
She comes in on the album’s second cut with the mid-tempo Betty Everett blues, “Tell Me Darling,” her sweet voice complemented nicely by Corritore’s harmonica accompaniment. She slows the tempo on the slow blues, “Troubles On Your Mind,” accompanied only by Corritore on harmonica and the incredible Ben Levin on piano.
Ms. Carla’s parting number is the up-tempo jump blues, “Wild As You Can Be,” featuring guest saxophone player Doug James.
We’ve already justified the price of admission to this blues party with these three numbers. But wait! There’s plenty more.
Chicago octogenarian blues legend Willie Buck continues to defy his age every time he steps up to a microphone to sing. He covers the Muddy Waters classic, “Trouble No More, with former Muddy guitarist Bob Margolin helping out. Buck also does his own composition, the slow blues “Standing On The Bank,” with Margolin retuning as well as the rest of an all-star contingent in Jimi Primetime Smith (guitar), Anthony Geraci (piano), Bob Stroger (bass), and Wes Starr (drums).
Since I mentioned the ageless wonder Bob Stroger, this legend who is well into his 90s gets to step up to the microphone for the Chicago blues number, “Pretty Girls Everywhere.”
Also coming in from Chicago for two songs is Cash Box Kings singer Oscar Wilson, covering the Joe Tex soul/blues, “She Might Need Me,” showing his strong voice with Nick Moss joining on guitar, and the Jimmy Reed song, “Down In Mississippi.” Geraci and Margolin add their talents to this one.
We get another Jimmy Reed song from Jimi Primetime Smith, the slow blues “Going Fishing” that has Smith putting a heavy dose of rawness into his voice.
Mississippi Delta cat Pat Thomas appears for one song, the very downhome “Big Fat Mama,” with Corritore providing the only accompaniment to Thomas’ guitar playing and singing.
The single from the album is a pleasant soul/blues from Johnny Rawls, “I Love The South,” his own composition about his affection for where he’s from. This one is made even better with the backing vocals of Eboni McDonald and Yolanda Tharrington.
Noted soul/blues singer Charles Wilson hit the studio to record “Sorry I Had To Leave You Behind,” with both Kid Ramos and Johnny Main backing on guitars.
Of course, there’s gotta be a title song, and we get a great one from the powerful Bay Area songstress Tia Carroll, turning “Ernestine” from the Sam Cooke songbook into a mid-tempo blues. Margolin contributes his usual tasty guitar, and we get a trio of backing singers, Diamond Porter added to the roster with the previously mentioned McDonald and Tharrington.
While we’re on the subject of booming voices, let’s not overlook the slow blues, “Blind Man Cry,” from Sugaray Rayford, sending out plenty of passion on his own composition.
Let’s now cover both the first and last songs on the album. Drummer/singer Tony Coleman opened with his powerful voice on the mid-tempo blues shuffle, “How’d You Learn To Shake It Like That,” a Snooky Pryor song that gets an extra oomph from Geraci’s piano accompaniment.
The closer on Ernestine Blues is “Shoes,” Teeny Tucker’s complete rundown of all of the fabulous footwear in her collection and how she uses each pair. She gives the details in her feisty vocals that absolutely make you want to hear more by her.
It goes without saying that Ernestine Blues is an essential addition to every blues collection. As with the previous Corritore compilations, it’s recommended that you get the physical CD so that you have the liner notes and all pertinent session information. You won’t regret it.
– Bill Mitchell
The Grove (Crossroads Blues Society Newsletter) (May 1, 2026)
16 tracks/55 minutes
This latest exploration of Bob Corritore’s extensive vaults features recordings made over ten sessions between 2023 and 2025. As usual, Bob’s harp features on all the tracks, in support of a vast array of musicians. Vocals come from Tia Carroll, Carla Denise, Teeny Tucker, Willie Buck, Tony Cole-man, Johnny Rawls, Sugaray Rayford, Jimi ‘Primetime’ Smith, Bob Stroger, Pat Thomas, Charles Wilson and Oscar Wilson; guitarists Billy Flynn, Johnny Main, Bob Margolin, Nick Moss, Kid Ramos, Johnny Rapp and Jimi Primetime’ Smith are joined by keyboard players Anthony Geraci, Terry ‘TJ’ Harris, Ross Harwood and Ben Levin; the rhythm sections are bassists Rodrigo Mantovani, Yahni Riley, Bob Stroger and Mike Turturro, drummers Pierce Downer, Brian Fahey and Wes Starr; Doug James adds sax to three tracks and backing vocalists Eboni McDonald, Diamond Porter, Yolanda Tharrington and Clarke Rigsby contribute to two.
The album opens in fine style with Tony Coleman behind the drums and delivering stentorian vocals on Snooky Pryor’s
“How’d You Learn To Shake It Like That” as Bob and Anthony Geraci just kill it. Tia Carroll sings the title cut “Ernestine”, an obscure Sam Cooke tune with great sax and B/V’s while Sugaray Rayford offers one of his own songs, a slow blues with moody vocals and harp that fit the title “Blind Man Cry”. Johnny Rawls sticks to a soul vein on “I Love The South”, telling us that he hates Northern winters and appreciates how warm people are down south, lovely harp and backing vocals on this one. In total contrast veteran bluesman Pat Thomas delivers an acoustic “Big Fat Mama”, just Pat on guitar and vocals, plus Bob’s harp in conversation. Now 95, Bob Stroger still sounds full of vigour on
“Pretty Girls Everywhere” while Charles Wilson’s lighter voice works well on “Sorry I Had To Leave You Behind”, Kid Ramos making his only appearance on this one. Teeny Tucker closes the set with excellent vocals on her own “Shoes”.
Three singers feature more than once. Chicago and Cash Box Kings vocalist Oscar Wilson does two slower tunes: “She Might Need Me” is a Joe Tex tune, a soulful country ballad with Bob delivering some high pitched harp; “Down In Mississippi” is a Jimmy Reed song (as is “Going Fishing” which features Jimi ‘Primetime’ Smith on vocals). Another Chicago stalwart, Willie Buck, is noted for his uncanny vocal resemblance to Muddy Waters and his take on “Trouble No More” returns the song to Muddy territory rather than the Allman Brothers’s version with which we are all so familiar; Willie’s second appearance is on his own slow blues “Standing On The Bank”. Phoenix-based Carla Denise has three songs: “Troubles On Your Mind” was written by Henry Glover and Sonny Thompson and first recorded by Lula Reed, Carla sings it with just Ben Levin’s piano as support and Bob joining in on the middle section; she races through Betty Everett’s “Tell Me Darling” and delivers what is probably my personal favourite here, “Wild As You Can Be”, a great piece of jump blues originally recorded in 1959 by Mary Ann Fisher, here given a big band treatment with Doug James’ saxes to the fore, sounding like a full horn section!
All Bob Corritore’s releases are excellent and this one is as good.
– John Mitchell
Rootstime (Belgium) (May 1, 2026)
If, amidst the overwhelming abundance of blues-rock releases of late, you have forgotten what the blues in its most elemental form actually sounds like, then I have the perfect album for you right here! Bob Corritore from Chicago—joined by a massive group of friends—has recorded an album that showcases the blues in its most old-school and pure form. As an “old-school” harmonica player, radio host, producer, and owner of the renowned Rhythm Room club in Phoenix, Arizona, Corritore has been dedicated to keeping blues culture alive for over 40 years. Ernestine Blues marks nearly his 30th album, though he has appeared on more than seventy others. The name Bob Corritore has long been synonymous with Chicago blues and has become an institution in its own right. This man boasts an immense track record and has accomplished so much that it would be impossible to detail it all here.
Bob has several albums to his name, though these are often compilation albums recorded in collaboration with various other blues musicians; his new album, Ernestine Blues, is no exception, serving as a follow-up to previous projects Bob undertook alongside friends who have since become true blues legends. These are musicians of the highest caliber, primarily rooted in the Chicago Blues tradition. On these recordings, we hear—to name just a few—Sugaray Rayford, Bob Stroger, Tia Carroll, Oscar Wilson, Willie Buck, Teeny Tucker, Pat Thomas, and Johnny Rawls, all accompanied by seasoned musicians such as Kid Ramos, Bob Margolin, Billy Flynn, Anthony Geraci, Ben Levin, Doug James, and many others… in short, the best of the best. And do not imagine that this stellar lineup is merely for show; the result is a genuine celebration on every level. Recorded across a dozen sessions held between 2023 and 2025 at Tempest Studios in Tempe, Arizona, this sixteen-track collection is practically a “Who’s Who” of the contemporary blues scene. The common thread running through each of these “super-sessions” is, ultimately, Corritore’s harmonica—an instrument that, played with passion, breathes new life into six decades of Chicago blues mastery. Corritore states that the sixteen tracks for this album were carefully selected: “Of all my releases, this is the most narrative album I have ever created. Each song tells its own story, and when you bring them together, you get a beautiful book that takes you on many adventures.” These narrative tracks move effortlessly between classic Chicago blues, early R&B, Mississippi country blues, and soul-blues traditions. Corritore’s soulful harmonica playing serves as the common thread that binds together this elegant tapestry of voices and styles.
Corritore opens with the driving shuffle “How’d You Learn To Shake It Like That”—a 1985 track by Snooky Pryor—featuring the gritty vocals and rock-solid drumming of former B.B. King drummer Tony Coleman, Jimi “Primetime” Smith on guitar, Bob Stroger on bass, and Anthony Geraci on piano. This fantastic lineup—bolstered by Corritore’s captivating harmonica work—serves as an impressive opener right from the start. The more R&B-flavored “Tell Me Darling”—written by Betty Everett and Lucious Porter Weaver in 1959—features vocals by Carla Denise, drums by Wes Starr, and saxophone by Doug James; it is followed by “Big Fat Mama,” a blues number from the 1920s and ’30s sung by Pat Thomas, who delivers both the guitar work and the deep blues vocals. This leads into Willie Buck taking the spotlight alongside Bob Margolin on “Trouble No More”—the 1955 Muddy Waters classic.
Johnny Rawls makes his appearance with his original rendition of “I Love the South,” a Mississippi anthem featuring a gospel choir. And so, halfway through the CD, we arrive at “Going Fishing”—a Jimmy Reed tune—which is here given new life by Jimi “Primetime” Smith, who actually learned to play guitar from Reed himself. Carla Denise returns for a soulful vocal performance of “Troubles On Your Mind,” backed by a haunting piano part from Levin and an ethereal harp solo by Corritore. Denise then kicks things up a notch for the hard-rocking, saxophone-driven “Wild As You Can Be,” continuing in a rock ‘n’ roll vein with “Pretty Girls Everywhere”—a timeless classic from 1959, but here breathed new life into by the equally timeless Stroger. A swinging harp introduces soul-blues singer Charles Wilson on the uptown shuffle “Sorry I Had to Leave You Behind.” To close out the set, Oscar Wilson returns to his roots with Jimmy Reed’s “Down In Mississippi,” before wrapping things up with the energetic “Shoes,” sung with great enthusiasm by Teeny Tucker.
From start to finish, “Ernestine Blues” sounds like authentic blues—the kind we love to hear. While other blues artists stubbornly refuse to play traditional blues anymore, this new album delivers songs of an exceptionally high caliber. The album is thoroughly enjoyable; the outstanding work put into the sound engineering, vocals, and final mastering is clearly audible. Its apparent simplicity lays bare the craftsmanship of all the guest artists who contributed to this project. Listening to it feels like hearing a band that has been playing together for an eternity. With incredible vocals, memorable songs delivered with unwavering passion, and Corritore’s superb harmonica playing, the result is a perfect fusion. In its apparent simplicity of execution, traditional blues always manages to intrigue and captivate—a fascinating mystery that inspires many musicians to uphold its prestige and keep it alive. With this new album, Bob Corritore and his friends have succeeded in doing just that, in magnificent fashion.
Blues Matters (UK) (May 1, 2026)
Vince Ray’s distinctive artwork makes it very easy to identify a Bob Corritore
CD, but then again, the music always speaks for itself too. It would be easy just to list those friends of Bob’s who contribute to this classy set, recorded over ten sessions between 2023 and 2025, and it would certainly be recommendation enough. If you want a list of singers and musicians who are closest to the classic blues sound too, you could also use the same one. Listen to the opening track, How’d You Learn To Shake It Like That with its fifties Chicago blues club sound, Bob’s raw-edged blues harp weaving around drummer Tony Coleman’s excellent vocal, and the band with just the right amount of rough and ready feel – it’s quite a way to start! What follows are tracks that sound like they should be on small Windy City label 45s, such as Tell Me Darling (lovely vocal by Carla Denise – who has two other equally impressive tracks), true veteran Bob Stroger, now in his nineties, with Eugene Church’s Pretty Girls Everywhere, Tia Carroll’s pop-blues cover of Sam’s Cooke’s
Ernestine – the laugh at the end says it all! – or Jimi Primetime Smith’s spot-on cover of Jimmy Reed’s Going Fishing:
Oscar Wilson turns in a equally creditable mush-mouthed cover of Reed’s Down In Mississippi. Speaking of the Magnolia state, we even have a detour down to Mississippi with Pat Thomas’ down-home vocal and guitar work (and just Bob’s harp) on Big Fat Mama, and in strong contrast, the throbbing deep south soul-blues of Johnny Rawls on I Love The South. Teeny Tucker winds things up with the lead and backing vocal on the glorious Shoes – a listing of footwear was never so much fun be-fore! The album’s recommended then?
Of course…
– Norman Darwen
Chicago Blues Guide (Review #2) (May 1, 2026)
One of the busiest producers in the blues world, Bob Corritore gives his friends plenty of space to shine while lending his support on harp on his latest CD, and, man, do they! It’s a set of some of the deepest azure, most contemporary music you’ll hear this year.
All of the tunes here were recorded in the past few years with Teeny Tucker, Johnny Rawls, Sugaray Rayford, Oscar Wilson, Charles Wilson, Tia Carroll, Pat Thomas, Willie Buck, Bob Stroger, Jimi Primetime Smith and Tony Coleman handling vocals along with the sensational Carla Denise and backing from a rotating lineup of superstar talent.
Blue to the core, you’ll love “How’d You Learn to Shake It,” “Tell Me Darling,” “Blind Man Cry,” “Ernestine,” “I Love the South,” “Troubles on Your Mind,” “Wild as You Can Get,” “Pretty Girls Everywhere,” “Sorry to Leave You Behind,” “She Might Need Me” and “Shoes.”
– Marty Gunther
Cultura Blues (Mexico) (May 1, 2026)
English Translation:
Over time, the compilations and anthologies released by Bob Corritore & Friends have proven to be collectible gems. *Ernestine Blues* is no exception; with this release, Bob Corritore continues his vital work of keeping traditional blues alive through a wealth of material that invariably features various artists from the blues scene who visit his venue: the Rhythm Room in Phoenix.
*Ernestine Blues* boasts a stellar lineup of today’s finest musicians, including Mississippi artists such as Johnny Rawls and the late Pat Thomas, as well as key figures in Chicago blues like Oscar Wilson, Bob Stroger, Charles Wilson, Jimi “Primetime” Smith, Willie Buck, and Billy Flynn—among many others. Furthermore, the album showcases top-tier female vocalists such as Teeny Tucker, Tia Carroll, and Carla Denise. These incredible artists recorded their contributions for this project between 2023 and 2025.
With such a diverse roster of musicians, it comes as no surprise that Corritore ventures beyond his comfort zone of traditional Chicago blues to explore the roots and extensions of the music to which he has dedicated his life. This thirteenth release delves into Southern soul, R&B, Delta blues, and other genres. The result is a collection of sixteen masterful tracks that invite repeated listening.
Tracklist: 01. How’d You Learn to Shake it Like That; 02. Tell Me Darling; 03. Big Fat Mama; 04. Blind Man Cry; 05. Ernestine; 06. Trouble No More; 07. I Love The South; 08. Going Fishing; 09. Troubles on Your Mind; 10. Wild as You Can Be; 11. Pretty Girls Everywhere; 12. Standing on The Bank; 13. Sorry I Had to Leave You Behind; 14. She Might Need Me; 15. Down in Mississippi; 16. Shoes.
The fun begins immediately with the lively “How’d You Learn to Shake It Like That,” the album opener, which features a collaboration with Tony Coleman—B.B. King’s former drummer. The album serves as a sort of introduction for vocalist Carla Denise. After moving to Phoenix from Chicago, she connected with Corritore, and they immediately began collaborating. The extensive vocal range of the former Mississippi Heat frontwoman shines on three tracks: the tender “Tell Me Darling,” her standout rendition of “Troubles on Your Mind,” and the catchy “Wild as You Can Be.” “Big Fat Mama” is an acoustic blues number performed by Pat Thomas—a prominent exponent of rural and Mississippi Delta blues who passed away just recently, in 2025.
Corritore noted that “Blind Man Cry”—featuring Texas native Sugaray Rayford, who tapped into his gospel roots—emerged quite spontaneously, built upon an arrangement by Jimi “Primetime” Smith. Tia Carroll delivers a marvelous rendition of “Ernestine,” a song written by the great Sam Cooke and originally released in 1963. The track features gospel singers Eboni McDonald, Diamond Porter, and Yolanda Tharrington, who added just the right touch of classic vocal sass; also standing out is the magical, classic saxophone work of Doug James and the sweet piano playing of Anthony Geraci, which lend a special flair to this piece.
Corritore’s longtime mentor and bandmate—88-year-old Willie Buck—performs Muddy Waters’ “Trouble No More,” accompanied on guitar by Bob Margolin, a former bandmate of Waters. Corritore praised Buck for the purity with which he preserves the authentic sound of Chicago blues. Buck makes another appearance later in the album with “Standing on the Bank,” a sensational slow blues number. Elsewhere, Johnny Rawls appears, sweetly singing of his love for the laid-back Delta lifestyle in “I Love the South,” a song of his own composition. Jimi “Primetime” Smith is the star collaborator on the superb blues track “Going Fishing.”
Not to be outdone, 95-year-old Bob Stroger shines on the spectacular “Pretty Girls Everywhere”—a track he reportedly recorded in a single take. With this material, Corritore also ensured that several Chicago artists received the recognition they deserved. Soul-blues singer Charles Wilson contributes “Sorry I Had to Leave You Behind.” Oscar Wilson, of the Cash Box Kings, demonstrated his versatility with a moving and beautiful rendition of Joe Tex’s “She Might Need Me,” before returning to the laid-back style of Jimmy Reed on “Down in Mississippi.” Finally, Teeny Tucker, with her signature sass, exudes energy on “Shoes.”
With five decades of experience producing quality blues recordings, Bob Corritore—at nearly 70 years old—remains a true “warrior,” fully aware of the collaborative nature of producing such albums. After thanking his longtime co-producer, Clarke Rigsby, and his right-hand man, Jimi “Primetime” Smith, Corritore dedicated a special acknowledgment in the liner notes to the legion of talented musicians who made *Ernestine Blues* possible.
Rating: 9.5 Extraordinary
– José Luis García Fernández
Bob Corritore - Official Website 