Bob Corritore – Taboo
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No Depression (March 25, 2014)

On Taboo, Bob Corritore’s latest, nobody has to say anything to get the message across. The Phoenix-based harpist’s all instrumental effort for Delta Groove shows him at the top of his powers.

Corritore fits in as seamlessly with this cast as he has in previous releases. Last year’s Knockin’ ‘Around These Blues teamed him up with with Junior Wells/Muddy Waters/Magic Slim/James Cotton bands alum John Primer, and 2010’s BMA-winning Harmonica Blues (for Historical Album of the Year) featured collaborations with artists including Koko Taylor, Eddy Clearwater, Pinetop Perkins and Little Milton.

Teaming up with guitar greats Junior Watson and Jimmie Vaughan for Taboo, Corritore runs through a warehouse of styles and genres.

“Shuff Stuff” is just that, a twangy shuffle led by Jimmy Vaughan’s guitar that sounds like an old T-Birds cut. He’s aided by saxophonist Doug James, who co-wrote the mega hit “How Am I Supposed To Live Without You” with Michael Bolton contributing an old school, Boots Randolph ’50s style sax sound here with some Jimmy McGriff style organ from Papa John DeFrancesco.

“Harmonica Watusi” is a real throwback, a homage to the ’60s dance craze demonstrated by white booted go-go girls in cages. Corritore’s take on it is more complicated, like a Chicago back alley version of the Samba, keeping the original pulsing rhythm intact with the help of Junior Watson’s funky guitar lines with Corritore sounding like he’s chewing on the notes before letting them dribble through his hands into the mic.

The title cut sounds like it could have been the theme song for one of Sergio Leone’s spaghetti westerns when the lone wolf gunfighter rides into town. Corritore’s

“Harp Blast” is self explanatory, a boogie-woogie bounce that features the harpist on a reed bending spree.

“Bob’s Late Hours” sounds like the last song of the last set in some smoky back-alley dive, weary bluesmen winding down but not wiling to pack up just yet, blowing one last one for the road just before the sun comes up.

No matter whose company he keeps, time after time, without uttering a word, nobody gets it done better than Bob Corritore.

– Grant Britt

Midwest Record (March 27, 2014)

One of the perks of being a cat playing at the top of your game is you can do anything you want and put it all out there. It’s nice of harp ace Corritore to let us in on a bunch of his probable fetishes at once. The cover sports his whacked out vision of sexy, the record is loaded with a bunch of stellar guests all raising each other’s game and spirit of Little Walter is smiling down upon the whole enterprise keeping Corritore’s harp true. This all instrumental set is a killer throughout. With nothing but the best of the best on display throughout, you can be sure this is going to snap up every blues award it come near in the next award season. This is smoking platter of the real deal and not to be missed by any deep blues fan.

– Chris Spector

Bman’s Blues Report (March 28, 2014)

I just received the newest release (April 15, 2014), Taboo, from Bob Corritore and I have to say it’s absolutely spectacular! I won’t have to review this in my car a month from now to know whether I will like it next time around. It is simply that good! Living in the Phoenix metro area for a long time, I have seen Corritore many times and been to his famous blues club, The Rhythm Room many times as well. I have to say that this is surpasses every live performance that I have ever seen Bob do, and will easily make it into one of the must have releases of the year. This all instrumental, yes, all instrumental release opens with Potato Stomp, a cool Chicago style blues track with Junior Watson on guitar, Doug James on sax, Fred Kaplan on keys, Kedar Roy on bass and Ray Innes on drums. Corritore is forward in the mix and playing strong. A nice sax solo leads to a stutter stepped guitar solo from Watson. Excellent! Many A Devil’s Night, one of my favorite tracks on the release has a real bluesy ballad feel to it. Corritore really hits the note on this track and Junior Watson plays some really outstanding riffs on this track. Kaplan lays down some mean keys and it’s not just filler. This is the real deal guys. Harmonica Watusi pretty clearly describes what you might expect. Corritore grabs that famous tone and bouncing against Kaplan they get a good groove on. Slamming guitar riffs … surf style give this track a fun feel and is a cool sorbet cleansing the palate for the next bite of blues. Taboo is a quiet tune with understated harp and beautiful light guitar chords with tom tom. This song has that 50’s soundtrack feel and I really like it. This release really is excellent! Harp Blast is a straight off Chicago boogie. Corritore is leading the way with great harp work and supported by solid work from Kedar Roy. If this doesn’t get your foot stompin… get someone to check your pulse. Mr. Tate’s Advice is a really nice Chicago style number with Corritore again taking a strong position with some of the clearest harp playing I have heard in a long time. James keeps a strong horn riff going under the melody and also plays a tight solo to be reckoned with. Papa John supports the bottom with organ and Dowell Davis plays clean articulate drums as well. Jimmie Vaughn lays down some really tasty guitar riffs on this track trading off with DeFrancesco on keys leading back to a unified ending. Really nice! 5th Position Plea has a slower blues gate and smooth T Bone Walker like guitar riffs from Watson. Corritore lays down some less conventional harp sounds that give the track a whole different feel and Kaplan really does a nice job on piano. This track is a slow burner…. yeah! Fabuloco has a bit of Latin rhythm mixed into the track giving Corritore a clean slate to solo over. A bright little blues track with spunk. Shuff Stuff is a hot shuffle track with a solid bottom. Corritore blows a mean harp on this track and Doug James is right on his tail. Fluid guitar riffs are the name of the game for Watson on this one and the boys pull it together Chicago style for the big ending. (Looking forward to see what Stilladog thinks of this one.) T-Town Ramble has a strong Morganfield feel a Corritore shows he’s definitely one of the big boys. Great tone and muted amplification make for a great sound leading to a nice clean piano solo from Kaplan. Wrapping the release is a down and dirty Bob’s Late Hours. Watson lays back on guitar with Kaplan on piano laying a bed of music for Corritore to play the blues. This is really a strong showing for Corritore. I believe that he has never been captured at full potential and that this recording will do a lot to elevate his acknowledgement as one of the best blues band leaders today.

– Bman

Blues News Finland (March, 2014)

Bob Corritore on lahjakas huuliharpisti joka ei itse laula mutta on taustoittanut ja soittanut useissa yhteyksissä legendaaristen bluesartistien kanssa. Vihdoinkin ilmestyi julkaisu, jossa Bob on kiistatta ykkösartisti ja jossa on kanssasoittajina alan parhaita muusikoita. Historia ennen tätä levyä pitää sisällään oppivuodet syntymäkaupungissa Chicagossa, muuton Phoenixiin, oman radio-ohjelman ja oman bluesklubin. Matkan varrella on tullut useita palkintoja ja kunnianosoituksia. Merkittävin lienee toissa vuonna Living Blues -lehden lukijaäänestyksen tulos ”Most Outstanding Musician (Harmonica)”.

Taboo on monessa mielessä yhdistelmä ja kooste eri tavoista soittaa huuliharppua, tyylisuunnista ja esikuvista. Lainakappaleita ei ole kuin kaksi, loput ovat Bobin omia sävellyksiä. Harpun päätyylisuuntia edustavat sekä kromaattinen että diatoninen. Viimeksimainittu on eniten esillä. Mutta positiot (tai asemat kuten Jantso Jokelin on sen suomentanut) ovat se huomionarvoisin juttu. Corritore soittaa tällä äänitteellä useimmiten kakkosasemassa, joka on bluesissa tyypillisintä. Jokainen instrumenttia kokeillut tietää, miten haasteellisia neljäs ja viides asema ovat. Niissäkin Bob on kuin kotonaan eikä kuulija välttämättä edes havaitse teknistä hienoutta.

Tyylisuunnista hallitsevin on Chicago. Puhtaimmillaan sitä edustaa ”Harp Blast”. Aika ilmeinen lainaus on ”T-Town Ramble” joka on kulultaan Muddy Watersin ”Sugar Sweet” . Esikuvista kuuluvin on Little Walter usealla kappaleella ja Jimmy Reedin jalanjälkiä noudattelee ”Ruckus Rhythm”. Lähes kaikki bluesin peruskaavat tulee läpikäytyä: boogie, shuffle, hidas blues ja rumba.Tämä on monipuolinen ja nykyaikainen harppujulkaisu, jossa useimpia bluesilmansuuntia voi kuulla soitossa ja kuitenkin kaikki kuulostaa aidolta ja alkuperäiseltä Bob Corritorelta.

Taustabändi on omaa luokkaansa. Kitaraa soittaa enimmäkseen Junior Watson, jonka soolot ja riffit ovat aivan huippuunsa viritettyjä. Jimmie Vaughan kitaroi kahdella kappaleella niin ikään tunnistettavalla tyylillä. Parasta osastoa ovat myös kosketinsoittaja Fred Kaplan, Kedar Roy pystybassoineen sekä rummuissa aina luotettava Richard Innes. Instrumentaaleista koostuva bluesharppualbumi on haastava projekti jossa Bob Corritore onnistuu täydellisesti. Kaksi hyvää kitaristia lisäävät oman mausteensa levyyn, joka kuuluu varmasti tämän vuoden parhaimpiin bluesjulkaisuihin.

– Harri Haka

Concerto (Austria) (March, 2014)

4 1/2 Stars

Bob Corritore, Harpspieler und Hans Dampf in allen Gassen des Blues – er hat einen Club und eine Radiosendung in Phönix, Arizona – liefert hier eine ausschließlich instrumentale CD ab, die trotzdem, wie auch ein Meister der Harp Charlie Musselwhite bestätigt, bis zum Schluss spannend bleibt. Das liegt sicherlich auch an den Begleitmusikern wie den Gitarristen Junior Watson und Jimmie Vaughan, Fred Kaplan an den Tasten, Doug James am Sax und einer immer hervorragenden Rhythmusgruppe. Der Slowblues “Many A Devil’s Night” oder “Harmonica Watusi”, eine boogieartige Nummer, bzw. die Titelnummer zeigen das volle Können von Bob Corritore an seinem Instrument. Dem Urteil von Charlie Musselwhite kann man sich nur anschließen.

– Fra (Germany) (April 1, 2014)

Zwei alte Hasen der Retro-Bluesharpszene veröffentlichen dieser Tage neue Alben. Mark Hummel ist schon seit den 70er-Jahren aktiv und war gerade mit seiner „Golden State – Lone Star Review“ mit den Gitarristen Little Charlie Baty und Anson Funderburgh hierzulande live zu hören. Hummels neue CD auf Electro-Fi („The Hustle Is Really On“) läuft zwar unter seinem eigenen Namen, featuret aber genau diese Gitarristen plus Kid Anderson in einem 14-Song-Programm, das hauptsächlich aus seltener gehörten Covertiteln besteht, die man im Original von Leuten wie Junior Wells, Little Walter oder T-Bone Walker kennt. Auch Bob Corritore kann bereits auf fast 40 Jahre Bühnenerfahrung zurückgreifen und hat sich auch als Produzent einen guten Namen gemacht. Auch er erhält auf seiner neuen, rein instrumentalen CD „Taboo“ (Delta Groove) Unterstützung von zwei herausragenden Gitarristen: Jimmie Vaughan und Junior Watson. Corritore variiert – wie man anhand der sechs Titel der CD hören kann, die auf der Delta-Groove-Website als Appetithappen verfügbar sind – seinen Retro-Harpblues mit Mollharmonien und Latin-Einflüssen.

Für die neue Delmark-CD von Sleepy John Estes („Live In Japan with Hammie Nixon“) gibt es jetzt eine Titelliste. Offensichtlich enthält die CD die komplette japanische Trio/Delmark-LP „Blues Live! Sleepy & Hammie Meet Japanese People“ von der 1974er-Tour sowie den Großteil der japanischen Trio/Delmark-LP „Blues Is A-Live“ von der 76er-Tour. Das Material war bislang fast ausschließlich nur in Japan und nur auf LP erhältlich. Ebenfalls auf Delmark erschienen ist eine CD von Giles Corey, einem weißen Blues/Roots-Musiker, der sich in den Bands von Billy Branch und Otis Rush seine Bluessporen verdient hat, die Song-Auszüge auf Amazon hören sich jedoch nicht besonders vielversprechend an. Für den Mai kündigt Delmark eine neue CD von Dave Specter an, auf der bei drei Titeln der großartige Soulsänger Otis Clay gastiert. Außerdem wird nach John & Sylvia Embry eine weitere LP des Razor-Labels wiederveröffentlicht: „Set Me Free“ der Sängerin Gloria Hardiman und des Gitarristen Steve Freund mit vier Bonus-Tracks (zwei bislang unveröffentlichte Titel der LP-Sessions plus zwei Songs von einer Razor-Single des Keyboarders Ken Sajdak – wobei es sich hierbei eventuell um die Single der Band „The Blueprints“ handelt, die aus Hardiman, Freund, Saydak plus Rhythmusgruppe bestand und von denen unter eine Single gelistet ist.

Mit dem kraftvollen, bluesigen Gesang von Clarence Paul, Johnny Tanner, Eugene Tanner, Jimmie Moore und Obadiah Carter und der heißen Gitarre von Lowman Pauling gehörten die Five Royales zu den erdigsten und mitreißendsten der R&B-Vokalgruppen. Nachdem der Großteil ihrer Aufnahmen bereits auf CDs von Relic, Charly, Rhino, Ace, Westside, El Toro u. a. verfügbar ist, erscheint jetzt auf Rockbeat eine 5-CD-Box mit ihren kompletten Aufnahmen: „Soul & Swagger: The Complete ‘5’ Royales 1951–1967“. Das Enddatum bedeutet, dass auch ihre späteren Singles für Vee-Jay, Todd, ABC-Paramount, Mercury/Smash, White Cliffs und Hi enthalten sind, die den einen oder anderen Sammler vielleicht zum Kauf verführen werden, auch wenn man das meiste (und vor allem ihre Apollo- und King-Records-Klassiker) bereits auf CD hat.

-Klaus Kilian (April 1, 2014)

One of the best harpslingers in blues music today, Corritore follows up last year’s excellent Knockin’ Around These Blues album, recorded with guitarist John Primer, with this entirely instrumental Taboo collection. The album offers up more than just Corritore’s melodic, powerful harpwork, Taboo boasting of supporting players like Jimmie Vaughan, Junior Watson, Fred Kaplan, and many others. If you dig blues harmonica and/or blues instrumentals, Corritore’s Taboo is the platter for you!

– Reverend Keith A. Gordon

Reflections In Blue (April 1, 2014)

Bob Corritore is a noted blues musician and historian with a leaning toward Chicago Blues that had its start when he fell in love with the music at about age 12. For him there was no turning back. A harmonica player, primarily known for his traditional, old-school style of playing, his work can be heard on some 50 or more recordings by some of the greatest performers in the business. His latest release, Taboo, is made up of all instrumentals featuring an all-star cast of supporting musicians which includes Jimmie Vaughan, Junior Watson, Fred Kaplan, Papa John Defrancesco, Doug James, Richard Innes and more. Nearly all original compositions, this recording is a thing of true beauty. Few would have the ability to do an all-instrumental harmonica album but Bob has done it without getting repetitious or boring. In the past, all harmonica bands, like the Harmonicats were popular and played to large audiences but the genre has gotten old and is now pretty much left to the collectors and lovers of the instrument. Corritore has taken it a step farther and brought in a supporting band with the harmonica in the forefront. The result is something that has to be heard to be believed. There was a time when harmonica was pretty much just a novelty, used in vaudeville, carried by folks with a love for music but who did not have the capability of carrying large instruments or, even given to children, and considered a toy. Over the years it has taken its rightful place, now used in everything from classical and jazz to blues and every other style known to man. Thanks to folks like Bob Corritore the harmonica has taken its place front and center on some of the most prestigious staged on earth. Taboo opens with Willie Egan’s “Potato Stomp”, leading into a somewhat haunting “Many a Devil’s Night,” which he co-wrote with Junior Watson. This band is so well put together and so in sync that vocals are the last thing on the listener’s mind. The tunes are so diverse that repetition or boredom does not become a factor in the least. All that said, Bob Corritore is such a masterful player, playing in numerous positions and so many different styles that, at times one is not even aware that the instrument in the forefront is the harmonica at all. In the hands of a master there is nothing that cannot be done with the once considered “lowly” harmonica…and Corritore is one player who could most definitely be considered a master. If you are a fan of harmonica this is one piece you do not want to pass by.

– Bill Wilson

Blues-E-News Magazine (April, 2014)

Delta Goove is taking it up a notch with three new releases from their artists. Just received them in the mail. All three are due to release to the public on April 15th. Bob Corritore, Terry Hank, and Shane Dwight.

So sitting here listening to Bob Corritore’s new release Taboo. AINT NOTHING Taboo bout it… its a to do! As in to go and get. LOVE IT. Best album yet by the harp master! The album is an all instrumental, featuring Bob’s fabulous harmonica talents and some famillar faces. He successfully keeps the whole album interesting song from song with his unique styling. A task not only rare but rarely ever achieved in an instrumental album with harmonica. I like every song on the album, all 12! This album is perfectly romantic and reminiscent to later years sitting in a smoke filled bar on a rainy night. For me it’s a bit classic yet modern and fun. Bravo Bob…. album release date is April 15th. Sure to get a lot of good press on this one. Going in my top ten on my personal music player.

– Big Wayne Rinehart

Historistas Del Blues (Columbia) (April 9, 2014)

El intérprete de armónica Bob Corritore nació y se crió en el corazón del blues, en Chicago, pero luego se trasladó a Arizona, donde se desarrolló como músico y un fuerte promotor del género a través de su programa de radio y como productor de los discos de figuras como Little Willie Anderson, Louisiana Red y Henry Gray, entre otros. En la última década su perfil se amplió con grabaciones al lado de Tail Dragger y John Primer y ahora llega con su nuevo disco “Taboo”, una colección de temas instrumentales que captura toda la sabiduría que ha alcanzado este genio de la armónica. El álbum no solo destaca el blues sino también la belleza del sonido de la armónica a través de un repertorio diverso y muy bien escogido. Acompañan a Corritore en esta aventura Jimmie Vaughan, Junior Watson, Frec Kaplan, Doug James, Papa John DeFrancesco y Richard Innes, entre otros. Son pocos los músicos que consiguen que disco instrumental de armónica sea agradable y Corritore es uno de ellos.

– Diego Louis Martinez

Blinded By Sound (April 10, 2014)

The harmonica, truth be told, is a relatively easy instrument to play. To master it, however – to render it among the most humanly expressive of instruments – is another matter entirely.

Bob Corritore is indeed a master, having honed his craft – craft being the operative word – while working as a club owner, producer, and often-impromptu sideman. In recent years he’s stepped up to release a solo collection culled from various sessions, along with two recordings that saw him paired with Chicago stalwarts John Primer and Tail Dragger respectively. Taboo finds Corritore firmly out front, his finely nuanced harmonica work a thoroughly satisfying substitute for altogether absent vocals. He’s never been one for showy pyrotechnics anyway, but here he demonstrates just how closely the harmonica mimics the human voice. (It is, after all, the only instrument around employing both blow and draw notes, its mechanics as close as possible to the organic act of breathing.)

Supported by an absolutely stellar cast that includes guitarists Jimmy Vaughan and Junior Watson, pianist Fred Kaplan, and the great Richard Innes on drums, Corritore saunters through a dozen tunes that explore every facet of the harmonica’s tonal palette. From the raw, freight-train roar of “Harp Blast” to the minor-key moodiness of the title track, from the Tex-Mex tribute to guitarist Kid Ramos (“Fabuloco (For Kid)”) to the cool-cat strains of “Harmonica Watusi,” he’s careful to make every note count.

The playlist is varied indeed. There’s lots of straight-ahead blues, to be sure – the jumping “Potato Stomp,” anchored by Doug James’ honking baritone sax, the slow-grinding “Ruckus Rhythm,” the shuffling (obviously) “Shuff Stuff,” and the end-of-the-night ache of “Bob’s Late Hours” all fit within the twelve-bar template. But there’s also the tricky and atmospheric “Many A Devil’s Night,” a jazzy “Mr. Tate’s Advice,” and the exotic-sounding “5th Position Plea,” named for the rather difficult technique it employs. (Most blues harmonica is played in 2nd position).

Corritore takes a melodic approach throughout, relying on tonal variety to set the appropriate mood for each tune, and the band, veterans all, is equally understated, locking in to each groove with relaxed ease and assurance. Corritore’s career has been a constant and steady progression from sideman-in-the-shadows to a master who fully deserves the spotlight. If you’re a fan of the harmonica, Taboo is essential …!

– John Taylor

In A Blue Mood (April 11, 2014)

Bob Corritore has a new album of blues harmonica instrumentals, Taboo on Delta Groove. Corritore, a Chicago native who moved to the Phoenix area in the 1980s, has been a significant figure in the blues world as a radio host (his excellent “Those Lowdown Blues” on KJZZ on Sunday evenings), a recording producer, a promoter who created a thriving blues scene in Phoenix and a superb harmonica player.

Corritore has lent his considerable talents to terrific recordings by such folks as Henry Gray, Dave Riley, Louisiana Red, Big Pete Pearson and John Primer. He has had several albums under his own name, but these have often been compilations mostly of his work with a variety of blues performers. Taboo is an album of 12 blues instrumentals that feature Corritore’s swinging and fat toned harp playing backed by a crackerjack combo of guitars Junior Watson, keyboardist Fred Kaplan, bassist Kedar Roy and drummer Richard Innes. Two of the twelve selections have guitarist Jimmy Vaughan and organist Papa John DeFrancesco on which saxophonist Doug James also plays (he plays on one other number).

On the album cover, Charlie Musselwhite observes “Not many people can do an all instrumental harp CD and keep it interesting all the way through.” Having some dream backing musicians certainly helps as does a nice array of grooves and feels. Corritore is a player not simply possessing a big harp tone, but also one who displays a nuanced phrasing and a strong sense of swing that is heard on the somewhat exotic sounding title track as well as the driving Harp Blast, a hot shuffle in the vein of Little Walter, while another harp feature, Ruckus Rhythm evoked the brilliance of the late Jerry McCain’s classic Steady. Fabuloco (For Kid) is a nice salute to Kid Ramos with a Tex-Mex groove.

Mr. Tate’s Advice is one of the two selections with organist DeFrancesco and Vaughan but Corritore’s unison playing with saxophonist James is also noteworthy on this jazzy performance. His unamplified chromatic playing on Fifth Position Plea contrasts with the fat atmospheric amplified sound on Many a Devil’s Night that would make Little Walker and George ‘Harmonica’ Smith proud. There is more outstanding chromatic on another Little Walter inspired instrumental, Bob’s Late Hours. On all three selections, Watson’s guitar is the perfect foil for the leader.

The terrific rhythm section provides such backing throughout while keeping the groove at a nice, relaxed tempo. Taboo is a marvelously performed, recorded and programmed CD of blues harmonica instrumentals. To paraphrase Charlie Musselwhite, it is a dandy of a CD.

– Ron Weinstock

Blues Underground Network (April 11, 2014)

Those that like great Blues Harmonica are really in for a huge treat with the April 15, 2014 release of “Taboo”, Bob Corritore’s latest offering consisting of wall to wall Blues Harmonica Instrumentals. Joining the immensely talented Bob Corritore on “Taboo”, is quite simply put, a cast that is loaded to the nines with amazing talent which included Junior Watson, Fred Kaplan, Doug James, Papa John DeFrancesco, and Jimmie Vaughan (yes you heard right, Jimmie Vaughan), and more. With those and the additional performers, one can well imagine why “Taboo” may already be a top contender come awards season.

“Taboo” consists of 12 captivating Tracks, 9 of which were solely written by Bob Corritore, and 1 co-written with Junior Watson. For the Covers, Bob Corritore chose a couple of really nice ones, which included, Willie Egan’s “Potato Stomp” and Margarita Lecuona & S.K. Russell’s “Taboo”.

“You’ve Got A Dandy CD Here. A Real Treat. Thanks Bob”, is the last few words that Charlie Musselwhite writes concerning “Taboo” as part of his write-up on the back cover of the album and in no uncertain terms, those words really do sum up what Bob Corritore and Company has achieved, with this wonderfully put together and extremely engaging little masterpiece. The trick, of course with any Harp Player worth his salt, is knowing when to step back and let his fellow artists shine and to also know the right time to step in and offer up your own little bit of magic. Bob Corritore accomplishes that task throughout every inch of “Taboo”, and he accomplishes that task brilliantly.

For my favorites on “Taboo”, I picked them all, but to narrow it down a bit, 3 of them were, Track 2 “Many A Devil’s Night”, Track 5 “Taboo” and Track 10 “Shuff Stuff”. “Many A Devil’s Night”, is a real nice slow moving Blues number, loaded with Corritore’s Fuzzy Harp Sound, that just melts away your present whoa’s and draws you into a more gentler place. In addition to Corritore, other highlights of this Track included, Junior Watson’s captivating work on Guitar and Fred Kaplan’s masterful work with Piano. Junior Watson and Fred Kaplan play on 10 of the albums Tracks as does Kedar Roy (Acoustic Bass) and Richard Innes (Drums). Additional great performers on 1 Track each were Brian Fahey (Drums), Dowell Davis (Drums), and Todd Chuba (Percussion).

Bringing a real nice 50’s feel to “Taboo” was done courtesy of the title Track, for which one of the reviewers got the same feel that I did and that was the feel that it could of easily fit into a Sergio Leone Spaghetti Western. Bob Corritore takes center stage on this really nice gem of a Track.

“Shuff Stuff” is one of a few Tracks in which Bob Corritore steps aside for a fair bit and lets some of the other great talent absolutely shine, which included some mean Guitar work from Jimmie Vaughan, great Sax courtesy of Doug James, and fabulous work on the Organ via Papa John DeFrancesco. A really fine Track… Some say that Bob Corritore may not have been captured at his full potential, and if that has been true in the past, I kind of believe that “Taboo” goes a long way in achieving that, on one of his best, if not his best outing to date.

“Taboo”, is by all accounts, a very rare and masterful album, and deserves every bit of the 5***** Rating I enthusiastically give it.

– John Vermilyea

Sound Guardian (Croatia) (April 15, 2014)

Već sam polako počeo sumnjati da se nešto događa s Delta Groove Music, odnosno, Eclecto Groove Records, kad mi je najprije stigla obavijest o novim izdanjima, a potom mi se, nakon kontakta s kalifornijskom Delta Groove Productions, u rukama našla pošiljka s čak tri albuma. Budući da su svi objavljeni upravo danas, 15. travnja, jednostavno nije moguće sve objaviti isti dan pa će stoga moji osvrti biti objavljivani u sljedećih nekoliko dana. Prvi album kojeg bih vam predstavio potpisuje Bob Corritore pod naslovom “Taboo”. Corritore je afirmirani blues glazbenik, svirač usne harmonike, već dovoljno poznat svima koji se na ovaj ili onaj način bave bluesom. Ovaj put Bob se odlučio na potpuno instrumentalni album, što je još jedan dokaz više kako se u ovakve avanture upuštaju samo najbolji. Pitate se zašto? Pa, iz jednostavnog razloga što takav album nekada zna biti težak i za najvatrenije fanove ovog glazbenog stila. Kao i svaki put, vrlo oprezno i gotovo opipavajući krenuo sam preslušavati album, znajući i kakva se elitna ekipa ovdje okupila da bi ga snimili. Dvanaest instrumentalnih tema uobličili su vođeni raspoloženim Corritoreom, koji je ispred svih i koji svojim ‘usnjakom’ daje ‘ono nešto’ svakoj pjesmi. Baš iz toga razloga svaka je na svoj način jedinstvena i pravi mali dragulj u ogrlici koja sadrži dvanaest dragulja. Bob uz pomoć Jimmieja Vaughana, Juniora Watsona, Freda Kaplana, Papa Johna DeFrancesco, Douga Jamesa, Richarda Innesa, Kedara Roya, Dowella Davisa i Briana Faheyja jednostavno nije mogao učiniti ništa loše, dapače. Ponudio je publici album koji će se dugo vrtjeti u raznim uređajima i na brojnim radio postajama i njihovim specijaliziranim emisijama. Na “Taboo” Bob se upušta u istraživanje tradicionalne glazbene forme i njezinog gotovo egzotičnog ugođaja, groovy melodija te jednostavno daje prikaz jedne potpuno drukčije i nove prezentacijske forme. Baš zato uopće se ne čudim što je veliki Charlie Musselwhite o ovom albumu rekao: “Bob Corritore’s new CD is all instrumentals and each one is a jewel. He really nails the ’50′s Chicago Chess sound, but also exhibits modern ideas, which is very refreshing. The band is all top notch and perfectly sympathetic players…..a dream team band. Great to hear some 4th and 5th position harp playing. I enjoyed listening to every tune and you can bet I’ll be listening to them all again. Not many people can do an all instrumental harp CD and keep it interesting all the way through. You’ve got a dandy CD here. A real treat. Thanks, Bob!” Osobno, zaista ne znam kako bi se itko osjećao, kada bi za njih nešto tako rekao legendarni Charlie. Ushićeno? Iznenađeno? Ludo? Koliko god Bob nije bio siguran da je baš to pravi potez, kako su se stvari odmicale, vjerujem da je bio sve više siguran da je na pravom putu. Njegova istraživačka ekspedicija urodila je plodom i to sa svih dvanaest punktova, točaka, pjesama… kako hoćete. Većinom se radi o autorskim pjesmama i to na način koji slušatelja tjera da onome što sluša posvećuje punu pozornost. Naravno, tek tada se upuštate u avanturu koje ćete se uvijek rado sjećati. Na “Taboo” ovaj nam harpist iz Phoenixa jednostavno šalje svojevrsnu poruku, gotovo stidljivo poručujući kako su mu to samo neki od vrhunaca. Ako sumnjate da nešto nije kako treba, počnite slušati i uvidjet ćete da se ovdje radi o doista dojmljivom radu i vrlo unikatnom djelu. Svih dvanaest bisera na neki se način suprotstavljaju jedni drugima da bi se na kraju svi udružili i zasjali nevjerojatnim sjajem. Već prijašnjim radovima i suradnjama, od Koko Taylor, Eddyja Clearwatera, Pinetop Perkinsa i Little Miltona pa do Davea Rileyja i prošlogodišnjeg vrlo hvaljenog albuma “Knockin’ ‘Around These Blues” s Johnom Primerom, Bob se bez iznimke itekako etablirao i nije, naravno, dugo prošlo da postane jedan od vrlo važnih osoba u blues krugovima. Već duže vrijeme on oko sebe u svakom trenutku može okupiti sjajnu ekipu glazbenika, koji će na kraju svi zajedno polučiti vrhunske stvari. Kako se nosi s različitim suradnjama, tako se još bolje nosi s različitim glazbenim stilovima – njemu zapravo ništa nije problem. A ovaj album svojim skladbama to i potvrđuje i zato ga valja slušati u cijelosti. Naime, Bob upravo ovdje, na instrumentalnom albumu, nedvosmisleno prezentira svoju virtuoznost na način da u svakom svom segmentu traži svekoliku pozornost slušatelja uz uvijek prisutnu usmjerenost ka ogromnom i raznolikom bogatstvu blues glazbe. Bob je sve te vrijednosti snažno percipirao i shvatio kao nešto što će svakako pomaknuti slušateljevo poimanje idioma tradicionalnog bluesa. I stoga, zapravo i nije čudo da Bob svakim danom sve više, jače i snažnije progradira ka izvrsnosti, koja zapravo nema krajnjih granica. PREPORUKA: Bilo bi vrlo neozbiljno sada isticati bilo koju skladbu, baš iz tog razloga što se radi o instrumentalima, o raznovrsnim glazbenim usmjerenjima koje Bob s lakoćom prezentira. Ovaj izuzetan album osvojit će vas svojom raznolikošću, vrhunskom svirkom i konstantnom izvrsnošću. I just received the newest release (April 15, 2014), Taboo, fromBob Corritore and I have to say it’s absolutely spectacular!’ odmah na početku konstatira Bman’s Blues Report. I na kraju zaključuje: I believe that he has never been captured at full potential and that this recording will do a lot to elevate his acknowledgement as one of the best blues band leaders today. Grant Britt piše: No matter whose company he keeps, time after time, without uttering a word, nobody gets it done better than Bob Corritore. Pridružujem se ovakvim izjavama i toplo preporučujem ovako sjajan album.

– Mladen Loncar

Tahoe Onstage (April 15, 2014)

Harmonica virtuoso Bob Corritore is accustomed to multitasking. He appears as a guest artist on about three albums a year, his Rhythm Room in Phoenix is a nationally renowned venue, he produces a Sunday night radio show and keeps blues fans and artists informed with a highly comprehensive online newsletter.

Corritore’s ninth album, “Taboo,” released today, April 15, is an example of multitasking. He was able to assemble some of the top West Coast players. “When they come to Rhythm Room, I said, ‘Can you also come into the studio?’ And they said, ‘Yes,’ ” Corritore said. But Corritore wasn’t sure Delta Groove President Rand Chortoff would be so quick to say yes to his idea for his fouth album with the label: An all-instrumental collection highlighting harmonica. But after he heard it, Chortkoff, a harp player himself, said he liked it so much he didn’t take it out his car player for days.

“With this record the harmonica is doing the talking, so I had to have an interesting conversation that was varied,” Corritore told Tahoe Onstage. “I was definitely going to the roots of things, not only 1950s but 1960s influences; and not only in the blues category but in the back alleys of it. I always got a kick out of how blues evolved into rock and roll and how it evolved into certain types of rhythm and blues. I used aspects of all of that. This is the perfect band to accomplish anything that I asked them to do.” The guitarists are a couple of the best, Jimmie Vaughan and Junior Watson. Fred Kaplan and Papa John DeFrancesco plays keys, Kedar Roy is the electric bassist and Doug James plays saxophone on three of the numbers. “I came in with rough ideas and they would expand on them,” Corritore said. “And in the process I got to be the centerpiece of their genius. They are making me sound good with the nuances of what they do.”

Harpist Charlie Musselwhite, who gained prominence during his time in Corritore’s native Chicago, agrees in the liner notes: “He really nails the ’50s Chicago Chess sound, but also exhibits modern ideas, which is very refreshing. The band is all top notch and perfectly sympathetic players. … a dream team band.” Musselwhite also appreciates some unusual musicianship, fourth and fifth position harp playing that Corritore calls his “secret agent stuff.” Corritore is sharing secrets just as some of the Chicago greats did with him when he began going to shows as a teenager. Before moving to Arizona, Corritore learned from Chicago harmonica greats Big Walter Horton, Carey Bell and Louis Myers, among many others. “Certainly when you have been around some of the great guys who have shown you some of the secrets of the blues and you are able to really cull some lessons from their mentorship,” he said. “It becomes your responsibility to keep it going but at the same time there is great joy being able to express yourself through the instrument. Each year I feel I am a little better at it. I have always had the ideas in my head but over the years my ability to be able to develop those ideas is much greater than it ever was. I hope it keeps going.” So will everyone who listens to “Taboo.”

– Tim Parsons

La Hora Del Blues (Spain) (April 2014)

4 and 1/2 stars!

– Vicente Zumel

Alt Country (Netherlands) (April 2014)

4 Stars!

Naast “good old” Charlie Musselwhite was het de jongste jaren vooral Bob Corritore die van zich deed spreken als bluesharmonicamaestro. Onder meer middels bijzonder gesmaakte samenwerkingen met onder anderen John Primer, Tail Dragger, Kid Ramos en Dave Riley catapulteerde de beste man zichzelf wat ons betreft zomaar tot in de bovenste schuif met momenteel nog actieve bluesinstrumentalisten. Enfin, om een lang verhaal flink in te korten, wij zijn dus duidelijk fans van z’n altijd weer zeer gedisciplineerde spel. Vooral het feit, dat hij zichzelf altijd weer tot op zekere hoogte weet weg te cijferen ten dienste van het liedje, weten we hier zeer te waarderen. We zouden ze immers geen eten willen geven, de bluesartiesten die het daar heel wat moeilijker mee hebben…

Met het fonkelnieuwe “Taboo” krijgt die Corritore ‘this time around” eenmalig zijn geheel eigen canvas. Ditmaal is hij de ontegensprekelijke ster. De baas in het kot als het ware. Maar zelfs in die hoedanigheid blijft hij behoorlijk bescheiden. In de twaalf veelal eigen nummers op die verse worp van ‘m blijkt er immers met name voor gitaristen Junior Watson en Jimmie Vaughan, toetsenmannen Fred Kaplan en Papa John DeFrancesco en saxofonist Doug James een zeer belangrijke, niet zelden dragende rol weggelegd. Zij zijn er met z’n allen eigenlijk medeverantwoordelijk voor, dat “Taboo” over zijn volle lengte weet te blijven boeien. Zij doen op “Taboo” wat Corritore normaal elders doet. En dat werkt!

Welke kant het hier ook uitgaat, het blijkt zo ongeveer allemaal even smakelijk! Heerlijk soulvol in “Shuff Stuff”, behoorlijk jazzy in “Mr. Tate’s Advice”, tijdelijk lekker exotisch in onder meer het Kid Ramos-eerbetoon “Fabuloco”, slow & groovy in “Potato Stomp” en het sensuele “Many A Devil’s Night”, meer ritmisch georiënteerd in dingen als het catchy “Ruckus Rhythm”, aanzettend tot een ouderwets potje foottappin’ in het al even aanstekelijke “T-Town Ramble”, je alle geneugten van het nachtleven laten proevend in de z’n titel hoegenaamd alle eer aandoende afsluiter “Bob’s Late Hours”, enzovoort. Wij kunnen er hier maar geen genoeg van krijgen! Echt waar, een dijk van een instrumentaal bluesalbum!

Don & Sheryl’s Blues Blog (April 18, 2014)

Bob Corritore has always been one of our favorite harp players. Born and musically bred in Chicago, Bob honed his skills by learning from many of the greats who either lived in our toured thru the Windy City. As such, he’s got that old-school feel in his soul that always puts the song first, which is why he has been such an in-demand sideman and producer throughout his career. His latest album for Delta Groove is entitled “Taboo,” and it is a departure of sorts for Bob. This is a set of all-instrumental harp blues that puts Bob at the forefront, and allows his versatility to grab center stage.

Joining Bob for this foray into the varying sounds of the blues harp are some killer musicians, including Junior Watson and Jimmie Vaughn on guitars, Fred Kaplan and Papa John DeFrancesco on keys, and Richard Innes, Brian Fahey, and Dowell Davis on drums. Virtually on every cut, Bob steps aside from his harp playing to let those talented cats stretch out a little, adding to the verve and flair of the overall set. A perfect case in point is the leadoff “Potato Stomp,” with Bob’s harp working in perfect tandem with Doug James’ sax. They re-create that interplay on the jazzy swing of “Mr. Tate’s Advice,” and on the uptempo “Shuff Stuff.” The latter two also feature Jimmie Vaughn on guitar.

Bob explores some varying genres’ herein as well. Farfisa organ coupled with Bob’s reed work make the “Harmonica Watusi’ reminiscent of some of the great instrumentals from the Sixties. “Harp Blast” is a stone shot of Chicago blues, while the Latin-flavored spice of “Fabuloco (For Kid)” is done in tribute to Bob’s good friend, guitarist Kid Ramos. The loping pattern of “Ruckus Rhythm” recalls the great Jimmy Reed sides for Vee-Jay, and Bob closes the set with his own version of “After Hours,” with the slow-burn of “Bob’s Late Hours,” punctuated by Junior Watson’s guitar and Fred Kaplan’s piano. We had two favorites, too. “Many A Devil’s Night” has a brooding, dark vibe as Bob plays this minor-key blues on the chromatic. And, the title cut takes you down to a South Seas paradise as his harp leads work effortlessly over a smooth rhumba groove.

Another harmonica great, Charlie Musselwhite, has nothing but praise for Bob Corritore’s “Taboo.” We echo these sentiments, as Bob has indeed hit on a winning formula! Until next time…Sheryl and Don Crow. (Poland) (April 18, 2014)

Bob Corritore po nagrodzonym Blues Music Award albumie „Harmonica Blues” postanowił nagrać instrumentalną płytę “ Taboo”. Są świetni goście, ale rządzi harmonijka ustna. Płytę rozpoczyna chicagowski shuffle „Potato Stomp” z Juniorem Watsonem na gitarze i fantastycznym saksofonem barytonowym Douga Jamesa. I to jest blues, w dodatku z brzmieniem, które równie dobrze mogło być uzyskane pół wieku temu.

Przepiękna wspólna kompozycja Corritore i Juniora Watsona „Many A Devil’s Night” z genialnie przesterowaną harmonijką i molową tonacją po prostu rzuca na kolana. Do tego świetne dźwięki pianina, wsparte dyskretnymi hammondami i ta cudowna melancholia. Następny shuffle to „Ruckus Rhythm”. Radosny, wsparty responsami pianina, z długimi, niskimi i wibrującymi tonami harmonijki. Świetna barwa połączona z zabawą czarą głosową. „Harmonica Watusi” skłania się w stronę radosnego rock and rolla czy muzyki w stylu surf oczywiście wszystko wyprodukowane w klimacie roku 1961. Niemal prymitywne solówki gitarowe i surowe brzmienie dodają tylko energii tej muzyce. Następny wielki numer to „Taboo”. Utrzymany w rytmie zbliżonym do calypso, z perkusją oparta przede wszystkim o grę na półkociołkach, z akordami gitary z silnym mechanicznym tremolo i oczywiście w molowej tonacji, staje się ważnym utworem do opanowania przez rzesze naśladowców. „Harp Blast” to typowe chicagowskie boogie. Corritore ma okazję trochę pobawić się bendingiem, a słuchacze potupać przysłowiową nogą.

Za to „Mr. Tate’s Advice” to swingujący temat oparty na świetnej współpracy harmonijki z saksofonem i sekcją. Aż chce się i nucić i zagrać razem z zespołem. „5th Position Plea” oparte zostało o czyste brzmienie harmonijki. Wolne tempo pozwala dokładnie wsłuchać się w możliwości interpretacyjne Corritore nieprzykryte efektami. Znawcy twierdzą, że gitarowy riff przypomina klasyczne kompozycje T Bone Walkera. Dużo radości do materiału płyty wnosi „Fabuloco”. Lekko latynoski klimat i czysta harmonijka działają jak powiew wiosennego wiatru. Utworem „Shuff Stuff” Corritore wraca do klasycznego shuffle. Harmonijka odpowiednio przybrudzona, a hammondy na drugim planie wzmacniają efekt potężnego bluesowego brzmienia. Ozdobą jest kolejne świetne solo na tenorze. Boogie zmieszane z bluesem tworzy utwór „T-Town Ramble”. Mamy tu znakomite solo na celowo brzmiącym jak rozstrojone pianinie, i minimalistyczny podkład jazzującej gitary. Krążek wieńczy dostojny „Bob’s Late Hours”. Corritore ma okazję wygrać się do ostatniej nuty, nie epatując tempem – bardziej klimatem i umiejętnym zadęciem. Jazzujące pasaże gitary i piano w tle tworzą klimat zadymionego klubu z samotnym jeźdźcem bluesa przy starym mikrofonie.

Bob Corritore krążkiem „Taboo” ustawia się z miejsca na półce z klasyk harmonijki ustnej. Nie dość, że to autorskie kompozycje, to jeszcze ciekawe i choć ściśle osadzone w bluesie – różnorodne i świetnie zagrane od pierwszej do ostatniej nuty.

Billings Gazette (April 18, 2014)

Blues instrumental albums can be a drag, unless you’ve got the firepower of harmonica blaster Bob Corritore. His latest is titled “Taboo.”

Cocktelera Blues Communidad (Spain) (April 18, 2014)

El intérprete de armónica Bob Corritore nació y se crió en el corazón del blues, en Chicago, pero luego se trasladó a Arizona, donde se desarrolló como músico y un fuerte promotor del género a través de su programa de radio y como productor de los discos de figuras como Little Willie Anderson, Louisiana Red y Henry Gray, entre otros. En la última década su perfil se amplió con grabaciones al lado de Tail Dragger y John Primer y ahora llega con su nuevo disco “Taboo”, una colección de temas instrumentales que captura toda la sabiduría que ha alcanzado este genio de la armónica. El álbum no solo destaca el blues sino también la belleza del sonido de la armónica a través de un repertorio diverso y muy bien escogido. Acompañan a Corritore en esta aventura Jimmie Vaughan, Junior Watson, Frec Kaplan, Doug James, Papa John DeFrancesco y Richard Innes, entre otros. Son pocos los músicos que consiguen que disco instrumental de armónica sea agradable y Corritore es uno de ellos.

Star Blues (UK) (April 20, 2014)

Long time fave Bob Corridors has a very stylish album in genres with blues at its core, the all-instrumental project is a terrific platform to stretch out.

– Gary Blue

Friday Blues Fix (April 25, 2014)

Last year, harmonica wizard Corritore appeared on discs with John Primer and Dave Riley. This year, he will be issuing this excellent all-instrumental harp showcase on April 25th. Joining him on many of these tracks are a premium list of musicians including Jimmie Vaughan, Junior Watson, Fred Kaplan, Papa John DeFrancesco, and Doug James. There’s plenty of diversity in these tracks, which lets Corritore cover a lot of ground and he’s more than up to the task, so the excitement never lets up. Harp fans will dig it for sure, but there’s some mighty fine music here that will appeal to a lot of folks.

– Graham Clarke (April 25, 2014)

But wait, there’s more. We’ve got a new release from Delta Groove by our friend and one of today’s harp greats, Bob Corritore. Aside from having the coolest hair in the business, Bob is one of our favorite players and he’s always putting out great work. On this new release, Taboo, he turns loose with an all-instrumental CD with great guest players (like Jimmy Vaughan, Junior Watson and Papa DeFrancesco) and we’re going to take it out and give it a spin (check out the audio sample)!

– John Porter

JPC (Germany) (April 25, 2014)

Ein Instrumentalalbum, welches die erfahrene Weisheit seines ständig wachsenden Mundharmonika Könnens einfängt. Es erforscht die Schönheit der Blues-Mundharmonika mit einem meist originell, brillant vielfältigen Repertoire.

Rootstime (Belgium) (April 2014)

Bob Corritore (Chicago, °1956) is een blues mondharmonicaspeler van de ‘oude school’. Corritore is niet alleen een blues man, maar ook producer, club eigenaar, radio show gastheer, kunststichting oprichter en occasioneel ook een schrijver. Als Bob twaalf is, hoort hij voor het eerst Muddy Waters op de radio. Dit feit verandert zijn leven. Nog geen jaar later, speelt hij al mondharmonica. Als hij op het middelbare school gymnasium zit, krijgt hij de kans om naar een optreden van Muddy Waters te gaan. Als tiener was hij vaak te vinden bij grote mondharmonicaspelers als “Big” Walter Horton, “Little” Mack Simmons, Louis Myers, Junior Wells, “Big” John Wrencher en Carey Bell, van wie hij vaak tips en aanmoedigingen kreeg. Bob ging naar optredens van Howlin’ Wolf, Billy “Boy” Arnold, John Brim, “Sunnyland” Slim, “Smokey” Smothers, Eddie Taylor, met wie hij vaak bevriend geraakte. Corritore werkte in de late Jaren ’70 en begin Jaren ’80 al samen met “Tail Dragger”, “Big Moose” Walker, Willie Buck, Louis & Dave Myers en Eddie Taylor.

In 1981 verhuist Bob naar Phoenix, Arizona. Daar speelt hij ruim een jaar lang samen met Louisiana Red, voordat Red naar Duitsland verhuist. Bob zit niet stil en werkt ook samen met “Big” Pete Pearson, Buddy Reed, Tommy Dukes, “Chief” Schabuttie Gilliame en Janiva Magness. In 1984 gaat Bob, naast zijn optredens en opnames, ook de ‘Those Lowdown Blues’, een blues radio show, op KJZZ verzorgen. [KJZZ (91.5 FM, “K Jazz”) is het vlaggenschip van de Nationale publieke omroep in Tempe, Phoenix, Arizona. Ze zenden uit vanaf de campus van het ‘Rio Salado College’, die als sinds 1985 de eigenaar is van het station. KJZZ zendt meestal jazz en blues muziek uit]

In 1986 verhuist Chico Chism (1927-2007), ooit drummer van Howlin’ Wolf, naar Phoenix en wordt, op vraag van Bob, tot aan zijn dood zijn drummer. In 1991 opent Bob zijn bekende blues en roots concert club, “The Rhythm Room”. De club opent nieuwe perspectieven voor Bob. Hij nodigt er grote artiesten uit om samen met zijn band “The Rhythm Room All-Stars”, te komen optreden. Deze sessies zijn nu nog altijd beroemd. Als gasten ontving Bob in zijn club Bo Diddley, Little Milton, John Brim, Jimmy Rogers, Henry Gray, Pinetop Perkins, Henry Townsend, Honeyboy Edwards, Big Jack Johnson, Ike Turner, Smokey Wilson. Lil’ Ed, Willie “Big Eyes” Smith, Nappy Brown, R.L. Burnside, Robert Lockwood, Jr., Sam Lay, Barbara Lynn en …

In 1999 brengt Bob zijn éérste album “All-Stars Blues Sessions” uit. Zijn (inter)nationale doorbraak komt er na optredens met Henry Gray, Louisiana Red en “Big” Pete Pearson. In 2007 verklaart de burgemeester van Phoenix officieel, dat 29 september de “Bob Corritore Day” wordt, om hem te eren voor al zijn muzikale bijdragen aan de Phoenix’ gemeenschap. In hetzelfde jaar ontvangt Bob ook de “Keeping The Blues Alive” award van de ‘Blues Foundation’. Bob’s album “Travelin’ The Dirt Road”, dat hij in 2007 opnam met Dave Riley, is genomineerd voor een ‘Blues Music Award’. In 2008 werkt Bob samen met Pinetop Perkins, die met het album een Grammy®-nominatie haalt. In 2010 wint Bob met het album “Harmonica Blues” een ‘Blues Music Award’. In 2012 krijgt Bob in de categorie mondharmonica de ‘Living Blues Award en is hij de ‘Star Blues’ Artist Of The Year’. Bob treedt regelmatig op met de “Rhythm Room All-Stars” samen met Dave Riley, Louisiana Red, Henry Gray, Sam Lay, Tail Dragger, John Primer, Mud Morganfield, Diunna Greenleaf, Bob Margolin, “The Andy T/Nick Nixon Band”, “The Delta Groove Harp Blast” e.a.

Bob heeft meerdere albums op zijn eigen naam staan, maar dit zijn vaak compilatiealbums, die hij samen opnam met verschillende andere blues muzikanten. Corritore heeft momenteel een nieuw blues album met mondharmonica instrumentals: “Taboo”. “Taboo” is een album met twaalf tracks, waar Bob gebackt wordt door een rij bekende gasten als gitarist Junior Watson, keyboardspeler Fred Kaplan, bassist Kedar Roy en drummer Richard Innes (Allen op tracks 1-6,8,9,11,12). Op twee tracks (7,10) spelen gitarist Jimmy Vaughan en orgelist “Papa” John DeFrancesco mee. Verder is ook saxofonist Doug James (1,7,10) op enkele tracks te horen.

Met zijn nieuwe album “Taboo” is het ruim meer dan veertig jaar geleden, dat Bob Corritore zijn eerste harp kreeg. Hij heeft alles geleerd van de meesters Louis Myers, Eddie Taylor, Robert Lockwood, Jr., Little Willie Anderson, Big Leon Brooks, Lester Davenport, Big Smokey Smothers, Little Mack Simmons en vele anderen. Op de achterkant van het album zegt Charlie Musselwhite precies waar het in dit soort albums om gaat: ” Not many people can do an all instrumental harp CD and keep it interesting all the way through”. Het helpt je uiteraard, als je kan rekenen op enkele prima backing muzikanten, die ook wat extra grooves en soul toevoegen. Corritore is een mondharmonicaspeler, met een goede blaastechniek, maar ook iemand die heel genuanceerd kan fraseren. Corritore’s gevoel voor swing is bekend. Hij verlegt grenzen in de exotisch klinkende titel track “Taboo” en “Harp Blast”, een erg gedreven shuffle, genre “Little” Walter [aka Marion Walter Jacobs (1930-1968), een Afro-Amerikaans blueszanger, mondharmonicaspeler en gitarist. Hij wordt gezien als een van de pioniers van de blues en de mondharmonica en is lid van de ‘Rock and Roll Hall of Fame’ de ‘Blues Hall of Fame’]. “Ruckus Rhythm” is Corritore’s ode aan Jerry McCain’s haast ‘verloren’ track “Steady”. Het nummer werd opgenomen bij Rex records, maar is o.a. terug te vinden op “Blues Masters Volume Four: Harmonica Classics”. [Jerry “Boogie” McCain (1930–2012), was een Amerikaanse blues harmonicaspeler uit Alabama. Zijn broer Walter was ook muzikant (drummer). McCain zelf leerde mondharmonica spelen van rondtrekkende muzikanten “Chick” & “Shorty”, die in lokale bars optraden]. “Fabuloco (For Kid)”, een track met Tex-Mex grooves, is opgenomen met een pinkoog naar David “Kid” Ramos (James Harman, “Roomful of Blues”, “The Big Rhythm Combo”, “The Fabulous Thunderbirds”, “The Mannish Boys”, Bobby Jones & Los Fabulocos). Mijn album voorkeur gaat uit naar “Harmonica Watusi”, met Fred Kaplan die even soloot vanachter zijn orgel en “Mr. Tate’s Advice”, één van de twee tracks met organist DeFrancesco en gitarist Jimmie Vaughan. Saxofonist Doug James en Corritore doen hier een erg harmonieus jazzy duet. Zonder versterker gaat Corritore chromatisch en nostalgisch verder in “Fifth Position Plea”. Het is een nummer (met versterker) dat erg afsteekt tegen het vette atmosferische “Many A Devil’s Night”. Een andere track die door “Little” Walter geïnspireerd is, is “Bob’s Late Hours”. Opnieuw een track met nog meer chromatische mondharmonica en Junior Watson die op gitaar perfect leidt.

Album tracks: 1”Potato Stomp” [by boogie-woogie bluesman Willie Lee Egan] – 2”Many A Devil’s Night” [Bob Corritore & Junior Watson] – 3”Ruckus Rhythm” – 4”Harmonica Watusi” – 5”Taboo” [by Margareta Lecuona & Sidney Keith “Bob” Russell] – 6”Harp Blast” – 7”Mr. Tate’s Advice” – 8”5th Position Plea” – 9”Fabuloco (For Kid)” – 10”Shuff Stuff” – 11”T-Town Ramble” – 12”Bob’s Late Hours” – all tracks by Bob Corritore, except 1,2 & 5.

Het harde werken, zijn toewijding, liefde en talent hebben er voor gezorgd dat ook dit album “Taboo”, heerlijk divers en (tot op het einde) interessant is. Of, om af te sluiten met de woorden van Charlie Musselwhite: “It is a dandy of a CD. A real treat. Thanks Bob!”

– Eric Schuurmans

Keys And Chords (Dutch) (April 26, 2014)

Bob Corritore werd geboren in Chicago op 27 September 1956 en schuimde er als tiener de bluesclubs af. Bob verhuisde naar Phoenix, Arizona waar hij al geruime tijd de befaamde club The Rhythm Room uitbaat. Hij is radiopresentator, record producer en talentschout. Ik ken nu al enkele jaren persoonlijk Bob en vorig jaar in oktober had ik gelegenheid om samen met The Chicago Blues All Stars af te reizen naar de Sang A Klang in Luxemburg. Met Mud Morgenfield, Tail Dragger, Chris James, Patrick Rynn, Brian Fahey, Rockin’ Johnny Burgin, Rick Krieger en uiteraard Bob Corritore hadden we een geweldige tweedaagse in Lëtzebuerg. Helaas werd bij aankomst op de luchthaven vastgesteld dat Bob’s harmonicakist was gestolen op het vliegtuig. Helaas werd dit schaamteloos euvel nooit opgelost. Maar ik heb in al die jaren dat ik in het blueswereldje meedraai nooit niemand zo overtuigend zien performen als Bob. Als hij ook maar 5-minuten tijd heeft speelt hij op zijn harp. Wachtend op de tourbus, voor het hotel, bij een pitstop in een tankstation… iedere gelegenheid neemt Bob ter harte om een mondharmonica uit zijn zak te toveren en te wat te spelen. Nu heeft Bob Corritore met ‘Taboo’ een dijk van een instrumentale plaat gerealiseerd. En zoals het rasartiest betaamt heeft hij een schitterende line-up bij elkaar geschraapt. Het album opent met ‘Potato Stomp’, een Chicago bluestrack met Junior Watson op gitaar, Doug James op sax, Fred Kaplan met de toetsen, Kedar Roy met de baslijnen en Ray Innes achter het drumstel. Deze Windy City shuffle’s ruimen al snel plaats voor de knappe slowblues ‘Many A Devil’s Night’. Bob raakt iedere noot loepzuiver en Junior Watson laat zich alweer opmerken met zeer gevoelige gitaarriffs. In het West Coast getinte ‘Ruckus Rhythm’ neemt Bob en Fred Kaplan met zijn klavier het voortouw. Net zoals in ‘Harmonica Watusi’ trouwens gaat het er gezwind en vrolijk aan toe. De titeltrack ‘Taboo’ is een rustig en ingetogen nummer, maar het wordt alweer Chicago boogie geblazen met ‘Harp Blast’. Corritore gaat vruchtdragend het duel aan met Kedar Roy’s akoestische baslijnen. En de heren trekken de sterke lijn meteen door in ‘Mr. Tate’s Advice’. In dit oplopende Windy City project onderhoudt Doug James zijn saxriffs met Papa John Defrancesco orgeltunes, Dowell Davis strak drumwerk en Jimmy Vaughan gitaarriffs. De ‘5Th Position Plea’ is een ballade waar Corritore zijn wijde harpvleugels nog eens ten toon spreid. Het Latino beïnvloede ‘Fabuloco’ (For Kid) is een schitterende voorloper voor ‘Shuff Stuff’. Bob, Doug James (sax), Papa John (orgel), drummer Brian Fahey en Jimmy Vaughan koele gitaarriffs staan garant voor een knap staaltje Chicago blues. En we gaan op de ingeslagen weg verder met de swingende boogietrack ‘T-Town Ramble’. Kaplan steelt de show op zijn piano, drummer Roger Innes en Kedar Roy’s akoestische bassnaren klinken heel ingetogen en effen het pad voor Corritore hemelse registraties. In het afsluitende ‘Bob’s Late Hours’ gaat de aandacht volledig naar Corritore’ smoelschuiver. En terecht, want hij is de samensteller van dit fantastisch project.

(Rating 5 out of 5)

Bob Corritore and friends have realized the strongest instrumental blues album of the past few decades… This is the real stuff !!

– Philip Verhaege

Blues In Germany (Germany) (April 29, 2014)

Bob Corritore gehört ohne Zweifel zur Oberliga der amerikanischen Blues Szene. Seit nun mehr als vierzig Jahren steht er mit anderen Musikern auf der Bühne und spielt meisterhaft die Bluesharp. Bob ist einer der aktivsten US-Musiker. Mittlerweile hat er an über 50 Albenveröffentlichungen teilgewirkt und hat zahlreiche Auszeichnungen (Handy, Awards, Grammys) erhalten. Damit nicht genug ist Bob Bandleader, Produzent und Besitzer des renommierten Bluesclub “The Rhythm Rooms in Phoenix , moderiert eine wöchentliche Radiosendung und versorgt seine Fans und Bluesfreunde mit einem wöchentlichen Newsletter und ist mit anderen Musiker mehrmals im Jahr in einem Tonstudio anzutreffen.

Zum Album
Das aktuelle Album “Taboo” von Bob Corritore ist ein reines Instrumentalbum das den Hörer durch Corritores Spielweise der Harmonica in die “gute alte Zeit” zurückversetzt. Man hört das er den Altmeistern wie z.B. Robert Lockwood Jr., Little Willie Anderson, Lester Davenport oder Little Mack Simmons genau zugehört und von ihrer Spielweise gelernt hat. Mit Unterstützung der Bluesgitarristen Jimmie Vaughan und Junior Watson, dem Saxophonisten Doug James, dem Pianisten Fred Kaplan und weitere amerikanischen Bluesmusikern unternimmt Corritore eine Reise durch mehrere Stilarten des Blues. Sein Harpspiel ist geprägt von den Einflüssen der frühen Pionieren der alten Chicago — Bluesszene und versprüht viel Leidenschaft, Gefühl und lässt keine Langeweile aufkommen.

Fazit (8,5 von 10*)
Auch wenn man ausser einigen Atemzügen von Bob Corritore keinen Gesang vernimmt ist “Taboo” ein sehr interessantes Album, das man kaum besser arrangieren kann.. Hier bietet Corritore mit seinem gut arrangiertem Retrosound und der Unterstützung seiner Bandmitglieder eine sehr entspannte Produktion die sich idealerweise als ständige Untermalung in jedem Blues- und Jazzclub anbietet, wie in seinem legendären Club “The Rhythm Room” in seiner Heimatstadt Phoenix.

Rocktimes (Germany) (April 29, 2014)

Yeah, Baby, schwing den Sparschäler und ran an die Kartoffeln. Kaum zu glauben, dass man sich durch den ersten Titel von Bob Corritores Instrumentalalbum “Taboo” auch noch outen darf. Vom Nudel-Anhänger zum Kartoffel-Verehrer. Die Erdäpfel werden im Willie Egan-Opener “Potato Stomp” durch die künstlerische Gestaltung so richtig in Form gebracht. Bei diesem Lied verlieren die essbaren Knollen fast von alleine ihre Schale und leuchten herrlich gelb im coolen Groove beziehungsweise fetzigen Gitarrensound. Wer weiß, wie anregend diese Nummer bei der Kreation neuer Soßen ist. Der “Potato Stomp” kommt ab jetzt verdammt oft zum Einsatz, denn Pippers werden noch häufiger zubereitet.

Okay, vielleicht ein wenig zu viel Fantasie jetzt, aber Bob Corritore ist mit “Taboo” ein super Album gelungen und bei den Begleitmusikern darf auch noch geklotzt werden. Ganz gleich wer ihm in den zwölf Tracks Gesellschaft leistet ist die Platte wie aus einem Guss. Bei den Gitarristen ist es Junior Watson, der den Löwenanteil an Sechssaiter-Beiträgen liefert.

Jimmie Vaughan ist bei zwei Nummern vertreten. Zum größten Teil versorgt Fred Kaplan den Hörer mit Piano- oder Orgelklängen und in identischen Liedern wie Jimmie Vaughan ist es Papa John Defrancesco. Doug James bläst das Saxofon und hätte aus meiner Sicht durchaus mehr Spielraum bekommen können als in nur drei Kompositionen.

“Taboo” ist ein fantastisches Spiel mit der Zeit, denn auf welche Art und Weise hier, wohl gemerkt, nicht in allen Tracks in den Rückspiegel geschaut wird, hat Stil und Klasse. Bob Corritore ist ein Teamplayer. Ungemein viele Soli kommen von den Tastenmännern, Doug James beziehungsweise den Gitarristen. So etwas sorgt, neben der musikalischen Vielfalt, für weiteren großen Unterhaltungswert.

Die Balladen, wie zum Beispiel der Titeltrack “Taboo” sind zum Niederknien. Obwohl die Scheibe ein Instrumentalalbum ist, erzählen die unterschiedlichen Arbeitsgeräte schöne Geschichten.

Das mit rauem Sound versehene “Harp Blast” geht richtig gut ab. Hier darf der Protagonist auch einmal im Vordergrund stehen und “Bob’s Late Hours” kann man getrost zu den Highlights zählen. In diesem Track wird der Slow Blues fast bis zum Leerlauf verlangsamt und die Begleitmusik, unter anderem mit einem fantastischen Fred Kaplan am Piano, ist begeisternd.

Es groovt mächtig, wenn Doug James sowie Bob Corritore im Unisono-Sound den Anfang von “Mr. Tate’s Advice” gestalten. Hier ist es Papa John Defrancesco, der mit seinen coolen Keyboard-Fills für Antrieb sorgt und Jimmie Vaughan ein inspiriertes Solo spielt. Direkt danach fliegen die Finger des Saxofonisten förmlich über die Klappen seines Instruments und schließlich dreht der Tastenmann ordentlich auf. Schon wieder ein Highlight!

Ach, “Taboo” ist einfach klasse. Harp-Anhänger und Fans instrumentaler Musik kommen hier voll auf ihre Kosten und die Bedienung mit eindeutig tollem Blues ist perfekt. Es ist bekannt, dass Leute, die weder auf das eine noch das andere stehen, eine tolle Scheibe vorbeiziehen lassen. Schade! Ihnen entgeht definitiv eine ganz besondere Platte mit einer umwerfenden Atmosphäre.

Knockin’ Around These Blues zusammen mit John Primer und Harmonica Blues (mit einem Blues Music Award ausgezeichnet) waren schon ganz tolle Alben und meines Erachtens hat auch “Taboo” das Zeug dazu, für diverse Preise nominiert oder gekürt zu werden. Bob Corritore zählt zu einem der besten zeitgenössischen Harp-Spieler. Wie schreibt Charlie Musselwhite unter anderem auf der Rückseite des Digipaks: »[…] Not many people can do an all instrumental harp cd and keep it interesting all the way through.

-Joachim “Joe” Brookes

Long Island Blues Society (April 2014)

We are going to discuss a subject that is not talked about very much. Bob Corritore’s new CD “Taboo” will take instrumental harmonica music out of the back room of a shady Chicago joint and bring it on stage to the hottest Blues club. The CD release from Delta Groove Music Inc. is a wonderful collection of instrumental harmonica songs backed by an All-Star cast with the likes of: Jimmie Vaughan, Junior Watson, Fred Kaplan, and many others. As we listen to the disc, we hear songs such as “Many a Devil’s Night” which has a slow haunting classic Chicago harmonica style. The harmonica gives way to some tasty hollow body guitar and piano solos. It finishes with some nice melodic harmonica riffs. The album moves along with classic blues songs such as: “5th Position Plea“, “Harmonica Watusi”, and “Mr. Tate’s Advice“. To mix things up, we will hear a Latin Style Blues beat with beautiful harp playing from Bob on “Fabuloco (For Kid)”. The title track is as mysterious as the sexy woman on the cover. It features an unusual melodic structure with very expensive chords. The guitar serves up a waving whammy bar vibrato as Bob lays down smooth melodic harmonica licks over the lush music that fades out into the night. At times during the CD, Bob plays in unison with a sax that gives a unique horn section sound. You’re going like Bob Corritore’s instrumental body of work. Veteran harp virtuoso Charlie Musselwhite agrees in the liner notes.

– Robert von Bernewitz

Back To The Roots Blues Magazine (Belgium) (April 2014)

Je moet de mondharmonica al bijzonder goed beheersen, wil je een cd vullen met harmonica-instrumentaaltjes en wil je het ruim drie kwartier boeiend houden. Gepokt en gemazeld in de Chicagoblues heeft Bob Corritore al voldoende bewezen dat hij een bijzonder functioneel harmonicist is. We denken bijvoorbeeld aan de toure die we in oktober vorig jaar organiseerden, waarj hij Tail Dragger en Mud Morganfield heel adequaat begeleidde. Maar hier staat Bob zelf centraal. Hier is hij de vedette en dat is zeer gedurfd. Maar hij heft een super de luxe-band rond zich verzameld, met o.a. Jimmie Vaughan en Junior Watson als gitaristen, Brian Fahey en Richard Innes als drummers, Fred Kaplanop pianoen Doug James als saxofonist. Het resultaat is een pareltje dat zich bevindt op het kruispunt waar Chicago en de Westkust elkaar ontmoeten. Neen, achtzane lezer, we bedoelen dit niet spreekwoordelijk, want in de bluesmuziek kan dit perfect! Draai er ‘Harmonica Watusi’ maar eens op na en u zult ons wel bogrijpen. Het is een Eigen compositie van Bob – zoals de meeste nummers trouwens – maar let u eens op de knip die Junior Watson op het geheel houndt . In diezelfde geest is er ook ‘T-Town Ramble’. ‘5th Position Plea’ blast helemaal in mineur, maar een beetje muzikant heft dit natuurlijk ook al aan de songtitel kunnen afleiden. Niettemin, het is een aardige aanvulling van Bob’s vaardigheden op het kleine maar dappere instrumentje (sorry Wouter, ik steel hier even jouw woorden. Ze staan hier immers perfect op hun plaats).

Heel opvaallend is ook het luchtige ‘Fabuloco’, een goedbedoeld hart onder de reim van Kid Ramos. We hadden het al vaak over de uiteenlopende activiteiten van Bob Corritore, maar vandaag sellen we pertinent vast dat hij er als muzikant helemaal staat!

– Franky Bruneel

Blues Blast Magazine (May 1, 2014)

CD: 12 songs; 44:36 Minutes
Styles: Contemporary and Traditional Blues Instrumentals

Chicago native, now Phoenix resident, Bob Corritore is perhaps the world’s most prolific ambassador of blues music today. According to his website, not only is he one of the top blues harmonica players on the scene, but also the owner of the Rhythm Room, the radio show host of “Those Lowdown Blues” on WJZZ, founder of the Southwest Musical Arts Foundation, and even a Grammy-nominated harmonica player and producer. Bob’s been involved with this genre for over three decades, beginning with production credits on Little Willie Anderson’s “Swinging the Blues” in 1979. Twenty years later he put forth his “All-Star Blues Sessions,” featuring Pinetop Perkins and “Steady Rollin’” Bob Margolin.

Nothing is “Taboo” for this living legend, including releasing a completely-instrumental CD. Some blues fans may doubt its appeal and consider it ‘artsy-fartsy’ before listening to one song, but this would be a colossal mistake. All of the tracks are either contemporary or traditional blues, never losing their Windy City roots. Accompanying Corritore are such stellar guests as guitarists Jimmie Vaughan and Junior Watson, Doug James on saxophone, Kedar Roy on acoustic bass, organists Fred Kaplan and Papa John Defrancesco, and multiple drummers and percussionists such as Brian Fahey. Of twelve songs, only two are covers (Willie Egan’s “Potato Stomp” and the title track, a 1934 Cuban hit by Lecuona, Russell and Arps). However, each is a work of genius without words. Witness these three in particular:

BEST GUITAR: Track 02: “Many a Devil’s Night” – The blues has often dealt with the darker side of human nature: man’s vices instead of his virtues. This minor-key masterpiece calls to mind the barroom, brothel, casino, and dark alley all at once. Junior Watson’s guitar is sweetly understated here, relying on notes that fall like raindrops at midnight rather than desert-hot riffs – especially in the intro. Co-written by Corritore and Watson, it’s a surefire radio hit.

BEST KEYBOARDS: Track 04: “Harmonica Watusi” – Fred Kaplan’s bouncy “boop-boop-boop-boop” beat on the piano and organ is guaranteed to get live crowds out of their seats and on their feet. Those who remember how to ‘do the Watusi’ might strut their stuff with abandon, while dancers who’ve never heard of that famous 1960’s groove have a chance to learn it – or simply jump up and down. Regardless, this song was absolutely made to be played at parties.

BEST HARMONICA AND SAXOPHONE: Track 01: “Potato Stomp” – Bob Corritore and Doug James set a high benchmark for the rest of “Taboo’s” instrumentation in its opening number. They know that many casual listeners will either be hooked or lost from the first song on any musical album. Thus, they both pull out all the stops on “Potato Stomp.” It’s as tasty as a fresh batch of French fries seasoned with a sauce far hotter than ketchup – classic Chicago blues.

Bob Corritore’s innovative instrumentals should never be “Taboo” on one’s next playlist!

Reviewer Rainey Wetnight is a 34 year old female Blues fan. She brings the perspective of a younger blues fan to reviews. A child of 1980s music, she was strongly influenced by her father’s blues music collection.

BluesPowR Blog (May 2, 2014)

We’ve written here before about a few projects involving harmonica ace Bob Corritore, including some pretty impressive recent collaborations with the likes of one-time Muddy Waters Band guitarist John Primer (Knockin’ Around These Blues) and veteran blues singer Tail Dragger (Longtime Friends in the Blues). While Corritore doesn’t officially share the bill with anyone on his new CD Taboo (Delta Groove Music), he did manage to round up a rather nice line-up of guest performers for the all-instrumental album, including guitarists Jimmie Vaughan and Junior Watson, keyboardist Fred Kaplan, and saxophone player Doug James, to name just a few.

Born and raised in Chicago, Corritore has called Phoenix, Arizona, home for the past three decades – or at least as much a home as any place can be between his own appearances worldwide and lending his support and/or production talent to projects from a multitude of other blues players including in recent years Diunna Greenleaf, Mud Morganfield, and The Mannish Boys. Hardly what you’d consider a blues mecca, Corritore has also helped put the city of Phoenix on the blues map with his famous Rhythm Room club and a weekly blues show on local radio station KJZZ.

We were fortunate to see Corritore play along with Tail Dragger and pianist Henry Gray during our last visit to the Rhythm Room a few years back, though we haven’t yet had the chance to catch Corritore as the main attraction, which we can imagine being an awful lot like the set to which we’re treated on Taboo, a rich sampling of diverse, quality harmonica blues ranging from the often swinging to the slow, serene closer “Bob’s Late Hours”.

Kicking off the album’s dozen tracks is a delightful take on Willie Egan’s “Potato Stomp” that features Doug James on saxophone while Junior Watson, Fred Kaplan, and Richard Innes – who provide core backing for much of the album – establish the groove on guitar, piano/organ, and drums, respectively. Corritore’s harp adds an appropriately greasy element to the “Many a Devil’s Night” that follows, with Watson (who co-wrote the tune with Corritore) providing some Otis Rush-like guitar and Kaplan again turning in a fine performance on the ivories.

From there, it’s on to the quiet shuffle of “Ruckus Rhythm”, a Booker T and the MGs-ish “Harmonica Watusi” that’s guaranteed to have you moving your hips, and the creeping title track, the Lecuona/Russell jazz standard “Taboo”, here featuring some surf-style guitar strains. “Harp Blast” is exactly that, making for a swinging good time, followed by the unmistakable guitar stylings of Jimmie Vaughan on the breezy “Mr. Tate’s Advice”, also featuring Papa John DeFrancesco on organ and some soulful sax from James. That same group returns for the slightly rocking “Shuff Stuff” that comes a few songs later, but not before Corritore’s soft wailing harp trades licks with Kaplan’s piano and Watson’s guitar on “5th Position Plea”, followed by a jaunty “Fabuloco (for Kid)”, with the bouncing “T-Town Ramble” also helping to close out the album and giving Kaplan another nice chance to shine.

For a man seemingly just as content to share the stage and spotlight with others, Taboo serves as a nice reminder of all that Corritore is capable as a frontman, proving every bit on par with such names as Little Walter, Rick Estrin or Charlie Musselwhite, who in fact provides a rather nice testimonial on the album with words that include “Bob Corritore’s new CD is all instrumentals and each one is a jewel. He really nails the ’50s Chicago Chess sound, but also exhibits modern ideas…I enjoyed listening to every tune and you can bet I’ll be listening to them all again.”

The last instrumental CD about which we were this excited was last spring’s offering from Ronnie Earl & the Broadcasters (Just for Today), which you may recall our referring to at the time as perhaps “the best instrumental blues album we’ve heard. And not as in just this year. Possibly ever.” Taboo may not quite top that one, but it is certainly up there (not to mention how extremely gratifying it is to hear another such strong collection of blues instrumentals so close on the heels of Earl’s); this is one you’re definitely going to want to check out.

– Mike

Musenblatter (Germany) (May 5, 2014)

Das Eigentliche Lange habe ich schon nicht mehr eine so erdige, elementare Bluesharp gehört wie hier auf dem neuen Album von Bob Corritore. „Taboo“ – Titel und Cover plakatieren die 50er Jahre, Corritore erfüllt das Versprechen mit seiner Musik, die so klingt wie damals – noch mit der Hand gemacht. Er holt das Eigentliche des Mundharmonika-Blues wieder in den Vordergrund, träufelt süßen Blues-Nektar ins Ohr, begleitete von einem brillanten Ensemble mit vor allem Junior Watson an der Gitarre (absolute Spitze in „Many a Devil’s Night“ und nicht nur hier ganz nah an SRV) und Fred Kaplan an Klavier und Orgel und hochkarätigen Gästen wie Jimmie Vaughan (Gitarre) und Papa John Defrancesco (Orgel) in je zwei Stücken.

Die Musik von „Taboo“ die er überwiegend selbst geschrieben hat (den Titelsong hat Corritore mit einer tiefen Verneigung mit der der Seele des Blues perfekt von Margarita Lecuonas Original gecovert), geht mächtig in die Beine und unter die Haut. Damit kann ein heißer Sommer kommen.

– Frank Becker

Talkin’ The Blues (May 12, 2014)

This episode of Talkin’ The Blues with Microwave Dave features new releases from the Holmes Brothers, a trio of blues/gospel artists who are celebrating thirty-five years as a band; Lisa Mann, the fine bassist/vocalist/writer from Portland who plays like Duck Dunn and sings like Bonnie Bramlett; and Bob Corritore’s album of harmonica-led instrumentals, featuring stellar musicianship and great arrangements on what may be his best album to date.

Wasser Prada (Germany) (May 13, 2014)

Im letzten Jahr tauchte die Harp von Bob Corritore auf diversen großartigen Alben auf. Für sein neues Soloalbum „Taboo“ hat sich der Maestro unter anderem die Gitarristen Junior Watson und Jimmy Vaughan eingeladen, mit denen er in zwölf Instrumentals einen Streifzug durch die verschiedenen Stile des Harpspiels und des Blues überhaupt macht.

Irgendwann hatten sich die regionalen Spielarten des Blues fast erledigt. Doch heute kann man beobachten, wie sich rund um bestimmte Musiker oder Lokalitäten neue Szenen und Spielweisen entwickeln. Bob Corritores Rhythm Room in Phoenix gehört da sicherlich dazu. Hier treffen sich Musiker aus Chicago und Texas mit denen von der Westküste. Und wenn Corritore ruft, dann entsteht daraus etwas faszinierend Neues. Junior Watsons Gitarre und das Piano von Fred Kaplan sorgen für den jazzigen Drive und werden von Doug James‘ Saxophon dabei unterstützt. Doch allein mit seiner Harp kann Bob Nummern wie den „Potato Stomp“ nach Chicago versetzen. Beim Titelsong fühlt man sich an Soundtracks zu Spaghetti-Western erinnert. „Harmonica Watusi“ könnte auch von einer frühen Garagen-Band der 60er stammen. Und „Harp Blast“ ist eine Boogie-Woogie-Tour de Force für Corritore.
Reine Instrumentalalben können ja leicht langweilig werden. Doch hier ist jede einzelne Nummer in sich so spannend zu hören, erzählen die Musiker allein mit ihren Instrumenten so mitreißende Geschichten, dass man Sänger zu keinem Zeitpunkt vermisst. (Delta Groove/in-akustik)

– Bluespfaffe, Blues Platten

Blues Music Magazine (May 2014)

Instead of providing a voice to tell the story of the song, Bob Corritore lets his expressive harmonica tell the stories on this refreshing, twelve song program. Corritore began his love of the blues by playing with many Chicago blues legends back in the 1970s.When he moved to Phoenix in the early ‘80s, he brought the blues to the Southwest through his club, the Rhythm Room, and his weekly radio show on KJZZ. His nine recordings include harmonica guitar duos with Dave Riley, traditional Chicago blues backing Taildragger, explosive ensemble blues with John Primer, and collections of intimate recordings he collected when legends like Robert Lockwood, Jr., Nappy Brown, Pinetop Perkins, Jimmy Rogers, and many other stopped by his station for in studio performances.

Here it’s an instrumental buffet offering more than just a dozen harp tunes. Many of the Chess harmonica traditions were birthed by the robust partnership of Little Walter and various guitarists like Jimmy Rogers, Luther Tucker, and the Myers brothers, Louis and Dave. That essential weave of harmonica and guitar is not lost on Corritore. By adding Junior Watson (ten songs) and Jimmie Vaughan (two songs), Corritore has called upon guitarists who can add to his conversation. Fred Kaplan’s keyboards (ten songs), Kedar Roy’s thumping bass, and the rock solid Chicago time kept by Richard Innes, today’s premier blues drummer, provide 45 minutes of the finest traditional blues interspersed with some creative off roading.

The CD opens with Willie Egan’s “Potato Stomp” which pairs Corritore with Doug James’ guttural sax honks. “Ruckus Rhythm” enlists Watson to handle the Lockwood guitar parts backed by the flat tire shuffle time (heavy accents o the two and four) kept by Innes. Just when you think it’s all meat and potatoes, Watson and Kaplan lead off “Harmonica Watusi,” a SoCal beach tune. There’s also Corritore’s delicate slow blues, “5th Position,” where his chromatic, Watson’s string textures, and Kaplan’s trebly piano accents recreate the magic of this music.

When Corritore adds Vaughan, on “Mr. Tate’s Advice,” Kaplan switches to organ for the three-man swing. Vaughan, James, and Kaplan later contribute to the earthy Texas shuffle, “Shuff Stuff.” The CD ends just as you might imagine, Corritore calling on the album’s core band for a lonely, late night elixir shared between friends. This is comfort food for any blues lover’s soul.

– Art Tipaldi

Mattizwo Blues Blogspot (Germany) (May 14, 2014)

Ich bin ja bekennender Harp-Fan. Das Album “Taboo” von Bob Corritore ist daher ganz nach meinem Geschmack. Man findet selten ein Album, welches man mit Genuss in seiner Gdesamtheit hören kann. Taboo ist so ein Album. Man ist schlicht enttäuscht, dass es irgendwann zu Ende ist.

Die Grösse diese Albums hat neben dem Harpspieler Bob Corritore mit den anderen Musikern zu tun. Junior Watson liefert neben Jimmie Vaughan die Gitarrenbeiträge, die Piano- und Orgelklänge kommen von Fred Kaplan bzw. von John Defrancesco, Doug James bläst das Saxofon.

Es ist nicht nur ein Bluesalbum, denn es werden auch Elemente des Jazz und südamerikanischer Musik verarbeitet.
Bei “02 – Many A Devil’s Night” klingt die Harp von Bob wie die Stimme von Louis Armstrong, bei “05 – Taboo” klingt die Harp wie eine Panflöte, “09 – Fabuloco” erinnert ein wenig an die Karibik und wenn ich das Album noch öfter höre, werden mir noch andere Sachen auffallen, da bin ich mir sicher.

Wer das Album bis zum Schluss hört wird dort mit “12 – Bob’s Late Hours” belohnt. dieser Titel geht unter die Haut.

Man sollte für das Album des Jahres die Kategorie Harp-Blues einführen. Bobs Album ist so oder so ein Kandidat für das Album des Jahres.

Yeah, Baby, schwing den Sparschäler und ran an die Kartoffeln. Kaum zu glauben, dass man sich durch den ersten Titel von Bob Corritores Instrumentalalbum “Taboo” auch noch outen darf. Vom Nudel-Anhänger zum Kartoffel-Verehrer. Die Erdäpfel werden im Willie Egan-Opener “Potato Stomp” durch die künstlerische Gestaltung so richtig in Form gebracht. Bei diesem Lied verlieren die essbaren Knollen fast von alleine ihre Schale und leuchten herrlich gelb im coolen Groove beziehungsweise fetzigen Gitarrensound. Wer weiß, wie anregend diese Nummer bei der Kreation neuer Soßen ist. Der “Potato Stomp” kommt ab jetzt verdammt oft zum Einsatz, denn Pippers werden noch häufiger zubereitet.

– Mattizwo

Docteur Blues Magazine (France) (May 16, 2014)

Bob Corritore figure parmi les tous meilleurs harmonicistes de la planète blues actuelle. Capable d’accompagner n’importe quel musicien, il peut aussi interpréter tout style de blues. Avec « Taboo », son nouvel opus, il se lance dans l’exercice périlleux de l’instrumental, ce qui est très rare. Neuf des douze titres proviennent de sa main, on peut faire confiance à l’harmoniciste tout ce qu’il entreprend est gage de réussite.

Il s’est entouré d’une nouvelle équipe avec les meilleurs musiciens évoluant sur la West Coast : les guitaristes Jimmie Vaughan et surtout Junior Watson (présent sur dix morceaux), Fred Kaplan au piano, Poppa John Defrancesco aux claviers, Doug James au sax, Kedar Roy à la basse, tandis qu’aux futs se succèdent Richard Innés, Brian Fahey et Dowell Davis. Le style musical s’avère varié avec des horizons différents. Il attaque fort avec « Potato Stomp », titre bien roots mis en exergue par la guitare Junior Watson et dans lequel l’harmonica au son diabolique fait merveille.

Un grand moment !

Il poursuit avec un merveilleux blues lent « Many A Devil’s Night », au moelleux incroyable et une intro à tomber parterre, le superbe jeu de guitare de Junior Watson offre un compromis de guitare sèche et électrique, magistralement par l’harmonica. Un grand moment ! L’harmoniciste enchaîne avec un blues traditionnel « Ruckus Rhythm » bien servi par un magnifique beat, là encore Bob Corritore le jeu d’harmonica vous donnera le frisson. Le Rockin’ Blues « Harmonica Watusi », une véritable invitation à la fête, propose un magnifique break de guitare, le tout parfaitement saupoudré par l’harmonica de Bob Corritore. Sur ce titre, les deux musiciens ne font qu’un, un tandem qui marche à merveille.

L’album sort un peu du contexte du blues, diffusant un côté jazzy et sud américain avec un son qui fait penser à celui des années 50/60, période durant laquelle les jeux de guitare étaient sobres. Retour vers un blues roots avec « Harp Blast » où le son graisseux et moite de l’harmonica s’avère bouillonnant et témoigne ainsi de sa virtuosité. On revient aux années 50 avec « Mr Tate Advice » qui sonne très West Coast Jazz où la rythmique est toute en légèreté avec un Jimmie Vaughan très fin à la guitare ; ce morceau aurait pu faire une magnifique musique de film, preuve du talent de Bob Corritore car pour interpréter un tel morceau il ne faut pas être manchot. « 5TH Position Plea » s’annonce comme une sorte d’improvisation bluesy et sensuelle dans laquelle chaque musicien met sa griffe.

« Fabuculo (For Kid) », aux fortes effluves exotiques, est le morceau auquel j’adhère le moins mais qui reste toutefois écoutable. Bob Corritore se lance ensuite dans le shuffle avec le tonique « Shuff Stuff », l’apport du sax de Doug James apporte une sonorité années 40/50 avec un excellent break de guitare de Jimmie Vaughan, alors que l’harmonica se fait plus discret tout en restant toujours aussi redoutable ; ce shuffle donne l’impression que les instruments sont en parfaite connivence. « T-Town Ramble » nous renvoie vers le Blues du Delta fin fifties avec un zest de Boogie Blues. Le titre peut faire penser au standard.

« Rollin’ Tumblin ». Titre de clôture, « Bob’s Late Hours » nous permet d’apprécier le remarquable jeu d’harmonica, instrument incroyablement maîtrisé avec des montées d’adrénaline foudroyantes, que seul un musicien de grand talent peut procurer.

Ce nouvel album de Bob Corritore, à l’instar des précédents, est une complète réussite. Il n’était pas évident de se lancer dans une telle aventure totalement instrumentale, choix risqué surtout dans le monde du blues actuel. Mais de par son talent et son imagination, l’harmoniciste a parfaitement su se sortir des pièges tendus par une telle entreprise. Sa ligne musicale prend un nouveau virage à chaque morceau, évitant ainsi toute morosité. Bob Corritore nous offre un magnifique voyage qui permet d’explorer différents registres musicaux dans lesquels le blues tient le rôle principal. Album fortement conseillé et qui contribue à apporter un renouveau au blues actuel qui en a bien besoin.

– Henri Mayoux

Buddy Guy News (May 19, 2014)

This April 15th meant a tax filing deadline to most people, but for blues music fans it was a feast day because it was the day of the latest release by master blues harp player, Chicago native and the owner of Phoenix club The Rhythm Room, Bob Corritore.

What sets this record, Taboo, apart from most run-of-the-mill blues productions is that its an all instrumental blues harmonica record and has many fine cuts for you to enjoy.

For example, track 1 “Potato Stomp” is a snazzy number with a big-band/swing feel to it. The piano playing is interwoven with some sax and horns and provides an example of the diversity found in this CD. The second cut, “Many A Devil’s Night”, is reminiscent of a Double Trouble tune with a strong piano presence played well by Fred Kaplan, which weaves into a great harp blowing session by Bob.

The diversity in this disc is further evidenced by the #4 track, “Harmonica Watusi”, which sounds exactly like the title suggests, a beach party dance tune that’s harmonica-based. The harmonica, piano, bass and yes even an extended drum solo combine to create a great song that will have you hip-shaking and foot tappin’. Theres a very cool part of this song with an organ solo session and then a killer guitar solo by guest Junior Watson, all in all this may be the best song on the disc. In 3 and a quarter minutes you have every musician showing off some of their best work.

The title track “Taboo”, #5, is a sweet, slow-sound type of cut and it kinda glides along in a smooth way as it highlights Bob’s skill on the Hohner.There’s plenty of solid blues on this disc.

Track 7, “Mr. Tate’s Advice”, brings out the heavy artillery with Jimmie Vaughan ripping chords on the tune as guest lead guitarist. Then, you get Doug James blowing the saxophone into the mix and throw in terrific organ playing by Papa John DeFrancesco and you really have a hit on your hands here. With Bobs fabulous harp playing on this one, its definitely one of the best numbers on the CD. Further interesting tracks include #9, “Fabuloco”, which has a latin/calypso beat and great harp playing and mixed into this musical gumbo are congas and steel drums too.

There’s plenty of solid blues on this disc. With the variety of songs and musicians, and the overall uniqueness of an all instrumental CD, this disc is definitely a good addition to any blues fans’ collection.

– Dan Hack (Dan Hack is a born n’ raised South Side of Chicago guy. In fact he’s still living in the same zip code as in his youth, when he discovered the album Electric Mud by Muddy Waters back in 1972, at age 13. He was electrified, and has been addicted to Chicago Blues ever since. He has been interviewing musicians and writing for BG:Blues and Music News since 2013)

BCR Magazine (France) (May 2014)


Retour par la note, d’un harmoniciste considéré comme l’un des plus actifs, et le meilleurs souffleur de blues de cette première décennie du deuxième millénaire. Le prolifique Bob Corritore nous présente Taboo son huitième album depuis 1999. Aprés Dave Ridley, John Primer, Kid Ramos, sur ses précédents tirs, aujourd’hui, le célèbre harmoniciste qui est aussi animateur radio, patron de club et producteur, s’entoure de deux guitaristes de renom : Jimmy Vaughan, ex membre des Fabulous Thunderbirds et frère du regretté Stevie Ray Vaughan . Quand au second gratteux, il s’agit du légendaire Junior Watson. Une belle équipe de musiciens de la West Coast se joignent à nos protagoniste., je citerais ici le pianiste Fred Caplan, le saxophoniste Doug James et Dowell Davis à la batterie. Bien sur : Papa John Defrancesco, Kedar Roy, Richard Innes, Brian Fahey et Todd Chuba sont aussi de l’effort. Une fête particulière, car pour la première fois, et c’est relativement rare, ce disque est une ode pure à l’harmonica blues des fifties. En effet, ce Taboo se décline en douze instrumentaux. Du blues Chicago d’excellente facture, orne les faces de ce dernier tir. Une petite once de Jazz et de swing et même une larme de salsa s’insinuent dans la trame.

Bob Corritore brille ici par sa virtuosité à manier le ruine babines, imparable, éclectique, surdoué, il nous surprend sur chaque instrumental, et nous prouve une fois encore, qu’il est capable d’aborder tous les styles de blues avec talent. Du shuffle au blues down home du Delta, en passant par le swing et le boogie, le patron du Rhythm Room de Phoenix réussit ici une prouesse peu commune, qui gardera à jamais vivante l’âme de la Windy City. Des titres comme ” Bob Late hours “, ” Many a devil ‘s Night “, ” Harp Blast ” et ” 5 interprété , qu’à l’écoute on oublie vite l’absence de chanteur . De plus, ce qui me rassure, c’est que contrairement aux médiocres artistes de blues rock que l’on voient fleurir sur tous les labels , il y a encore de vrais musiciens qui savent jouer du blues , et Bob Corritore est l’un de leur plus digne représentant .

– Joel Bizon

Phoenix Blues Society (May 20, 2014)

Before you even open it you should know you’ve got a sure thing when you pick up the new album Taboo featuring the stellar harmonica work of Bob Corritore who has recruited guitar wizards Jimmie Vaughan and Junior Watson and a host of West Coast all-star musicians to help him out on this all-instrumental offering.

On the initial cut, Potato Stomp, Bob sets the mood for the upcoming selections. Backing Bob’s solos, the band doesn’t over play. They just truck right along with Junior stepping out after Bob’ first turn. The impressive part is how well the band melds together seamlessly.

Many a Devil’s Night is a dark, mysterious slow turn with some very cool guitar from Junior and keyboard work from the legendary Fred Kaplan. Bob joins in toward the end of the piece and carries the guys to the end. Definitely a 3 a.m. staring-at-your toes tune. Just before lights out.

Skipping down to the title cut, my mind drifted to some smoky joint in the French Quarter at midnight. Bob has the floor for the entire song and he does a very nice job.

No. 6 is exactly what it’s called – a Harp Blast. The Rhythm Room floor will be packed when the guys play this one. Here Bob sticks with his Chicago upbringing and presents and old school gem.

Jimmie offers up some tasty licks on Mr. Tate’s Advice. You can always hear his distinctive, minimal style. Doug James follows Jimmie with some great sax. Then Papa John DeFrancesco shines on the organ before the whole band chimes in.

Fabuloco is dedicated to Valley favorite Kid Ramos, who has battled some serious cancer last year and is now back playing again. This tune has a bit of a Latin feel and is reminiscent of Kid’s style. Definitely a keeper.

The last cut, Bob’s Late Hours, sounds just like the name. It’s closing time and the crowd is hanging in for one last harmonica kiss before venturing out in the night.

This is a very good CD, y’all. It’s just good listening music from start to finish. Check it out. It’s worth the time.

– Jim Crawford

Mystery Train (Italy) (May 22, 2014)

L’ armonicista più attivo e poliedrico del momento aggiunge un nuovo capitolo alla già nutrita recente discografia. L’ italo-americano Bob Corritore originario di Chicago, ma in pianta stabile a Phoenix, Ar. dagli anni ’80, rinnova la collaborazione con l’ etichetta californiana , a seguito del pluridecorato “Harmonica Blues” e i fortunati incontri con Tail Dragger e John Primer. Il nuovo lavoro del superimpegnato Bob ( blue-jay, produttore e titolare del celebre blues club The Rhythm Room ) è un disco tutto strumentaale, che sfoggia un ampio e accattivante ventaglio di stili e una serie di ospiti di primordine: I chitarristi Jimmie Vaughan e Junior Watson, il pianista Fred Kaplan e persino l’ anziano organista Papa John Defrancesco, padre del fuoriclasse Joey. Entusiastiche le note di copertina , firmate nientemeno che da Charlie Musselwhite in persona.

– Roberto Rossi

Red Lick Records (UK) (May 22, 2014)

Blues harmonica maestro steps out again from behind supporting many other bluesmen to produce another master-class on an exciting and diverse repertoire of all-instrumental blues numbers. Support comes from Jimmie Vaughan, Junior Watson, Fred Kaplan, Doug James and more. Not many could carry this off, fewer again would try, but Corritore comes up trumps here.

Blues Bytes (May, 2014)

Though Bob Corritore has previously released albums under his own name, he has usually shared the spotlight with other blues musicians to the point where he took a backseat on his own record. He is usually content to play some of the finest harmonica in the blues today behind an impressive list of blues legends and current of future stars. Over the past few years, he’s appeared on collaborative discs with Tail Dragger, John Primer, and Dave Riley, but with the release of Taboo (Delta Groove Music), Corritore steps out front as much as he ever has before, offering a rousing set of blues harmonica instrumentals.

Taboo covers a broad range of blues styles, mostly of the Chicago variety that Corritore grew up listening to, and he gets plenty of assistance from a veritable all-star squad of musicians, including guitarists Jimmie Vaughan and Junior Watson, keyboard wizards Fred Kaplan and Papa John DeFrancesco, sax man Doug James, Kedar Roy on acoustic bass, and a quartet of drummers/percussionists (Richard Innes, Brian Fahey, Dowell Davis, and Tobb Chuba).

Fully in the spotlight on this release, Corritore makes the most of it. It’s not the easiest thing in the world to make an all-instrumental album and keep it compelling from start to finish, but that’s what he does here. His playing is rooted in the old-school harp style, but he mixes in enough modern concepts and variations to keep the listener riveted. There’s a dozen tunes on Taboo and you never feel like you’re hearing the same thing at any time …. the mark of a great album.

Bob Corritore never fails to please his audience, whether on one of his All-Star sessions or on his weekly radio show or on one of his numerous collaborations with other artists. As good as all of his previous releases have been, I would put Taboo a notch above them, because we hear so much more of his talents than usual … even though most of us knew it was there all along. It’s a genuine pleasure to listen to, one of the best discs of the year so far.

– Graham Clarke (Spring 2014)

DELTA GROOVE MUSIC – One of the preeminent blues labels in the world today, Delta Groove has a fine instrumental blues album out by harmonica virtuoso Bob Corritore. Bob’s 12 track Delta Groove CD is called Taboo. Releasing an album of all blues-based harmonica instrumentals is a pretty daring idea but thanks to the variety of musicians on board, Bob’s CD is always entertaining. The CD features liner notes by esteemed blues harmonica legend Charlie Musselwhite who adds, ‘Bob really nails the ‘50s Chicago Chess sound, but also exhibits modern ideas.’ Among the guitar greats taking part in Taboo include blues icons Jimmie Vaughan and Junior Watson while the CD also features a wide range of musicians including three drummers. Most of the tracks on Taboo are Corritore originals yet, start to finish, the sound is very authentic and will please fans of the blues as well as fans of blues-rock guitar based instrumentals. Extra points for the very “taboo” looking CD cover art.

Blues Breeker (Netherlands) (June 2, 2014)

De in 1956 geboren Bob Corritore timmert stevig aan de weg voor zover hij dit al de voorafgaande jaren ook al deed. Regelmatig verschijnt er nieuw werk van hem al of niet met een eigen groep. Nu weer een CD met louter instrumentals, waar de mondharmonica de toon aangeeft, het instrument dat Bob nu al zo’n 40 jaar bespeelt. In 1999 verscheen zijn eerste CD, nadat hij jaren en bekende club in Phoenix runde, the Rhythm Room, waar de crème de la crème van de blues wel eens zijn of haar opwachting maakte. Vele onderscheidngen uit de blues wereld heeft hij mogen ontvangen met enkele fameuze Blues Awards. Maar voor terug of is het vooruit naar zijn nieuwste werk, “Taboo”.

De mannen waar Bob op deze CD ondersteuning van krijgt zijn niet de minsten. Natuurlijk wordt de Delta Groove stal flink benut. Richard Innes op drums, Junior Watson (gitaar) en Fred Kaplan (piano/orgel) en Kedar Roy op de bas zijn de vaste leden. Op ” Mr Tate’s Advice” en op “Shuff Stuff” worden Jimmy Vaughan (gitaar), Doug James (saxofoon) , Brian Fahey/Dowel James op drums en Papa John Defrancesco (orgel) ingezet, een hele keur van artiesten dus.

Maar geen vocals dit keer en als ik dan hoor dan vraag ik me af hoelang weet je dan het zaakje boeiend te houden. Natuurlijk is met de klasbakken die hem omringen wat makkelijker om vele stijlen muziek erbij te halen en deze ook op niveau weg te zetten. Maar toch, een vleugje soul en wat Grooves moeten na drie kwartier nog niet gaan vervelen. Op de achterkant van het hoesje schrijft Charlie Musselwhite dan ook : “Not many people can do an all instrumental harp CD and keep in interesting all the way through”. Als Charlie dit al vindt, wie ben ik dan om hier aan te twijfelen.

De opener “Potato Stomp” trekt gelijk lekker stevig van leer, “Many a Devils Night”daarentegen is een (mee)slepende slow blues, heerlijk! “Ruckus Rhythm” is een ode aan Jerry Mc Cain terwijl “Fabuloco” aan Kid Ramos is opgedragen. Bij het vrolijke”Harmonica Watusi” kan ik mij bange vermoeden al overboord zetten, dit gaat wel goed komen, hier slaat geen verveling toe! En als je voor het schrijven van ‘’Bob’s Late Hours” en de shuffle “Harp Blast” de inspiratie haalt bij Little Walter kan het niet misgaan. Met de koptelefoon op kun je je afsluiten van de hele wereld en dat is niet moeilijk met de fraaie klanken die je brein binnenstromen.

Na 3 kwartier aangenaam bezig gehouden te zijn kan ik maar tot 1 conclusie komen: Wie was ik om aan zo’n klasbak te twijfelen? Ik ben dus helemaal niemand, maar als deze niemand u wat aan mag raden als u van lekker mondharmonicawerk houdt: Koop deze CD maar gauw, u zult er geen minuut spijt van krijgen!

-Huub Houben

Chicago Blues Guide (June 2014)

Bob Corritore is one of the most prolific recording artists on the scene today, continuing to receive world-wide recognition. The versatile harp player grew up in Chicagoland and cut his blues teeth by frequenting clubs on the South and West Sides where he learned his craft from the greats. He has since relocated to Phoenix, AZ where he is a club owner (The Rhythm Room), radio DJ, award-winning record producer and more. He often tours the world, accompanying other blues artists, to play prestigious festivals and clubs. A huge talent, Bob has a knack for blending well with a wide variety of artists. With his fat-toned harp, he always finds the right spot for his vintage sound. This holds true with Taboo, an impressive blues harmonica instrumental CD.

Bob Corritore wrote 9 of the 12 tunes here, and authored another one with Junior Watson — each of them jewels in their own right. He moves easily from chromatic to diatonic harmonicas, jumping from the three basic blues harp positions with ease as well as delivering one song in fourth position, and another one in fifth position (a beautiful song aptly named: “5th Position Plea”).

This recording is a fine display of ensemble prowess. Yes, Corritore’s wailing harp is at the center of the mix, yet he grooves so well with the rest of the musicians that no lyrics are needed. There are no harp pyrotechnics that could distract the listener from the delightful pallet of songs. Bob Corritore’s unpretentious playing weaves beautifully in and out of each song. Each tune is cleverly crafted, and with attractive hooks. The rhythm section mainly uses an upright- bass-and-brushes format (on 10 out of 12 songs). It’s a remarkable sound experience, inviting you into the heart of each tune. Besides vintage guitar work from Junior Watson and Jimmie Vaughan, you can hear piano, saxophone and B-3 solos as well. Everyone participates. The cast of characters is made of stellar artists: Besides the aforementioned Junior Watson and Jimmie Vaughan, you can hear Doug James (sax), Fred Kaplan (piano and B-3), Kedar Roy (acoustic bass), Richard Innes (drums on 10 cuts), Brian Fahey and Dowell Davis (drums), Papa John Defrancesco (B-3), and more. Taboo presents a variety of Chicago Blues styles, including the show-stealer title track. “Taboo” was not written as a12 bar blues standard, and instead has a haunting Latino-Brazilian feel. Corritore also takes you from catchy struts and ‘50s grooves, to big band swings, and low-down Chicago Blues. Taboo presents a variety of Chicago Blues styles, including the show-stealer title track. “Taboo” was not written as a12 bar blues standard, and instead has a haunting Latino-Brazilian feel. Corritore also takes you from catchy struts and ‘50s grooves, to big band swings, and low-down Chicago Blues.

Bob’s harp playing is heartfelt. He does not fall on harp clichés, nor does he repeat himself. The listener can hear that there is an honesty (and statement) in his playing. The band’s performance on Taboo is unpretentious, and performed within a cohesive old-school sound. As is typical with the Delta Groove label, the mixing of the songs is vibrant.

In conclusion, Taboo is an inspiring outing, with a timeless feel, and easy to listen to again and again. It’s a perfect example of what ensemble work should sound like. 5 STARS out of 5.

– Pierre Lacocque

(Pierre Lacocque is the bandleader and harp player for Delmark recording artists Mississippi Heat

Living Blues Magazine (June 2014)

Originally from Chicago but a resident of Phoenix since 1981, harmonica wizard Bob Corritore has built an impressive discography as sideman, leader, and producer. This however, is his first all-instrumental offering. Of course all-instrumental blues albums have never been common, and those featuring harmonica even less so. For such an effort to succeed, it needs to meet three criteria – a variety of tempos and beats, a highly skilled and charismatic leader, and a top notch backing unit that can spread the solo space. Happily, Corritore’s Taboo passes all three tests with flying colors. The title track is an atmospheric adaptation of the slice of lounge exotica that originated with Lecuona’s Cuban Boys back in the 30s and charted for Hawaiian vibist Arthur Lyman in 1958. The mostly original playlist (pianist Willie Egan’s Potato Stomp is the only other cover) seamlessly mixes Chicago shuffles and moody after-hours wailers with some rock ‘n’ roll, some Latin rhythms, and, on two tracks some jazzier inflections supplied by Doug James on bari and tenor sax, Papa John DeFrancesco on organ, and Jimmie Vaughan on guitar. Elsewhere, guitarist Junior Watson, keyboardist Fred Kaplan, bassist Kedar Roy, and drummer Richard Innes provide impeccable support, while Corritore holds up his end with assurance and feeling. The result – 45 minutes of music that should delight any connoisseur of the harmonica blues

– Jim DeKoster

IL Blues (Italy) (June 2014)

La carriera di Bob Corritore è costellata da numerose produ- zioni e collaborazioni per diversi musicisti, prevalentemente del- l’area di Chicago, dove lui è nato ed è cresciuto – soprattutto dal punto di vista artistico. Appassio- nato di blues fin da giovanissimo, Bob si trova presto a frequentare e quindi a suonare nei club e nei bar locali, dove stringe preziose amicizie con i bluesmen della zona. Il suo nome comincia a farsi conoscere inizialmente co- me produttore, lavorando con gente del calibro di Fred Below, Pinetop Perkins, R.L. Burnside fino al compianto Louisiana Red, con il quale formerà un gruppo nel 1981, anno in cui si trasferi- sce a Phoenix. Per molto tempo Corritore compare più spesso in concerti o in dischi (oltre 50) a fianco di altri musicisti, Willie Dixon e Otis Rush per citarne un paio, mentre la sua carriera soli- sta ha uno sviluppo solo in questi ultimi anni, e vede in “Taboo” l’ultimo capitolo. Si tratta di un lavoro totalmente strumentale che si apre con un bel blues sincopato, che vede l’interessan- te intervento solista del sax di Doug James, per passare poi all’intenso slow di “Many a Devil’s Night”, in cui la sua armonica sa trasferire la drammaticità che caratterizza il brano, particolar- mente pregevole nel tocco piani- stico di Fred Kaplan. Dopo il tranquillo blues “Ruckus Rhythm” l’atmosfera diventa festaiola in “Harmonica Watusi”, dove le frasi di Bob vengono sapientemente enfatizzate dalla chitarra di Junior Watson e dal piano di Kaplan, che aggiunge anche un pregevo- le solo all’Hammond. La title track è un’eccellente ballata, che le note della sua armonica sanno guidare con notevole delicatezza: mentre qui il tocco sui tamburi di Richard Innes crea un soffice tessuto ritmico, ascoltando più avanti “Fabuloco” è lo stesso batterista che, con il suo gioco percussivo, aggiunge qualche sapore caraibico sui cui si muo- vono poi ottimamente armonica e pianoforte. È proprio questo fee- ling brioso, allegro, spensierato che prevale nelle composizioni offerte in quest’album: è il caso di “Harp Blast”, piuttosto che del successivo “Mr. Tate’s Advice” o anche “Shuff Stuff”, dove trovia- mo una nuova formazione dove sottolineiamo la presenza dal- l’Hammond di ‘Papa’ John De- Francesco (il padre dei fratelli Joey e Johnny) e su cui s’inne- stano i pregevoli assolo di Jimmie Vaughan e Doug James, oltre che del tastierista stesso. Un altro blues molto ritmato, è “T- Town Ramble”, nuovamente col piano di Kaplan in grande spolve- ro sui fraseggi jazzati di Watson, ma vogliamo concludere dando rilievo a un paio di pregevolissimi slow: “5th Position Plea” è davve- ro un gioiellino, guidato dal piano di Kaplan, vede l’eccellente dialogo fra chitarra e armonica, con quest’ultima che sembra proprio “parlare”, regalando un’in- teressante gamma di sonorità e di particolari che caratterizzano il brano. Il finale è lasciato a “Bob’s Late Hours”, dove le qualità in- terpretative e la sensibilità di Bob risultano ancora una volta di grandissimo spessore; il lavoro in oggetto soddisferà sicuramente tutti gli appassionati del piccolo grande strumento del blues e non fa che confermare le note positi- ve che caratterizzano Bob Corri- tore. Si tratta infatti di un artista decisamente completo, non solo come armonicista ma anche come divulgatore e promotore di varie attività (tiene una trasmis- sione settimanale alla radio, or- ganizza concerti e showcase), volte a una sempre maggiore diffusione del blues.

– Luca Zaninello

Big City Rhythm & Blues (June / July 2014)

All-instrumental albums face a formidable challenge; maintaining interest while eschewing the most compelling and versatile instrument of all, the human voice. Many fail to meet the challenge, falling victim to repetition and lack of verve. (One such harmonica endeavor of a couple years back was lauded by some, but induced ennui in this listener; I likened it to elevator music.) Fortunately, there are notable and even brilliant exceptions; I think of a Debbie Davies recording, many by guitar master Ronnie Earl and now this release by another harmonicat, Bob Corritore.

Formerly of Chicago and now based in Phoenix, Corritore is a maven of the Mississippi saxophone who has gathered an ensemble of adept musicians and succeeded in delivering a set of worthy tracks. This is not a dance record; the prevailing mood is contemplative, even pensive, although such cuts as “Harp Blast” and “T-Town Ramble” provide a driving mid-tempo change of pace.

There are multiple highlights. “Harmonica Watusi” presents a shimmering interplay between harp, guitar and bass, with tinkly piano backing. “Mr. Tate’s Advice” Spirts dialogue between Corritore’s horn and Doug James’ sax. “Shuff Stuff” displays Corritore at his Chicago-style best, with fine sequential sax, organ, and guitar solos. The album ends with “Bob’s Late Hours,” a great 2 AM bar closer featuring Corritore’s rich and echo-y harmonica tone.
In addition to the main man’s virtuosity, kudos must be given to guests Doug James, Papa John DeFrancesco on organ, and Jimmie Vaughan on guitar, and to the backing group, steadied by drummer Richard Innes and bassist Kedar Roy. Most appreciated is the presence of keyboard Maestro Fred Kaplan whose contributions are superb throughout, and guitarist Junior Watson whose leads are consistently inventive and who knows the value of silence between notes.

– Steve Daniels

Blues Bytes Review #2 (June 2014)

Bob Corritore has assembled an all-star cast of players to play behind him on his new record, Taboo, for Delta Groove Records. It’s a testament to the friendships Bob’s developed over the years to have folks like Junior Watson, Jimmie Vaughn, Papa John DeFrancesco, and so many more play with him on an all instrumental disc. Kudos to Bob for his arrangements that serve to highlight the players as well as his harmonica so well. I’m still not sure how I’m going to be able to convey the feeling of this record but I’m about to try. Let’s hit play and get to it.
The first cut up is “Potato Stomp” and I’m hearing Junior Watson’s guitar in the mix as Bob conveys a slight tone of desperation with his harp. Doug James kicks in with his saxophone and with Fred Kaplan on piano as well, the mix for this tune is very relaxed and enjoyable. “Many a Devil’s Night” has a more somber feel to it as Junior’s guitar and Fred’s Kaplan’s keyboard work compliment the dark tones of the evening from Bob’s harmonica. The feeling reminds me of a dark night in the Delta and we’re probably lost somewhere around the intersections of Highway 61 and 49 without knowing it. Junior lends his fretwork to the mix and I really appreciate this tune a lot.

“Ruckus Rhythm” starts out with a wicked acoustic bass line by Kedar Roy as the band warms its way into the mix. Bob’s harmonica is front and center here to great effect and Bob is definitely working his magic with this tune. Though fairly laidback, “Ruckus Rhythm” is again a perfect showcase for the interplay of all the performers on this track. We move onto “Harmonica Watusi” and I’m reminded of the ’50s dance shows you used to see on TV. Bob is blowing some lower notes on his harmonica and the interplay between him and Fred Kaplan’s piano really does a nice job of conveying a dance feel to this tune.

The title cut, “Taboo,” is up next and it manages to convey a fairly intense mideastern feel to my ears. Bob is blowing some very delicate notes on his harmonica while Todd Chuba’s percussion work in the background perfectly complements the feel I’m sure Bob was working to convey. The band heads up-tempo on “Harp Blast” and Bob is working hard on this one to keep the flow going and it’s the first tune so far that really has the harp as the lead throughout the tune.

“Mr. Tate’s Advice” pays homage to one of Bob’s early mentors in the Phoenix music scene, the late Bob Tate, and Papa John DeFrancesco joins the fray on his B3 for this one. Dowell Davis is behind the drum kit for this one and his light touch on the cymbals is appreciated as Jimmie Vaughn plays a very expressive lead solo as well. “5th Position Plea” refers to 5th position playing on the harmonica and Charlie Musselwhite is a better expert than I to pontificate on this tune when he says, “Great to hear some 4th and 5th position harp playing.” What Charlie says is good enough for me and I’m enjoying Bob’s performance on this tune as well.

Kid Ramos’s health issues have been well chronicled over the last 18 months and it was great to see him onstage at the BMA’s performing with the Mannish Boys and extolling the virtues of the Blues Foundation’s Hart Fund. Out next cut, “Fabuloco” is dedicated to Kid and has that upbeat Latino feel that celebrates Kid’s culture and his life. “Shuff Stuff” has that real shuffle feel to it and is a brilliantly coordinated effort by Bob, Brian Fahey on drums with a little bit of Papa John on B3 for good measure. Doug James returns on the sax as well and lends his perfect flair to the tune.

Fred Kaplan’s light touch on the keyboards provides the jump feel required to get “T-Town Ramble” moving into high gear. Richard Innes is keeping the back end steady while Bob’s harp features some very expressive tone to compliment Fred’s piano stylings. Mournful, deep tones emanate from Bob’s harp as the band heads into the final cut of the disc, “Bob’s Late Hours”. The feel reminds me of the Old Bombay Bicycle Shop back in the day in Scottsdale when Francine Reed used to rule the roost. Some of the best pizza in town and a couple of very cold beers were often enjoyed as the end of the evening drew nigh, and that’s the feel I hear from Bob’s harp intonations — the end of the evening is indeed drawing near.

Taboo is probably considered a very risky project by many, me included, but kudos to Bob Corritore for pulling it off. The veteran experiences of all the players involved were seamlessly added into the mix and the result is a nice change of pace to my ears. Some great harp from Bob and stellar work from everyone else really brought his vision for Taboo into focus.

The easiest place to grab a copy of Taboo is on the Delta Groove site and you can learn more about Bob at his own website. Taboo is best enjoyed late in the evening with either a glass of wine or a cold beer …but isn’t that the point? It’s the time of the night when we’re all up to no good and trouble abounds.

– Kyle Deibler

Blues In The Northwest (June 22, 2014)

An all-instrumental blues harmonica release may be seen as a bold move by some, but the sheer quality of the tunes and playing on this latest release from Bob Corritore ensures that it is most enjoyable! The Chicago-raised, Arizona-based Corritore is a very busy man . . . as well as playing the blues, he runs the Rhythm Room venue in Phoenix, presents a weekly radio show and also is an acclaimed producer.

His stature has risen steadily with a string of fine releases, including the excellent “Knockin’ Around These Blues”, in the company of veteran Chicago guitarist John Primer; as well as also collaborating with Tail Dragger and featuring on some of The Mannish Boys output. Here he has assembled a top class group of musicians, including Jimmie Vaughan, Junior Watson, Fred Kaplan, Richard Innes . . . and many more!

Corritore has penned nine of the 12 tracks on “Taboo”, which run the full gamut of the blues, but in no way does he totally hog the limelight, preferring to play in a powerful but tasteful manner on a variety of moods and grooves . . . and indeed harmonica master Charlie Musselwhite, in his sleeve notes, observes how Corritore keeps the CD interesting all the way through . . . as he says, no mean feat for an all-instrumental release.

Needless to say Corritore is a fine player, with a big tone and the highlights are plentiful . . . from the opening cover of “Potato Stomp” to the closing “Bob’s Late Hours”. The afore-mentioned opener has some quite blistering trademark Junior Watson guitar, and indeed, he plays on all tracks bar two; he hits a lowdown Texas groove on Ruckus Rhythm”, with rolling piano from West Coast legend Fred Kaplan and the ‘in the pocket’ rhythm section of Richard Innes and Kedar Roy.

The appealing rumba of the title cut “Taboo” is really nice, and it leads into the driving Chicago shuffle of “Harp Blast”, where Corritore and band ‘doff the cap’ to the genius of the great Little Walter; a nice touch is the track for Kid Ramos, the Latin-flavoured “Fabuloco (For Kid)”, who is now thankfully doing well after serious health issues.

“Shuff Shuff” is another standout, with some great harmonica and Jimmie Vaughan laying down some ace rhythm guitar work and neat solo; and corking saxophone solo from Doug James – the track also featuring Hammond B-3 of the highest quality from Papa John DeFrancesco.

Well worth checking out – particularly for all blues harmonica fans out there!

– Grahame Rhodes

Maxazine (Netherlands) (June 24, 2014)

Een ware meester van de bluesharmonica kan Bob Corritore wel worden genoemd. Hij kan zich meten met de grootsten uit het genre en mede door zijn samenwerking met artiesten als Tail Dragger, Kid Ramos en John Primer staat hij in de eredivisie van de blues. Het vak heeft Bob geleerd in de clubs aan de west- en zuidzijde van Chicago. Inmiddels woont hij al weer jaren in Phoenix, Arizona, waar hij zijn eigen club heeft, CD’s produceert en ook een eigen radioprogramma heeft.

Met ‘Taboo’ is van Bob bij DeltaGroove Records nu een album verschenen met twaalf instrumentale stukken. Op dit album weet hij zich verzekerd van de hulp van mensen als Jimmy Vaughan, Fred Kaplan, Junior Watson, Doug James e.a. Niet de minste dus. Van de twaalf songs zijn er negen door Bob zelf geschreven. Twaalf instrumentale stukken dus. Het ontbreken van zang is absoluut niet storend. De hoofdrol is uiteraard weggelegd voor de mondharmonica van Corritore, maar ook de andere muzikanten krijgen volop de ruimte voor hun bijdrage. Naast de ouderwetse gitaarklanken van Vaughan en Watson hoor je ruimschoots sax, piano en Hammond B3 langskomen. Het aanbod is gevarieerd voor wat betreft de stijlen. Van de jumpblues ‘Potato Stomp’, de slowblues ‘Ruckus Rhythm’, de shuffle ‘Shuff Stuff’ tot aan het jazzy ‘Mr. Tate’s Advice’, van alles is er te horen.

‘Taboo’ is een grandioos album. En niet alleen voor de fans van mondharmonica een “must”. (8/10)(DeltaGroove Records)

– Eric Campfens

Blues Rag (June 2014)

SINGING: THAT’S what is ver- boten, forbidden, outlawed— Taboo, to be exact—on these backstreets of old-world Chicago. After having most recently partnered albums with hometown heroes Tail Dragger, John Primer, then Dave Riley for the third successful time, harpmaster Bob Corritore takes this one for himself.And his car- dinal rule here—other than ‘think 1950s’—is that only instruments wail. Enough said. Literally. So, into his Wayback Machine go gui- tar threats Junior Watson and Jimmie Vaughan, organ guru Papa John DeFrances- co, piano man Fred Kaplan, and Doug James’ foghorn sax for a magnificent all- instrumental heyday. Yet don’t waste time sifting through old vinyl trying to prove the broad-shouldered “Harp Blast” was born at Chess. And contrary to what your ears keep assuring you, “Many a Devil’s Night” doesn’t actually stem from a ‘57 Cobra session, carbon- dated by the heavy vibrato glaze on its agonized guitar. Because, except for Willie Egan’s “Potato Stomp” and the blue bolero to “Taboo,” everything is a new build. They’re just convincingly backdated. So is Corri- tore, who must have gusted (and/or hung) with just about every blue soul that’s been out there. Except for, maybe, Robert Johnson, Otis Rush and Big Leon Brooks. (No, wait, snapshot proof with Otis and Leon does exist among the amaz- ing photographic stockpile on Bob’s website.) That’s why his Hohner can bite down hard into a Muscatel- soaked stumble like “Bob’s Late Hours,” then, on a dime, drop its feral sustain to float out “5th Position Plea,” or coolly swing the sleek, streamlined contours of “Mr. Tate’s Advice.” With the resident party animal “Harmonica Watusi” turn- ing cartwheels, who needs words anyway?

– Dennis Rozanski

Blues & Co (France) (Spring 2014)

S’il est présent sur de nombreux disques, partageant sur certains d’entre eux la tête d’affiche avec un autre musicien, Bob Corritore sort peu d’albums sous son seul nom. Le fait qu’il ne chante pas en est probablement la raison et “Taboo” (Delta Groove), totalement instrumental, pâtit d’ailleurs de la’absence vocale. Malgré la qualité des intervenants parmi lesquels on note Jr Watson, Fred Kaplan et – sur deux pièces – Jimmie Vaughan, on finit par décrocher. Un disque agréable cependant avec quelques titres qui se détachent. (En particulier le blues lent “Many A Devil’s Night” et, dans le genre berceuse, “Taboo.”

– Luc Brunot

ABS (France) (Summer 2014)

Une photo de pochette sexy et douze faces instrumentales en compagnie d’une belle brochette d’invités renommés, voici ce que nous apportent Bob Corritore et Delta Groove. Cela commence en beaté avec un Potato Stomp bien enlevé, comme Harp Blast avec le pianiste Fred Kaplan et le guitariste Junior Watson en grande forme qui récidivent dans un beau blues lent, Many A Devil’s Night et d’autres faces (Harmonica Watusi couleur Afrique en medium comme Taboo, la face qui donne son titre au recueil, et un trés latino Fabuloco (for kid) sans oublier un T-Town ramble mémorable). Jimmie Vaughan est lå lui aussi avec l’organiste Papa John Defrancesco dans Mr. Tate’s Advice et l’excellent Shutt Stuff. D’autres guests, comme le saxophoniste Doug James, apportent aussi leur savoir faire mais, bien sur, Bob Corritore est omniprésent et en super forme lui aussi partout. Un album de blues, sans vocaux, cela reste un peu hors norme, mais en l’occurrence l’écoute est plus qu’agréable.

– Robert Sacré

Soul Bag (France) (Summer 2014)

Four and a half stars out of five!

On ne présente plus le jovial harmoniciste “roots” de Phoenix (Arizona): Bob Corritore, long-temps trop respectueux des grands bluesmen qu’il côtoyait pour sortir de leur ombre, s’est affirmé au fil de disques avec Dave Riley, Tail Dragger ou John Primer comme un des tout meilleurs artisans contemporain du blues old school, indémodable et tellement jouissif. Album instrumental, dépourvu de vedettes invitées superflues (la liste des musiciens sur la pochette est seulement celle des membres du groupe), “Taboo” est un modèle du genre: une bible non seulement pour le jeu d’harmonica (dont Corritore explore toutes les nuances sans jamais sortir du cadre qu’il s’est fixé ni verser dans la démonstration stérile), mais aussi pour la cohésion de groupe, les guitaristes Jimmie Vaughan, sur deux titres, Junior Watson, ou encore les batteurs Richard Innes et Brian Fahey, sont en totale symbiose) et pour la maitrise de ce son incroyablement intense et essentiel, puisé á la source des fifties mais bel et bien vivant (seulement deux reprises, tirées des années 30 et 50, et bien malin qui pourrait faire la différence avec les originaux écrits par Corritore). Loin du simple exercice de style, “Taboo” s’écoute avec plaisir et passion, d’une traite, comme un concert lumineux au fil duquel s’enchaîne une bonne douzaine de titres courts et percutants: shuffles juteux (Harp Blast), swing festif (Mr. Tate’s Advice), blues profonds (5th Position Plea, Bob’s Late Hours et Many A Devil’s Night) ou encore rythmes latins venimeux (Taboo, Fabuloco). Difficile de rester assis, impossible de ne pas taper du pied ! Un disque de blues instrumental dans lequel on ne s’ennuie pas une seconde ? Corritore réussit lá une bien rare… Admirable !

– Éric Doidy

Blues Mag (France) (July / August / September Issue 2014)

Bob Corritore figure parmi les meilleurs harmonicistes de la planète blues actuelle. Capable d’accompagner n’importe quel musicien, il peut aussi interpréter tous styles de blues. Avec Taboo, il se lance dans l’exercice périlleux de l’instrumental. 9 des 12 titres proviennent de sa main et c’est bon. Tout ce qu’il entreprend est gage de réussite. I’l s’est entouré d’une nouvelle équipe, avec les meilleurs musiciens de la West Coast : les guitaristes Jimmie Vaughan et surtout Junior Watson (présent sur 10 trites), Fred Kaplan au piano, Poppa John DeFrancesco aux claviers, Doug James au sax, Kedar Roy å la basse, tandis qu’aux futs se succédent Richard Innés, Brian Fahey et Dowell Davis. Le style musical est varié. Ca attaque fort avec Potato Stomp, titre bien roots mis exergue par la guitare de Junior Watson et dans lequel Bob, au son diabolique, fait merveille. Puis, un merveilleux blues lent Many A Devil’s Night, au moelleux incroyable, avec une intro å tomber par terre : le superbe jeu de guitare de Junior Watson offre un compromis de guitare séche et électrique, épaulé de façon magistrale par l’harmonica. Un grand moment ! Puis, un blues traditionnel, Ruckus Rhythm, bien servi par un magnifique beau. Lå encore, le jeu d’harmonica de Bob vous donne le frisson. Le Rockin’ Blues Harmonica Watusi est une véritable invitation å la fete et propose un magnifique break de guitare, le tout parfaitement saupoudré par l’harmonica. Sur ce titre, les 2 musiciens ne font qu’un. Le titre Taboo sort un peu du contexte blues, avec un coté jazzy et sud américain, et un son qui fait pense aux 50’s / 60’s, où les guitares que l’on pouvait trouver aux génériques de films étaient sobres. Retour vers un blues plus roots avec Harp Blast, où le son graisseux et moite de ‘harmonica s’avére bouillonnant et témoigne de sa virtuosité. On revient aux 50’s avec Mr Tate’s Advice, très west coast jazz : la rythmique est toute en légèreté, avec un Jimmie Vaughan trés fin å la guitare. 5th Position Plea s’annonce comme un sorte d’improvisation bluesy et sensuelle, dans laquelle chaque musicien met sa griffe. Fabuloco (For Kid), aux fortes effluves exotiques, est le morceau auquel j’adhere le moins, mais cela reste toutefois fort écoutable. Bob se lance ensuite dans un shuffle avec le tonique Shuff Stuff. Le sax de Doug James apporte une sonorité 40’s / 50’s, avec un excellent break de guitare de Jimmie Vaughan, alors que l’harmonica se fait plus discret, mais toujours aussi redoutable. Ce shuffle donne l’impression que les instruments sont en parfaite connivence. T-Town Ramble nous renvoie vers un blues du Delta fin 50’s, avec un zest boogie blues. Le titre peut nous faire penser au standard Rollin Tumblin’, preuve que Bob reste fidéle aux racines. Bob’s Late Hours, titre de cloture, nous permet d’apprécier, encore une fois, le remarquable jeu d’harmonica de Bob, incroyablement maitrisé, avec des montées d’adrénaline foudroyantes, que seul un musicien de grand talent comme Bob Corritore peut nous procurer !

Ce nouvel opus å l’instar des précédents, est une compléte réussite. Il n’était pas évident de se lancer dans une telle aventure, choice risqué surtout dans le monde du blues actuel. Mais de par son talent et son imagination, Bob Corritore a parfaitement su se sortir des piéges tendus par une telle entreprise. Sa ligne musicale prend un nouveau virage å chaque morceau interprété, évitant toute morosité. Il nous offre un magnifique voyage avec différents registres musicaux, dans lesquels le blues tient un role principal. Album fortement conseillé et qui contribue å apporter un renouveau au blues actuel, qui en a fort besoin. Merci Mr Bob Corritore.

– Henri Mayoux

Barn Owl Blues (Netherlands) (July, 2014)

Een ware meester van de bluesharmonica kan Bob Corritore wel worden genoemd. Hij kan zich meten met de grootsten uit het genre en mede door zijn samenwerking met artiesten als Tail Dragger, Kid Ramos en John Primer staat hij in de eredivisie van de blues. Het vak heeft Bob geleerd in de clubs aan de west- en zuidzijde van Chicago. Inmiddels woont hij al weer jaren in Phoenix, Arizona, waar hij zijn eigen club heeft, cd’s produceert en ook een eigen radioprogramma heft.

Met “Taboo” is van Bob bij DeltaGroove Records nu een album verschenen met twaalf instrumentale stukken. Op dit album weet hij zich verzekerd van de hulp van mensen als Jimmy Vaughan, Fred Kaplan, Junior Watson, Doug James e.a. Niet de minste dus. Van de twaalf songs zijn er negen door Bob zelf geschreven. Twaalf instrumentale stukken dus. Het ontbreken van zang is absoluut niet storend. De hoofdrol is uiteraard weggelegd voor de mondharmonica van Corritore, maar ook de andere muzikanten krijgen volop de ruimte voor hun bijdrage. Naast de ouderwetse gitaarklanken van Vaughan en Watson hoor je ruimschoots sax, piano en Hammond B3 langskomen. Het aanbod is gevarieerd voor wat betreft de stijlen. Van de jumpblues “Potato Stomp”, de slowblues “Ruckus Rhythm”, de shuffle “Shuff Stuff” tot aan het jazzy “Mr. Tate’s Advice”, van alles is er te horen.

BarnOwlBlues vindt “Taboo” een grandioos album. En niet alleen voor de fans van mondharmonica een “must”.

– Eric Campfens

Blues & Rhythm (UK) (July 2014)

All-harp instrumental CDs are not so common those days, however this release, Bob Corritore’s latest effort for Delta Groove is just that. Corritore hooks up with guitar greats Junior Watson and Jimmie Vaughan, Fred Kaplan plays piano, Doug James blows sax, Kedar Roy is on bass, and there is a rotating cast of drummers.

Set opens with ‘Potato Stomp’, an in-the-alley Chicago style blues track (shades of Guy/Wells …) featuring Junior Watson on guitar, and Doug James on sax. ‘Many A Devil’s Night’ is a grinding slowie featuring chromatic harp and more of that Buddy Guy-inspired plank spanking from Watson. ‘Ruckus Rhythm’ is a good-timey blues boogie; and ‘Harmonica Watusi’ is an affectionate look back at the dance-craze era with super old-style harp (think Lightfoot, Sonny Boy etc).

Title track, ‘Taboo’, has a hint of the exotic, think the theme to a film noir, scantily clad ladies and the heavy, cloying odour of Midnight In Pilton, or some other exotic essence … ‘Harp Blast’ is a blast, a classy bouncy shuffle utilising a Little Walter and The Jukes approach.

‘Mr. Tate’s Advice’ is a bubbly jazzy number with John Defrancesco doing the Jimmy McGriff organ part, Doug James supplies the tenor sax with a robust solo, Jimmie Vaughn supplies typically classy guitar, trading riffs with DeFrancesco on the outro. With Corritore blowing acoustic harp, ‘5th Position Plea’ slows things down, think George Smith maybe, with nifty T-Bone-inspired guitar from Watson and superb keyboard from Kaplan. This is a real slow burner that grinds and grinds …

‘Fabuloco’ is a Latin groover for the dancers; ‘Shuff Stuff’ is a bouncy shuffle in the classic Chicago style allied to jazzy organ; ‘T-Town Ramble’ is straight out of the early-’50s Muddy handbook with Little Walter-style harp and Spann-inspired piano. Closing the set, ‘Bob’s Late Hours’ is just that, a wee hours in the morning slow blues for the last couples on the dance floor, whose energy reserves are drained there and sway and sway to the music.

So, another terrific set from Bob Corritore, a musician who never fails to deliver the goods, all blues harp fans will need to have this one, five out of five from me, unreservedly recommended. Hell, I’d buy it just for the cover pic . . .

– Phil Wright

Rhythms Magazine (Australia) (July 2014)

Ex-Chicagoan Bob Corritore, now a lofty blues harmonica presence in the US South West, has long been one of the most dependable sidemen in the business when it comes to nailing that distinctive ’50s Chess Records sound. His recent releases have been an all-star blues session (Harmonica Blues) from 2010 followed by duets with singer Taildragger and guitarist/vocalist John Primer respectively. Here, Corritore takes centre stage himself in a set of blues harp instrumentals that make powerful statements for the instrument. Exploring the harp’s range of diversity, Corritore has no difficulty keeping the music captivating, backed by the superb talents of eminent guitarist Junior Watson, in-demand pianist Fred Kaplan, prominent upright bassist Kedar Roy and noted drummer Richard Innes. A reading of ‘Potato Stomp’ by ’50s R&B/boogie pianist Willie Egan opens the program, all other selections penned or co-penned by Corritore except the enduring jazz standard by which the album is titled.

On the soul jazz number ‘Mr. Tate’s Advice’ and the blues shuffle ‘Shuff Stuff’ guest saxophonist Doug James and organist Papa John DeFrancesco sit in with guitarist Jimmie Vaughan who brings a Lone Star swagger to the latter tune. Corritore’s well seasoned harp prowess is particularly striking playing 4th and 5th position on items like the minor-key ‘Many A Devil’s Night’ and the slow blues ’5th Position Plea’. He covers a range of styles from the West Coast bounce of ‘Ruckus Rhythm’ that recalls the great William Clarke to the early ’60s go-go twist flavour of ‘Harmonica Watusi’ and after-midnight mood of ‘Bob’s Late Hours’. On ‘Fabuloco (For Kid)’ with its East LA Latino rhythms, Corritore pays a poignant tribute to currently ailing guitarist Kid Ramos. A virtuoso musician, Corritore is to the harp what Ronnie Earl is to the guitar.

– Al Hensley

Phoenix NewTimes (July 8, 2014)

Who Needs a Singer? When You Play Harmonica Like Bob Corritore, You Don’t.

Bob Corritore’s new CD Taboo, which was released earlier this year, is unique. Why? The master harp-player’s album is all-harmonica. Not a single voice appears anywhere on the album. In place of vocals are the sounds of Corritore’s harmonicas.

Corritore has a harmonica style unlike anybody else in the world. That is why he plays all over the world and is rated among the best blues harmonica players in the world.

“Everybody can come up with something that’s their own. I use my secret agent stuff on this CD. That’s what you do for yourself. In the studio, you take a little more chance because if it’s going in the wrong direction you can stop,” he says. “The magic of this CD is that it’s different than anything else.”

Corritore surrounds himself with other great musicians, and while this instrumental CD allows him to focus on the harmonica there are many other great musicians who join him on the CD.

Corritore, who lives in Scottsdale, has made a career of partnering with blues vocalists. He just got back from a Chicago tour where he did several gigs with Dave Riley. So the Taboo CD gave Corritore the chance to put the focus more on his harmonica playing.

“After all the musicians I’ve worked with, it’s great to let the harmonica do the talking. I was inspired to do this CD by Fred Kaplan and Junior Watson, so I started talking to them about it and they were receptive,” Corritore says.

So Kaplan and Watson ended up on the CD along with an all-star lineup of musicians.
“I have such respect for those musicians that I wanted to be on my A-game,” Corritore says. “I’ve been a fan and a friend of those artists for years. The theory that I envisioned worked out in practice. It was great fun making this CD. They took my rough concepts and made it work.”

When Corritore, who was recently nominated for another Living Blues Award, took the harmonica instrumental proposal to Randy Chortkoff at Delta Groove Records he wasn’t sure how Chortkoff would respond. Chortkoff loved the idea and couldn’t stop listening to “Taboo” once the CD came out. He’s not alone, as Taboo has been ranked fourth on the Living Blues charts and has received strong reviews almost universally.

“I’m blessed to be in a world that accepts me, especially with this CD that goes into uncharted territory,” he said. Kaplan plays piano or organ on nine of the 12 tracks.

Guitarist Jimmie Vaughan, who recently performed in Phoenix, performs on two songs, “Mr. Tate’s Advice” and “Shuff Stuff.”

“I was thrilled that I was able to hang out with Jimmie and feed off his cool. He seduces you with his guitar. His guitar is groovy, jazzy and down home at the same time,” Corritore says. “I’m a fan of Jimmie’s and I’ve followed the progression of his career.”

Papa John Defrancesco performs his cool groovy organ on the same two tracks as Vaughan. He plays the B3 organ using his foot to come up with the bass sound.

Doug James on saxophone is on three tracks including the opening number, “Potato Stomp,” which lets the listeners know this is upbeat instrumental blues. Some saxophones can just be over the top as they wail without a tune. Not James. He hits it just right as it’s tuneful and easy to enjoy. James has played with the iconic Roomful of Blues and Duke Robillard. He also plays with Vaughan.

Kedar Roy, on upright bass and Richard Innes on drums fit right in; they regularly play with Watson and Kaplan. Corritore said these musicians play almost effortlessly and he was afraid he wouldn’t be up to the task of meeting their expectations, but once they were in the studio they made it fun.
Brian Fahey, on drums, nailed it on the “Shuff Stuff,” which is a Vaughan blues shuffle. Fahey has played with Corritore in the Rhythm Room All-Stars and they have performed together in Sweden a couple times.

“We’ve been working together for 30 years and he’s just solid. He knows how to put the accent on the music, how to follow it and how to complete it,” Corritore said.

On this shuffle, Fahey’s job was to drive the music back and forth between the instruments. Taboo’s target was a palatable collection of songs to keep the listeners interest and the CD hits that mark.

“In the blues, we are no more or no less than we are. This is my brand of the blues and I leave it to the listeners to judge,” he says.

– Stan Bindell

Blues Junction (July 2014)

Best Of 2014 …. So Far
Here in July, with now half of 2014 already in our rearview mirrors, I like to take a look back on the year and see how we are doing. These are the top ten blues albums of 2014…so far. These are the early favorites, but as I am aware of some interesting projects on the horizon I am guessing that some of these will not stay in the top ten.

Bob Corritore’s most recent offering on Delta Groove Music, Taboo seems to be appropriately titled as the thought of a harmonica player making an all instrumental album seems well…taboo. Corritore, however makes it work by sharing the spotlight with a whole host of blues mega talent including guitarist Junior Watson as well as pianist Fred Kaplan. The rhythm section of bassist Kedar Roy and drummer Richard Innes is just about as good as it gets. There are two tracks which feature Jimmie Vaughan on guitar. These numbers also feature the patriarch of the B3, Papa John DeFrancesco and baritone sax man Doug James. What also makes this record not only bearable, but actually enjoyable, is that Corritore chose to utilize the talent he has to work with in ways that complement their playing as opposed to servicing his own musical sensibilities.

Austin Chronicles (July 8, 2014)

#23 in list of “Best Of 2014 So Far” in a roots leaning list of the top 25 2014 releases
By Jim Caligiuri

Audiophile Audition (July 24, 2014)

5 Stars *****

The contribution of harmonica players to blues music was integral to its emergence. Along the way, guitarists (Muddy Waters, Buddy Guy, John Lee Hooker, etc.) gained more fame and public credentials. But harp players like Little Walter, Sonny Boy Williamson II, James Cotton, Junior Wells, Charlie Musselwhite, Walter Horton, Carey Bell and Sonny Terry helped shape the music that defined rock and roll, rhythm and blues and funk. Today, Bob Corritore stands among these greats. His lifelong commitment to instrumental technique and historical preservation has kept the blues in a modern context. He has been recording as a solo artist since 1999.

Corritore’s latest release, Taboo is an instrumental tour-de-force. He has assembled an all-star lineup that shines on all twelve tracks. Opening the album is one of the two covers, Willie Egan’s “Potato Stomp”. Corritore is selective in his lead play and defers to his band here. Junior Watson delivers scorching guitar, and Doug James’ muscular saxophone add grit to this Chicago homage.”Many A Devil’s Night” is downright nasty and the fuzzy harp tones are riveting. Fred Kaplan is captivating on piano (especially at the higher note register). Corritore steps into the spotlight as the lead on “Ruckus Rhythm”. He is an excellent front man and meshes with the band.
Reaching back to sixties dance vibe, “Harmonica Watusi”, infusing the playful tune with saloon toughness. Watson’s piercing guitar is riveting. The title cut is a departure. It has a quasi-Spaghetti Western motif and the clear harp notation is nimble. Texan Jimmie Vaughan plays on two songs. “Mr. Tate’s Advice” is a groove fest and the guitar work is vintage Thunderbirds. Papa John DeFrancesco adds a soul/jazz organ (with a great sustain on the solo). The same members shine on “Shuff Stuff,” a vampy romp which showcases classic harp play, and another Jimmy McGriff-like organ solo. James’ wailing saxophone brings attitude to both cuts. These guys can honky-tonk as they show on the festive, “T-Town Ramble”. Kaplan’s sprightly barrelhouse solo is terrific. Taboo closes with a slow-burning, closing-time number, “Bob’s Late Hours”. Corritore’s inimitable prowess is on display as he coaxes vibrato-laden emotion from his reeds. He is adept at all styles and arrangements.

— Robbie Gerson

Blues Matters (UK) (August / September 2014)

The harmonica is a quintessential “Blues” instrument insofar that they (harmonicas) were relatively inexpensive to get a hold of, and produced a sound which had a soulful, and an almost angst feeling when played! It’s role in the blues has been key to the sound but rarely as dominant as this album manages. Bob Corritore has turned this perception on its head with this superb instrumental gem. For those of us who won’t see puberty again, this man has donned the mantle once worn by Larry Adler. You can see that maestros of the harmonica are as rare as hen’s teeth. Corritore is a consummate musician, and with the help from a veritable “who’s who” of Bluesmen they’ve jointly produced a multi carat diamond in Taboo. It is well-nigh to pick out a favorite track, if only on the basis that they’re all absolute belters! However, Many A Devil’s Night is marginally over four minutes of pure magic in which all those playing get their chance to shine! The title track Taboo likewise gives free rein to those involved. Bob’s genius on the harmonica is featured in a dominant (rightly so) on 5th Position Plea. Truth to tell, this whole album is divine blues instrumental magic and a must have for any collection.

– Tom Walker

Twoj Blues (Poland) (Summer 2014)

Bob swoją mlodość i dorastanie spędzil w Chicago. Potem przeniósl się do Phoenix w Arizonie i tu zajmowal się intensywnie bluesm. Jego ulubionym instrumentem jest harmonijka, zktórą, towarzysząc róznym bluesmanom, objechal prawie caly świat, w zeszlym roku odwiedzając krótko równiez nasz kraj.

To muzyk nietuzinkowy, znający i potrafiący oczarować sluchacza swą grą. Tą plyą stworzyl coś, na co wielu nie zdecydowaloby się. Przygotowal calkowici instrumentalną muzykę. Co więcej, przygotowal na nią az dziesięć soich kompozycji i dwie obce. Wszystkie mają w swej istocie nowoczesnego i trady cyjnego bluesa, nigdy nie tracąc ukorzenienia w bluesie chicagowskim. Zadbal o ich mocne zróznicowanie, w efekcie którego powstala wyśmienita mieszanka rytmów, klimatów, wręcz urzekających nastrojów muzycznych i urokliwych melodii. Podstawowy sklad muzyków, to jedni z najlepszych na Zachodnim Wybrzezu: Fred Kaplan na klawiszach, klasyk gitary Junior Watson, Richard Innes na perkusji plus trójka znamienitych gości. Bob nie jest typem harmonijkarza o super technicznej maestrii. To muzyk, który czuje tę jedyną prawidlową frazę i potrafi ją niuansować.

Posiada tez wspaniale poczucie swingu. Gra w kilku pozycjach, równiez tak rzadkich, jak w 4 i 5, na akustycznej, ale glównie na elektrycznej harmonijce. Nie brak w kilku utworach i chromatycznej, na której gra w tak przejmujący sposób, ze przywoluje mi wspomnienie George’a Smitha. Cudownie wypada jego duet z saksofonem Douga Jamesa w jednym z trzech utworów, czy wspaniale poprowadzone sola ogranowo-gitarowe z Defrancesco i klasykiem teksańskiej gitary – Jimmie Vaughanem.

Plyta skrzy się nie tylko wspanialą harmonijką, która jest na pierwszym planie, ale nie na tyle, by przyćmiewać to, co i jak wygrywa na gitarze Watson. Te dwa instrumenty i doskonala sekcja rytmiczna, wraz z wybornymi klawiszami Kaplana, tworzą piękną, intensywną, a jednocześnie wciągającą dawkę świetnej muzyki. Muzyki dla kazdego fana bluesa i jego wielu kolorów. Dla smakoszy harmonijkowych niuansów i gitarowego czaru, rzecz niezbędna i znakomita!

– Piotr Gwizdala


Blues E-Weekly (August 28, 2014)

An all-instrumental CD featuring the blues harp of Bob Corritore feels as natural as gravy on biscuits; especially when the program offers such fine interpretations. Corritore, a veteran of the great Chicago blues sound, knows how to lay it on his audience nice and slow or driving steadily or jumpin’ with highly rhythmic authority. Those slow ones are a killer.

For this occasion the Phoenix-based harmonica bluesman works with an all-star band that includes guitarist Junior Watson, pianist Fred Kaplan, bassist Kedar Roy and drummer Richard Innes along with guests Jimmie Vaughan on guitar, Papa John DeFrancesco on organ, Doug James on baritone saxophone and several others. Together they blend with Corritore’s passion to create a mellow listening session that spells blues any way you like.

The title track, an old favorite by Cuban composer Margarita Lecuona (1910-1981), gives Corritore the opportunity to emulate the passion that has represented this dramatic Latin piece for decades. He expresses the haunting emotion that flows from its core with respect and devotion. Corritore’s “Fabuloco” comes with a roaring-fast rhythmic beat that parallels “Taboo” in its intensity but at a much faster tempo. Other original songs offer plenty of variety as Corritore, band, and guests tell the stories without words admirably and with true blues feeling.

– Jim Santella

Back To The Roots Blues Magazine (Belgium) Review #2 (August 2014)

Nieuwste van deze harmonica-speller met twaalf instumentale nummers waarin natuurlijk zijn harmonicaspel central staat. De ene keer erg modern klinkend, een volgende keer pure 50’s-styled Chicagoblues en met alles ertussen in Andere muzikanten op dit album zijn o.a. Jimmie Vaughan, Junior Watson, Fred Kaplan, Doug James, Richard Innes en Brian Fahey.

-Luc Ghyselen

Jazzman Magazine (France) (September 2014)

Le guitariste Dave Specter, toujours fidéle au Chicago blues qu’il célébre dés l’introduction (New West Side Stroll) de “Message In Blue.” Il impressionne par sa technique et son inspiration au service d’un feeling évident. Pourtant — manque de confiance ou demande du producteur ? -, il partage la moitié des faces avec deux chanteurs, l’organiste Brother John Kattle et Otis Clay. Ce dernier n’a aucun mal å faire la différence, notamment dans son hommage å Bobby Bland. L’harmoniciste Bob Corritore est aussi l’hôte de Specter sur deux thèmes. Il signe par ailleurs son propre album, “Taboo” [****], en résistant å la tentation de recruter un vocaliste. Ce qui lui réussit puisqu’il parvient å capter l’attention en variant les ambiances, les tonalités et en sollicitant quelques invités chevronnés (les guitaristes Jimmie Vaughan et Junior Watson, l’organiste Joe DeFrancesco ou le saxophoniste Fred James). Militant de la cause du blues (musicien, producteur, patron de club, activiste du Net), Corritore réalise une prouesse avec cet album inattendu. Après avoir été membre de Roomful of Blues, Ronnie Earl a entamé une longue carrière solo, parsemée d’une vingtaine d’albums. Le dernier en date, “Good News,” sollicite la chanteuse Diane Blue sur quatre titres, mais c’est clairement le disque de Ronnie Earl. Son toucher sensible et mélodieux privilégie les blues lents et les ballades qu’il développe souvent longuement, mais il sait aussi revenir, en conclusion, au blues le plus terrien qui soit.

– Jacques Périn

La Hora Del Blues Review #2 (Spain) (October 2014)

Nuevo, brillante y vibrante álbum del gran Bob Corritore. Un hombre siempre dispuesto a seguir con su cruzada por el blues, dándolo a conocer y difundiéndolo por todos y cada uno de los campos en los que participa, y que no son pocos. A Bob siempre le acompaña su amor y sus ganas de hacer pedagogía sobre este género, del que se enamoró cuando aún no había llegado a la adolescencia. En este nuevo disco Bob Corritore nos propone un viaje de doce canciones por el blues tradicional, todas ellas instrumentales, en las que está acompañado por una cohorte de once grandes músicos, que dejan su magnífica impronta con destellos de enorme calidad. Entre este plantel de colaboradores se encuentran los guitarristas Jimmie Vaughan y Junior Watson, el pianista Fred Kaplan, el saxofonista Doug James, el contrabajista Kedar Roy o los baterías Brian Fahey y Richard Innes, además de otros excelentes músicos. Un disco plácido, honesto, sobrio y de gran calidez, con excelentes momentos del blues más genuino, interpretado siempre con mucho swing y un desbordante groove que hará las delicias de todos aquellos amantes del blues con sonido vintage. MUY BUENO.

Here comes the new, bright and passionate album of the great Bob Corritore. Bob is always ready to follow on his blues crusade, trying to spread it in every field he works on, which are not few. Bob always shows his commitment to make blues well-known, together with an endless love for this musical style he fell in love with when he was a only young teenager. In this new album Bob Corritore drives us to a twelve song journey of traditional instrumental blues, where he is backed by eleven great musicians who give their magnificent stamp on a high quality performing. You will find guitar players Jimmie Vaughan and Junior Watson, piano player Fred Kaplan, sax player Doug James, bass player Kedar Roy or drummers Brian Fahey and Richard Innes, among other excellent musicians. This is a peaceful, honest, restrained album with a warm sound and excellent moments of the most genuine blues you can imagine, performed with great swing and an overflowing groove, that will delight all vintage blues lovers. GREAT.

Blues News (Norway) (September 22, 2014)

Obligatorisk! (5 stars)

Med denne skiva på stereoen og den nye plata til Jim Liban liggende ved siden av, kan jeg bare si at den musikalske jula kom tidlig i år. Superminimalist og munnspillmester Bob Corritore har altså begått et helt album med utelukkende instrumentaler. Og med folk som Jimmie Vaughan, Junior Watson, Fred Kaplan og Papa John DeFrancesco på laget kan sluttresultatet ikke bli annet enn strålende. Dertil: Skiva består kun av originaler og ikke ulike versjoner av ”Juke”, ”Off The Wall” og annet vi har hørt så alt for ofte. I likhet med det sleske coveret, har de fleste låtene en instrumentering og et lydbilde som bringer tankene hen til så vel strippebule som bluesklubb. Her er det tidvis sterke musikalske islett av cocktail og lounge, men alltid med en sterk bluesnerve og god smak. Høydepunkter: Twisten ”Harmonica Watusi” m/ Junior Watson på gitar, shuffelen ”Shuff Stuff” med Jimmie Vaughan og Papa John DeFrancesco, femteposisjonsinstrumentalen (!) ”5th Position Plea” og kromatiske ”Many a Devil’s Night”. Hele plata er fra Corritores side en oppvisning i tonal konsistens, god smak, intelligent minimalisme og stilriktig kreativitet. Temaer og fraseringer som umiddelbart kan virke enkle, rommer ofte mange lag av tonal og teksturmessig kompleksitet, samtidig som fraseringen plasseres med stor rytmisk autoritet. Ikke rart Corritore er en stadig mer brukt studiomunnspiller blant bluesens A-lag. Det eneste som kunne ha løftet plata ytterligere, er trolig litt gitargalskap fra Kid Andersen. Neste gang, kanskje? Obligatorisk!

– Richard Gjems

Suncoast Blues Society (September / October 2014)

Chicago born and bred, Bob Corritore is the reigning “Blues Godfather” of Phoenix Arizona. As proprietor of the Rhythm Room he plays host to just about every Blues act that comes through town.

On top of that he has a busy (and diverse!) performing and recording career. If you’re a fan of Blues harmonica you’ll find Bob’s latest CD to be a great listen. Not only does he display fine control and fat tone, he’s backed up by a “monster” band of musicians. With the amazing Junior Watson handling guitars (except for the two tracks where Jimmy Vaughn steps in!), Fred Kaplan on keyboard duty, and Richard Innes on drums, it sounds like a Chicago-Meets-West-Coast Blues explosion! (There are some great guests, too.) The second cut, “Many A Devil’s Night” grabbed my ears on first listen. It’s slow Blues with Junior Watson and piano man Fred Kaplan laying down a fat-toned bed under Corritore’s flavorful harp work. “Rukus Rhythm” evokes the reincarnation of a “Juke-era” Little Walter, with Watson playing the part of Jimmy Rogers..This track just makes me feel good! If you’re in the mood for a fast-paced “Blues Rhumba” check out “Harmonica Watusi”! It’ll give you a hot time for sure, and it features cool organ licks by Kaplan.

The title track, Taboo, will take you back to the great R & B instrumentals of the ‘50s…Rather like “Harlem Nocturne”… played on harmonica! The seventh cut, “Mr. Tate’s Advice” moves over to the jazzier side of the Blues. “Papa John” DeFrancesco ably fills the shoes of Jimmy Smith on this one and it has a hot sax solo by Doug James. This cookin’ foottapper has it all, including tasty Jimmy Vaughn guitar!

Over the years I’ve collected some other Bob Corritore records, I’ve always liked his phrasing and tone. I enjoy the “country duo” discs with Dave Riley, But Taboo takes his Harmonica Blues to the Big Town…and Corritore’s right at home there too!

– George Willett

Fresh Biscuits (October 3, 2014)

So, I was listening to the new Bob Corritore disc Taboo, grooving along, thinking man, this really calls to mind a 60’s get together with friends, and playing records in the living room. I can see the brightly colored drapes, the wood and stone décor, the contrasting colors, the miniskirts. Did I mention the miniskirts? This tune completely put me in a sixties TV state of mind. Since the new disc is all instrumental I had no clue to the song title so I had to look. I picked up the CD jacket, flipped it over whilst bobbing my head along with track and what do I see as the title? “Mr. Tate’s Advice.” Mr. Tate. As in Larry Tate on Bewitched? It has to be. I really want it to be Larry Tate. Everything about this song says Bewitched, especially once you know the title. It’s subtle, but it’s there and you hear it at once if you have that frame of reference. That’s great instrumental writing. To convey mental images through music is certainly a difficult task but Bob Corritore does it here and all through Taboo.

Several of the tunes on Taboo have a vintage feel. “Fabuloco (For Kid)” sounds like a bit like the Latin craze mid 60’s pop instrumentals. It’s a fun, percolating tune that will surely get you moving. Another throwback is the beach party romp called “Harmonica Watusi.” If you’re not picturing Annette Funicello’s pointy bathing suit while you do the Mashed Potato and The Watusi around your living room you aren’t living. Blues fans need not be worried; it’s not all Beach Party Playboy After Dark Shindig music. There are blues tunes on this new record. “5th Position Plea” is not a sexual reference as far as you know. It probably takes its name from the 5th position harmonica playing which is fairly uncommon in blues. “Shuff Stuff” is a Texas Style shuffling blues with Jimmie Vaughan as the featured guitarist. Jimmie and Bob lead the band on a road trip around the great Republic of Texas. Saxophonist Doug James and Papa John Defrancesco take solos tasty as Central Texas BBQ and twice as fiery. Jimmie Vaughan delivers his usual peerless perfection. He gives exactly what the song needs every time.

Bob Corritore has become one of the most acclaimed harmonica players in the world. He has shared stages and recorded with the who’s who in blues. His interest in Blues was sparked by hearing Muddy Waters on the radio at age 12. Bob was born in Chicago and made it to many blues shows around town getting to know major and minor players alike and soaking up everything he could. Bob Corritore is steeped in blues and blues tradition so it is no surprise that this eclectic mix of instrumentals would have a retro vibe and classic tones. If this was 1960, this music would be “cool.” Hell, it’s still cool today. Maybe that’s why it’s Taboo. Check it out; it’s a gas!

– Jim Kanavy

Washington Blues Society (October 2014)

Bob Corritore has been getting a bit more lime light of late with his 2011 Blues Music Award-winning Historical Album of the Year Harmonica Blues, as well as a pair of nominations for Harmonica in 2011 and 2013 plus recognition for his recent collaborations with dave Riley, Tail Dragger and John Primer. On Taboo, Corritore has put together 12 harmonica-fueled instrumentals of various styles backed by stellar musicians like Jimmy Vaughan and Junior Watson on guitar, Fred Kaplan on piano and organ, Richard Innes on drums, Doug James on saxophone and many more. From the opening “Potato Stomp,” Bob means business. The tough chromatic on “Many A Devil’s Night” with Watson’s precision guitar and Kaplan’s tinkling ivories makes it stand tall. Bob and company go all-out, surf-style, on the rambunctious “Harmonica Watusi.” The slow blues “Bob’s Late Hours” takes things full circle back to Chicago with a wee hours jam groove thing going on, you can just see those last few dancers swaying on the floor wishing the night would go on forever. Taboo is an outstanding CD, and my favorite track is the too short (clocking in at 2:49) title cut: a minor key thing that sends shivers up and down my spine. It’s like blues harp meets Augustus Pablo uptown. I can’t put it any better than Charlie Musselwhite did in the liner notes: “I enjoyed listening to every tune and you can bet I’ll be listening to them all again. Not many people can do an all instrumental harp CD and keep it interesting all the way through. You’ve got a dandy CD here. A real treat.” I put Taboo into the “you must get this CD” category.

– Malcolm Kennedy

LowView Magazine (September 2014)

Hailing from Chicago, Bob Corritore has called Phoenix home for over thirty years. That makes him a Phoenician in our book, and it gives us some great bragging rights in the blues world. As one of the most sought after blues harmonica players today, Corritore brings some new hues to the blues. Taboo, his latest release, is an all-instrumental collection featuring an A-list of players including Jimmie Vaughan, Junior Watson, Papa John Defrancesco and Richard Innes. As the title of the album suggests, Corritore is taking the blues to a more exotic place. The title song, “Taboo” goes furthest in this direction as Corritore does his take on the song Martin Denny made famous back in the 1950s. Corritore’s harp is smooth and hypnotic on this track. It’s a tiki-cocktail by torchlight kind of song. After you’ve had your drink and are ready for the dance floor, the “Harmonica Watusi” is the shimmy and shake track on this disc. Fred Kaplan’s piano/organ will get you on your feet. Another song complementing the taboo-party vibe is the Latin number “Fabuloco (For Kid)”. It’s a cha-cha, bluesy gem and a whole lot of fun.

It’s a great traditional blues album and all 12 tracks are solid with each musician involved having shining moments.

– Bill Garrett

Elmore Magazine (December 2014)

Bob Corritore has assembled a winner here, both with the musicians that are playing on the songs band with the songs themselves. Each of the songs on Taboo explores a facet of the 1950’s Chicago Blues sound made familiar by Chess Records, the label behind artists that were seminal in Bob’s musical background. The songs are all instrumentals, and the band he has put together is sympathetic to what he is trying to achieve: Junior Watson handles most of the guitar (However Jimmie Vaughan takes over on 2 cuts), Doug James plays saxophone, and Fred Kaplan plays piano and organ.

The disc starts with “Potato Stomp,” with Bob’s harp up front and leading the tune through its changes with some beautiful single-note playing. He keeps the disc jumping with tunes such as “Harmonica Watusi” and if you are of age and you close your eyes, you can picture the dance floor with all those dancers keeping up with Bob and Fred. There is a nice tip of the hat to the innovative guitarist Kid Ramos and his group Los Fabulocos. He slows it down and shifts the mood with the title cut. He closes out the disc with a musical picture of what happens in those late hours when the bar is closed and every one is winding down with the very poignant “Bob’s Late Hours.”

This is a wonderful stroll through the blues of the 1950’s made all the more vivid that it is an all-instrumental look at the sounds that were there. Bob and Clark Rigsby did a wonderful job on the production. Bob’s harmonica is spot on, and you can feel the passion this man has for this music.

– Bob Gottlieb

Chicago Blues News (December 22, 2014)

Bob Corritore has long been a welcomed fixture on the blues scene. While he is most often seen playing in his beloved Chicago, or at his own club, the Rhythm Room in Phoenix, he is known around the world as a passionate harp master who brings a deep, abiding love for the blues wherever he travels.

Corritore grew up in Chicago, learning from the best of the best, and although he now calls Phoenix, Arizona home, he is quite steeped in the history and lore of Chicago blues. He has performed and recorded with many artists including Tail Dragger, Willie Buck, Louis and Dave Myers, and Eddie Taylor. Of course, at his own club, The Rhythm Room, he has performed with the likes of Bo Diddley, Little Milton, Jimmy Rogers, Pinetop Perkins, Honeyboy Edwards, Big Jack Johnson, Ike Turner, Lil’ Ed, Willie “Big Eyes” Smith, R.L. Burnside, Robert Lockwood, Jr., John Primer, Eddy Clearwater, and many more.

Taboo, on Delta Groove Music is interesting on many levels. Tony Amato, artwork and design, and Dave Blake, photographer did a brilliant job with the album’s cover, which harkens back to those great album covers of the 50′s and early 60′s. Fellow harp maestro Charlie Mussclewhite lends a hand, writing the album’s liner notes. Production by Corritore and Clarke Rigsby is just right. The recording and mix by Rigsby is nostalgic without being stale, and has a warm sound to it. The 12 songs clock in at just under 45 minutes, and there is plenty to enjoy here.

Corritore has many guest artists joining him for these festivities including Jimmie Vaughan and Junior Watson on guitar, Doug James on sax, Fred Kaplan on piano and B-3, and Kedar Roy stroking the acoustic bass. Richard Innes finesses the skins nicely on 10 cuts, as do Brian Fahey and Dowell Davis on one cut each. Papa John Defrancesco plays B-3, and Todd Chuba plays percussion.

A lot of listeners will no doubt be surprised by the fact that as these are all instrumentals, the pleasant, fat, warm tone that Corritore caresses from his harp, more than makes up for the absence of vocals. This music is authentic, honest, and will have blues lovers smiling in no time flat. Sure, it recalls the mid to late 1950s Chicago blues we all know and love. However, there is so much more than that going on here. There is still a great Chicago feel, but there is also elegance and finessing. This music has a cosmopolitan vibe that is still lose, free flowing, and warm.

There are not a lot of artists that could successfully achieve the magic that Corritore has with Taboo, and still offer listeners music that is plain spoken, comfortable and familiar, yet feels sumptuous, with a pleasant air of chic about it.

Blues lovers will thoroughly enjoy this album. Pick up a copy today.

– Barry Kerzner

Soundwaves Magazine (March 2015)

I have to say that when I heard about this CD, it intrigued me. The fact that it is entirely instrumental is a rarity in the blues world. A CD that features the harmonica is even rarer! Also, if you are a fan of this style of music, you’ll know that the line-up is beyond impressive! The man who put this project together, Bob Corritore, is a world class harmonica player. I contacted him via Facebook and inquired about his recording. Here is a quote from that conversation.

(Ms Marci) “BTW, I’m just curious…why all instrumentals…oh, and do any of these tunes have lyrics…in other situations???

(Bob Corritore) “Instrumentals are their own art form. Only the song Taboo has lyrics. It was made to explore the tonal, textural, and mood possibilities. This is my 9th CD and I wanted to challenge myself with this project.”

When I listened to this recording with Corritore’s philosophy in mind, the instruments became “voices” rather than just solos and it changed everything! Though track two was collaboration with Junior Watson, on this recording, track three, four and six thru twelve were penned solely by Corritore. Other authors will be mentioned in their context.

As I mentioned before, aside from Bob Corritore on harmonica, this recording features a stellar line-up of soloists that include Jimmie Vaughn and Junior Watson on guitar, Fred Kaplan on piano and organ, Papa John Defrancesco on organ, and Doug James on tenor and baritone saxophone. The remaining rhythm section on this project is a dream back-up band that consists of Kedar Roy on acoustic bass and Richard Innes on drums. Both are on tracks 1-6, 8, 9, 11, and 12, with Brian Fahey (10) and Dowell Davis (7) on drums, and Todd Chuba (5) on percussion.

Track one starts with the Willie Eagan tune, “Potato Stomp.” It has a catchy little hook that goes in your ears and sticks in your mind! Corritore launches the solos with his full bodied tones. Doug James comes in on baritone sax, exploring the full spectrum of his instrument’s range. Junior Watson’s staccato riffs punctuate his solo in this tune before the band returns to the hook and fades out. Watson brings in the next cut, “Many A Devil’s Night,” with his signature guitar sound and is joined by Corritore performing a haunting harmonica solo. They continue, trading off in the intro of this plaintive tune. Fred Kaplan joins in with an assertive solo on piano. This tune is as dark as its title implies!

The third cut, “Ruckus Rhythm” is a little more laid back than what I feel the title suggests. To my ears it had more of a casual groove, largely due to Watson’s guitar intro reminiscent of Jimmy Reed’s “Bright Lights, Big City.” That is not to say that this song is anything less than a great listen. As the sole soloist, Corritore tears this song up! Track four, “Harmonica Watusi” is playful and lively. The rhythm section rocks, respectfully backing Corritore’s expert performance, which enters in the second chorus. Kaplan on organ and Watson on guitar are followed by Corritore returning to the hook. Roy and Innes do a perfect job of supporting the soloists. This one would be a real swing dance hit!

Ironically, the fifth and title track, “Taboo” is the only song that originally had lyrics. It was written and sung by Margarita Lecuona (as “Tabu”) and later covered by The Del Tones (Taboo) as an instrumental with saxophone as the featured instrument. The melody is hypnotic and could charm a snake! Track six, “Harp Blast” is just that…a harp blast!

I told myself I wasn’t going to review this CD track-by track, but, I would be remiss if I didn’t discuss the next song, featuring Jimmie Vaughn on guitar and Doug James on baritone and tenor sax. Track seven, “Mr. Tate’s Advice” opens with a catchy head. Corritore’s solo leads into Vaughn on guitar, James on baritone sax and Kaplan on organ. James gives outa sax holler on punctuate this swing era jazzy tune that is simply delightful!

Track eight’s title, “5th Position Plea,” really caught my interest. The harp players will really go crazy over this one. Corritore uses a B-flat harmonica for a song in the key of D. Now I’m not a harp player, but I know enough about standard blues harp practices for this method to cause awe and wonderment! The ninth cut, “Fabuloco” is a fun Latin flavored lark, while track ten, “Shuff Stuff,” not surprisingly returns to a blues shuffle with Vaughn and James teaming up again. Vaughn briefly opens up this tune, joined by the band in unison on the head. Corritore launches the solo section. James takes the next ride on tenor sax, followed by Kaplan on organ. Vaughn vaults in with his signature guitar sound. Track eleven, “T-Town Rample” opens with honky-tonk like piano riffs by Kaplan. Corritore joins in working’ his mojo, with Innes getting the train beat rollin’ and Roy bringing in the bottom on acoustic bass…a complete package!

This disc wraps up with track twelve, “Bob’s Late Hours,” a slow blues custom made for slow dancing with someone special. Corritore’s sensual blues harp is an aphrodisiac in this tune and the perfect finishing touch for this bold undertaking. Every note on this disc is a thrill. “Taboo” is what goose bumps are made of. Bravo Bob Corritore!

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