Review: Louisiana Red & Bob Corritore 'Tell Me 'Bout It'

Louisiana Red & Bob Corritore

By Chris Wheatley

Released February 18th on VizzTone Label Group, Tell Me ‘Bout It celebrates the talents of two singular individuals, Bob Corritore and Louisiana Red, both of whom have contributed much to the blues story. Louisiana Red, a guitarist, harmonica-player and singer, real name Iverson Minter, was born in Alabama in 1932, and suffered the tragedy of losing both parents early. Red, who himself sadly passed in 2012, played with John Lee Hooker during the 1950s, served in Korea, and released his debut album in ’63. Twenty years later he was awarded a W. C. Handy Award for Best Blues Male Artist. Blues Music Award-winner Corritore, a harmonica-player, producer, blues-promoter and radio show host, will be familiar to many as one of the most active and highly-regarded players on the contemporary blues scene.

The cuts presented here stem from seven different recording sessions which took place between 2000 and 2009. There are some fine players backing the duo on this record, and part of the attraction of the album lies in the wide cast of musicians involved. Chico Chism, David Maxwell, Bob Margolin, Little Victor, Buddy Reed, Johnny Rapp, Chris James, Patrick Rynn, and Brian Fahey all lend a hand here and, although recorded across that nine-year gap, the material feels remarkably coherent and cohesive.

“Mary Dee Shuffle” starts the proceedings in fine style. As you might expect, the harmonica is front and centre, blasting forth saw-dust riffs and casting out highly affecting, swirling undercurrents. This is a fine mid-tempo electric blues. You won’t hear anything revolutionary on this track, but that is exactly the point. Red and Corritore have authenticity running through their veins and backed by some fine session players, their music is up there with the best.

“Alabama Train” is a standout, a fuzzing, warbling, steam-roller of a track which lurches from steady rollin’ to a swaying shuffle. These are recordings packed full of nuance and style. A word must be said on the production and arrangement – the sound is first-class and all-encompassing. There’s nothing flashy in the audio-balance, but the performances sound thrillingly immediate, not too crisp or too clean to strip the music of its living heart.

The same can be said of all the cuts here. “New Jersey Blues,” a slower-tempo, more introspective affair, drawls and drips with plenty of soul. You could listen and re-listen to these recordings and discover something new each time. The cool, soulful bass is compelling, the guitars riff and roll with understated pathos, and the harp-playing, of course, is captivating. Vocally, Louisiana Red ticks all the boxes. More than anything, like the greatest of blues singers, he inhabits these songs to the full.

“Edith Mae” encompasses some frankly beautiful, cutting guitar. The song flows like a slow river beneath a hot sun. “Bessemer Blues” rattles and moans. Every cut here has something special to offer, with deep grooves and a muscular sway. The title-track, in particular, is delightful, starting as it does with some ad-lib studio chatter before launching into the most classic of all blues riffs. Classic, in fact, is a good term to apply to all facets of this set. Red was a special character. With Bob Corritore, the pair shared a unique chemistry. The results make for a fitting tribute to these two great blues players.

Listen to “New Jersey Blues”