Kokomo Arnold’s recording career lasted less than a decade, but he changed the world by influencing the likes of Robert Johnson and Elmore James.
Chicago blueswoman Mary Lane has been making music for more than 70 years. She should be a legend, but she can barely pay her bills.
This is a huge oversimplification, but there are generally two kinds of blues crowds: the Black audience that gravitates toward soul singers, and the white audience that loves instrumental virtuosity. In their time, B.B. King and Albert King were two of the few blues artists to enjoy equal adoration from both crowds, and today Bobby […]
The Supreme Mayor of Maxwell Street left a scant recorded legacy, but he’s well remembered for his efforts to preserve the historic market and open-air blues hub.
John Littlejohn’s raw slide-guitar style grew from the same soil that produced Elmore James, but he never became a star outside the Windy City.
Calvin “Fuzz” Jones, who spent most of his five-decade career in Chicago, was one of the most prominent sidemen in electric blues.
No-nonsense west-side veteran Mary Lane, who’s shared stages with the likes of Howlin’ Wolf and Buddy Guy, is raising money to finish her long-awaited second album.
Bluesman Johnnie Temple cut dozens of sides for Decca, including several with famous Chicago jazz band the Harlem Hamfats.
Chicago guitarist John Primer honors his mentors—including Muddy Waters and Magic Slim—by serving as a role model for young musicians.
Blues guitarist Luther Johnson made his solo debut on Checker in 1964 but died at 41 in 1976.
Big Moose worked for years with Earl Hooker and Elmore James and backed Otis Rush, Howlin’ Wolf, Ike Turner, and many more, but his own recordings never caught fire.
Emmett “Maestro” Sanders was a huge figure in Peoria blues, but died unheralded this spring—in part because he only ever released one single.