"chicago 2002"

Five CD box set containing a quintet of their albums housed together in an attractive slipcase: Chicago Transit Authority (1969), Chicago II (1970), Chicago V (1972), Chicago VI (1973) and Chicago VII (1974). While Chicago are oft remembered as a Pop/Rock hit making machine, their musical roots were Jazz-oriented and this quintet of albums features the band blending their commercial sensibilities with their excellent Jazz/Rock musicianship

This incredibly diverse collection was Chicago’s sixth studio album and their final studio-recorded double album to date. Cited for its jazz excursions, Chicago VII reached No. 1 in the US and included three stand-out hits including Searchin’ So Long, Wishing You Were Here and the first single penned by trumpeter Lee Loughnane Call on Me, which reached No. 6 in the US.

This sophomore disc from the Chicago multi-instrumentalist (but mainly harpist/vocalist) Lester Davenport follows his solo debut by a whopping 11 years. Although it's impossible to justify the wait, this is a terrific West Side Chicago blues album, confirming he's an under-recognized and way under-recorded musician. Guitarist Jimmy Dawkins (who also produced) adds more authenticity to this rugged album, one that could have been recorded for Chess in the '60s. Well, except for a rollicking instrumental entitled "To Our Lost Ones 9/11/01," and even that ignores its contemporary title, capturing the spirit of Little Walter's glory days. Piano duties are shared equally by Detroit Junior (on tracks 1-7) and Allen Batts (on 8-13). Both play with remarkable restraint, as does the entire band…

Blind Pig's 2002 release Mighty Joe Young is a compilation that picks from Mighty Joe Young's Ovation releases Chicken Heads (1974) and Mighty Joe Young (1976). These are generally considered to be among Young's best work, yet they have been out of print for years and never have appeared on CD. Thankfully, this collection picks the 12 best tracks from these records, bringing back into circulation the work that showcases Young at his best. While it would have been nice to have these two albums in their entirety in their original running order, the music is so good and so rare, it's nice just to have it out officially, since this is the place to go to hear him at his best.

This sophomore disc from the Chicago multi-instrumentalist (but mainly harpist/vocalist) Lester Davenport follows his solo debut by a whopping 11 years. Although it's impossible to justify the wait, this is a terrific West Side Chicago blues album, confirming he's an under-recognized and way under-recorded musician. Guitarist Jimmy Dawkins (who also produced) adds more authenticity to this rugged album, one that could have been recorded for Chess in the '60s. Well, except for a rollicking instrumental entitled "To Our Lost Ones 9/11/01," and even that ignores its contemporary title, capturing the spirit of Little Walter's glory days. Piano duties are shared equally by Detroit Junior (on tracks 1-7) and Allen Batts (on 8-13). Both play with remarkable restraint, as does the entire band…

Sometimes the bloodlines show up and at other times they explode with a fanfare that shows itself to the world. Lil' Ed Williams traces his heritage back to his uncle, one of the Chicago blues legends, slide guitar master J.B. Hutto. He was tutored by his uncle, and the West Side Chicago blues scene that nurtured him, and readily gives J.B. much of the credit for his prowess. He captures some of that same raw street energy that was his uncle's trademark on many of the tracks on this, his fifth Alligator release. Listen to "The Creeper" to get an idea of the savage fury that he can channel through his slide guitar work. This disc manifests that feel for the blues that can't be taught, but must be both lived and seen from the inside…

Sometimes the bloodlines show up and at other times they explode with a fanfare that shows itself to the world. Lil' Ed Williams traces his heritage back to his uncle, one of the Chicago blues legends, slide guitar master J.B. Hutto. He was tutored by his uncle, and the West Side Chicago blues scene that nurtured him, and readily gives J.B. much of the credit for his prowess. He captures some of that same raw street energy that was his uncle's trademark on many of the tracks on this, his fifth Alligator release. Listen to "The Creeper" to get an idea of the savage fury that he can channel through his slide guitar work. This disc manifests that feel for the blues that can't be taught, but must be both lived and seen from the inside…

This album is one of only a few that Chicago blues singer and guitarist Lefty Dizz recorded, and it is a very good one. Here he is backed by a solid group that includes Willie James Lyons on second guitar, Johnny "Big Moose" Walker on piano, "Mojo" Elam on bass and Odie Payne on drums. Highlights include great renditions of classics such as "Take Out Some Insurance", "Cummins Prison Farm", and "Blue Shadows", as well as a few Dizz originals, including "I Found Out" and "Funny Actin' Woman". "Big Moose" Walker takes over the lead on the final four cuts, which are solid as well. These include a version of "Well Alright", Walker's own "One Eyed Woman", and two rocking boogie instrumentals. If you want to hear some pure Chicago blues, pick this album up, you will definitely be satisfied.