Essential Blues

The Blues Masters series, much to Rhino`s credit, adopts an expansive definition of blues, allowing the likes of Count Basie, Blind Lemon Jefferson, Muddy Waters and even Louis Prima admission. There is none of the purist`s quibbling over strict 12-bar form or the relative significance of prewar and postwar styles.
What Rhino delivers instead is the blues in all its myriad guises. This music is old and new, black and white, acoustic and electric, folksy and jazzy, performed by women and men, and yet it is all still blues at its core.

Essential Blues is an attempt to trace the evolution of the music from the Mississippi Delta to Chicago and other modern, urban cities. It does a fairly good job in providing a brief history, but the main strength of the collection simply comes from the music. Featuring cuts from Lightnin' Hopkins, Howlin' Wolf, B.B. King, Slim Harpo, Junior Parker, Elmore James, Albert Collins, and many, many others, it's a quick and effective way to sample a variety of different blues styles. For neophytes, Essential Blues does offer a splendid introduction to the genre.

Fifteen tracks covering the pioneering blues-rock guitarist's '60s work, which was by far his best and most influential. Bloomfield worked with a bunch of bands during the decade, and the compilation flits rather hurriedly from his contributions to the Paul Butterfield Blues Band and Electric Flag, to his collaborations with Al Kooper, as well as some late-'60s solo tracks (none of his groundbreaking mid-'60s work with Dylan is here). Collectors will be interested in the first five songs, which date from previously unreleased sessions produced by John Hammond in late 1964 and early 1965. Featuring Charlie Musselwhite on harmonica, this pre-Butterfield Blues Band outfit plays convincingly, but the material is standard-issue, and Bloomfield's vocals are thin and weak (they didn't improve much over time)…

Fifteen tracks covering the pioneering blues-rock guitarist's '60s work, which was by far his best and most influential. Bloomfield worked with a bunch of bands during the decade, and the compilation flits rather hurriedly from his contributions to the Paul Butterfield Blues Band and Electric Flag, to his collaborations with Al Kooper, as well as some late-'60s solo tracks (none of his groundbreaking mid-'60s work with Dylan is here). Collectors will be interested in the first five songs, which date from previously unreleased sessions produced by John Hammond in late 1964 and early 1965. Featuring Charlie Musselwhite on harmonica, this pre-Butterfield Blues Band outfit plays convincingly, but the material is standard-issue, and Bloomfield's vocals are thin and weak (they didn't improve much over time)…