Mighty Joe Young – Blues With A Touch Of Soul – Delmark Records DD-629 

Arriving in Chicago in 1956 soon after cutting his first 45rpm single for the Jiffy label following having developed his blues craft on the Milwaukee, WI club circuit (he would eventually record further 45s for the Fire, Webcor, Celtex, Speed, USA, and Jacklyn labels), Mighty Joe Young found his niche on the highly-competitive blues scene.   Young was pulled to Chicago due to his appreciation for the west side blues sound that was emerging at the time.  The music of Jimmy Dawkins, Magic Sam, Freddie King, and Otis Rush, among others, held an allure to him due to their brands of blues being more arranged than the typical rather free form 12-bar Chicago blues of the time.

Upon reaching Chicago, Young initially found work with Joe Little and his Heart Breakers Band.  After some time, Young then found various opportunities in the bands of, and recorded with, such Chicago blues and R&B giants as Jimmy Rogers, Otis Rush, Jimmy Dawkins, Albert King, Fenton Robinson, Willie Dixon, Koko Taylor, Billy Boy Arnold, Magic Sam, and Tyrone Davis.  He provided his services to these blues and R&B artists for the better part of 15 years.  Young was also a key contributor to both acclaimed Magic Sam albums on the famed Delmark Records label, West Side Soul (1967) and Black Magic (1968), plus Otis Rush’s Cold Day In Hell Delmark release (1975). 

Blues With A Touch Of Soul was Young’s first full-length collection, having a release date of 1972. What Young provides here is not the typical 12-bar “lump de lump” Chicago blues sound; rather, his vision has more sharply arranged, well-conceived blues song structures.  Young’s conceptualization for his music here bridges that divide between blues and soul (hence, the title), and straddles it with remarkable poise.

On a release that includes not only Young, but well-known Chicago blues guitarist Jimmy Dawkins, celebrated blues keyboardist Big Moose Walker, trumpeter Jordan Sandke, sax player Dennis Lansing, Sylvester Boines on bass, and Hezekiah Roby on drums, it would be easy to have the session become difficult to arrange and keep tight due to the input and individual styles of seven session participants.  Not here.  Everyone, as is said, “keeps in their respective lane”, with the ultimate beneficial result being a tight ensemble approach being achieved.  Young’s enthusiasm to accomplish this end is witnessed by his genuine fervor that reveals itself throughout this outing.

Young’s guitar playing is abounding with melodic single-string routes, and he fully understands the advantages of spacing, restraint, tone, and touch.  Young is gifted at getting the most from a phrase, and does not provide a stinging attack, instead opting for one more in the vein of fellow Chicago blues guitar peer, Fenton Robinson.  There is a mellowness to Young’s guitar style, even during his more quickly paced solos.  When his blues lamentations demand gentler, more subtle guitar excursions, Young’s guitar journeys ably pull at one’s heart strings.

Young’s voice rests in a middle ground of highness, but when necessary, it rises further to thoroughly express the emotional impact of his blues.  He doesn’t attain a falsetto effect, as so many blues artists do for dramatic effect, instead relying upon his elevated tone to effectively carry the passionate weight of his blues topic.  There is no silky quality to Young’s voice; though higher, it is tough, granular even.  But, its consequence is ideal across all his vocal efforts.  And as the ultimate paradox, it is through Young’s tougher vocal delivery that a more soulful attribute is unfurled.

Jimmy Dawkins provides superlative backing guitar on this release, and as would be expected, his forays are fleet and tasteful.  Dawkins’ support is impeccable and invaluable to Young’s overall blues visualization, and the idyllic complement to Young’s aptitude.

Walker’s keyboard work is demonstrative of his stature within the blues.  He weaves loops of compulsory keyboard expertise that never intrude; they supplement ideally.

The horn and sax work set moods that one can easily feel, no matter the blues story at-hand.  They never encroach, but they do rise and fall as is necessitated, and more than any other instrumental ensemble components on display, enrich with that soulful quality that allows the blues here to rise onto a soulful plain.  The horn and sax solos are economic and highly-stirring.  Their swinging nature sways Young’s blues toward the edge of that soul horizon to which he is aiming. 

Boines’ bass energies are foundational on the best way.  They are up in the mix when obliged to be, yet reside in the solid low end of things as is compulsory for a solid, reliable blues bass musician.

Roby’s percussion designs push the arrangements forward with precision and unwavering solidity.  His work is apparent in the most non-obvious way; eliminate it, and the whole of these blues fall apart.  That is a compliment of the highest imperative.

There are but seven blues on this sterling release, and certain of them do stretch-out a bit.  However, heavy emphasis must be placed upon the fact that no detrimental results arise.  These are not blues of a vanity nature where a blues artist carries the tunes to extreme durations of time due to reasons known only to them.  Each blues here thrills and stirs upon its own excellences, and the listener is held in rapt attention to see what is just around the bend of a particular cut.

Young did go on to record albums for other labels including Ovation, Sonet, Blind Pig, and Black & Blue during his career, and each provide testimony to his grand blues skill set.

For many years, Young held court at a revered north side Chicago blues club named Wise Fools Pub, at its location on N. Lincoln Ave., going back to 1974.  Young was said to be more of a family man, and chose to not tour much.  His long-term tenure at Wise Fools Pub was authentication as to his vast popularity and talent.  Wise Fools Pub is long gone, along with its storied history of presenting blues, including The Aces, The Son Seals Blues Band, Albert Collins, Jimmy Johnson, and Otis Rush, among so many countless other blues greats, but I can still see that great sign with its red neon beckoning those who loved the blues to enter.  Many nights, Mighty Joe Young was the featured blues artist, and yes, his was a soulful class of blues.

Higley-recommended without limitation!