The Johnny Shines Band – Masters Of Modern Blues – Testament Records TCD 5002 

The last time I saw Johnny Shines on The Crossroads Stage at The Chicago Blues Festival, I felt a mixed sense of excitement, reverence, and awe that I only felt one other time at the event, and that was the year Albert King played The Petrillo Bandshell.  My mind raced when Shines strode out to his chair at center stage, was assisted in adjusting his black semi hollow body guitar over his shoulder, and graciously acknowledged the large throng that had assembled to witness a true living blues legend.  This was not just anyone, this was Johnny Shines after all, one of the last living Delta blues originators, a running mate of the shadowy blues legend, Robert Johnson, a bluesman who counted among his influences giants such as blues and jazz guitarist, composer, and violinist, Lonnie Johnson, Delta bluesman Charlie Patton (who is often cited as “The Father Of The Delta Blues”), Blind Lemon Jefferson, the man often referred to as “The Father Of Texas Blues” (and arguably one of the most popular bluesmen of the 1920s), and Scrapper Blackwell, a superb acoustic blues guitar picker who was well-known known for his work with blues piano player, Leroy Carr.  Shines’ peers included Robert Jr. Lockwood, Big Walter Horton, with Mississippi Fred McDowell also being a distinguished acquaintance.

By the time of seeing Shines this last time, he had suffered a stroke that was said to have diminished his ability to use his left hand to fret the guitar.  So, I wasn’t sure what to expect from Shines’ performance.  Selfishly, I didn’t want this experience to be disappointing musically, with Shines’ efforts irrefutably hampered by the ravages of his stroke.  However, what proceeded to unfold was startling in its power and meaning, once Shines and his band began their set.

No doubt, there had been a certain degradation of Shines’ guitar skills; however, make no mistake, whether by sheer force of will, or through a great amount of rehearsal leading-up to his appearance (I prefer to think it was a combination of both factors), Shines, in essence, turned back the pages of time and delivered a feat of brilliance for not only his multitude of assembled blues fans, but for himself, as well.  This was his legacy, and he seemed to accept the challenge and beat back any potential pratfalls.

Shines sang with that cannon of a voice, braying and bellowing as to perhaps deny any need for a microphone.  Rather than pick his electric guitar, he slashed blues slide guitar trimmings with authority, and his collective bandmates were astute enough to get out of his way and let him seize the moment and rise to heights he adeptly climbed.  They were there when required, but this was Shines’ show; 100%, and he presented that praised heritage of his to the sun-drenched Chicago crowd.

This CD, one that includes post-war blues piano master, and Muddy Waters band alum, Otis Spann, Big Walter Horton, undoubtedly one of the blues’ greatest harmonica artists of all-time, Fred Below, drummer and rhythmic structure virtuoso whose work with Little Walter, Chuck Berry, and The Aces afforded him exalted blues status, and Lee Jackson, whose blues guitar and bass work was influential in the success of recordings of Jimmy Reed, Willie Dixon, J.B. Hutto, and Sunnyland Slim, among others, is simply a treat for the ears of anyone seeking that classic post-war Chicago blues sound.

Recorded in in mid-1966 at Chicago’s One-derful Studios, Shines produces a set of recorded gems that more-than-ably stand the test of time.  This is a convened assemblage of blues professionals, without question, each a colossus on the basis of their own work, who know how to collectively not over-play, but rather, to aim for the good of the whole via their individual contributions. 

Shines uses his commanding vocalizations to the best outcomes, utilizing his trademark long, drawn-out phrases and syllables, and peaks and valleys of volume, to build drama and reinforce his blues stories.  Shines’ voice demands to be heard, and its themes to be pondered; there is no escaping the robustness of his articulated meanings.

Shines’ guitar here slashes, shakes, and cuts deep when required, but its more controlled nuances, as well, are able to shape the context of his blues.  Shines also uses select picked notes to great counter-point effect, their sparseness also capable of heightening theatrical escalations.  But, it is Shines’ blues slide guitar that is on full display, riding the roller coaster of emotions that only his brand of blues can advance.

Big Walter Horton perhaps provides some of his best recorded output here with Shines and his band.  He provides deep pits of emotion to emphasize a point, but then inspiringly ascends to higher-end shrills to also communicate an emotional viewpoint.  Horton adroitly builds tension and enhances mood within Shines’ blues as only a master of blues harmonica can cleverly do. 

Spann’s blues piano supplements constantly; roiling, blending, and churning in the ensemble format, never in the way, yet not ever unrecognized.  He is the ideal blues professional.

Below, as would be expected, swings and drives Shines’ blues concepts with poise and veneration for the greatest good of the project.  His drumming should be a required study for any aspiring blues percussionist.

Jackson’s bass work is a study of establishing an anchoring foundation as it snakes and roils, infusing Shines’ blues with that deep low-end required to express melancholy-related themes.

In conversation with my like-kind blues-loving friends, often bantered about is the notion of who is one’s favored blues artists.  That is a difficult path to traverse, as the blues has so many regional, era, instrumental, and other defining factors to consider.  But for my money, Johnny Shines remains one of the blues’ finest practitioners, and this collection, while veering close to being essential, in my opinion, presents itself as a monument to post-war blues from Shines that is most highly-recommended. 

You do truly want this in your blues collection; take it from me.