Otis Spann – Otis Spann’s Chicago Blues – Testament Records TCD 5005 

Recorded over the course of two sessions in 1965 and 1966, this 15-cut outing is simply stunning in its breadth of solo and band blues by arguably one of the finest blues keyboard practitioners of all-time. 

There are times when writing a recording review becomes challenging due to the inconsistencies between songs.  There is none of that here.  Front-to-back, this Otis Spann outing is exemplary, whether the listener considers the solo cuts, band tracks, or lone blues where Spann is accompanied only by a drummer.  A better representation of mid-1960s Chicago blues cannot be found. 

What is on exhibition here is the full extent of Spann’s capabilities.  He was awe-inspiringly adept in whatever format he decided to pursue.  On the solo outings, there obviously is nowhere to hide, and Spann attacks these blues with confidence and full control.  On the band cuts, it is apparent how comfortable he is in the ensemble configuration.  And why not, as Spann played a more-than-integral role in his half-brother’s (Muddy Waters) great blues band for roughly ten years to the point of this compilation.  An apprenticeship such as that, in a band that attracts and showcases only the crème de la crème of blues artists, casts a wide net as a developmental tool in shaping one’s capabilities within a group structure.

Of the 15 blues here, five feature three members of the Muddy Waters band that Spann was plying his trade with, including blues harmonica giant, James Cotton, fine electric bassist, Jimmy Lee Morris, and blues drumming legend, S.P. Leary.  Acclaimed blues guitarist and mandolinist, Johnny Young, is on-board on these five selections.  On one band track, the listener is no less for the experience due to blues titan, Johnny Shines, offering his guitar skills, harmonica genius, Big Walter Horton, offering his broad skill set, solid bassist, Lee Jackson, laying-down a firm bottom end, and blues-drummer-without-peer, Fred Below, handling the percussion duties.  A treat is having Spann in a solo blues format on seven selections, while Spann is joined only by the first-rate blues drummer, Robert Whitehead, on one cut.  To say that this outing excels in its full array of Spann’s competencies is a gross understatement. 

In summation, what is provided here is two separate Spann collections; solo and in a band context.

Spann’s solo blues are without peer.  Much of that is due to his formidable left hand, and the rolling undercurrents he achieves are akin to storm clouds on the far horizon, as they roil and brew.  Spann must be necessarily recognized as having had one of the most ominous left hands in all of the blues, one that was unfaltering in its command.  An earthquake should tremor as much as Spann’s left hand. 

As great as Spann’s left-hand prowess was, his right hand was capable of great melodious routes and trimmings, completing the desired blues vision of any given cut.  They almost seemed effortless. 

The recipe of Spann’s combined dexterities astonishes the listener.

Spann’s vocal expeditions are spell-binding in their exhorting, booming design.  The deepness of his melancholy or joy always delivered with assurance as to the desired mood setting.  When he sang, the listener feels as if they, without lack of clarity, fully understand the songs intended message or purpose, and wholly grasp Spann’s internalized feelings on the matter-at-hand.

To condense, no one, period, sets a vocal mood like Spann.

A treat on this collection is hearing Spann attack his blues on the electric organ.  He uses the medium to absolute advantage, and it is a delight to hear the blues distributed via this under-utilized instrument.

Shades of Spann’s musical influences infuse this stellar collection; of particular note are those of blues piano virtuosos Big Maceo and Little Brother Montgomery.

The submitted band blues harken to the heydays of 1940s-early 1950s classic Chicago blues.  They are ensemble blues spawned within true Chicago blues veterans who know their place within the landscape of each blues presented, and all have sufficient room to excel.  The extent of blues talent assembled, and individual and collective backgrounds, tenders a recipe for no less than a magnificent outcome.  Such is the case.

Spann recorded a number of fine albums until his way-too-early demise at the young age of 40.  Chicago has always been a blues piano town, with names too ample to mention here.  Spann certainly belongs in that great multitude of sterling blues piano icons, a crowded mass that includes Sunnyland Slim, Blind John Davis, Big Moose Walker, Little Brother Montgomery, Jimmy Yancey, Memphis Slim, Lafayette Leake, Johnny Jones, and Pinetop Perkins, among others.  Spann’s influence is immense, and his recordings have stood the test of time. 

This brilliant collection rides the fence between essential and recommended.  The recommendation provided comes with the highest reverence for the work here.  Add this to your personal blues holdings!