Chick Willis - Hit & Run Blues (2009)

Blues has always been a music of comebacks, and Chick Willis is making strong, resurgent moves with this independently released album containing many of his original songs. Into his 53rd year playing music professionally, the guitarist and vocalist stays true to urban blues while making a contemporary pathway doused with soul and a little bit of a dirty-minded attitude. The music is horn-driven, fun for listening or dancing, and has all of the savvy and street smarts any veteran of this music should have. It seems his voice has not diminished one iota, while his songs suggest he's still enjoying life to the fullest. Of the six tracks written by Willis, the rocking shuffle "Houdini Blues" refers to "freakin'" things, but is more on track with a partner who tends to disappear, much to his chagrin. Clearly suggestive tunes such as a remake of the Chicago-style soft porn "Stoop Down Low" (his biggest hit) and "1, 2, 3, 4, 5 Shots of Whiskey" (in doo wop refrains) refer to the seedier side of life, while the upbeat and funkier "Country Lovin' Man" implies that city life is not the only way for Willis. Pianist Bobby Felder, with his two-fisted chords, is the glue that keeps the band together. He's a good find and someday should do things on his own, as proven during the long and slow live track "Blues Man," as Willis gives shout-outs to the crowd and anyone who might have dissed him and may be listening. There are direct references to the easygoing, moaning sound of Bobby "Blue" Bland on "Looking for My Baby," punctuated more so on Bland's two tunes that are included -- the big-deal showtime blues "Millionaire" and the leaving home theme "Soul of a Man." Coming from the Southern style of country blues, Willis does "Today I Started Loving You Again" in a light, thankful pose in reverence to songwriters Merle Haggard and Buck Owens, but without the twang or over-affectedness. The solid three-piece horn section, minimally used six-voice female choir, and a self-assured sense of purpose center Willis through this program, with very little hint of overt commercialism. It's a credible effort from one of the true legends of American music, whose recognition may have taken a blow from being confused with his cousin Chuck Willis, but can continue to take the stage as his own man, still doin' it after all these years.