Fans of guitar master Joe Bonamassa will be delighted that 2011 was such a prolific year in his career. First came the fine, rootsy Dust Bowl, then 2, the second chapter in his Black Country Communion project's catalog. Don't Explain, a collection of soul, blues, and jazz-oriented covers in collaboration with vocal firebrand Beth Hart marks his third entry this year. The ten-song set of blues and soul is a logical extension of her vocal contribution to "No Love on the Street" from Dust Bowl. Opening is a thoroughly raucous contemporary blues reading of Ray Charles' "Sinner's Prayer," followed by a quirky version of Tom Waits' "Chocolate Jesus," and an unusual cover of contemporary jazz-pop singer/songwriter Melody Gardot's "You Heart Is as Black as Night."

When Taj Mahal and Keb' Mo' released TajMo in 2017 and toured the world, they fully intended it to be a one-off. Even as they resumed solo careers, neither could forget the merits of that partnership; they wondered if there was still magic between them in the studio. Room on the Porch answers in the affirmative. For the sake of creative possibility, they decided to write and record the material together in a studio. Over two weeks, Mahal, Mo', and their chosen collaborators worked in a Nashville studio and emerged with Room on the Porch, a solid set of seven originals and three covers co-produced by the pair. It's an intimate, warm, informal album full of laid-back good vibes and great songs.
The title-track opener, co-written with vocalist Ruby Amanfu, is a good-time acoustic rag blues buoyed by B-3, upright bass, fiddle, and resonator guitars in a welcome to a new guest and friend…

LA-based bluesman Eric Hirshberg, who has been steadily building a reputation for his emotionally-charged style in recent years, returns with his latest album ‘Second Hand Smoke’. Following the success of his 2021 release ‘Spare Room’, Hirshberg has continued to mesmerise with a series of poignant releases, with his latest offering being no exception. With ‘Second Hand Smoke’, he reaffirms his place as a standout figure in contemporary blues, blending raw emotion with impeccable musicianship.

As an album title, Good to Be… drifts off on a wave of ellipses, but on the record itself, it's presented as "Good to Be (Home Again)," making the spirit of Keb' Mo's 15th studio album explicit: he's settled into a comfortable groove, appreciating good vibes and mellow grooves. Despite cameos from Darius Rucker and Americana stalwarts Old Crow Medicine Show, there's not a pronounced country or folk undercurrent here. Good to Be… is cut from the same cloth as 2011's slick, soulful The Reflection, only it's even smoother and mellower – so low-key, it can veer into adult contemporary territory, a connection underscored by Kristin Chenoweth's appearance on the album closer "Quiet Moments." If Good to Be… sometimes is a little too cozy – it's executed well and its unifying spirit is evident, but a cover of "Lean on Me" still feels a little overly familiar – it's nevertheless a warm, welcoming album that's every bit as soothing and comforting as Keb' Mo' intended it to be.

The original line on Gary Clark, Jr. was that the young Texas guitarist was supposed to be the future of the blues, having been mentored by Jimmie Vaughan and Eric Clapton, but as his star rises, Clark has made it increasingly clear that his creative ambitions run a lot deeper than being the next hotshot guitar slinger. On his major-label debut, 2012's Blak and Blu, Clark demonstrated he isn't interested in following the path of blues traditionalists, and while there's plenty of great guitar work on 2015's The Story of Sonny Boy Slim, this is by no means a conventional blues album.

On her first outing in three years and her freshman offering for Verve's Forecast label, Susan Tedeschi digs deep into the soul and R&B fakebook for inspiration and comes out a winner. With an all-star band that includes guitarist Doyle Bramhall II, pianist David Palmer, organist Jebin Bruni, bassist Paul Bryan, drummer Jay Bellerose, and guests including husband Derek Trucks and the Blind Boys of Alabama, Tedeschi goes down into her own heart's well for inspiration. Wonderfully produced by Joe Henry, Hope and Desire is truly a singer's showcase of passion and class; she has signature phrasing and is an excellent interpreter.

A second CD for Burns follows on the heels of his National Association of Independent Record Distributors Blues CD of 1998, Leaving Here Walking. It's as good as that award winner, with Burns presenting the complete package of commercially appealing, blues-faithful tunes, mostly self-written. His guitar playing is economical but not sparse, tinged with excitable phrases but never over the top, the perfect cool, burning balance. Burns also has a fine band, with veteran keyboardist Allen Batts, bassist Sho Komiya, and drummer Kenny Smith (from Rockin' Johnny's band) and second guitarist Michael Dotson, whose taste and supportive nature is the perfect foil for the leader. Of these 14 cuts, three are some pretty convincing soul-blues à la Robert Cray, the best being "Spend Some Time with Me," including an outstanding piano solo by Batts. The easy rocker kicking off the CD, "No Consideration," has Burns at his emotional edge, frustrated by his woman, a great modern blues song. "Shake for Me" and "You Say You Need Lovin'" are crackling, and fiery horns accentuate "Baby Don't Do It" and "Too Much Loving." A quieter heat is prevalent during the shuffle "Hard Road" and the 12-bar guitar instrumental workout "Don't Be Late."

On 2003's Long Time Coming, Jonny Lang made the first turn from his rap as an itinerant blues-rocker to being a spiritually inspired rock and pop songwriter. Producer Marti Frederiksen took Lang's tunes and glossed them to the breaking point, leaving the album an unfocused gobbledygook set of songs that had no center. Three years later, Lang returns with Turn Around. And the title does not refer to him turning back to his blues guitar slinger roots. Instead, the title refers to the biblical term that is the definition of the word "repent." (No mistake.) Lang's overt spirituality comes ringing through the mix created by Drew Ramsey Lang and Shannon Sanders. Turn Around is funkier, dressed in contemporary gospel, gritty rock and yes, the blues. Lang's still got a way to go as a songwriter, but the material here is infinitely better than it was on his last outing.

Keb' Mo' and Taj Mahal have been friends and colleagues for years but 2017's TajMo is the first time the pair have recorded an album. It also marks the first time Taj Mahal has entered a studio since 2008 – Keb' Mo' last released an album in 2014 – and if this seems like it should be a momentous occasion, what's striking about TajMo is how casual the whole affair is. The duo designed TajMo to be an upbeat, life-affirming listen, something that emphasizes how the blues can also offer a good time. If the album can occasionally seem a little too crisp and polished – it's bright and shiny without a hint of grit – it's also true that this reflects the lightness at the heart of TajMo.

Although it kicks off with the first (and only) song John Hammond has ever written, Ready for Love is a worthy and unusually varied follow-up to the surprise success of 2001's Wicked Grin. It would have been easy and possibly expected for Hammond to churn out another album of Tom Waits songs to capitalize on the unanticipated momentum created by Wicked Grin. After all, at age 60, considering he's been chipping away at his craft for the past 40 years, Hammond has certainly earned the right to coast on some better-late-than-never success. And the Waits catalog is bursting with plenty more gems perfect for the singer/guitarist to wrap his throaty, emotional blues voice around.

Robillard, ex-Fab Thunderbird and founder of Roomful of Blues, hits a cool-rockin' groove on the opening, "Midnite Cannonball", and rides it with style, chops and hot horn riffs through the closing 11-minute jam on the late Albert Collins', "Dyin' Flu". A fine mix of originals and classics.

Best known as the founder of Roomful of Blues and for his short stint with the Fabulous Thunderbirds (replacing Jimmie Vaughan), Duke Robillard had only released two blues albums between 1996 and 2002. Although he was awarded the W.C. Handy Best Blues Guitarist award for 2000 and 2001 and his tireless road work always included plenty of stinging solos, Robillard left the jazz and worldbeat tangents behind for this welcome return to his first love. Those who have followed Robillard's career know that he's never been tied to one style, and Living With the Blues highlights his eclectic talents. Robillard crackles on everything here, from the straight-ahead Chicago approach of Willie Dixon by way of Muddy Waters' "I Live the Life I Love" to the Roomful-styled hard swing of the obscure Willie Egans' "I'm Mad About You Baby" to the acoustic treatment of Tampa Red's "Hard Road" and the jump blues of his own "Sleepin' on It" (reprised from the Roomful years).

Duke Robillard has always had one foot in the blues world and one in the swing/jazz universe. He loves both styles of music and enjoys not only playing them separately but combining them together. The founder of Roomful of Blues back in 1967, Robillard has led dozens of projects throughout his career, including collaborations with guitarist Herb Ellis, Jimmy Witherspoon, and Jay McShann. On A Swingin Session, he plays with some of his favorite musicians, many of whom originated (like he did) in Rhode Island. While six horn players participate, there are no more than four on any one selection, and some numbers do not have any. The contrasting tenor solos are fun to hear, with Scott Hamilton sounding smooth and mellow on his numbers while Sax Gordon is greasier and much closer to Illinois Jacquet. Present throughout are Bruce Katz (mostly on organ), one of three bassists (usually Marty Ballou), and drummer Mark Teixeira. Robillard takes vocals on half of the selections in his personable way, but it is his guitar solos, which hint at both Charlie Christian and T-Bone Walker, that often take honors.

The sounds of New Orleans have always been in Maria Muldaur's blood and catalog. Dr. John appeared on her first solo album back in 1974 and she arguably hit a career high point on her first full-fledged love letter to the city, 1992's Louisiana Love Call. She returns to the Crescent City for this 2011 release, employing veteran New Orleans keyboardist Dave Torkanowsky as musical director and "facilitator" and returning to the swampy "Bluesiana music" sound that includes heavy doses of gospel and blues along with touches of jazz, soul, and funk. This is a major shift from her past two acoustic jug band releases and plays to her sultry strengths as a vocalist who can convincingly sing any style of music she feels passionate about. Muldaur revisits a few tracks she has previously recorded (an earlier version of "As an Eagle Stirreth in Her Nest" was included on 1976's Sweet Harmony) but with a band that features guitarist Shane Theriot and Subdudes bassist Johnny Allen, they and the rest of the handpicked material boil with fresh enthusiasm.