1	Lurrie Bell–	I Feel So Good	4:12
2	Albert King–	Dust My Broom	3:56
3	James Cotton, Junior Wells, Carey Bell And Billy Branch–	Down Home Blues	6:22
4	Johnny "Big Moose" Walker–	Would You, Baby	3:24
5	Magic Sam–	I Have The Same Old Blues	3:31
6	Katie Webster–	Two-Fisted Mama	3:21
7	Clarence "Gatemouth" Brown–	I Got My Mojo Working	4:46
8	Big Jack Johnson–	I Wanna Know	3:29
9	Albert King–	Albert's Groove #2	2:32
10	Fernest Arceneaux & His Louisiana French Band–	I Don' Want Nobody	2:44
11	Big Walter Horton–	Have A Good Time	3:45

This musical celebration by legends of the blues will have you boogieing up the Mississippi from New Orleans to Chicago. It’s ironic that a style of music whose very name is the definition of sorrow and suffering can make you feel so good. The blues was born out of the African-American experience, which has been shaped by a history of oppression, discrimination and poverty.

It’s no wonder, then, that the blues typically addresses the struggles of daily life, one in which being left by your lover and being broke are familiar themes. The tonal structure, singing style and lyrical content of traditional blues is the quintessential outlet for expressing deep, powerful and ultimately melancholy emotions.

This collection features some of our favorite upbeat blues cuts that turn pain into pleasure and sadness into celebration. They provide life lessons as well; sometimes the best way to deal with the devil is to laugh in its face, proving that nothing he throws in your path is going to keep you from letting the good times roll. ---putumayo.com

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1.Mali Latino - "Ni Koh Bedy" - (Mali)
2.Adama Yalomba - "Djamakoyo" - (Mali)
3."Diabel Cissokho & Ramon Goose - Totoumo" - (Senegal)
4.Amar Sundy - "Camel Shuffle" - (Algeria)
5.Issa Bagayogo - "Djigui" - (Mali)
6.Taj Mahal Meets the Culture Musical Club of Zanzibar - "Dhow Countries" - (United States)
7.Kalaban Coura - "Mali" - (Morocco)
8.Koudede - "Alam'i" - (Niger)
9.Playing For Change featuring Tinariwen - "Groove in G" - (Various)
10.Muntu Valdo - "Timba" - (Cameroon)

Powerful African voices and rhythms demonstrate the deep connection of the blues to its African roots. The blues has long been about storytelling, about raising a voice from the margins and edges of American life. As it spread from the Deep South to Chicago and beyond, the blues incorporated a powerful musical groove which has influenced music around the world. Now, musicians are reaching across the Atlantic and finding that they have a common story to tell in shades of blue. ---putumayo.com

Putumayo Records began in 1993 as an offshoot of Dan Storper's Putumayo Clothing Company, and the company's initial releases were largely marketed through clothing stores and coffee shops, built essentially to work as bright, rhythmic, and soothing soundtracks for shopping, and as a rule, Putumayo compilations don't ruffle feathers. It's a brand as much as anything, with the covers of the various releases all featuring the bright, colorful art of British illustrator Nicola Heindl, and often the company's international-themed music releases are, well, more easy, breezy, and pleasant than they are particularly memorable. This set is a mild exception, collecting tracks that link American and African blues-based music, even if a lot of what is here isn't, in the common sense, exactly the blues. It's refreshingly interesting, and with tracks like Taj Mahal's "Dhow Countries," a panoramic epic that wonderfully unites Mali with the Mississippi Delta, the Booker T.-like organ swing of Mali Latino's "Ni Koh Bedy," and the kora and guitar-driven summer shimmer of Kalaban Coura's "Mali," this set manages to be engaging, as well as being as sweetly smooth as a sunny summer's day spent leisurely shopping at the market. ---Steve Leggett, Rovi

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1 	–Charles Sheffield 	It's Your Voo Doo Working 	1:48
2 	–Carol Fran & Clarence Hollimon 	Door Poppin' 	3:25
3 	–James Booker 	African Gumbo 	2:44
4 	–Clifton Chenier 	Ti Na Na 	3:10
5 	–Johnny Adams 	It Ain't The Same Thing 	4:10
6 	–Lynn August 	Lead Me On 	3:46
7 	–The Neville Brothers 	Voo Doo 	4:26
8 	–Eddie Bo 	Piano Roll 	5:42
9 	–Rockin' Dopsie Jr. & The Zydeco Twisters 	I'm Coming Home 	5:16
10 	–Rockie Charles 	Festis Believe In Justice 	2:05
11 	–Percy Mayfield 	Louisiana 	2:02
12 	–Snooks Eaglin 	Nine Pound Steel 	5:30

The folks at Putumayo got it right on this one. The easiest trap to fall into when putting together a Louisiana compilation is to go for the tourist stuff -- the Dixieland jazz , the second-line horn bands, or zydeco. There's nothing the matter with any of those traditions, but they're so obvious. What this compilation focuses on is New Orleans R&B, a tradition as rich as the others but not unique to the area and therefore not typically marketed aggressively by chambers of commerce and travel agencies. Louisiana Gumbo starts off strong, with Charles Sheffield's "It's Your Voodoo Working" and the even better "Door Poppin'" by Carol Fran and Clarence Holliman -- and then it gets even better. The late pianist James Booker is at his best on the spicy "African Gumbo" (the secret ingredient of which is the legendary drummer John Boudreaux), and there are equally fine contributions from Johnny Adams, Clifton Chenier (okay, they did include some zydeco) and, especially, Percy Mayfield, whose strange but brilliant "Festis Believe in Justice" is the album's highlight track. Highly recommended. --- Rick Anderson, Rovi

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1 	–The Unseen Guest 	Listen My Son 	
2 	–Blues Etilicos 	Canceriano Sem Lar 	
3 	–Big Mama & Victor Uris 	No Way Out 	
4 	–Jarabe De Palo 	La Flaca 	
5 	–Bonnie Raitt & Habib Koité 	Back Around 	
6 	–Amar Sundy 	Quallache 	
7 	–Otis Spann 	I Got A Feeling 	
8 	–Eric Bibb, Rory Block & Maria Muldaur 	Don't Ever Let Nobody Drag Your Spirit Down 
9 	–Long-ge 	Playing Mahjong 	
10 	–Botafogo 	Slide Blues 	
11 	–Taj Mahal Meets The Culture Musical Club Of Zanzibar 	Catfish Blues

What happens when Putumayo, a label built entirely on the realm of world music, takes on a genre known as one of the few purely American musics? The answer: they find performers worldwide with their own regional twists on the blues, and present a surprisingly coherent collection. Well beyond the spread up Highway 61 decades ago, Putumayo Presents: Blues Around the World presents the blues from nearly every continent, often finding a home with musicians looking to the roots of the rock & roll that have taken over regional pop scenes. The album opens with a piece by the duo Unseen Guest sounding straight out of the Mississippi tradition, at least until you note the tabla in the background. Brazilian group Blues Etílicos has a bumping, rolling country feel somewhere on the spectrum between Taj Mahal and John Lee Hooker. Big Mama and Victor Uris (from Barcelona and Mallorca, respectively) make a nice show of the Piedmont style and Jarabe de Palo provide the first noticeable departure from straightforward American blues with "La Flaca," a Cuban-inspired, Spanish-made piece. There's a nice give and take pattern between Bonnie Raitt's slide stylings and Habib Koité's kora-inspired picking style on "Back Around," and with a fuller sound Amar Sundy combines the Chicago sound with some Tuareg influences. With the strongest showing of the American electric blues, there's an old Otis Spann track that also features Muddy Waters and James Cotton -- this is as good as the blues gets, quite simply. The newer sound of American blues (inspired by the folk movement as well as Southern gospel) is represented by Eric Bibb, Rory Block, and Maria Muldaur, and the talking blues come all the way from Taiwan. Argentina's Botafogo plays some strong Delta blues, and the album finishes on Taj Mahal and a Zanzibar musical club with an adaptation of the old "Catfish Blues." Given the massive set of possibilities that could be taken for musics influenced by the blues, and with relations to the blues, what's incredible on this album is the similarity of the sounds. Despite coming from highly varied traditions, and in highly varied languages, the music here has almost a singular feel. It's all undeniably the blues, and with almost no exception one can only hear the particular twists given by the artists as they develop their personal sounds, and not necessarily the crushing influences of a larger music culture. The performances are all exceptional at the least, and the coherence of the album really is a marvel. ---Adam Greenberg, Rovi

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1. I’ve Never Found a Man to Love – Lavelle White
2. ‘Til Your Fool Comes Home – James Hunter
3. Sweet Feeling – Cracked Ice
4. Who Knows – The Quantic Soul Orchestra featuring Kabir
5. My Honey and Me – The Emotions
6. Wang Dang Doodle – Sam Moore, Keb’ Mo’ and Angie Stone
7. Put Me Down Easy – Catherine Russell
8. ‘Cuz I’m Here – Ruthie Foster
9. A Mother’s Love – Snooks Eaglin
10. 100 Days, 100 Nights – Sharon Jones and The Dap Kings
11. Before I Find the Right Girl for Me – Rockie Charles
12. River is Waiting – Irma Thomas with Henry Butler

Putumayo's newest release, Rhythm & Blues, features first generation soul legends and rising stars of the retro R&B revival. Scheduled for release on February 9th, it's the label's first album exclusively dedicated to the genre. The 60s and 70s rhythm and blues of The Four Tops, Otis Redding and The Supremes, among others, became a global phenomenon and has inspired a new generation of artists who are reviving the classic soul sound.

Reaching mainstream popularity in the 1950s, rhythm and blues sprung from the rugged roots of blues and gospel music, pairing soulful vocals with pop sensibilities. While in recent years R&B has become more closely associated with rap and hip hop, legends and young artists are recreating the sound and mood of the genre's glory days.

New Orleans is the birthplace of R&B and on Rhythm & Blues Crescent City legends Snooks Eaglin, Irma Thomas and Rockie Charles join other first generation soul artists Lavelle White, The Emotions and Sam Moore (of the classic soul duo Sam & Dave). Moore unites generations in a collaboration with Keb' Mo' and Angie Stone on the Willie Dixon-penned, Howlin' Wolf classic, "Wang Dang Doodle," a track produced by American Idol's Randy Jackson.

Rhythm & Blues features songs by other contemporary artists including British musician James Hunter, who blends intricate guitar licks with an Otis Redding-like wail on "'Til Your Fool Comes Home." On "100 Days, 100 Nights," Sharon Jones and The Dap Kings deliver a deeply stirring performance that reflects the pain of the lyrics. The Quantic Soul Orchestra mixes rhythm and blues with elements of reggae and Latin jazz in their cover of the Marion Black classic "Who Knows." Jazz and blues vocalist Catherine Russell and New York collective Cracked Ice round out this collection of rhythm and blues that is "guaranteed to make you feel good." ---amazon.com

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01. Amadou & Mariam - Mon Amour, Ma Cherie (5:20)
02. John Lee Hooker - I'm in the Mood (2:43)
03. Habib Koite - Sirata (5:25)
04. Rokia Traoré - Sabali (5:04)
05. Guy Davis - You Don't Know My Mind (2:45)
06. Boubacar Traoré - Kar Kar Madison (4:31)
07. Eric Bibb - Don't Ever Let Nobody Drag Your Spirit Down (6:50)
08. Lobi Traoré - Dounouya (6:52)
09. Muddy Waters - My Home Is in the Delta (3:59)
10. Jessie Mae Hemphill - Standing in My Doorway Crying (4:43)
11. Baba Djan - Sabari (4:04)
12. Taj Mahal - Queen Bee (4:36)

Mali to Memphis: An African-American Odyssey purports to show the cultural connection of West African music and American blues by example. In this, the compilation is fairly successful. On listening to the opening track, "Mon Amour, Mon Cherie," by Amadou & Mariam, you immediately make a mental connection to the CD's last track, Taj Mahal's "Queen Bee." Both songs are of similar timbre and are constituted of a bright vocal melody accompanied by equally bright guitar harmony and occasional leads. The sounds do seem to represent "parallel musical universes," as this African-American Odyssey purports. It becomes easy to see that there is a kinship, that these sounds must be born of a common ancestor. The Delta blues tracks from John Lee Hooker and Jessie Mae Hemphill seem to evidence the tribal rhythms of the Malian tracks, albeit at a more relaxed tempo. Two other African tracks, from Habib Koité (an excellent album of his traditionally based Afro-pop is available on the Putumayo label) and Rokia Traoré (honey-voiced, she won accolades in an international competition), bear the sounds of the ngoni, a native lute and predecessor of the banjo. This instrument's strident sound, when plucked, does seem to prefigure the picking style on the guitar used by such an American example as Guy Davis (&"You Don't Know My Mind,"). Muddy Waters and Eric Bibb are also included in this informative and entertaining comparative sampling. ---Tom Schulte, Rovi

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01. - ARTHUR ADAMS & B.B. KING - Get Next To Me
02. - KEB' MO' - Hand It Over
03. - RUTH BROWN - Good Day For The Blues
04. - HENRY GRAY - How Could You Do It
05. - TAJ MAHAL - Cakewalk Into Town
06. - ROBERT CRAY & ALBERT COLLINS - She's Into Something
07. - SUGAR PIE DESANTO - Hello, San Francisco (Part I)
08. - RAFUL NEAL - Call Me Baby
09. - OTIS RUSH - I Got The Blues
10. - SUNPIE BARNS - Sunpie's Romp & Stomp
11. - ERIC BIBB - Needed Time
12. - CHRIS THOMAS KING - Why Blues
13. - SUSAN TEDESCHI - Just Won't Burn
14. - SOLOMON BURKE - None Of Us Are Free

Putumayo is to be congratulated for this roundup of, as they call them, "America's greatest contemporary blues artists." That statement is always going to be up for debate, but kudos for stepping beyond the big names to highlight some lesser-known, but equally important, talent. Arthur Adams, for example, has a wonderful voice that he uses smoothly on "Get Next to Me" (although B.B. King's solo fires the piece to a higher level). And some of the acoustic tracks are absolute joys, like Chris Thomas King's "Why Blues?" It would have been nice to have heard something more recent from Taj Mahal's extensive catalog than "Cakewalk into Town," which almost qualifies as vintage -- but it's still majestic. Ruth Brown, Sugar Pie DeSanto, and Susan Tedeschi show that women get the blues too, with Tedeschi firing off some stinging guitar. Whether Solomon Burke really qualifies as a blues singer is debatable -- to many he'll always be one of soul's kings -- but his voice remains an impressive vehicle. However, it's good to see Sunpie Barnes and Henry Gray get exposure. Perhaps next time they can extend their range to include people like Otis Taylor who are reinventing the meaning of the blues. But for now, this is a good job. ---Chris Nickson, Rovi

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