CHRIS JAMES & PATRICK RYNN

Trouble Don't Last

VizzTone Record Group

10 tracks/52:31

By Mark Thompson

          In 1990, fate brought guitarist Chris James to Chicago from San Diego, where he had been a member of Tomcat Courtney's band when he wasn't furthering his musical development under the tutelage of several area jazz saxophonists. Once in Chicago, James sat in with Detroit Junior, which lead to a number of gigs with the great piano player. After an unimpressive encounter with bassist Patrick Rynn at a jam, the two connected again several days later, this time laying the groundwork for a musical partnership that has endured for 25 years. Rynn had also received training in jazz bands while attending school in Toledo, Ohio. The duo began working together backing drummer Sam Lay, guitarist/bass player Dave Myers of the legendary Aces band, and were members of harp player Rob Stone's band, the C-Notes – all of them the cream of Chicago’s blues crop.

          Eventually the warmer climate of San Diego won out. They hooked up with Bob Corritore, the internationally known harp player originally from Chicago, who had settled in the Phoenix area. James and Rynn toured with Corritore's band, the Rhythm Room All Stars, named after the fine blues club the harp player runs in Phoenix. The duo also recorded three exceptional albums for Michael Frank's Earwig Records label, with backing by Lay and Willie Hayes on drums, David Maxwell, Henry Gray and Aaron Moore on piano, plus appearances by legends Eddie Shaw on sax and guitarist Jody Williams – a truly stellar cast.

          Their latest release marks several changes, switching to the VizzTone label and dropping the piano from the mix in favor of two harp players, Rob Stone and Aki Kumar. Veteran June Core is on drums with Rynn concentrating on electric bass. James handles all of the guitar and vocal parts. One unique aspect of the release is three tracks that feature both harmonica players. “Lonesome Whistle Blues” is a swinging shuffle with familiar themes of tears, good-love-gone-bad, and plenty of hardy harp blowing with Kumar taking the lead. The instrumental “Steady Goin' On” pays homage to Myers with a twisting guitar segment from James sandwiched between full-tone excursions from both harps. Core lays down a rolling beat on the closing number, “Roll, Stumble, And Slip” -- Sunnyland Slim's reworking of “Rollin' & Tumblin'”. The band turns in a fierce performance sparked by an anguished vocal from the guitarist.

          Other highlights include the rousing original, “Shameless,” which opens the disc in fine fashion with James expounding on people who are too full of themselves. “Going Down To The Ocean” is another original the duo wrote with Stone that marks the influence that bluesmen Art and Roman Griswold had on Rynn's development. James and Kumar ride the slower pace, creating solos full of taut emotions. The title track features another dose of exemplary picking from James with Kumar's harp echoing the guitar line. James shines in the vocal department on “A Good Idea At The Time” and “Lilly Mae,” the first cut a mournful description of life spinning out of control while the other is spirited love song with strong blowing from Stone. The singer cuts loose with some anguished moans on “Don't Drive Me Away” before offering a wry summation of the current economic hard times on the original, “Hard To Keep A Dollar”.

          The disc's sound quality harks back to the old days – a tough, mean approach that was the hallmark of the classic recordings. The small ensemble style creates space that allows listeners to hear the intuitive interplay between the five musicians. The end result is one of the best traditional electric blues recordings of the year, one that burrows deeper with each listen.

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