Blues

Sam Phillips once referred to Howlin' Wolf's voice as "where the soul of man never dies." Phillips, who worked with dozens of great Memphis musicians, never changed his mind. Rock historian Ed Ward examines the evolution of Wolf's singular talent.

Slipstream is Raitt's first album since 2005's Souls Alike, and she's produced most of the tracks herself. Rock critic Ken Tucker says that this return to recording and her renewed control over her music has resulted in one of Raitt's finest albums.

Al Green wrote "Take Me to the River," but it was his labelmate Syl Johnson who first made it famous. Rock historian Ed Ward traces Johnson's early career, which started in Chicago blues clubs in the 1950s.

Mac Rebennack, known as "Dr. John," has been a rock and soul ambassador for his native New Orleans since the late 1960s. Although his public profile has risen and fallen over the years, the spirit of his city is a constant presence on all of his albums. Critic Milo Miles talks about how crusading for wounded New Orleans has given Dr. John a jolt of vitality.

Jones has been a pop star since 1965, when he released his first single, "It's Not Unusual." Since that time, he's remained a star overseas, while resurfacing periodically on the American pop charts. Rock critic Ken Tucker review his latest album, a collection of gospel, blues and soul covers called Praise and Blame.

Of the three great blues guitarists named King -- B.B., Albert and Freddie, -- arguably the most influential was also the least well-known: Freddie. But his most important work has been unavailable until recently. Critic Ed Ward review a recent release, Taking Care of Business, which spans much of King's career.

Soprano saxophone can be an unforgiving instrument. It's hard to play in tune, and many players get a pinched or nasal tone like it has a bad cold. Its biggest proponents — Steve Lacy, Lol Coxhill — do influence Sam Newsome, but he stakes out his own turf with eerie-sounding, hoarse and hollow split-tones.

In 1975, Michael Abrasion decided to photograph the blues clubs of Chicago. The pictures Abramson took in Pepper's Hideout, among other venues, have been released in a set called Light on the South Side. Jazz critic Ed Ward takes a listen to Pepper's Jukebox, the CD released along with the photographs.

With his wide leaps between long tones and a sometimes generous use of space, trumpeter Wadada Leo Smith nods occasionally to 20th-century European concert music. But he's also one of the modern improvisers most grounded in African-American vernaculars; he's the stepson of Mississippi bluesman Alex Wallace, and he played for a spell in Little Milton's blues band. Smith's projects are all over the map, but often have this much in common with the blues: the byplay between a strong voice — his horn, in this case — and percussive strings.

Texas Sheiks offers new versions of old blues, Western swing and ragtime music. The Sheiks are led by singer-songwriter Geoff Muldaur and the album features the guitar work of the late Steve Bruton.