This 2 CD set captures two shows (with 2 hours of music) from late in Hutto’s career. Both are rocking, tough examples of the raucous style of electric blues from Chicago Hutto was known for. Hutto reins things in on slower tunes (”Say Goodbye”) where his stinging guitar style accents his no nonsense vocals. An average vocalist, it’s his fierce electric slide playing and piercing single note style that makes Hutto such an exciting performer. He’s one in a long line of electric slide guitarists–from Elmore James to Hound Dog Taylor, to Robert Nighthawk and John Littlejohn, to Lil’ Ed Williams (related to Hutto), and others who carried the torch of slashing, intense blues guitar into the present time.

One listen to the familiar ”Summertime” and you’ll hear the sound that Otis Rush incorporated into his solo style. Hutto was never a household name like Rush and others from that period, but he influenced a generation of guitar players. And even at the late dates of these two shows Hutto still sounds tough–his vocals unchanged and his piercing guitar style as exciting as any of his earlier work. Included here among many Hutto originals, are songs he’s played for many years like ”I Feel So Good” and ”Too Much Alcohol”, along with instrumentals (usually with the word ”Shuffle” in the title) which really show his slashing sound. Other songs here include Elmore James’ ”Early In The Morning”, Big Bill Broonzy’s ”I Feel So Good”, plus ”Caledonia”, ”I Got My Mojo Working”, and ”One Room Country Shack”.

His unnamed backing band (s) take short solos towards the beginning (tracks 4-5) and end of the first concert on the long (15 1/2 minutes) of ”J.B.’s Bonsoir Blues” (sic). They’re reminiscent of bands Hutto has used previously–keeping the rhythm going and accenting Hutto’s vocals or guitar work–and are never less than decent if faceless. Hutto’s bands were primarily laying down a foundation for Hutto to solo over and roam about at will, which they do well.

Also included are two tracks from very early in Hutto’s career, ”Combination Boogie”, and ”Now She’s Gone”, both from 1954. If you’re unfamiliar with Hutto’s early work these songs will give you a good idea of what he sounded like when he was just starting to make a name for himself. The sound of these two gigs is very good–raw and alive sounding–which accents Hutto’s playing. The booklet has an essay on Hutto and blues music (but nothing about the other musicians) along with some good photos from throughout his career–most with Hutto wearing a fez-like crown that he was known for.

If you’re a fan of Hutto (and if you like post-war, electric, South Side Chicago blues you should be) this is worth adding to your blues collection. If Hutto is new to you also check out his earlier albums like ”Hawk Squat”, ”Slidewinder”, ”Stompin’ At Mother Blues” (all on the Delmark label), ”Slideslinger” (Evidence), ”Rock With Me Tonight” (Bullseye), and J.B. Hutto & The Hawks Masters Of Modern Blues” (Testament), and his work on the ”Chicago The Blues Today!” series (Vanguard), plus others from Europe. His playing was never less than exciting and at times exhilarating. Hutto was a great example of no frills, post-war electric blues playing at it’s best.