This combination works quite well. Guitarist-singer Lonnie Johnson was just starting a successful comeback, and here he is teamed up with acoustic rhythm guitarist Elmer Snowden (who had not recorded since 1934) and bassist Wendell Marshall. Johnson sings smooth blues and sentimental ballads with equal skill, and both guitarists have opportunities to display their complementary but distinctive styles. This CD reissue is easily recommended, as is its more instrumental counterpart, Blues, Ballads, and Jumpin' Jazz, Vol. 2.

Erotic, humorous, and loaded with double entendres, these dozen tunes were recorded between 1956-1961 by Memphis Slim, Tampa Red, Victoria Spivey, Lonnie Johnson, Pink Anderson, Memphis Willie B., and Blind Willie McTell. The collection includes "Let Me Play with Your Poodle," "I'm a Red Hot Mama," and "If You See Kay."

After four years off records and in obscurity, Lonnie Johnson launched his final comeback with this release, which has been reissued on CD. Teamed with tenor saxophonist Hal Singer, pianist Claude Hopkins, bassist Wendell Marshall and drummer Bobby Donaldson, Johnson sings and plays guitar on a variety of blues, showing that the layoff (he was working at the time as a janitor) had not hurt his abilities in the slightest.

When producer Chris Albertson brought Lonnie Johnson and guitarist Elmer Snowden into a studio for this album on April 9, 1960, both musicians hadn't recorded in a number of years. Indeed, Snowden hadn't seen the inside of a studio in 26 years, but you'd never know it by the fleet-fingered work he employs on the opening "Lester Leaps In," where he rips off one hot chorus after another. Johnson plays a dark-toned electric while Snowden plays acoustic, with Wendell Marshall rounding things out on bass. Given Johnson's reputation as a closet jazzer, it's remarkable that he merely comps rhythm behind Snowden's leads on "C-Jam Blues" and "On the Sunny Side of the Street." Johnson handles all the vocals, turning in an especially strong turn on the second take of "Stormy Weather." Lots of studio chatter make this disc of previously unissued material a real joy to listen to, a loose and relaxed session with loads of great playing and singing to recommend it.

Groundbreaking guitar work of dazzling complexity that never fails to amaze - and this stuff was cut in the 1920s! Lonnie Johnson's astonishingly fluid guitar work was massively influential (Robert Johnson, for one, was greatly swayed by his waxings), and his no-nonsense vocals (frequently laced with threats of violence - "Got the Blues for Murder Only" and "She's Making Whoopee in Hell Tonight" are prime examples on this 19-cut collection) are scarcely less impressive. Johnson's torrid guitar duets with jazzman Eddie Lang retain their sense of legend over nine decades after they were cut.