"The blues means everything to me. I have grown up loving this music and making friends with some of the greatest of blues musicians. Most of life’s lessons have been learned in the context of this music. The greatest life lesson I have learned is to follow your heart and to believe in yourself."

Bob Corritore: Nothin' But The Blues

Bob Corritore is one of the most active and highly regarded blues harmonica players on the scene today. His style passionately carries forward the old school of playing that Corritore learned as a young man directly from many of original pioneers of Chicago Blues. His sympathetic, yet fiery harmonica playing is featured on over 100 releases to date, on various labels. Many of Bob’s acclaimed releases have been nominated or winners for various music awards. Bob is also widely recognized for his many roles in the blues, as band leader, club owner, record producer, radio show host, arts foundation founder, and occasional writer. Born on September 27, 1956 in Chicago, Bob first heard Muddy Waters on the radio at age 12, an event which changed his life forever. Within a year, he was playing harmonica and collecting blues albums. He would see blues shows in his early teens, including attending a Muddy Waters performance at his high school gymnasium. He would cut his teeth sitting in on Maxwell Street with John Henry Davis and others until old enough to attend blues clubs. He hung around great harp players such as Big Walter Horton, Little Mack Simmons, Louis Myers, Junior Wells, Big John Wrencher, and Carey Bell, and received harmonica tips and encouragement from many of them.                                                            (Bob Corritore / Photo © by Dave Blake)

He would regularly see the Aces, Howlin’ Wolf, Muddy Waters, Billy Boy Arnold, John Brim, Sunnyland Slim, Smokey Smothers, Eddie Taylor, and in many cases became personal friends with these blues veterans. Corritore worked with Tail Dragger, Big Moose Walker, Willie Buck, Louis and Dave Myers, and Eddie Taylor in the late 70s and early 80s. He also produced his first recordings during that time, taking unheralded harmonica greats such as Little Willie Anderson and Big Leon Brooks into the studio to produce their classic debut albums. In 1991, Bob opened the famous Blues and Roots Club, The Rhythm Room. Having a club created yet another catalyst for Bob’s musical projects. Bob’s archives of these sessions are famous, and include sessions with Bo Diddley, Little Milton, John Brim, Jimmy Rogers, Henry Gray, Pinetop Perkins, Ike Turner, Jimmie Vaughan, Henry Townsend, Honeyboy Edwards, Big Jack Johnson, Smokey Wilson, Lil’ Ed, Willie “Big Eyes” Smith, Nappy Brown, R.L. Burnside, Louisiana Red, Robert Lockwood, Jr., Sam Lay, Barbara Lynn, Eddy Clearwater, and numerous others. Bob released with blues master Bob Margolin, an acoustic duo album titled "So Far" (2022), and “Crawlin’ Kingsnake” (2024) was the fourth collaboration album for John Primer and Bob Corritore, two artists who have always had the Chicago spark. New alum “Early Blues Sessions” (2025 / VizzTone) is a beautiful collection of songs from Bob’s vaults recorded between 1984 and 2007. Through the lens of time we can see how cherished this sound of the blues originators is! The sixteen tracks include many remixed and previously unreleased gems. Most of the artists featured on this album are no longer with us, but their recordings will live on forever.

Interview by Michael Limnios                    Bob Corritore, 2020 Interview @ blues.gr

What do you learn about yourself from the blues and what does the blues mean to you?

The blues means everything to me. I have grown up loving this music and making friends with some of the greatest of blues musicians. Most of life’s lessons have been learned in the context of this music. The greatest life lesson I have learned is to follow your heart and to believe in yourself.

How do you think that you have grown as an artist since you first started making music? What has remained the same about your music-making process?

I feel like I am a lifelong student and I learn and explore music everyday. And I also consistently play with all of my heart and soul. Each live performance, rehearsal, or recording seems to show me something different about myself. What has changed is that with every passing year I feel that I’m a little better I getting my artistic expression across. I have been blessed with some great opportunities and I always try to live up to these cherished moments.

How did the idea of The Rhythm Room come about? Why do you think that ‘The Rhythm Room’ (ex-Purple Turtle) music legacy continues to generate such a devoted following?

I moved to Phoenix in 1981, soon to be followed by my Chicago friend Louisiana Red. The first gig that Red and me ever booked in Phoenix was at the Purple Turtle. Years later after the original owner had run his course and the club had been closed down I got a call from the property owner who asked me if I would consider developing the room into a blues bar. Funny how these things work out. I guess it was fate. Since the Rhythm Room has always booked traditional blues as part of our mix, we’ve developed a dedicated audience that celebrates our offerings.

“I get a feeling of satisfaction when I get done with an album that I feel has taken me further than ever before. I sometimes worry that I can’t top what I had just done. But then I get into the studio with a bunch of dedicated players, and we all find inspiration to take it to the next level. That’s what keeps me passionate. There’s always more work to do and more growth. After all these years, I still consider myself a student of the music. I’m always learning new things.“ (Louisiana Red & Bob Corritore on the Patio at The Rhythm Room, 2008 / Photo by Dave Blake)

Currently you’ve one more release titled ‘Early Blues Sessions’. What has made you laugh and what touched you from your early days in the blues? What are your most vivid memories from those days?

When I look at the cover of Early Blues Sessions and I see that baby face version of myself which was taken in 1998 when I was 42 years old, it makes me laugh! And now I look in the mirror at this 69-year-old version of myself, and I wonder how that young man was able to accomplish all these recordings. I have to say that I was very driven to instigate all of those sessions. I also knew that I was stepping above my own class in asking these legendary blues masters if they would grant me the privilege of a recording session. I guess they saw a person with a passionate desire to participate in the music and I’m very thankful that they let me share their blues with them. I did my best to create great studio bands with wonderful true blues players. I had loved blues music since first discovering it at age 13. So I knew the sound that I was trying to achieve. I listen back and I think I did a pretty good job capturing a pure blues sound. Of course I had the help of brilliant musicians like Chico Chism (former Howlin’ Wolf drummer) who was my regular session drummer and Johnny Rapp who is a spectacular traditional guitarist.

There’s no better feeling than recording an inspired performance, then hearing the playback, and everybody in the room having an incredible sense of satisfaction with what we just had created. I also have to mention Clarke Rigsby with his great recording studio, Tempest Recording. Clarke is the ultimate professional as well as a great friend. These recordings would not have been possible without being able to count on Clarke Rigsby. I was especially lucky to be able to perform and record with my blues heros like Jimmy Rogers, Bo Diddley, John Brim, Koko Taylor, Pinetop Perkins, Henry Gray, and so many more!

What keeps a musician passionate after five decades in blues? Is there a message that the Blues trying to convey to us?

I get a feeling of satisfaction when I get done with an album that I feel has taken me further than ever before. I sometimes worry that I can’t top what I had just done. But then I get into the studio with a bunch of dedicated players, and we all find inspiration to take it to the next level. That’s what keeps me passionate. There’s always more work to do and more growth. After all these years, I still consider myself a student of the music. I’m always learning new things.

“Blues has always held its own, but it’s always been outside of what’s considered popular music. I think that genuine, heartfelt music of any genre will always have its audience.” (Bob Corritore with Bobby Dixon & Willie Dixon, 1990 / Photo by David Horowitz/Wart Enterprises — Bob Corritore & Robert “Junior” Lockwood, 1997 / Photo by Jim Wells — Bob Corritore & R.L. Burnside, 1999 / Photo by Jim Wells — Bob Corritore & Big Pete Pearson, 1983 / Photo by Bill Jenkins)

Why is it important to we preserve and spread the blues? What is the role of Blues music in today’s society?

I cannot overstate how important it is for people to understand the roots of blues music. Blues comes from American black culture and the music has paid some hard earned dues. To me if you’re going to play Blues properly, you have to hold sacred the great legends that came before us. These legends are the foundation of the music. It’s important to fully learn the blues language and it’s meaning, but then it’s also important to have your own conversation in that language. That keeps the music fresh and personal. I cannot really speak for how Blues fits into society, probably because I don’t know if I fully fit into society. I choose to play Blues in honor of its traditional sound.

How can a band/musician truly turn the blues into a commercial and popular genre of music for the today's audience?

If you know the answer to that question, please tell it to me. Blues has always held its own, but it’s always been outside of what’s considered popular music. I think that genuine, heartfelt music of any genre will always have its audience.

You’ve worked in many different settings, from clubs, bars and studios to open air festivals and juke joints. How do you navigate between these different worlds?

These different types of venues that I play are all part of a bigger picture. They all work in tandem to achieve the same end. Our goal is to bring the music to the people. To present it in a way that people will find themselves within the message of the song. There is no better music to deliver that message than The Blues.

How has your experience with the “golden era” of blues influenced the way you lives, compose and perform today?

I was very lucky that in the 1970s I was around so many of the influential musicians who had created the music decades before. I somehow had an inherent understanding of how important the older style of blues was. Being born and raised in the Chicago area, the blues all around me. Muddy Waters played our high school gymnasium, and Sam Lay played in the school auditorium! Then when I turned 18, I started going to the blues clubs, where I could see literally all of the greats! Those were some amazing times and many great friendships were made. Sadly, very few of my blues heroes from back then are still with us. I have always felt it’s important to keep their tradition alive. I’ve dedicated my life to that task.

"Blues playing requires a level of skill, but more importantly it’s about the feel. Playing Chicago blues is very conversational, and you have to wear your heart on your sleeve to play it. At least that’s my opinion and my approach. There is a certain unexplainable thing that goes along with Chicago blues." (Bob Corritore & John Primer / Photo © by Dave Blake)

In 2024, released an album by VizzTone with John Primer. How did that relationship come about? Do you have any stories about the making of Crawlin’ Kingsnake?

I used to go see Junior Wells and James Cotton in the 1970s at Theresa’s Lounge on the South Side of Chicago. This is where and when I first became aware of John Primer who, along with guitarist Sammy Lawhorn was in the club’s great house band. From there, I watched his career grow as he joined the Muddy Waters band and then Magic Slim & The Teardrops before launching his successful and prolific solo career. It was at the Chicago Blues Festival, probably in the late 1980s when I first realized the power of John Primer. There was a Muddy Waters tribute set on the main stage where John Primer sang the majority of the vocals. I was completely knocked out! It took us until 2012 before we actually played together! John’s booking agent Jay Riel called me to book John and have my band back him. I suggested that we also do a recording session and John was agreeable to this. Because John and I are both steeped in the Chicago Blues tradition, it was immediately obvious to both of us that this was a great fit. We went into the recording studio and right away we nailed it! We put another couple sessions together to finish out an album which was released in 2013. It went to number one on the Living Blues Radio Charts. So, John asked me if I wanted to do another album with him. So, skip ahead to numerous tours, festivals, recording sessions, club dates, and here we are with our fourth collaboration together. It’s been a relationship of mutual respect and shared friendship and work ethic. John Primer is pure Chicago Blues, and he brings out a side in my playing that shows my deep roots in that style. The album Crawlin’ Kingsnake was our post pandemic album, and we were anxious to get back to business. I think that album showcases the comfort that we share playing straight Chicago blues together!

What's the balance in music between technique (skills) and soul/emotions? What is the driving force behind your continuous support for your music?

Blues playing requires a level of skill, but more importantly it’s about the feel. Playing Chicago blues is very conversational, and you have to wear your heart on your sleeve to play it. At least that’s my opinion and my approach. There is a certain unexplainable thing that goes along with Chicago blues. I think you have to have grown up around it to really understand the nuances of how it’s supposed to feel. I see lots of other amazing harmonica players from other parts of the country. They play really great, but they are missing some of the feel inherent in Chicago blues. That intangible Chicago element is impossible to explain, but you know it as soon as you hear it!

"It’s very gratifying to have many young friends seriously striving to keep this Blues music moving forward! Wherever I travel, I am shocked by people connected to me by their love of blues music. Although it’s not mainstream, blues is a bridge that allows all people to come together." (Bob Corritore & Henry Gray / Photo © by Marilyn Stringer)

From the musical and feeling point of view is there any difference between the old cats and great bluesmen and the young generation of blues musicians?

Nothing could ever beat the historical blues artists who defined the music that we love so much! That is the bedrock of this sacred music. But blues has always adapted to reflect the current day surroundings and there some great and upcoming artists in today’s scene. So there is a difference in the newer blues because it has an updated context. Many of the older blues had a different texture that was intricate in the most subtle of ways. Some of that is getting lost in the newer blues playing. Will anyone in the future play piano like Sunnyland Slim or Henry Gray? And if they did then that style might be incomparable with most modern day musical surroundings. There are a handful of young traditionalists that really delve into the old school sound! Thinking of Jontavious Willis, Ben Levin or Young Rell as examples of contemporary traditionalists. The blues will live on but it will, by necessity shift and change with the times.

Do you think there is an audience for blues music in its current state? or at least a potential for young people to become future audiences and fans?

Yes! Wherever you go, there are always blues fans wanting to embrace and support the music. I’ve been blessed to play all around the world, and I’ve made many friends along the way. Many of my fans often shock me with how they collect all of my albums and follow my career moves! And in the last few years, I’ve really noticed lots of younger people really serious about traditional blues. It’s very gratifying to have many young friends seriously striving to keep this Blues music moving forward! Wherever I travel, I am shocked by people connected to me by their love of blues music. Although it’s not mainstream, blues is a bridge that allows all people to come together.

Life is more than just music, is there any other field that has influence on your life and music?

I went to school to study business. But I could never hold down a straight business job. It just didn’t really interest me. But when you look at music as business then it can help you navigate. I say that almost sarcastically because music is not a very profitable venture. We occasionally have some nice paying gigs, but I doubt that I will ever be rich. But I guess the point is to make enough to live decently while staying in the headspace of music. I think my business studies have helped me navigate through life. I also love visual art and I work with great artists and graphic designers to put out the most attractive music packaging! A big shout out to Vince Ray and Jimi Giannatti. To be honest my life pretty much revolves around music everyday!

"The music industry is a very competitive industry and though I have received lots of encouragement along my path there certainly have been lots of obstacles. My first obstacle was with myself." (Three Aces of the Blues : Bob Corritore, Bob Margolin & Bob Stroger / Photo © by Marilyn Stringer)

Do you have any interesting stories with Bob Margolin and "So Far" album (2020)?

I first became aware of Bob Margolin in 1974 when the Muddy Waters Band played a concert at my high school gymnasium! Muddy and his band were simply incredible, and I looked on at them in awe. Little did I know that Bob Margolin and I would become great friends and eventually tour, record, and travel the world together. Over many years, I used to go see that band whenever I could and I mostly hung out with Jerry Portnoy (Muddy’s harmonica man), and I really did not get to know Bob well until much later. It wasn’t until the late 80s in Phoenix that we started working together. The Phoenix Blues Society put on a show dedicated to the music of Muddy Waters and Howlin’ Wolf. Bob Margolin was the featured out of town guest and I was playing in Chico Chism’s band and Chico was Howlin’ Wolf’s last drummer. That show was our first time playing together! Bob Margolin was quick to respond to my traditional Chicago Blues playing and I was delighted to play with this great musician who I admire. Every time that Bob Margolin came to town after that he always invited me to his stage. In 1996 Margolin and I did our first of many recording sessions together backing Henry Gray. The session was spectacular! In 2007 Bob Margolin was a special guest of my band project with Big Pete Pearson for a small tour of Europe that included the Lucerne Blues Festival in Switzerland. Margolin and me eventually started a band project called the Bobs Of The Blues with Bob Stroger and various drummers. We just played the Northwoods Blues Festival in Chippewa Falls, Wisconsin with Kenny Smith on drums. We love working with Kenny when the scheduling works out. Bob Margolin and me have done numerous shows together all around the world and have made lots of recordings over many years. So, our recording project was appropriately titled So Far! I have to say so far so good!

Why do you think that the Acoustic Blues continues to generate such a devoted following?

Since So Far is my first all acoustic album project I really can’t speak from experience. Bob Margolin and I hope that we can do some acoustic shows in this format. I have to say that I really enjoyed exploring the acoustic approach to playing. Since Bob Margolin and I have been playing together for years we have a natural fit. So when he approached me with this project, I was happy and honored to sign on! For a harmonica player, acoustic playing has lots of hand effects and microphone dynamics. It’s much different than playing amplified harmonica.

"I feel like I am a lifelong student and I learn and explore music everyday. And I also consistently play with all of my heart and soul. Each live performance, rehearsal, or recording seems to show me something different about myself. What has changed is that with every passing year I feel that I’m a little better I getting my artistic expression across. I have been blessed with some great opportunities and I always try to live up to these cherished moments."  (Bob Corritore / Photo © by Dusty Scott)

What moment changed your life and career the most? What do you think is key to a blues life well lived?

The first time I heard Muddy Waters on the radio was a complete life changer. I found complete satisfaction in his music. From that moment forward my life was going in that direction.

As far as your question how to lead a well lived blues life. I think it’s important that if you are involved in blues music, you must realize that you’re dealing with a genre that is not in the mainstream. I think that if you adjust your expectations to that reality, you can enjoy its many offerings with satisfaction. Nobody is getting rich off of blues music that I know. But we all get to live very rich lives filled with music, friendship, growth and travel. Over the years I have developed a strong and dedicated fan base that celebrates my achievements and encourages me. I’d like to think that I create music that touches people and gives them joy. As I get older, I miss the many great veterans that have left us, but I cherish their memories and the lessons learned. And it’s encouraging when the younger artists tell me that I have inspired them. It’s very gratifying when you can make music that’s important to you and then becomes important to others.

What has been the hardest obstacle for you to overcome as a person and as artist and has this helped you become a better blues musician?

The music industry is a very competitive industry and though I have received lots of encouragement along my path there certainly have been lots of obstacles. My first obstacle was with myself. I had to achieve a level of skill that I thought was worthy of the sacred music that I was playing. The second obstacle was to convince the world around me that I was serious and that I had a place in this music. The third obstacle was to create a strategy to achieve the upward momentum of being an internationally accepted recording and touring artist. I am 65 years old now and I look back at the yearning and the struggle I went through and all of it made me stronger, better and more confident.                             (Bob Corritore / Photo © by Ivan Marcio)

"As far as your question how to lead a well lived blues life. I think it’s important that if you are involved in blues music, you must realize that you’re dealing with a genre that is not in the mainstream. I think that if you adjust your expectations to that reality, you can enjoy its many offerings with satisfaction."

What´s been the highlights in your life and career so far?

That’s a really tough question. It seems like each phase of my life has its own highlights.

So here is a small summary which is far from listing everyone and everything. In 1973 I sat in a set with John Henry Davis on the legendary Maxwell Street. In 1974 at age 18 I was able to get into the Chicago blues clubs and harmonica master Little Mack Simmons invited me on stage to join him for two harmonica instrumentals. This was my first time playing a Chicago Blues Club. Not long after that I got to sit in with The Aces (Little Walter’s legendary band) at the regular blue Monday jam session they hosted at Louise’s Lounge on Chicago’s south side. In 1980 I was hired as the harmonica player in Willie Buck’s band with also included Louis Myers, Dave Myers, and Big Moose Walker! That was some top shelf stuff and a real coming of age for me. I moved to Phoenix in 1981 and in early 1982 Louisiana Red came to Phoenix and stayed with me for most of a year. Playing with Red was so incredibly heavy. In 1984 I started my weekly blues radio show which is still going on! In 1986 Chico Chism (Howlin’ Wolf’s last drummer) moved to Phoenix and we worked together for the last 20 years of his life. In 1991 I started my music nightclub called the Rhythm Room. In 1992 and 1993 I got to do some short tours with the legendary Jimmy Rogers! That was a dream come true! In 1996 I began working with legendary piano player Henry Gray. We had an almost 25 years run of working together before he passed away in 2020. In 2005 I performed in Europe for the first time at the Marco Fiume Blues Passions Festival in Rossano Italy. Playing in Europe opened up a whole new market for me. I have been back to perform in Europe many many times! Over the years I have been blessed to perform numerous Muddy Waters tributes at various festivals. Always a highlight to be included in honoring the wellspring of my inspiration. I also feel blessed to work closely with other great artists such as Dave Riley, John Primer, Jimi Primetime Smith and of course Bob Margolin! And this latest album with Bob Margolin is my 20th release! All this so far and I’m not done yet!

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(Bob Corritore / Photo © by Marjani Viola Hawkins)