1-My Babe
2-Hubert's Blues
3-We Gonna Jump
4-Too Late For Me To Pray
5-I Love
6-It's You My Baby
7-Love You,Woman
8-Every Time I Get To Drinking
9-When I Feel Better
10-Blues Any Time

Hubert Sumlin - Guitar, Vocals
Clifton James - Drums
Sunnyland Slim - Piano, Vocals
Willie Dixon – Bass

Quiet and extremely unassuming off the bandstand, Hubert Sumlin played a style of guitar incendiary enough to stand tall beside the immortal Howlin' Wolf. The Wolf was Sumlin's imposing mentor for more than two decades, and it proved a mutually beneficial relationship; Sumlin's twisting, darting, unpredictable lead guitar constantly energized the Wolf's 1960s Chess sides, even when the songs themselves (check out "Do the Do" or "Mama's Baby" for conclusive proof) were less than stellar.

Sumlin started out twanging the proverbial broom wire nailed to the wall before he got his mitts on a real guitar. He grew up near West Memphis, AR, briefly hooking up with another young lion with a rosy future, harpist James Cotton, before receiving a summons from the mighty Wolf to join him in Chicago in 1954.

Sumlin learned his craft nightly on the bandstand behind Wolf, his confidence growing as he graduated from rhythm guitar duties to lead. By the dawn of the '60s, Sumlin's slashing axe was a prominent component on the great majority of Wolf's waxings, including "Wang Dang Doodle," "Shake for Me," "Hidden Charms" (boasting perhaps Sumlin's greatest recorded solo), "Three Hundred Pounds of Joy," and "Killing Floor." Although they had a somewhat tempestuous relationship, Sumlin remained loyal to Wolf until the big man's 1976 death. But there were a handful of solo sessions for Sumlin before that, beginning with a most unusual 1964 date in East Berlin that was produced by Horst Lippmann during a European tour under the auspices of the American Folk Blues Festival (the behind-the-Iron Curtain session also featured pianist Sunnyland Slim and bassist Willie Dixon).

Only in the last few years has Sumlin allowed his vocal talents to shine. He's recorded solo sets for Black Top and Blind Pig that show him to be an understated but effective singer -- and his guitar continues to communicate most forcefully.

This is the 1st solo lp from Hubert recorded in 1964 and released on the Scout label in Germany in 1969. Backing him are Willie Dixon, Clifton James and Sunnyland Slim. --- coblues.com

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Hubert Sumlin - Healing Feeling (1990)

01. I Don’t Want to Hear About Yours 
02. Healing Feeling 
03. Just Like I Treat You 
04. Come Back Little Girl 
05. Play It Cool 
06. Without a Friend Like You 
07. I Don’t Want No Woman 
08. Blue Shadows 
09. Down the Dusty Road 
10. Honey Dumplins 
11. Blues for Henry

Hubert Sumlin -  Guitar, Vocals
James "Thunderbird" Davis - Vocals
Ronnie Earl - Guitar, Producer
Steve Gomes - Bass, Guitar (Bass)
Per Hanson - Drums
Mark "Kaz" Kazanoff - Sax (Tenor)
Darrell Nulisch - Harmonica, Vocals
Richard "Dickie" Reed - 	Organ, Piano
T-Bird -	Vocals

Hubert Sumlin arguably did his best work during the 23 years he was Howlin' Wolf's guitar player, and his ragged, angular guitar style was a big part of Wolf's rough-and-ready sound. The perfect sideman, Sumlin was by all accounts somewhat shy and reticent about taking center stage, and Healing Feeling, his second album for Black Top Records, much like his first, Hubert Sumlin's Blues Party, is really more of an all-star blues jam than it is a fully realized project. Recorded May 5 and 6, 1989, at Southlake Recording Studios in Louisiana, with two additional tracks coming from a live show at Tipitina's in New Orleans earlier in the day on May 5, the sessions were once again organized by guitarist Ronnie Earl, whose band the Broadcasters is used on most of the cuts. The vocal duties were shared by James "Thunderbird" Davis and Darrell Nulisch, with Sumlin singing on "Come Back Little Girl," "Honey Dumplins," and the set closer, "Blues for Henry," all of which gain poignancy because of Sumlin's somewhat fragile, whispered vocal approach. A clear highlight is Sumlin's solo electric guitar version of "Down the Dusty Road," which is focused, clear, and intimate. The sound of the album is a little thicker and punchier than Blues Party, but once again Sumlin pulls off the difficult task of sounding like a sideman on his own album project, which is a shame, since when he does step forward, things really start to take on a distinct character. The two Black Top albums (this one was originally released in 1990) are really like blues jam holding patterns recorded when Sumlin was still trying to figure out how to make the transition from ace sideman to revered bandleader. Both suffer a bit from not having a truly assertive Sumlin on board. ---Steve Leggett, allmusic.com

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01. Hidden Charms 
02. West Side Soul 
03. A Soul That’s Been Abused 
04. Letter to My Girlfriend 
05. How Can You Leave Me, Little Girl? 
06. Can’t Call You No More 
07. Blue Guitar 
08. Down in the Bottom 
09. Poor Me, Pour Me 
10. Living the Blues

Musicians:
Hubert Sumlin – guitar, vocals
Michael Ward – bass
David Maxwell - piano
Jerry Portnoy – harmonica
Bob Enos – trumpet
Greg Piccolo – tenor sax, vocals
Doug James – baritone sax
John Rossi – drums
+
Ronnie Earl – guitar, slide guitar
Mudcat Ward – bass
Mighty Sam McClain – vocals
Ron Levy – organ, piano, vocals

Hubert Sumlin was Howlin' Wolf's guitar player for 23 years, and his jagged, desperate, and angular guitar playing was a big part of Wolf's rough-and-tumble sound. This album was recorded in October 1986 at Newbury Sound in Boston, 11 years after Wolf's death, and although Sumlin had headlined some European albums, it was to be his debut solo album in the U.S. The sessions were initiated and put together by guitarist Ronnie Earl, who arranged for the presence of an all-star band, and brought in Mighty Sam McClain to handle most of the vocals, since Sumlin was notoriously reticent about occupying center stage. The result was really more of a jam session than anything else, and Sumlin doesn't really assert himself on any of these tracks, although his hesitant, soft, and fragile vocal on "How Can You Leave Me, Little Girl?" gives the song a real poignancy that manages to overcome the banal lyrics. There was nothing shy about McClain's singing, however, and he grabs the vocal microphone on four of the songs, including the strong opening track, a version of Willie Dixon's "Hidden Charms." Originally released on LP in 1987 by Black Top Records, Hubert Sumlin's Blues Party has a loose, fairly generic sound, and a case could be made that Sumlin wasn't quite ready yet for a solo career. Still, the album has its charms. ---Steve Leggett, Rovi

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01. I’m Coming Home 
02. Howlin’ for My Darlin’ 
03. That’s Why I’m Gonna Leave You 
04. How Many More Years 
05. Don’t Judge a Book by the Cover 
06. I Got It Where I Want It 
07. I’m Not Your Clown 
08. Smokestack 
09. I’ve Been Hurt 
10. Mind Is Rambling 
11. You My Best 
12. Good Bye

Hubert Sumlin (vocals, guitar); 
Jimmy D. Lane (guitar); 
Carey Bell (harmonica); 
Daivd Krull (piano, organ); 
Freddie Crawford (bass); 
Sam Lay (drums).

This is arguably the first musically indispensable album that Hubert Sumlin has done since Howlin' Wolf died some 23 years ago. That isn't to say that he hasn't done some good albums before this, just that I Know You has a degree of urgency, coupled with remarkable ease, that makes it a real delight. The result is a record that compares very favorably with Wolf's London Sessions record as a mix of old and new. Sumlin will never sound like Wolf as a singer, but he can't help sounding like him in every other way, since it was Wolf's guitar on practically every cut after 1954; but he does his best with a limited voice and a hot guitar to deliver some superb electric blues. Whether he's acknowledging Elmore James, Jimmy Reed, or John Lee Hooker, or paying tribute to Wolf himself ("How Many More Years," in a killer interpretation), Sumlin sounds like he's having great fun grinding and crunching away on his instrument. He even turns in a surprisingly strong vocal and guitar performance on a familiar piece of subdued blues, "That's Why I'm Gonna Leave You." There is a little dross here -- Sumlin doesn't do all that well stepping into John Lee Hooker territory; but generally, I Know You is a record that should please any fan of the Wolf or Sumlin (or, for that matter, James or Reed), with two tracks, "I'm Not Your Clown" and "Smokestack" (based on guess which song), indispensable to fans of hot blues guitar. Playing with him are Sam Lay (drums) and Carrie Bell (harp), with Jimmy D. Lane on second guitar and David Krull at the piano and organ. --- Bruce Eder, allmusic.com

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01. Your Foxy Self 
02. Chunky 
03. Sitting OnTop Of The World 
04. I Want You 
05. Bring Your Love To Me 
06. The Red Rooster 
07. Juke 
08. No Time For Me 
09. Got The Blues 
10. Old Friends

Hubert Sumlin (vocals, guitar); 
Tony O. (guitar); 
James Cotton (harmonica); 
Little Mike (piano); 
Brad Vickers (bass); 
Pete DeCoste (drums).

The veteran guitarist sounds more confident and expressive vocally here than on any other of his contemporary recordings. Backing by harpist James Cotton, along with Little Mike & the Tornadoes, is nicely understated, affording Sumlin just enough drive without drowning his easygoing vocals out (no small feat). ---Bill Dahl, allmusic.com

"Sumlin is one of the unsung heroes in Chicago's blues legacy, with a style that suggests the jagged delicacy of cut glass." - Chicago Sun-Times

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1 Happy With My French Friends Sumlin 4:03 
2 Broke and Hungry Sumlin 5:53 
3 Give the Name Jacquot Sumlin 5:04 
4 My Guitar and Me Sumlin 4:18 
5 Groove Sumlin 4:12 
6 Easy, Hubert, Easy Sumlin 3:54 
7 Don't Forget Sumlin 2:48 
8 I Wonder Why Sumlin 3:57 
9 Boogin' All Alone Sumlin 3:09 
10 The Last Boogie Sumlin 3:39 
11 I'll Be Home on Tuesday Sumlin 3:30 
12 Jerking in Paris Sumlin 3:59

Hubert Sumlin (vocals, guitar); 
Lonnie Brooks (guitar); 
Willie Mabon (piano); 
Dave Myers (bass guitar); 
Fred Below (drums). 

Sumlin's exceptionally low-key vocals and unexceptional backing by two-thirds of the Aces, pianist Willie Mabon, and rhythm guitarist Lonnie Brooks render this 1975 session pretty disposable overall. Sumlin cops plenty of solo space, but there's too little of the unrepdictable fire that greatly distinguished his work with Howlin' Wolf. ---Bill Dahl, allmusic.com

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1 All I Can Do Sumlin 5:15 
2 You Got to Help Me Sumlin 5:32 
3 Blues Is Here to Stay Studholme 3:14 
4 Sometimes I'm Right Sumlin 7:09 
5 Spanish Greens Sumlin 4:19 
6 Still Playing the Blues Studholme 4:26 
7 I Could Be You Sumlin 3:43 
8 Pickin' Sumlin 3:01 
9 Look Don't Touch Sumlin 3:43 
10 I've Stopped Crying Studholme 3:49

Hubert Sumlin (vocals, guitar); 
Richard Studholme (vocals, guitar, acoustic bass);
Jack Hill (piano); 
Steve Thorneycroft (drums).

The man who gave the guitar bite to Howlin' Wolf classics like "Wang Dang Doodle" and "Killing Floor" put together a set of originals almost as solid as his past work. ---Keith Farley, Rovi

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1. I'm Ready 
2. Still A Fool 
3. She's Into Something 
4. Iodine In My Coffee 
5. Look What You've Done 
6. Come Home Baby 
7. Evil 
8. Long Distance Call 
9. The Same Thing 
10.Don't Go No Farther 
11.I Love The Live, I Live The Live I Love 
12.Walkin' Thru The Park 
13.This Is The End, Little Girl

Hubert Sumlin (vocals, guitar, background vocals); 
Hubert Sumlin; George Receli (vocals, drums, percussion); 
George Recile (vocals, drums); 
Blondie Chaplin (vocals, percussion, background vocals); 
Nathaniel Peterson, Jr., Nathaniel Peterson (vocals); 
David Maxwell (guitar, piano); 
Mudcat Ward (bass guitar); 
Keith Richards (vocals, guitar, background vocals); 
Eric Clapton (vocals, guitar); 
Paul Oscher (vocals, slide guitar, harmonica); 
David Johansen (vocals); 
Bob Margolin (guitar); 
James Cotton (harmonica); 
Levon Helm (drums).

Hubert Sumlin's About Them Shoes is a refreshingly pure blues recording which comes at a time when others are distorting the genre with various "contemporary" elements. The songs are from the repertoire of Muddy Waters -- seven tunes written by Waters (McKinley Morganfield), four by Willie Dixon, one from Carl C. Wright, and a beauty by Sumlin to close things out. Dixon's "I'm Ready" starts things off with Eric Clapton on lead guitar and vocals, the drums of Levon Helm, and Paul Oscher's oozing harmonica filling in nicely with David Maxwell's piano. It's bouncy and shows a side of Clapton not often present on his own albums. Sumlin's lead is tasty, giving way to Oscher's equally gritty wail. Waters' own "Still a Fool" has Keith Richards on lead vocals and sharing the guitar chores with Sumlin. It's got that Rolling Stones-ish ragged edge that producer Rob Fraboni knows so well; Fraboni's guiding hand never gets in the way of the musical process that flows across the CD.

James Cotton's harp comes in to spice up "She's Into Something," which features percussionist George Recile on lead vocals and Helm back on the skins. Helm plays drums on eight of the 13 tracks, Recile on four, with the final number, Hubert Sumlin's only original, "Little Girl, This Is the End," closing the set without percussion. "Little Girl" features a charming interplay between Keith Richards and Sumlin's guitars, while Paul Nowinski adds a full-bottom bass to round things out. It's Sumlin's only vocal contribution to the disc, and that voice swims in Fraboni's mix of upfront guitars.

This particular song was premiered on Holly Harris' Blues on Sunday program on December 15, 2002, a few months before the album's release, and played next to the remastered "Love in Vain" from Let It Bleed, one could see why the distinctive Richards style is such an important component of the Rolling Stones' success. The two Keith Richards tracks as well as the two contributions from Clapton will get immediate attention, and they do not disappoint, but Blondie Chaplin's vocal on "Look What You've Done" as well as Paul Oscher's on "Come Home Baby" deserve to not get lost in the shuffle.

Nathaniel Peterson and George Recile also get to take the mic (with David Johansen about to add some vocals at press time), but none of the changing voices disrupt the vibe or take away from the fun. These blues aren't sad, they are charging, energetic performances from musicians who catch the groove and drive it for all it's worth. Maxwell's piano on Waters' "Come Home Baby" adds frills behind the guitars of Sumlin and Bob Margolin, while Oscher's harmonica just screams. It's a stunning blend of tension and dynamite, and one of the disc's highlights. About Them Shoes could have taken the marquee talent and gone for a glitzy platform to bring Hubert Sumlin into the mainstream. Instead, they dive headfirst into what this music is all about, and in doing so have come up with a mini-masterpiece. It's one of those records that can run endlessly in the CD player and keep entertaining. Hopefully it will expand the audience of this deserving virtuoso. --- Joe Viglione, allmusic.com

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