"Montoya's singing is completely commanding; his strat leads rage across the disc like brush fire. A must-have for fans of contemporary electric blues guitar; stripped down and biting; chilling, swampy, beautiful; a modern blues master."
--Blues Revue

 

Buddy Guy : Mustang Sally 

Live in Montreux 

on the subject of slow blues :
 
 

 

 
 
 
 
 
 
 

 

Been waiting for you to show up here Jay  

 
Been listening to these guys on a regular basis....they are in the rotation .

Not rare or hard to find but I am a HUGE Buddy Guy fan. One of the few of the old school guys left to carry the torch.
 

I saw buddy at the end of last year, it is marked off of my bucket list...what a great night.
 
What a guy!

another georgia bluesman, this one from macon, johnny jenkins
jimmy hendrix was a sideman who was in macon visiting an aunt , and he met johnny , we all know what happened after that (yes, it's true)
it's a shame johnny never made it really big, his being afraid of, and refusing to fly severely hampered his rise 
ton ton macoute is a gem of an album, brother duane allman provides some licks on several cuts , HIGHLY RECOMMENDED !!
 

 

 

 
Strictly judging from the lyrical sentiment of his recordings, it might be wise not to make Chicago guitarist Byther Smith angry. Smitty's uncompromising songs are filled with threats of violence and ominous menace (the way blues used to be before the age of political correctness), sometimes to the point where his words don't even rhyme. They don't have to, either -- you're transfixed by the sheer intensity of his music. Smitty came to Chicago during the mid-'50s after spending time toiling on an Arizona cattle ranch. He picked up guitar tips from J.B. Lenoir (his first cousin), Robert Jr. Lockwood, and Hubert Sumlin, then began playing in the clubs during the early '60s. Theresa's Lounge was his main haunt for five years as he backed Junior Wells; he also played with the likes of Big Mama Thornton, George "Harmonica" Smith, and Otis Rush.
(courtesy Allmusic)

 
The eclectic creativity of Cain’s music owes something to his mixed background. Part Greek, part African-American, he was imbued with a love of the blues by his father who grew up on Beale St. in Memphis. Thus inspired, Cain took up the guitar at the age of eight. Studying at San Jose City College, he developed his precocious talent absorbing different techniques and influences as a multi-instrumentalist, playing piano, bass guitar, clarinet, alto and tenor saxophones. However, it is the guitar on which Cain has fused jazz and blues to create his own distinctive style. He made a remarkable debut in 1987 with Late Night City Blues which attracted several W.C. Handy award nominations. He developed his fusion style over several albums though the 90s with Blind Pig Records, not only playing his unusual brand of blues/jazz guitar but also triumphing as a successful songwriter and vocalist. The vocals carry a distinct echo of B.B. King, one of Cain’s early influences. Unscheduled Flight boasts 14 original compositions with one cover version.
(courtesy Allmusic)

 
 
Lead singer/guitarist Mato Nanji plays like a resurrected Jimi Hendrix and SRV combined.
The Native American blues-rock group Indigenous consists of three brothers, Mato Nanji (vocals and guitar), Pte (bass), and Horse (percussion), and their sister, Wanbdi (drums, vocals). The Nakota Nation members grew up on South Dakota's Yankton Indian Reservation and were inspired by their father, Greg Zephier, who had been a musician in the '60s and '70s and later became a spokesperson for Native American rights. The group released its 1998 debut album, Things We Do, on Pachyderm Records; the video for the title track was directed by Chris Eyre, who also directed the award-winning Native American film Smoke Signals. The group released the Blues This Morning EP and Live at Pachyderm Studios in 1999, while winning acclaim from critics and artists like Bonnie Raitt, the Indigo Girls, and Jackson Browne. The Circle followed in 2000.
(courtesy allmusic)

blueshound24 said:

   
Strictly judging from the lyrical sentiment of his recordings, it might be wise not to make Chicago guitarist Byther Smith angry. Smitty's uncompromising songs are filled with threats of violence and ominous menace (the way blues used to be before the age of political correctness), sometimes to the point where his words don't even rhyme. 

Click to expand...

That statement reminds me a great deal of John Lee Hooker also. On his song "Bad like Jesse James" he says something like, 'I may cut you, I may drown you, I just don't know" He says it with such conviction, I for one, totally believe him and I certainly would never want him mad at me!!

being that pain is a huge part of the blues, i think this qualifies, and i've always considered the ABB a blues band first
duane died a year previous, berry dies a month after this performance. 
i'd never seen this video before, so i thought i'd share