Album Review: Omar Coleman & Igor Prado – Old New Funky and Blue

Omar Coleman is at the top of his game, and he’s paid his dues along the way. First heard on record on a 2007 compilation of local harmonica players, the Chicago native released is solo debut four years later. Four more albums – two for Delmark – followed, including a fiery live set. Coleman won a 2018 Living Blues Award for Most Outstanding Musician (Harmonica). His 2024 release on Color Red, Strange Times continued a streak of impressive releases. Now he returns, pairing with Brazilian left-handed guitarist and Blues Music Award nominee Igor Prado for Old, New, Funky and Blue.

The 11-track disc features six tunes co-composed by Coleman and Prado. “I’m Leaving My No Good Woman” is deep-down New Orleans funky, with a tight, honking horn section and some inventive guitar work from Prado. “Cut You Loose” showcases a deep groove, searing guitar and a predictably assured, powerful and out-front vocal turn from Coleman. “Moving on to Better Days” displays a ‘70s funk influence, with a hypnotic groove; Prado’s lean guitar fills engage in dialogue with Coleman’s lead vocal.

“Answer Your Phone” changes up the vibe. After a spoken into laid atop pattering percussion, the tune kick into gear with a whip-tight arrangement. Coleman’s voice is multi-tracked here, adding to the texture. Prado’s solo is exciting without being flashy. The playful “Brown Nosin’ Man” channels The Meters and displays a Crescent City second line influence. For the album closer “Blue Line Train in Chicago,” Coleman and Prado turn their attention toward acoustic blues. The chugging number points at another direction the duo could have taken (likely with fruitful results) and features Coleman’s superb harmonica playing.

Five covers round out the album. Syl Johnson’s 1975 cut “I Only Have Love” is built on a thundering and assured bass line with punchy horns, digging deep and connecting to the soul-blues vibe of Johnson’s original. Another Johnson cover is an outlier: the gentle yet searing balladry of “I Let a Good Girl Go” showcases a different side of both Coleman’s and Prado’s artistry. Its spare arrangement – acoustic guitar, vocal and nothing else – works wonderfully. And Johnson’s “Don’t Give it Away” provides the horn section a chance to shine brightly while the rest of the band takes on a style reminiscent of James Brown.

Bobby Rush’s “I Wanna Do the Do” is really a thin rewrite of Willie Dixon’s “Wang Dang Doodle,” but what a rewrite! In the hands of Prado and Coleman, the tune retains all of its cheeky fun, with a vibe that suggests the best of 1970s r&b, funk and soul all wrapped together. Prado and organist Felipe Magon engage in some tasty back-and-forth in the brief instrumental break, while bassist Ted Furtado maintains a snaky, repetitive (in the best way) bottom-end. On a reading of Rush’s 2005 “Night Fishin’” Coleman alternates between powerful vocal lines and tasty harmonica fills.

Old, New, Funky and Blue showcases a side of Omar Coleman that followers may not have fully expected, but his committed approach to the project – plus Prado’s always on-target guitar work – make this new release a success.