Omar Coleman & Igor Prado

Old, New, Funky And Blue

Nola Blue Records

Omar Coleman was born in 1973 and raised on the West Side of Chicago, where he worked as a barber. He decided to learn the harmonica in 2003, and his talent quickly became evident. Coleman appeared on Severn Records’ 2006 release Diamonds in the Rough: Chicago Harmonica Project, produced by Twist Turner and Rick Kreher. In 2010, he was invited to join the Sean Carney Band, winners of the 2007 International Blues Challenge, touring internationally with the group. He followed up in 2011 with West Side Wiggle, featuring special guests Kenny “Beedy Eyes” Smith, Billy Flynn, and Bob Stroger. His third album, 2015’s Born & Raised, solidified his reputation and earned him a nomination for “Most Outstanding Musician” from Living Blues magazine. Since then, Coleman’s soulful vocals and fiery harmonica have captivated audiences from the Windy City to San Francisco, and from France to Brazil and beyond.

As a left-handed youngster in Brazil, Igor Prado taught himself to play guitar. After recording three albums under the name The Prado Blues Band, he released his first album as the Igor Prado Band in 2007, titled Upside Down. He developed a strong reputation as a guitarist by backing American blues harpists and vocalists during their tours of Brazil. Prado was known for first taking visiting musicians to Restaurante Don Mariano in São Paulo for food and cachaça before heading to the recording studio. He also recorded in Brazil with various Delta Groove artists on Way Down South. That band included Igor on guitar, his brother Yuri on drums, Rodrigo Mantovani on bass, Ari Borger on piano, and Denilson Martins on saxophones, with special guests including Lynwood Slim, Junior Watson, Sugaray Rayford, and harmonica players Kim Wilson, Mitch Kashmar, Rod Piazza, and Omar Coleman. Each track stood out as a highlight.

This album was recorded, mixed, and mastered by Igor Prado and Chico Blues at Prado Studio in São Caetano do Sul, São Paulo, Brazil. The executive producers are Coleman and Prado. Coleman provides lead and backing vocals and harmonica on four tracks. Prado plays guitar, bass on three tracks, and contributes backing vocals. His brother Yuri plays drums, with additional rhythm support from Juninho Isidoro on drums and Ted Fortado on bass. Luciano Leaes appears on piano, Felipe Magon on organ, Denilson Martins on saxophones, and Bruno Belasco on trumpet. Additional guitar work comes from brothers Rodrigo and Eduardo Belloni.

On Old, New, Funky & Blue, listeners are treated to infectiously danceable grooves influenced by Junior Wells, Bobby Rush, and Syl Johnson, with echoes of Albert King, Albert Collins, and Ike Turner throughout. The album includes six originals and five reimagined covers. While Coleman handles lead vocals, Prado’s backing vocals play a crucial role in shaping the overall sound.

The album opens with the funky co-written original “I’m Leaving My No Good Woman,” which perfectly captures the spirit of the album’s title. Coleman sings, “I used to have a woman, she was no good for me… I had to get away, I had to leave her behind.”

Other co-written originals include “Cut You Loose,” as Coleman declares, “I gave you everything, but you took it for granted… I’m gonna cut you loose, baby, let you go.” The high-energy “Moving On to Better Days” finds Coleman chanting, “I caught you in a lie… I’m moving on to better days,” while the funky “Answer Your Phone” features him pleading, “Why won’t you answer your phone? I’ve been calling you all night long.”

“Brown Nosin’ Man” is an amusing, toe-tapping portrait of a familiar character, as Coleman belts, “Behind your back he’s a brown nosin’ man… just foolin’ himself with the lies he spreads.”

The album closes its original material with “Blue Line Train in Chicago,” where Coleman channels a Howlin’ Wolf–style delivery, riding the rhythm with raw intensity.

The five cover songs include two written by Edward E. Randle. On “I Only Have Love,” co-written with Willie Mitchell, Coleman croons, “I only have love for you… I wasn’t born with a silver spoon.” On “I Let a Good Girl Go,” originally recorded by Syl Johnson in 1973, Coleman wails with regret over lost love.

“I Wanna Do the Do,” co-written by Leon A. Huff and Bobby Rush and originally sung by Rush in 1978, explodes with energy as Coleman urges listeners to hit the dance floor, punctuated by his expressive harmonica work. “Don’t Give It Away,” written and recorded by Syl Johnson in 1969, delivers a funky warning wrapped in swagger.

The final cover, “Night Fishin’,” written and sung by Emmett Ellis Jr., better known as Bobby Rush, finds Coleman chirping about late-night catfish and after-hours adventures.

On the closing original, “Blue Line Train in Chicago,” Coleman fully embraces his Howlin’ Wolf influence, blowing high, piercing notes on the harmonica as he sings about riding the train home, a symbol of constancy amid life’s ups and downs.

It’s nearly impossible to sit still while listening to this album. Rich with respect for where the blues has been and excitement for where it’s headed, Old, New, Funky & Blue blends tradition with funk and soul. Outstanding songwriting, singing, and musicianship come together with polish and passion, serving as a powerful reminder that the blues still brings people together—and the world could certainly use more of that.

Richard Ludmerer

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