Paul Filipowicz

Breakwater

Big Jake Records

Paul Filipowicz was born in Chicago in 1950, and his lifelong love affair with the blues began early. One night, while listening to the radio, he heard both Sonny Boy Williamson II and Muddy Waters—and the blues bug bit hard. His first exposure to live blues came when his father took him to see Otis Rush. As Paul recalls, “The only way my dad could get out of the house on a Saturday night was to take us boys along—and man, did we see some joints!”

Self-taught and proudly rough-hewn, Filipowicz learned to play without a pick, drawing inspiration from the greats—Magic Sam, Muddy Waters, Jimmy Dawkins, and Luther Allison. Over the years, he’s opened for Hound Dog Taylor, Mighty Joe Young, and many others, carving out a legacy as one of the Midwest’s most authentic torchbearers of gritty, West Side blues.

He released his debut album in 1996, and in the years since has built a loyal following through relentless touring and honest, hard-hitting records. His recent releases include 2015’s Rough Neck Blues Live, recorded at The Knuckle Down Saloon in Madison, Wisconsin; 2018’s Unfiltered on Big Jake Records; and 2022’s Pier 43, also on Big Jake. Now, after fifty-four years on the scene, Filipowicz returns with Breakwater, his twelfth recording—featuring seven originals and five handpicked covers.

Filipowicz handles guitar and vocals throughout and plays harmonica on one track. He’s joined by an all-star supporting cast: harmonica ace Martin Lang; saxophonist Erik Beraud; keyboardist Jimmy Voegeli; bassist E.G. McDaniel; and drummer Steven Doughtery. Vocalist Maggie “Blues Chic” Aliotta also makes a guest appearance.

The album kicks off with “Tuff Girl,” an R&B-fueled dance party written by Syretta Dobyans. Filipowicz sings, “My baby’s tough, mighty fine, I wanna give her a little more… my baby’s tough, a diamond in the rough, she’s tough enough, baby.” It’s a strong, energetic opener that sets the tone for what’s to come.

Next, he digs deep into Howlin’ Wolf’s “I’m Leaving You.” Paul channels that raw Wolf energy as he belts, “Well maybe in the mornin’, I don’t know, baby, don’t know just how soon, but I’m leavin’ you woman, I got to put you down… if you can’t treat me right, ain’t no use in hangin’ around.” It’s pure Chicago grit, with snarling guitar and tough rhythm.

The title track, “Breakwater,” is a slow-burning instrumental that smolders with emotion, highlighting Filipowicz’s expressive guitar phrasing.

He then pays homage to one of his early inspirations on “Sonny Boy,” bursting out, “Well baby, I have those Sonny Boy blues, he was comin’ out of Georgia, comin’ out of the radio… now, just so you know, I got the Sonny Boy blues.” Voegeli’s piano and Lang’s harmonica drive the tribute home.

On “This Time I’m Gone for Good,” written by Oscar Lee “Scratch” Perry and Don Roby and popularized by Bobby “Blue” Bland in 1973, Filipowicz delivers one of the record’s standout performances. “You’ll be alone when I leave, this time I’m gone for good,” he cries, with soulful baritone vocals and searing guitar lines backed by Voegeli’s elegant piano.

“Lefty Philips” is another barn-burning instrumental, this time paying tribute to two other Chicago greats—Lefty Dizz and Brewer Philips. It’s a joyous explosion of rhythm and tone that keeps the spirit of the West Side alive.

“Conversation with JR” showcases Filipowicz’s dual mastery of guitar and harmonica. Supported by the powerhouse rhythm section of McDaniel and Doughtery, Paul stretches out with a long, passionate solo before shouting, “There must be somebody wrong—mercy, mercy, please have mercy on me!”

On “Ashes in the Wind,” Filipowicz’s lyrics cut deep: “Ashes keep blowin’ in the wind, don’t know where they’re blowin’. See that train comin’ down the track—well now, mama, you’re breakin’ my heart.” It’s a haunting slow blues that captures the ache of love and loss.

Filipowicz tips his hat to J.B. Hutto on “That’s the Truth,” delivering a slide-driven stormer that channels both Hutto and his nephew, Lil’ Ed. Paul howls, “Well, baby, the time is right, that’s the truth! I want you by my side—that’s no lie.” His slide tone slices through the mix like lightning.

“That’s Why I’m Crying” honors Magic Sam, one of Paul’s lifelong heroes. He groans, “Walk the streets at night, all I do is stand around and cry… can’t find someone new, I’m still in love with you.” Guest vocalist Maggie ‘Blues Chic’ Aliotta joins in, adding depth and texture to the emotional performance.

The final original, “Poor Boy,” finds Filipowicz reflecting with grit and honesty: “I’m just a poor boy, that’s so you know. When it was good times, people, I was your pride and joy—now I’m just a poor boy.” It’s pure blues philosophy, delivered with conviction.

The album closes with “Rollcage,” an electrifying instrumental that lets Filipowicz stretch out one last time, driving home the fact that his guitar tone—raw, soulful, and unmistakable—remains one of the best-kept treasures in modern blues.

Blues historian and critic Richard Shurman summed it up perfectly: “Gritty, rocking blues with a lot of West Side in the mix. One of your best. It’s the kind of album I’m glad is still getting made, though not often enough. I hope it gets the notice and praise it deserves.”

Indeed, Breakwater is everything you want from a Paul Filipowicz album—unfiltered, unpretentious, and unapologetically alive. After more than five decades in the trenches, Filipowicz proves once again that real blues is about heart, not hype.

Richard Ludmerer
Contributing Editor / Making A Scene

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