Here's a cautionary tale. Some time in the 1940s, just before World War II, accomplished boogie-woogie pianist Big Joe Duskin promised his ultra-religious father that he would play nothing but church music until the old man died. The father was 79 at the time, but he hung on to age 105. Big Joe Duskin lost a quarter of a century to filial duty; it wasn't until 1963 that he was free to pursue his art again. That's a shame, judging by the quality of Big Joe's third full-length, a soulful, heartfelt mix of wonderful stride piano, bluesy vocals and minimal but just right rhythms.

The piano is the album's heart, shimmering and sighing and in the margins. It's all subtle accents and blues runs in "Every Day I Have the Blues" (where Duskin's piano plays tag with guest guitarist Peter Frampton's blues notes -- yes, that Peter Frampton). Then it turns more thoughtful and solid in "Get Out of My Way", the top hand's slides embellishing the bottom hand's steady rhythms. Duskin's piano playing hits its apex in the rocking "One Dirty Rat", all walking rhythms under syncopated jazzy top notes. The liner notes suggest that Duskin once had more technical skill, that his pace on the piano has slowed since the old days -- but if so, it's hard to imagine how good he must have been in his prime. Duskin sings over the piano tones, filling in its spaces with his rough, persuasive voice. The songs are mostly blues standards -- tunes by Memphis Slim, Roosevelt Sykes, Memphis Minnie and Big Bill Broonzy -- yet he makes them fresh and lively again with his unaffected growl.

Duskin is backed by Phillip Paul on drums and Ed Conley on bass, both veterans of King Records' studio band, who provide subtle but excellent support to his songs. Guests include Frampton, who plays guitar on "Every Day I Have the Blues" and "Key to the Highway", and Cincinnati blues guitarist William Lee Ellis.

The music is joyful and uplifting, and Big Joe Duskin seems not the slightest bit bitter about his 25-year hiatus. In fact, he speaks about the whole experience with some warmth and humor in "The Preacher & The Devil's Music". The father leaves the house and warns Big Joe, "Don't you never play none of that blues or boogie-woogie..." But once he's safely gone, Big Joe breaks out in a sunny boogie-woogie line, only to be surprised by his father, returned for an umbrella. A beating ensues, the kind of thing that these days might bring out the child services people. Duskin merely chuckles at the memory and breaks out that beautiful stride. Music will always win -- just give it time.