The term “living legend” gets bandied about way too much, but guitarist Calvin Newborn qualifies. He cut his blues teeth at Sun Studios in Memphis starting in 1950 where he, his father Finas on drums and brother Phineas on piano all backed B.B. King on his landmark “Three O’Clock Blues” in 1953. Sessions with other future blues legends, like Howlin’ Wolf and Ike Turner, along with gigging on Beale Street, kept him moving through the local scene. In 1955 he went north and added serious jazz credits to his resume in New York City with cats such as Jimmy Forrest, Hank Crawford, Charles Mingus and Earl Hines. Photos from back in the day that show him playing in mid-air give a tantalizing hint of his powerhouse presence as a young, vital blues man.

The past few decades have been a struggle for Newborn both personally and professionally, but his new instrumental disk completely reaffirms his continuing mastery of the blues and jazz grounded in the blues. The lone cover, Billy Strayhorn’s standard “Lush Life,” is as delicate as a summer breeze coming off the Mississippi. The remaining 7 originals include “When Kingdom Comes/Sho’ Nuff” and “The Streetwalker’s Stroll” that show the “sacred and profane” sides of his life experiences as expressed musically. “Spirit Trane/Omnifarious” as one might guess from the title, is reminiscent of John Coltrane from the late 1950s and along with “Restorations,” is indicative of where Newborn’s jazz heart resides: Cool post hard-bop that allows the fret master to create solos with a lilting swing and easy grace supported by robust arch top tone.

Of course, it is on the three blues tracks (worth the price of admission) where the man reveals his deepest roots. “Newborn Blues” (written by the late Phineas Newborn) is a sultry slow blues with substitute changes that takes him into the rich jazzy blues territory also explored by artists like Grant Green, George Benson and Kenny Burrell, though he has more Southern funk. “Blues & Beyond” is an up tempo swinger that that would have been at home on a classic Blue Note album from the 1960s and gives Newborn the opportunity to show off his “Wes” chops. The heaviest down home emotions are contained on “After Hours Blues,” however, a slow drag roughly based on “After Hours,” the Avery Parrish hit recorded by Erskine Hawkins in 1941. Dripping smoky, late-night soul, it will soothe your broken heart while making your head nod approvingly to the groove.

The octet is in the pocket throughout with Charlie Wood (B-3), Herman Green (tenor sax) and Scott Thompson (trumpet) coming in for special commendation. New Born is an accessible jazz record for blues buffs and a welcome addition to Calvin’s illustrious catalog. - Dave Rubin