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The youngest of 13 children, Hubert Sumlin was born on November 16, 1931, in Greenwood, Mississippi and grew up in Hughes, Arkansas. When he was eight years old, Hubert's mother sacrificed an entire week's pay to buy him a guitar. Hubert's first musical experiences were in the Baptist Church where he and the deacon worked out musical arrangements. This is the musical "school" Hubert came from, his roots, along with other blues legends including Otis Spann and Muddy Waters.

Hubert's first gig was as a fill-in guitarist for harp player James Cotton. According to Cotton, guitarist Pat Hare couldn't be found and someone pointed to the young Hubert and said, "He can play." Cotton recalls the rest: "As soon as we hit the bandstand I couldn't tell it wasn't Pat Hare back there!" This started a lifelong friendship between Sumlin and Cotton, who (with permission from Hubert's mother) began to work local juke joints and fish frys. Both men went on to become major players in the Chicago blues community, both sharing time with Muddy Waters and Howlin' Wolf. However, it was Hubert's association with Wolf that helped him make his mark in the blues world and music history.

Sumlin's first meeting with Wolf is as legendary as the music they created together. At 11 years old, Hubert crawled into a local juke joint trying to sneak in and hear the band. He was kicked out as soon as he was spotted, but wandered around back to a window behind the bandstand. Hubert stacked Coca-Cola cases against the window and as he stood on top to peek in at the band, they fell out from under him and he came crashing through the window in the middle of a song.

Hubert remembers: "I looked up and saw Wolf looking down at me; He said 'Let him stay! Let him stay! Bring him a chair.' He wouldn't give me nothing but water, and I sat there and watched Wolf, Pat Hare and Junior Parker. That night he took me home and told my mother to please not punish me because all I only wanted was to hear the music."

A few years later Sumlin began working with Wolf in Memphis. Wolf had to promise Hubert's mother that he would watch over him in order to get permission to take the teenager to Chicago. Several years later, the most legendary and longest partnership in the blues world began when Sumlin moved to Chicago in 1954 to join Wolf's band. Wolf and Hubert changed the sound of American music and helped create rock and roll.

Hubert Sumlin is an electric guitar pioneer, largely responsible for the sound of many modern guitar players. Eric Clapton, Keith Richards, Jimmy Page, Bob Dylan, Frank Zappa, Bob Weir, Jeff Beck, Carlos Santana and many other critically acclaimed musicians consider Sumlin a major influence on their playing. Clapton proved his respect by refusing to do the Chess Records London Howlin' Wolf Sessions unless Hubert was present. "The Red Rooster", "Backdoor Man", "Shake For Me", "Killing Floor", "Smokestack Lightnin" and "Sittin' On Top of the World" are songs you may recognize from cover versions by Cream, The Doors, Stevie Ray Vaughan, Jimi Hendrix, The Grateful Dead, or The Rolling Stones. Hubert Sumlin formulated the original music to these classics.

In Hubert's music you hear the acoustic stylings of the delta meshed with the loud excitement and bright lights of Chicago and Memphis, combined with the artistry of Charlie Patton, Robert Johnson, Pat Hare, Son House and Wolf. Sumlin brought these influences to the next level, creating his own exceptional sound. His tone and intensity were instantly identifiable.

After Wolf's death in 1976, Sumlin quit music for a while; he couldn't imagine performing without his mentor. When he returned to music in the early eighties, Hubert established his own career as a solo artist. He toured the world with various acts, playing with Albert King, Otis Rush, Pinetop Perkins and countless others. Sumlin became close friends with Jimmie and Stevie Ray Vaughan and still wears the trademark "music note" guitar strap that Stevie gave him.

"Enough down and out," says master bluesman Steady Rollin' Bob Margolin. "It's time for up and in." Dispelling the myth that the blues is sad or depressing music, Margolin's blues just as easily induce a smile. A supremely talented guitarist, singer and songwriter, Bob was schooled by none other than the great Muddy Waters. As a bandleader, soloist, songwriter, vocalist and in-demand session player, Margolin easily combines the rock and roll of Chuck Berry, the deep Chicago blues of Waters, and original songwriting reminiscent of great writers like Willie Dixon and Mose Allison. With his explosive guitar attack, he is equally capable of playing harrowing slide or jazzy swing. "With a superbly primitive tone and a rough-and-tumble guitar style, Margolin makes his blues as potent and exciting as the roots he draws on," exclaimed Guitar Player. But fans and critics aren't the only ones bestowing honors upon Bob. Two recent recordings featuring Margolin, Junior Wells' Come On In This House and You're Gonna Miss Me When I'm Gone by The Muddy Waters Tribute Band, both received 1996 Grammy nominations.

Building on his first two Alligator releases, 1993's Down In The Alley (4816) and 1995's My Blues And My Guitar (AL 4835), Margolin successfully reaches out further than ever on his new release, Up And In (AL 4851). Featuring 11 of 14 original songs, Up And In boasts some of the finest performances -- both instrumentally and vocally -- of Bob's career. From the classic Chicago sound of She And The Devil to the Chuck Berry-influenced title track to the rocking power of Imagination (the song made famous by Gladys Knight and the Pips) to the late night feel of Long Ago And Far Away to the jazzy bounce of 'Bout Out to the philosophical musings of Just Because , Margolin's singular guitar playing and husky vocals are a perfect combination. With help from special guests Pinetop Perkins (piano), Kaz Kazanoff (saxophone, harmonica), David Maxwell (piano, organ), Tad Walters (bass, harmonica), and vocalist Sweet Betty, Margolin tears through each performance with the confidence and emotion of any of the blues masters.

Bob's success is really no mystery, considering he's been leading his own band for almost 20 years, gigging virtually non-stop. "I've played every kind of gig from glorious to ridiculous," he says. He began his pursuit of a solo career in 1980, deciding to step out on his own after seven years with Muddy Waters. He released two albums on Tom Principato's Powerhouse Label, Chicago Blues and The Old School. Both albums drew favorable responses, but they didn't fully show Bob's immense talents. But in 1992 everything changed when Bob signed with Alligator Records. His label debut, Down In The Alley, was both an artistic and a commercial breakthrough. Features and reviews ran in national and regional press. Living Blues said, "Self assured vocals and clever songwriting ... he keeps the 'old school' alive with intelligence, energy, and authenticity." The album fully displayed Bob's own talent for making 1950s-style blues come alive for 1990s audiences.

His next release, My Blues And My Guitar, found Bob pushing himself further. Using Muddy's Delta slide sound as a jumping off point, Margolin unleashed furious guitar excursions ranging from Charlie Christian-style solos to Chuck Berry rockers, further defining his contemporary yet deeply rooted style. "Raw power, soul, charm and a tight focus," said the Washington Post. "A sound as thick and humid as Mississippi air in August," raved the Boston Phoenix . Bob was now more in-demand than ever. At the 1994 Chicago Blues Festival, he appeared on his own as well as sitting in with a wide variety of artists including Snooky Pryor and Jimmy Rogers. A few fans dubbed it the Bob Margolin Blues Festival, but for Bob it was a true career highlight. "It was like they threw a party and I could jam with Chicago's greatest musicians."

Bob continues to steady roll, touring virtually non-stop throughout the U.S. and Europe. In the past two years alone he's gigged with his own band, with James Cotton, Pinetop Perkins, and as part of the Muddy Waters Tribute Band. He spent the summer of 1994 on the road with B.B. King, Dr. John and Little Feat. And he's guested on numerous albums, including labelmate Ann Rabson's Music Makin' Mama, labelmate Billy Boy Arnold's Eldorado Cadillac, John Brim's Ice Cream Man and many others.

While Bob's stature in the blues world keeps growing with each new release, he's quick to remember his roots. As a child in Brookline, Massachusetts, he fell in love with the music of Chuck Berry, learning guitar by playing along with the records. Before long, Margolin discovered Berry's labelmate, Muddy Waters. "It was like a priest getting the calling," says Margolin. "When I first heard Muddy, it changed my life and gave it direction."

By the early 1970s, Bob was gigging with blues guitarist Luther "Georgia Boy" "Snake" Johnson, a Muddy Waters alumnus who introduced Bob to the man himself. Impressed by Bob's blues guitar playing and dedication to his blues, Muddy called on Bob in 1973, when he found himself in need of a new guitarist for his band. Bob stayed in the band for the next seven years, appearing on eight official Waters albums (as well as many European bootlegs) and playing hundreds of concerts with the blues legend. He learned many things directly from Waters, including Muddy's patented "delay-time" guitar technique (playing behind the beat), finger-picking, slide and strumming techniques.

Night after night Bob was schooled in the feeling and low down dirty tone that was essential to the Waters sound. And even though Muddy was not the most gentle teacher ("He said it would hurt like being in love," recalls Bob), Margolin persevered, and before too long he became Muddy's right hand man, acting as musical liaison to other players during jam sessions. That's why Muddy wanted Bob at his side during The Band's farewell concert, which was captured in the Martin Scorsese film, The Last Waltz. Bob can be heard and seen playing the guitar while Muddy belts out Mannish Boy to astonished fans and open mouthed rock stars, including Bob Dylan, Van Morrison, Ringo Starr, Eric Clapton, Neil Young, Joni Mitchell and many others.

Over the years, Bob has gigged, jammed with or opened for, in his words, "damn near every blues legend that was alive." This list includes Lightnin' Hopkins, Willie Dixon, John Lee Hooker, Big Walter Horton, Hound Dog Taylor, Albert King, R.L. Burnside, Etta James and many others. Solo or with Muddy, he's played with rockers The Allman Brothers, Stevie Ray Vaughan, Lonnie Mack, Johnny Winter, The Band, Bonnie Raitt, The Rolling Stones, and, in 1978, performed for President Jimmy Carter.

Since heading out on his own, Bob has never slowed down, playing thousands of concerts at festivals and clubs around the world. Now, with Up And In, Margolin forges full speed ahead. With his dead-on songwriting, blues-worthy vocals and electrifying guitar playing, Margolin is ready to reach his largest audience yet. His rise from rookie sideman to innovative bluesman hasn't been fast or easy, but now his time has come. Down and out? Not Steady Rollin' Bob Margolin. He's going Up And In.

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