Ed Bell's Paramount record of his own "Mamlish Blues" is the kind of performance that has the power to suspend the listener in the eternal present moment. Its simple, repetitive, ascending, and descending scale evokes a magical sensibility that is echoed on the flipside, "The Hambone Blues," and the other two titles he cut in Chicago in September 1927. Bell's modest but substantial recorded legacy places him in league with more famous individuals such as Blind Boy Fuller, Tommy Johnson, Charlie Patton, and Robert Johnson. The magic that waits within Bell's recordings to be discovered by open-hearted listeners was clearly defined by trumpeter, multi-instrumentalist, composer, philosopher, and educator Ishmael Wadada Leo Smith, who once said that growing up in the Mississippi Delta among blues musicians taught him "to feel that whatever I play relates to a gigantic field of feeling. To me, the blues is a literary and musical form and also a basic philosophy. When I get ready to study the mystical aspect of black people, I go to the blues; then I feel that I'm in touch with the root of black people."