Sunday, January 31, 2010

Rahsaan Roland KIRK & Al HIBBLER - A Meeting Of The Times 1972

Rahsaan Roland KIRK & Al HIBBLER - A Meeting Of The Times 1972
SD-1630
Recorded on March 30 - 31, 1972

Jazz

Despite his well-deserved reputation as an iconoclast and a musical revolutionary, the legendary reedsman Rahsaan Roland Kirk always exhibited a deeply felt respect for the history of jazz and its antecedents, whether by covering standards and spirituals or through projects such as this brilliantly realized collaboration with '40s vocalist Al Hibbler. Though overshadowed during his brief tenure with the Duke Ellington Orchestra, Hibbler had a unique and unforgettable voice that pairs beautifully with Kirk's typically wide-ranging work on a variety of instruments, sometimes playing several reeds at once. The set's clear highlight is perhaps the definitive rendition of Ellington's classic "Do Nothin' Till You Hear From Me," but all nine tracks--including a slightly misplaced 1966 cut, "Dream," with vocalist Leon Thomas--are superlative. The first CD issue of this album also included the entirety of Ornette Coleman's ORNETTE, which features none of the same players.
**
On first glance this LP combines together a pair of unlikely musical partners; the unique multi-instrumentalist Rahsaan Roland Kirk and Duke Ellington's former ballad singer Al Hibbler. However Rahsaan was very well acquainted with Ellington's music and he plays respectfully behind Hibbler on many of the standards, taking the wild "Carney and Bigard Place" as an instrumental. Hibbler (who did not record much this late in his career) is in good voice and phrases as eccentrically as ever on such songs as "Do Nothin' Till You Hear from Me," "Don't Get Around Much Anymore" and "I Didn't Know About You." One leftover selection from Rahsaan's session with singer Leon Thomas ("Dream") rounds out this surprising set.
By Scott Yanow. AMG.
**
This is yet another of those beautiful albums in which jazz greats reach across the stylistic and generational divides and work beautifully with each other!
Ellington's legacy is, of course, a great starting point to glue together any two musical generations, but this album goes beyond that; showcasing eccentric and sadly underappreciated vocalist Hibbler in more then reverent company of the even more excentric multi-instrumentalist Kirk, with the added bonus of an extremely versatile and competent rhythm section consisting of Hank Jones (p), Ron Carter (b) and Oliver Jackson (dm).
Yes, this is definitely not a full-time Rahsaan Roland Kirk album (I must warn Kirk fans!), it is a gentle meeting of the times in which both parties contribute the best and the most sensitive extrovert and subtle jazz they can share with each other.
Mind you, only first 5 songs feature Hibbler, but his unique phrasing is really impresive, particularly on "Don't get around much anymore" and, my favorite number, "Lover come back to me", whereas Kirk uses his incredible tallent with taste, not showing off his ability to play more than one instrument at the same time. When he does his staff, he actually sounds like two (or even more) musicians working together very well.
Leon Thomas'vocal at the last song ("Dream") are not unpleasant but are no match to Hibbler's, nor do they work well with the original concept of the album.
However, all in all, this is great and imaginative music so some conceptual glitches shouldn't diminish the listening pleasure.
By Nikica Gilic.
**
Ron Carter- Bass
Charles Crosby- Drums
Major Holley- Bass
Al Hibbler- Vocals
Leon Thomas- Vocals
Oliver Jackson- Drums
Hank Jones- Piano
Lonnie Liston Smith- Piano
Rahsaan Roland Kirk- Clarinet, Flute, Saxophone
**
A1. Do Nothin` Till You Hear From Me   4:38
A2. Daybreak   3:12
A3. Lover Come Back to Me   3:48
A4. Don`t Get Around Much Anymore   2:53
A5. This Love of Mine   4:55
B1. Carney and Begard Place   5:34
B2. I Didn`t Know About You   4:01
B3. Something `Bout Believing   6:05
B4. Dream   2:30
**
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Dexter GORDON Quartet - Stable Mable 1975

 
Dexter GORDON Quartet - Stable Mable 1975
SCS 1040
Recorded at Copenhagen, Denmark, March 10, 1975
Jazz


Dexter Gordon is in frequently exuberant form on this quartet session with pianist Horace Parlan, bassist Niels Pedersen and drummer Tony Inzalaco. The material, which includes "Just Friends," "Misty," "Stablemates" and "Red Cross," is familiar, but the veteran tenor sounds quite inspired throughout the joyous outing.
By Scott Yanow. AMG.

**
Dexter Gordon (soprano & tenor saxophones);
Horace Parlan (piano);
Niels-Henning Orsted Pedersen (bass);
Tony Inzalaco (drums).
**
A1. Just Friends (7:59)
A2. Misty (8:18)
A3. Red Cross (7:51)
B1. So What (8:23)
B2. In A Sentimental Mood (6:54)
B3. Stablemates (9:56)
**
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Cal TJADER - Latin Kick 1991

Cal TJADER - Latin Kick 1991
Recorded at Radio Recorders, Los Angeles, California in 1956.
Originally released on Fantasy (8033)

Jazz

Cal Tjader's era-defining mixture of Afro-Cuban rhythms and mainstream jazz solos undergoes a bit of a horizontal expansion in these 1956 sessions. The tracks are often longer than on previous albums, finally taking advantage of the logistics of the LP, and as a result, both the Latin and jazz elements benefit. Tenor saxophonist Brew Moore gets extended chances to blow in an easy-grooving Getz-like manner on several tracks, and on "I Love Paris," Luis Miranda (congas) and Bayardo Velarde (timbales) engage in some spirited percussion battles over the vamping of the brothers Duran (Manuel on piano and Carlos on bass). Everything cooks in a bright yet disciplined manner, and Tjader's elliptical, swinging vibes preside genially over the ensemble.
By Richard S. Ginell. AMG.
**
Cal Tjader- (Vibraphone);
Brew Moore- (Tenor Sax);
Manuel Duran- (Piano);
Carlos Duran- (Bass);
Luis Miranda- (Congas);
Bayardo Velarde- (Timbales).
**
01. Invitation 4:13
02. Lover Come Back To Me 3:43
03. September Song 3:00
04. Will You Still Be Mine 3:28
05. I Love Paris 5:53
06. Tropicville 3:14
07. Moonlight In Vermont 2:56
08. Bye Bye Blues 3:36
09. Manuel's Mambo 3:17
10. All The Things You Are 4:09
11. Blues From Havana 3:04
**
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Buster WILLIAMS - Crystal Reflections 1976

Buster WILLIAMS - Crystal Reflections 1976
MR 5101

Jazz

Bassist Buster Williams had one of his few opportunities to lead a record session on this diverse set which has been reissued on CD (with an alternate take of "I Dream Too Much" added to the original program). Of the six selections, Williams has a duet apiece with Kenny Barron (who plays electric piano), pianist Jimmy Rowles and vibraphonist Roy Ayers ("My Funny Valentine"). Two other numbers feature the quartet of Williams, Ayers, Barron and drummer Billy Hart while the leader's original "Prism" has the quartet joined by singer Suzanne Klewan and percussionist Nobu Urushiyama. The music ranges from slightly commercial to introspective and hard swinging, and its variety (plus an opportunity to hear bassist Williams in the lead) are two good reasons for postbop jazz collectors to pick up this Album.
By Scott Yanow, All Music Guide.
**
Bass- Buster Williams
Drums- Billy Hart
Percussion- Nobu Urushiyama
Piano- Jimmy Rowles
Piano, Electric Piano- Kenny Barron
Vibraphone [Vibes], Synthesizer- Roy Ayers
Vocals- Suzanne Klewan
**
A1. Prism 
       Written-By - Charles 'Buster' Williams*
A2. Enchanted Flower 
       Written-By - Kenny Barron
A3. I Love You 
       Written-By - Cole Porter
B1. I Dream Too Much 
       Written-By - Jerome Kern
B2. Vibrations 
       Written-By - Jerome Kern
B3. My Funny Valentine 
       Written-By - Lorenz Hart , Richard Rodgers
**
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Ben WEBSTER & Tete MONTOLIU - Gentle Ben 1972

Ben WEBSTER & Tete MONTOLIU - Gentle Ben 1972
Recorded at Casino de l'Aliança del Poblenou, Barcelona, on November 28, 1972

Jazz

Rare Spanish import CD. Track Listing 1. Ben's Blues 2. Man I Love, The 3. My Nephew Bent 4. How Long Has This Been Going On 5. Sweet Georgia Brown 6. Don't Blame Me 7. Did You Call 8. Barcelona Shout Album Notes Personnel: Ben Webster (tenor saxophone); Tete Montoliu (piano); Eric Peter (bass); Peer Wyboris (drums). Recorded at Casino De L'Alianca Del Poblenou, Barcelona, Spain on November 28, 1972. Includes liner notes by Carlos Sampayo. Ben Webster was just as much an anomaly as a man as he was a musician. Who would refuse to let Duke Ellington sit down at the piano at his own rehearsal? Who would also secretly try on all of Ellington's best suits, stretching them out in the process? Who would have a chance meeting with Joe Louis and punch him for fun? Ben Webster would. These stunts were not without reprisal--Webster was fired from Ellington's Orchestra, and took a swing from the boxing champ that landed him in the hospital. On GENTLE BEN, we hear him performing with Tete Montoliu's trio in a session recorded just 10 months before the tenor legend's death. One wouldn't know it from the quality of these performances, however. Highlights include his ballad work, especially tunes such as "The Man I Love" and "Don't Blame Me." His smoky tone and legato phrasing are still in full bloom on these selections, while other tunes, such as "Ben's Blues," show that he could still swing hard, even late in his career.
**
This aptly named set was recorded on November 28, 1972 in Barcelona, Spain. Although many of Ben Webster's European sessions suffered when compared to his American ones, this outing is one of the exceptions, due in no small part to the fluid piano work of Tete Montoliu. Supported by a rhythm section of Eric Peter on bass and Peter Wyboris on drums, both Webster and Montoliu have plenty of room to breathe, and the result is a wonderful and pleasant set highlighted by the opening track, "Ben's Blues," and an easy, elegant version of "Sweet Georgia Brown." Webster's trademark breathy tenor sax tone is in full supply here, but the real revelation is Montoliu, who prooves to be a marvelous jazz pianist, making Gentle Ben somewhat of an overlooked gem.
By Steve Leggett. AMG.
**
Ben Webster -Tenor Sax
Tete Montoliu- Piano
Peer Wyboris- Drums
Eric Peter- Bass
**
01.  Ben's Blues    (Webster)  9:04
02.  The Man I Love    (George & Ira Gerswhin)  5:34
03.  My Nephew Bent     (Webster)  5:21
04.  How Long This Has Been Going On   (George & Ira Gerswhin)  8:03
05.  Sweet Georgia Brown   (Bernie-Pinkard-Casey)  6:32
06.  Don't Blame Me   (Fields-Mc.Hugh)  8:00
07.  Did You Call    (Webster)  8:41
08.  Barcelona Shout     (Webster)  4:39
**
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Archie SHEPP - The New York Contemporary Five 1963

Archie SHEPP - The New York Contemporary Five 1963
1984 Issue
Recorded at The Jazzhaus Montmarte, Copenhagen, on November 15, 1963

Jazz

This historically significant CD has ten of the 11 selections recorded by The New York Contemporary Five (and originally issued on two separate LPs) on November 11, 1963. The short-lived group, which consists of cornetist Don Cherry, altoist John Tchicai, Archie Shepp on tenor, bassist Don Moore and drummer J.C. Moses, was avant-garde for the period, influenced most by Ornette Coleman's Quartet; the participation of Coleman's cornetist certainly helped. However Tchicai (although sometimes hinting at Coleman) had a different approach than Ornette Coleman and it was obvious that Shepp had already developed his own original voice and was the group's most passionate soloist. Together this very interesting quintet (which would soon break up) performs pieces by Ornette Coleman, Thelonious Monk (short melodic renditions of "Monk's Mood" and "Crepescule with Nellie"), Bill Dixon, Tchicai, Shepp and Cherry.
By Scott Yanow. AMG.
**
One disc,75 minutes approximately. Remastered from the original tapes. Good delineation between the instruments with a clean sound. This disc comprises two vinyl releases which were recorded live, in 1963. This set is under Archie Shepp's name in hopes that it would sell more through name recognition than for the quality of music. The musicians,besides Shepp on tenor sax consist of Don Cherry-cornet,John Tchicai-alto sax,Don Moore-bass,and J.C.Mose drums. The music recorded by this group is much more important than a lot of people realize. Their is a slight feel of Ornette Coleman flowing around this music,and not just because of Cherry's presence. The tunes are a combination of traditional jazz foundations on which the then "new thinking" was overlaid,which gives this set(besides good music) an importance much greater than this fleeting group. The tunes were written by Coleman,Monk,and several members of the group. Of particular note is the track TRIO,which is long(fifteen minutes or so)written by the trumpeter Bill Dixon. The sound of this track is different than the others,being in a modal style with varying meters. This gives this track a real identity and is one of the highlights of this set. All the tracks were recorded live in Copenhagen,where this type of music found a welcome home. This group didn't last long,with several members moving to the U.S. Shepp stayed in Europe and recorded several albums. Some of the best were duo settings such as GOIN' HOME,TROUBLE IN MIND,and LOOKING AT BIRD. Listeners should not be put off with thinking this music is difficult to understand and enjoy. This is music that has a bite-but when it's over,you won't mind,because
this set works it's way into your mind,and you realize you have heard something important on the long road of jazz.
By Stuart Jefferson.
**
J.C. Moses- Drums
John Tchicai- Alto Sax
Don Moore- Bass
Don Cherry- Cornet
Archie Shepp- Soprano,Tenor Sax
**
01. Consequences (Cherry) 8:37
02. Monk's Mood (Monk) 2:29
03. Emotions (Coleman) 8:42
04. Wo Wo (Tchicai) 5:50
05. Trio (Dixon) 15:32
06. Crepescule With Nellie (Monk) 2:21
07. O.C. (Coleman) 6:40
08. When Will The Blues Leave (Coleman) 8:58
09. The Funeral (Shepp) 5:08
10. Mick (Tchicai) 7:41
**
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Jimmy DAWKINS - Fast Fingers 1969

 
Jimmy DAWKINS - Fast Fingers 1969
DS-623

Blues

Released in 1969, after guitarist Jimmy Dawkins had served a long apprenticeship as a sideman in the Chicago electric blues scene, Fast Fingers remains one of the finest pure electric blues albums of its era. Dawkins proves to be a solid songwriter and an able singer, although the best moments on the album invariably come when he tears off a casually perfect, deeply soulful, but never showy electric solo. Highlights include the stomping instrumental "Triple Trebles," featuring an outstanding Dawkins solo over a funky horn-driven rhythm, and the mellow, laid-back opener, "It Serves Me Right to Suffer."
**
Jimmy Dawkins- (Vocals, Guitar);
Mighty Joe Young- (Guitar);
Eddie Shaw- (Tenor Sax);
Lafayette Leake- (Piano, Organ);
Joe Harper, Ernest Gatewood- (Bass);
Lester Dorsie- (Drums).
**
A1. It Serves Me Right to Suffer  4:07
A2. I Wonder Why  3:05
A3. I'm Good for Nothing  5:12
A4. Triple Trebles  2:42
A5. I Finally Learned a Lesson  3:43
B1. You Got to Keep on Trying  4:12
B2. Night Rock  3:26
B3. Little Angel Child  3:55
B4. I Don't Know What Love Is  5:57
B5. Breaking Down  5:31
**
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Dr.JOHN - Afterglow 1995

Dr.JOHN - Afterglow 1995

Blues

This is surely one of the best big band/vocalist albums there has ever been. It sits well in the tradition of Basie, Schuur, Joe Williams etc. but Dr. John's voice sparkles the way nobody else's possibly could. I strongly recommend this album as not run-of-the-mill Dr. John stuff, but something a little different which shows him off brilliantly - for your ultimate benefit. Please buy this - you will enjoy it.
**
Unlike his In a Sentimental Mood, which swung wildly from Tin Pan Alley standards to supper-club blues, Afterglow is mostly interested in recapturing the late '40s and early '50s, when jazz, blues, and pop intersected with sophisticated ease. The choice of material is impeccable--songs made popular by Nat "King" Cole, Louis Jordan, and Duke Ellington--and the playing is superb throughout. However, "Ain't I Been Good to You," "Just a Lucky So and So," and a stark read of "I'm Confessin'" are particularly effective. And on his original, "I Still Believe in You," Dr. John proves just how influenced he is by West Coast blues legend Charles Brown, who once recorded at Cosimo Matassa's studio where the future Night Tripper got his start. A lovely, effective album whose only misstep is a version of Irving Berlin's "Blue Skies" that sounds slightly out of step with everything else.
By Keith Moerer.
**
Producer and GRP Records president Tommy LiPuma, a longtime associate of Dr. John's, revived his old Blue Thumb label as an imprint of GRP/MCA with this album, which served as something of a sequel to the last Dr. John/Tommy LiPuma collaboration, In a Sentimental Mood. On that earlier album, the two had covered pop standards. Here, they again turned to evergreens by the likes of Irving Berlin and Duke Ellington. But if Sentimental Mood was stylistically linked to the '20s and '30s, Afterglow was more a recreation of the late '40s and early '50s, with its big-band arrangements and the inclusion of jump blues numbers like Louis Jordan's "I Know What I've Got." Such songs allowed Dr. John plenty of room to play his trademark New Orleans piano solos, and, in the second half of the record, some of the Doctor's own compositions were snuck in among the classics without disturbing the mood. Of course, the dominant sound remained Dr. John's gravel-and-honey voice, an even more appropriate instrument for these bluesier standards than it was for the Sentimental ones.
William Ruhlmann, All Music Guide.
**
Thurman Green- (Trombone),
Maurice Spears- (Trombone),
John Clayton- (Bass),
Endre Granat- (Violin),
Robert Brosseau- (Violin),
Ray Kelley- (Cello),
Clay Jenkins- (Trumpet),
Pete Christlieb- (Saxophone),
George Bohannon- (Trombone),
Armen Garabedian- (Violin),
Bill Watrous- (Trombone),
Ira Nepus- (Trombone),
John Clayton- (Conductor),
Donald Waldrop- (Tuba),
Charlie Davis- (Trumpet),
Dave Trigg- (Trumpet),
Kim Richmond- (Saxophone),
Charles Owens- (Saxophone),
Rick Baptist- (Trumpet),
Dr. John- (Vocals),(Piano)
Ronald Clark- (Violin),
Jimbo Ross- (Viola),
Ezra Kliger- (Violin),
Larry Corbett- (Cello),
Gina Kronstadt- (Violin),
Ray Brown- (Bass), (Trumpet),
Rollice Dale- (Viola),
Larry Bunker- (Vibraphone),
Gary Foster- (Saxophone),
Tom Scott- (Saxophone),
Steve Huffsteter- (Trumpet),
Mari Tsumura- (Violin),
James Getzoff- (Violin),
Earl Madison- (Cello),
Thomas "Snake" Johnson- (Tuba),
Lenny Castro- (Percussion),
Tibor Zelig- (Violin),
Gordon Marron Strings- (Violin),
Mark Sazer- (Violin),
Larry Bunker- (Percussion),
Samuel Boghossian- (Viola),
Oscar Brashear- (Trumpet),
Suzie Katayama- (Cello),
Paul Shure- (Violin),
Shari Zippert- (Violin),
Phil Upchurch- (Guitar),
Mark Cargill- (Violin),
Jeff Clayton- (Saxophone),
Bonnie Douglas- (Violin),
Joel Derouin- (Violin),
Marilyn Baker- (Viola),
Jeff Hamilton- (Drums),
Israel Baker- (Violin),
Brian Leonard- (Violin).
**
01. I Know What I've Got
02. Gee Baby Ain't I Good To You
03. I'm Just A Luck So-And-So
04. Blue Skies
05. So Long
06. New York City Blues
07. Tell Me You'll Wait For Me
08. There Must Be A Better World Somewhere
09. I Still Think About You
10. I'm Confessin' (That I Love You)
**
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Sharon JONES and The Dap Kings - Dap Dippin 2002

Sharon JONES and The Dap Kings - Dap Dippin 2002

Blues

It's hard to believe that Sharon Jones' debut LP is a product of the year 2002, for several reasons. Given the excellent singles she recorded for Desco beginning in the late '90s, it seems like she would have gotten the opportunity for a full-length sooner; plus, her brand of raw, heavy, hard-driving funk is such a throwback to the '70s, and she pulls it off so well, that you wonder how she could have escaped that decade without at least a few rare, classic 45s (in the vein of labelmate Lee Fields). It's not hard to believe she once made her living as a prison guard, based on the tough-as-nails, no-nonsense performances she belts out on Dap Dippin' With Sharon Jones & the Dap-Kings, the first full-length release on Desco's descendant, Dap-Tone. Backed by the Dap-Tone house band (a conglomeration of studio pros with connections reaching back to the Desco orbit), Jones delivers a storming set of tunes that would have sounded perfectly at home on the James Brown's Original Funky Divas compilation. The style and quality are pretty consistent all the way through, but it's hard not to single out the nearly unrecognizable cover of Janet Jackson's "What Have You Done for Me Lately," which is transformed into a churning blast of funk full of biting guitars (and nary a synth or drum machine in sight). Other highlights include the chunky leadoff track, "Got a Thing on My Mind," the would-be dance-craze "The Dap Dip," the slow-burning "Make It Good to Me," and the trials-and-tribulations tale "Ain't It Hard." Plus, label head Gabriel Roth throws in his usual "authentic" trappings the fake live introduction running down Jones' "hits," the intentionally dated copy on the back cover that make the whole package even more fun. All in all, a terrific debut.
By Steve Huey, All Music Guide.
**
Well, the cat's out of the bag. No longer do up-and-coming soul bands strive to sound like the antiseptic Brand New Heavies or, worse yet, insipid Jamiroquai. The Poets of Rhythm proved that rough could still sound good as far back as 1993. Phillipe Lehman and Gabe Roth founded Desco Records in the mid-1990s because they knew that a certain subset of America's funk-buying public would die for a bass that was plucked and not slapped. For drums that danced around rhythms instead of avoiding them.
But oh, what a monster they spawned! It seems that every white boy with a 4-track cassette recorder heard Brainfreeze, ordered Volumes 1-10 of The Sound of Funk comps and figured he could form a band to record with the chutzpah of Mickey and the Soul Generation and the Ebony Rhythm Band. But grasshopper forgot that those late-'60s funk legends had musical prowess. Grasshopper forgot that they all looked up to James Brown, who recorded ballads alongside the hardest funk instrumentals. Thank God Roth and Neal Sugarman (of boogaloo funksters the Sugarman Three) didn't forget. Thank God they formed Daptone Records and recorded — gasp — an album. Not a series of unrelated songs, but a string of winners, plucked out by a bona fide soul revue backing up dynamite Desco alumnus Sharon Jones. This album is as much about them as it is about Ms. Jones' and her ferocious vocals. Take one listen to their cover of Janet Jackson's "What Have You Done for Me Lately?" and you'll know why.
**
Sharon Jones- (Vocals); 
Binky Griptite- (Guitar);
Homer Steinweiss- (Drums);
Bugaloo Velez- (Congas).
**
01. Introduction   1:30
02. Got a Thing on My Mind   2:58
03. What Have You Done for Me Lately?   3:16
04. The Dap Dip   4:01
05. Give Me a Chance   3:10
06. Cut That Line   3:28
07. Got to Be the Way It Is   3:25
08. Make It Good to Me   4:52
09. Ain't It Hard   4:30
10. Pick It Up, Lay It in the Cut   4:07
11. Casella Walk   10:02
**
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Mark HUMMEL's - Blues Harp Meltdown (Vols. I,II,II)

Mark HUMMEL's - Blues Harp Meltdown (Vols. I,II,II)

Blues

Harmonica player, songwriter and singer Mark Hummel is a practitioner of the West Coast blues style, which typically includes elements of jazz and swing. A seasoned bandleader, Hummel is finally beginning to achieve wider recognition through nearly constant touring. Hummel was born in New Haven, Connecticut but raised in Los Angeles, California. He became fascinated with the blues-rock of Cream, Jimi Hendrix, Big Brother and the Holding Company and the Rolling Stones. After seeing songwriter credits on the albums, he began to dig further back into those bands' blues roots. He began playing harmonica in his teens in order to be different from the huge pack of guitar players in his high school. Hummel studied the styles of the Chicago-based players, including James Cotton, Sonny Boy Williamson, Big Walter "Shakey" Horton and Little Walter Jacobs. Hummel moved to Berkeley, California in 1972 and played with local bluesmen there, including Boogie Jake, Cool Papa, Johnny Waters and Sonny Lane. After graduating high school, he hitchhiked around the country for three years, making stops in New Orleans, Boston and Chicago to learn from those cities' top players. In 1980, he formed the Blues Survivors, who have since performed at numerous blues festivals around the U.S., including the Chicago Blues Festival and the San Francisco Blues Festival. Hummel has released a number of self-produced albums around his Oakland, California home, including Playing In Your Town (1985, Rockinitis Records), Up & Jumpin' (with Canadian guitarist Sue Foley, 1989-90), and Hard Lovin' (1992, Double Trouble Records). His widely available albums include Feel Like Rockin' (1994, Flying Fish Records), Married To The Blues (1995, Flying Fish), and most recently, Heart of Chicago (1997, Tone-Cool/Rounder), an album recorded in Chicago on which Hummel is accompanied by some veteran Chicago sidemen, including drummer Willie "Big Eyes" Smith, guitarist Dave Myers and producer/guitarist Steve Freund. Considered one of the top harmonica players in the U.S., Hummel has also judged and played in the Hohner Harmonica World Championships, held in Germany; he issued Low Down to Uptown in 1998. Golden State Blues was next, released on new label Electro-Fi with support from Hummel's usual backing band, the Blues Survivors. ~ Richard Skelly, All Music Guide
**
Mark Hummel's - Blues Harp Meltdown (Vol. 1)


Billy Branch- (Vocals),(Harmonica),
R.J. Mischo- (Vocals),(Harmonica),
James Harman- (Harmonica),(Vocals),
Rick Estrin- (Harmonica),(Vocals),
Kim Wilson- (Vocals),(Harmonica),
Mark Hummel- (Harmonica),(Vocals),
Junior Watson- (Guitar),
Mike Carino- (Bass),
June Core- (Drums),
Steve Wolf- (Bass)
**
CD 1

01.You Messed Up- RJ Mischo   (6:13)
02.Sleepin' in the Ground- Sam Myers  (8:40)
03.Gary Smith Intro by Mark Hummel
04.You're So Fine   (5:26)
05.Gary Smith Comments
06.Elevate Me Mama- John Lee "Sonny Boy" Williamson Gary Smith (6:46)
07.Minor Mambo Intro
08.Minor Mambo- Gary Smith Gary Smith (5:29)
10.They Don't Want Me to Rock- Buddy Johnson Mark Hummel (3:38)
11.Can't Judge Nobody-  Mark Hummel (6:49)
12.Humblebug- Mark Hummel (7:47)
**
CD 2

01.Mark Hummel - Billy Branch Intro (0:36)
02.Billy Branch - Billy's Boogie (3:22)
03.Eyesight to the Blind- Rice Miller Billy Branch (8:34)
04.Blues Keep Following Me Around- Carl Weathersby Billy Branch (9:19)
05.Billy Branch - James Harman Intro (0:18)
06.Helsinki Laundromat Blues- James Harman James Harman (9:39)
07.James Harman - Harman's Comments (0:44)
08.Back Door Rhumba- James Harman James Harman (7:47)
09.James Harman - Rick Estrin Intro (0:25)
10.Rick Estrin - Rick Estrin's Comments (O:13)
11.Your Gonna Need My Help-  Rick Estrin (7:59)
12.Rick Estrin - Estrin's Rap (2:09)
13.Work With Me- Rice Miller Rick Estrin (7:10)
14.Rick Estrin - Kim Wilson Intro (0:51)
15.Kim Wilson - Don't Loose Your Eye (9:13)
16.Just a Dream-  Kim Wilson (5:49)
**

Mark Hummel - Blues Harp Meltdown Vol.2
East Meets West Live at Moe's Alley

Gary Primich- (Harmonica),(Vocals),
Mark Hummel- (Vocals),(Harmonica),
Annie Raines- (Vocals),(Harmonica), 
Paul Rishell- (Vocals),(Guitar),(Slide Guitar),
Steve Wolf- (Bass),
R.J. Mischo- (Harmonica),(Vocals),
Frank "Paris Slim" Goldwasser- (Guitar),(Vocals),(Harmonica),
June Core- (Drums),
Mike Carino- (Bass).
**
Cd 1

01.Telephone Blues-  R.J. Mischo (6:50)
02.Moe's Blues-  R.J. Mischo (5:44)
03.You Can't Hurt Me No More- Nick Gravenites Gary Smith (6:02)
04.Story Telling Woman-  Gary Smith (6:36)
05.It Ain't Right-  Gary Smith (4:48)
06.Intro  Frank "Paris Slim" Goldwasser (:21)
07.All These Blues-  Frank "Paris Slim" Goldwasser (4:31)
08.Intro  Mark Hummel (:10)
09.Seven Nights to Rock-  Mark Hummel (5:07)
10.I'm Gone- Mark Hummel Mark Hummel (5:28)
11.Love Shock- Aaron Willis Mark Hummel (7:25)
12.Nothing But the Devil-  Paul Rishell, Annie Raines, Paul & Annie (9:28)
*
Cd 2

01.Intro  Paul Rishell, Annie Raines, Paul & Annie (:10)
02.Even Good Women Have Bad Days-  Paul Rishell, Annie Raines, Paul & Annie (4:22)
03.Little Dog- Paul Rishell, Annie Raines Paul Rishell, Annie Raines, Paul & Annie (3:59)
04.Annie's Rocker-  Paul Rishell, Annie Raines, Paul & Annie (5:24)
05.Intro  Johnny Dyer (:14)
06.Everything Gonna Be All Right-  Johnny Dyer (4:09)
07.Mojo Boogie- J.B. Lenoir Johnny Dyer (4:52)
08.Long Distance Call-  Johnny Dyer (4:48)
09.Blow Wind-  Johnny Dyer (5:58)
10.Intro  Gary Primich (:10)
11.Real Gone Lover Dave- Bartholomew Gary Primich (4:15)
12.Can't Stand You When You're Drinking-  Gary Primich (6:24)
13.Playgirl-  Gary Primich (3:55)
14.Primich Song Intro-  Gary Primich (:16)
15.Ain't She Trouble-  Gary Primich (5:15)
16.Goodbye Intro  Gary Primich (:51)
17.Goodbye Little Girl- Deadric Malone Gary Primich (5:02)
**

Mark Hummel's - Blues Harp Meltdown Vol. 3
Legends


Carey Bell- (Vocals),(Harmonica),
Bob Welsh- (Guitar),(Piano),
Mark Hummel- (Harmonica),(Vocals),
Steve Freund- (Guitar),(Vocals),
John Cephas- (Vocals),(Guitar),
Steve Wolf- (Bass),
Phil Wiggins- (Harmonica),
Willie "Big Eyes" Smith- (Vocals),(Drums),(Harmonica).
**
Cd 1

01.Introduction-  Mark Hummel (:06)
02.Where Y'at-  Mark Hummel (5:26)
03.City Livin'-  Mark Hummel (9:14)
04.My Kind of Baby - Mark Hummel (4:38)
05.Rollercoaster-  Mark Hummel (4:30)
06.My Little Playhouse- Steve Freund (5:20)
07.Done You Wrong-  Steve Freund (7:38)
08.Hoodoo Man Blues-   (5:02)
09.Piedmont Blues Jam- John Cephas Cephas & Wiggins (3:49)
10.Big Boss Man-  Cephas & Wiggins (4:57)
11.Going to the River-  Cephas & Wiggins (5:46)
12.Walkin' Blues Traditional- Cephas & Wiggins (6:17)
13.Broke & Hungry-  Cephas & Wiggins (3:35)
*
CD 2

01.Introduction-  Carey Bell (:14)
02.Dirty Shame- C. Bell Carey Bell (5:19)
03.It Ain't Right-  Carey Bell (3:41)
04.I Shudda Did What My Mama Told Me- C. Bell Carey Bell (5:45)
05.When I Get Drunk-  Carey Bell (5:52)
06I'm Ready Willie- Dixon Carey Bell (4:38)
07.Too Bad, Too Bad- C. Bell Carey Bell (6:19)
08.One Day- C. Bell Carey Bell (5:32)
09.Instrumental- Alley Rock  Lazy Lester (2:23)
10.Blues Stop Knocking-  Lazy Lester (4:43)
11.Bloodstains on the Wall-  Lazy Lester (3:59)
12.Nothing in This World-  Lazy Lester (3:04)
13.Raning in My Heart-  Lazy Lester (6:27)
14.Jambalaya-  Lazy Lester (6:24)
15.Sugar Coated Love- Jay Miller Lazy Lester (3:01)
16.Hummel's Sign Off-  Lazy Lester (:27)
**
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The Yardbirds feat. Jimmy PAGE 1968

The Yardbirds feat. Jimmy PAGE 1968
March 30, 1968.
Anderson Theater, New York
Bootleg
All The Credits Go To *dexondaz*

Blues

Arguably the most famous lost live album in history, Live Yardbirds Featuring Jimmy Page, cut at the Anderson Theater in New York on March 30, 1968, has been issued twice on vinyl legitimately (only to be suppressed by legal action) and innumerable times since as a bootleg. In August 2000, Mooreland St. Records put out the first authorized CD edition of the performance, and it is a complete revelation. The original master tape has been improved significantly; the absence of vinyl noise is an obvious plus, but the sheer impact of the instruments is also startling, given that the show was taped by a producer who had never recorded a rock band before, on equipment that was ten years out of date. The producers have expanded this reissue with help from a separate reference tape, an audience recording that preserved the complete unedited show; it's somewhat low-fi, but it captures material edited from the finished master, and it allows for the restoration of little nuances. Page's guitar (which goes out of tune several times) is the dominant instrument, alternately crunchy and lyrical, but always loud and dexterous; the roughness of Keith Relf's singing is also more apparent, but his shortcomings don't really hurt the music. The performance also reveals just how far out in front of the psychedelic pack the Yardbirds were by the spring of 1968; Page had pushed the envelope about as far as he could, in terms of high-velocity guitar pyrotechnics. Ironically, this album isn't quite as strong as the contemporary Truth album by Jeff Beck, mostly because the Yardbirds were still juggling three sounds the group's progressive poprock past, the psychedelia of 1968, and a harder, more advanced blues-based sound. It's clear that they had few places left to go with the first two; Dazed and Confused, by contrast, represented something new, a slow blues as dark, forbidding, and intense as anything that the band had ever cut -- it showed where Page, if not this band, was heading.(Bruce Eder, All Music Guide)This album was originally recorded in 1968 during The Yardbirds' final incarnation, which featured Jimmy Page as the band's fourth guitarist. The band played a live gig at the Anderson Theater in New York in March of '68 that was recorded for possible issuance as a live album; however, when the band heard the tapes, they decided against its release. Four months later, The Yardbirds were history. In 1971, the band's old U.S. label released the album to capitalize on Page's sudden success with Led Zeppelin. Page quickly got an injunction against the label, and album was withdrawn from the market. The vinyl version of the album is very scarce.
**
01. The Train Kept A Rollin'
02. You're a Better Man Than I
03. Heartful of Soul
04. I'm Confused
05. My Baby
06. Over Under Sideways Down
07. Drinking Muddy Water
08. Shapes of Things
09. White Summer
10. I'm A Man
**
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Robert NIGHTHAWK - Live On Maxwell Street 1964

Robert NIGHTHAWK - Live On Maxwell Street 1964
1980 Issue R.R. 2022

Blues

Seldom has a title for any album been so literal: Live on Maxwell Street was recorded, for the most part, live on an actual street--background noise includes cheers from bystanders, people passing by, and cars driving past. The informal setting and necessarily unideal recording circumstances don't detract one bit from the material here, which represents some of the elusive Robert Nighthawk's best material. Recorded in 1964, with sparse instrumentation--rhythm guitar, drums, and some excellent harmonica from Carey Bell--the recording includes some great guitar soloing on "The Time Have Come" and the "Maxwell Street Medley," which combines "Anna Lee" and "Sweet Black Angel." Other highlights include the smooth, active "Take It Easy Baby" and the slow moaner "I Need Love So Bad." Despite the highly unofficial nature of this recording, what's on here is more than worth hearing--including a 13-minute interview with the musician.
By Genevieve Williams.AMG.
**
Live on Maxwell Street is as good an impromptu album as one is likely to come upon, with all the exciting, loose esprit de corps among singer/slide guitarist Robert Nighthawk (Robert Lee McCollum) and his Flames of Rhythm that made their Sunday street performances so agreeable to Chicagoans. Captured on fan Norman Dayron's tape recorder in 1964, the Helena-born patriarch of city blues rough-hews Little Junior Parker's "I Need Love So Bad," Big Joe Turner's "Honey Hush," and seven others, cutting single-note runs from the same bolt of cloth as B. B. King without compromising his own amplified guitar poetics. Also heard are thirteen minutes of an interview with the underappreciated musician (encompassing a reluctantly delivered song) that was conducted by a respectful Mike Bloomfield.
By Frank John Hadley.
**
Drums - Robert Whitehead
Guitar [Rhythm] - Johnny Young (3)
Harmonica - Carey Bell (tracks: A2, B3)
Mastered By - John Nagy
Photography - Ray Flerlage , Valerie Wilmer
Producer [Coordination], Artwork By - Scott Billington
Producer [Coordination], Other [Liner Notes] - Peter Guralnick
Producer, Recorded By - Norman Dayron
Vocals, Guitar [Lead, Slide] - Robert Nighthawk
**
A1. Goin' Down To Eli's 4:50
A2. Mr. Bell's Shuffle 1:33
A3. The Time Have Come 5:04
A4. Yakity Yak 3:40
A5. Nighthawk Shuffle 1:45  
B1. Take It Easy Baby 3:53
B2. Maxwell Street Medley 6:47
B3. Burning Heat 2:17
B4. I Need Love So Bad 5:16
B5. Excerpts From Interview/Kansas City 2:31
**
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Freddie KING - Burglar 1974

Freddie KING - Burglar 1974
RSO SO 4803

Blues

Produced in part by Mike Vernon, who worked on The Legendary Christine Perfect Album, this is an entertaining and concise package of ten songs performed by the late Freddie King and a slew of guests. Opening with Gonzalez Chandler's "Pack It Up," featuring the Gonzalez Horn Section, the youthful legend was only 40 years of age when he cut this career LP two years before his death. Though no songs went up the charts like his Top Five hit in 1961, "Hide Away," Burglar is one of those gems that journeymen can put together in their sleep. Tom Dowd produced "Sugar Sweet" at Criteria Studios in Miami, FL, featuring Jamie Oldaker on drums, Carl Radle on bass, and guitarists Eric Clapton and George Terry, which, of course, makes this album highly collectable in the Clapton circles. The sound doesn't deviate much from the rest of the disc's Mike Vernon production work; it is pure Freddy King, like on the final track, E. King's "Come On (Let the Good Times Roll)," where his guitar bursts through the horns and party atmosphere, creating a fusion of the pure blues found on "Sugar Sweet" and the rock that fans of Grand Funk grooved to when he opened for that group and was immortalized in their 1973 number one hit "We're an American Band" a year after this record's release. Sylistically, Freddie King is from the same school as Buddy Guy, two men instrumental in bringing this art form to a mass audience. King stretches those sounds with great fervor on the Hayes/Porter number "I Had a Dream," containing the strength Mark Farner said the blues artist displayed in concert, which could snap a guitar neck. The voice of Freddie King is what drives J.J. Cale's "I Got the Same Old Blues," the horns and the guitar battling between verses and uniting to ooze under the guitarist's vocal expression. Rhythm guitarist Bob Tench, producer Mike Vernon, bassist DeLisle Harper, drummer Steve Ferrone, and pianist Roy Davies all co-write "Texas Flyer" with Freddie King, a prime example of the modern blues this artist was developing. With Brian Auger and Pete Wingfield contributing to the title track, Jerry Ragovoy's "She's a Burglar," this project stands as a solid representation of an important musician which is as enjoyable as it is historic.
By Joe Viglione.
**
If you have heard of Stevie Ray Vaughan, Eric Johnson, Walter Trout, Johnny Lang or Joe Kubek; Ask where does their music come from? Most probably the answer is: Freddie King; Burglar.
In this album, Freddie sets the standards of any guitar used in a blues or a rock song.
A 1972 release, shortly before his death, this album will blow your mind and ears away. No other blues album of its generation comes close; and this is nothing like Fredddie's previous releases.
I believe that Freddie King ranks in Blues the same as Miles Davis in Jazz. Too bad he died too soon.
Highly recommended.
**
Freddie King- Vocals, Guitar
Chris Mercer, Mick Eves, Steve Gregory- Tenor Sax
Bud Beadle- Baritone sax
Roy Davies- Elctric Piano, Clavinet)
Brian Auger, Dick Simms- Organ
DeLisle Harper, Carl Radle- Bass
Steve Ferrone- Drums
Pete Wingfield- Keyboards
Bob Tench , Eric Clapton , George Terry- Guitar
Misty Browning, Donnie Vie , P.P. Arnold , Patrick Arnold- Backing Vocals
**
A1. Pack It Up 4:12 
A2. My Credit Didn't Go Through 4:10 
A3. I Got the Same Old Blues 3:24 
A4. Only Getting Second Best 3:50  
A5. Texas Flyer 3:48 
B1. Pulp Wood 3:13 
B2. She's a Burglar  
B3. Sugar Sweet 3:51 
B4. I Had a Dream 5:03 
B5. Come On (Let the Good Times Roll) 3:34
**
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Eric BURDON & The New Animals - Live Studio 22 Sydney Australia 2000

Eric BURDON & The New Animals - Live Studio 22 Sydney Australia  2000
Credits to *SILVERADO*

Blues

Eric Burdon-  Vocals
Aynsley Dunbar-  Drums
Dean Restum-  Guitar
Dave Meros-  Bass
Neil Morse-  Keyboards
**
01.Boom Boom Medley
02.We got to get outta this place
03.Don't let me be misunderstood
04.It's my life
05.When i was young
06.Don't bring me down
07.House of the rising sun
08.You got me floatin'
**
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Buddy GUY & Junior WELLS - Live Recording at Yuhbin Chokin Hall on March 1975

Buddy GUY & Junior WELLS - Live Recording at Yuhbin Chokin Hall on March 1975
1990 Issue VTMCD-201

Blues

This is a classic album of two blues greats showing an indisputable chemistry. Be warned, it is gritty blues, with only a harmonica and an acoustic guitar backing the vocals, but it is the perfect counterpart to the blues rock that is in vogue at the moment. A must have.
**
01. Let Me Love You, Baby   4:36
02. How Blue Can You Get   5:28
03. High-Heel Sneakers   5:22
04. First Time I Met the Blues   7:05
05. Stone Crazy   5:25
06. Fever (Work Song)   3:43
07. Come on Home to Me Baby   4:39
08. Little by Little   5:04
09. Don't Go No Further   5:10
10. Snatch It Back and Hold It   4:55
11. Help Me Darling   5:18
12. Hoochie Coochie Man - Someday Baby   8:10
13. Waterman Blues (Instrumental)   5:24
**
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Saturday, January 30, 2010

Buster WILLIAMS - Pinnacle 1975

Buster WILLIAMS - Pinnacle 1975
MR 5080

Jazz

Arranged By - Buster Williams
Bass [Acoustics] - Buster Williams
Bass [Fender] - Buster Williams (tracks: A1)
Clarinet [Bass] - Earl Turbinton (tracks: A1, A3)
Composed By - Buster Williams
Drums - Billy Hart
Electric Piano - Onaje Allan Gumbs
Flute - Sonny Fortune (tracks: B2)
Flute [Alto] - Sonny Fortune (tracks: A3, B1) 
Percussion - Guilherme Franco
Piano - Onaje Allan Gumbs
Saxophone [Soprano] - Earl Turbinton (tracks: A3, B1,B2) , Sonny Fortune (tracks: A1, A3)
Synthesizer [Arp String Ensemble] - Onaje Allan Gumbs
Synthesizer [Moog] - Onaje Allan Gumbs
Trumpet - Woody Shaw (tracks: A3, B2)
Vocals - Buster Williams (tracks: A3) , Marcus (tracks: A2, A3) , Suzanne Klewan (tracks: A2, A3)
**
A1. The Hump 11:26 
A2. Noble Ego 6:52 
A3. Pinnacle 4:41 
B1. Tayamisha 6:29 
B2. Batuki 14:10 
       Arranged By - Onaje Allan Gumbs
       Composed By - Onaje Allan Gumbs 
**
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Bob STEWART - Let's Talk About Love, Sings With the Mat Mathews Quintet 1956

Bob STEWART - Let's Talk About Love, Sings With the Mat Mathews Quintet 1956
DLP 1103

Jazz

Being an old school record head, I had read up on Seeco Records several years back and was then first informed about their Dawn Records subsidiary. When I came across a used copy of "Let's Talk About Love" by Bob Stewart with the Mat Mathews Quintet (Dawn/Seeco), I was more than curious, hoping that I was purchasing one of those rare, long lost musical treasures. I was not put off by the plain black and white cover and photo. The moment the stylus dropped in the groove and Herbie Mann's flute floated through the speakers I knew I had hit the jackpot---even before Stewart's vocals had started. The true beauty of this entire album set is that neither the singer nor the group tries to go over the top with any of the songs. Each has found the perfect simplicity in each musical presentation, which allows the true vocal artistry of Stewart to totally shine again and again. There is no one song that can be named as the best; all the songs are excellent and serve as one impeccable cohesive package. Of particular note is the great recording technique of Rudy Van Gelder Studios: the microphone placement leaves the finished product sounding like it is a pure stereo recording, although it is mono. Needless to say, every singer, including myself, craves to make an exquisite recording like Bob Stewart-"Let's Talk About Love," with musicians and a recording engineer that all understand "the vision" of the project and go for it---one listen to this superb album and you'll know Stewart and company indeed grabbed the gold.
By Angelo Alexander.
**
Bob Stewart- Vocals
Herbie Mann- Flute, Tenor Sax
Mat Mathews- Accordion
Joe Puma- Guitar
Oscar Pettiford- Bass
Kenny Clarke- Drums
**
A1. Caravan 2.40
A2. Skylark 2.34
A3. Look Down That Lonesome Road 2.39
A4. If I'm Lucky 3.13
A5. Between The Devil And The Deep blue Sea 2.19
A6. Come Rain Or Come Shine 2.33
B1. When The Blues Come On 3.37
B2. Avalon 2.03
B3. Laura 2.30
B4. Moonglow 2.27
B5. It's Mine After All 3.10
B6. Blue Prelude 3.06
**
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Archie SHEPP Quartet - I Didn't Know About You 1991

Archie SHEPP Quartet - I Didn't Know About You 1991

Jazz

A strong effort by Shepp, who is reunited with pianist Horace Parlan and joined by bassist Wayne Dockery and drummer George Brown for a an eight-track set recorded in Germany. The highlight is clearly the sole track with Parlan in which they perform Monk's "Ask Me Now" both effectively and emotionally. The version of "Go Down Moses (Let My People Go)" is a winner for Shepp's glorious baritone vocals and his saxophone solo. The excellent choice of tunes (including Duke Ellington's "I Didn't Know About You," Todd Dameron's "Hot House," and Bird's "Now the Time") presents Shepp in a fine light, where he blows both tenor and alto saxophones. Some of the pieces, such as Shepp's "Party Time," are less than perfect and the saxophonist's vocals on "The Good Life" are only average, but overall, Shepp and the quartet are a pleasure to hear.
By Steven Loewy, AMG.
**
Archie Shepp- (Tenor and Alto Saxophone)
Horace Parlan- (Piano)
Wayne Dockery- (Double Bass)
George Brown- (Drums)
**
01. Go Down Moses (Let My People Go) 11:00 
02. I Didn't Know About You 10:09 
03. Billie's Bossa 5:49 
04. Hot House 7:33 
05. The Good Life 9:44 
06. Now's The Time 5:28 
07. Ask Me Now 4:47 
08. Party-time 9:27 
**
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Rahsaan Roland KIRK - Gifts and Messages 1964

Rahsaan Roland KIRK - Gifts and Messages 1964
SR60939
Recorded at Los Angeles, CA, on July 22, 1964

Jazz

Kirk's technique of humming while playing the flute was adopted later by many other players, including Jeremy Steig, and Ian Anderson of Jethro Tull;(who covered the Kirk tune "Serenade to a Cuckoo" on Jethro Tull's first album This Was in 1968).
In 1978 the number one UK single "Hit me with your rhythm stick" by Ian Dury and the Blockheads featured saxophonist Davey Payne playing a solo with two saxes simultaneously, in the manner of Kirk.
**
Roland Kirk- (Tenor Sax, Manzello, Stritch, Flute, Siren)
Horace Parlan- (Piano)
Michael Fleming- (Bass)
Steve Ellington- (Drums)
**
A1. The Things I Love 3:15
A2. Petite Fleur 3:06
A3. Hip Chops 3:32
A4. Gifts And Messages 4:08
A5. Vertigo Ro 4:02
B1. March On, Swan Lake 4:07
B2. My Heart At Thy Sweet Voice 3:22
B3. Tears Sent By You 6:00
B4. Where Does The Blame Lie? 2:50
B5. Blues For C & T 3:05
**
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Richard "Groove" HOLMES - Soul Mist! 1966

Richard "Groove" HOLMES - Soul Mist! 1966
PR 7741

Jazz

A standards-heavy date, 1966's Soul Mist is one of Richard "Groove" Holmes' most relaxed and swinging discs. Exploring the higher registers of the Hammond B3 instead of the familiar funky bass sound, Holmes' playing actually resembles the electric organ version of Dave Brubeck's familiar melodic piano sound, although the lightfooted cover of "Autumn Leaves" owes a lot to Bill Evans' readings of the tune. Side one (in the original vinyl configuration; CD versions tend to scramble the track order) is Holmes in his comfortable organ trio setting, with Gene Edwards' guitar and Freddie Waits' drums providing just the right accompaniment. Side two's two extended tracks, "There Is No Greater Love" and "Things Ain't What They Used to Be," add trumpeter Blue Mitchell and tenor saxophonist Harold Vick, whose frisky sparring with Holmes' alternately bluesy and sanctified organ riffs gives the album a fresher and more melodic spin. An often-overlooked gem in Richard "Groove" Holmes' extensive catalog, Soul Mist is well worth seeking out.
By Stewart Mason, All Music Guide.
**
Harold Vick- (Tenor Sax),
Frederick Waits- (Drums),
Blue Mitchell- (Trumpet),
George Randall- (Drums),
Gene Edwards- (Guitar),
Richard "Groove" Holmes- (Organ).
**
01. Autumn Leaves
02. There Is No Greater Love
03. Denise
04. Things Ain't What They Used To Be
05. Up Jumped Spring
**
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Friday, January 29, 2010

Jimi HENDRIX - (1967-1970) Dvd

Jimi HENDRIX - (1967-1970)  Dvd

Blues

Covering the years 1967 through 1970, the final installment of the three-part documentary series Jimi Hendrix: Movie allows viewers a glimpse into the culmination of Hendrix's remarkable musical career. The counterculture era was peaking, producing the perfect storm for Hendrix's unique music and lifestyle to flourish. But just as Hendrix's creative powers both on the stage and in the studio reached their apex, disaster struck and he was gone. Now, exclusive interviews reveal the remarkable details behind the Hendrix's untimely death, as well as the curious events surrounding it. As the spiritual message behind Hendrix's music is revealed, fans are invited to celebrate his enormous, yet tragically short-lived, musical legacy.
By Jason Buchanan.
**
Featuring rare Hendrix performances from film and television archives around the world, this is the definitive review of the music of Jimi Hendrix on record, on stage and on film.
Also included are rare archive interviews with Noel Redding and Hendrix himself along with the penetrating insights of leading music journalists and musicologists, making this the most comprehensive independent critical review of Jimi Hendrix ever undertaken.
Disc 2 features complete live television performances from 1969 and rare photographs
**
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Thursday, January 28, 2010

GOV'T MULE - Live, Fall ´09,Tower Theatre,Upper Darby 2009-10-31


GOV'T MULE - Live, Fall ´09,Tower Theatre,Upper Darby 2009-10-31
2009-10-31 Philadelphia.PA.
Bootleg
I believe, All Credits Go To *François T.*

Blues

On October 31, 2009, Gov't Mule gave a special Halloween concert at the Tower Theater in Philadelphia.
Following in the tradition of 2007's Holy Haunted House and last year's Pink Floyd spectacular, the band, once again, has something very special planned for the occasion.
This third in their series of Halloween shows featured a first set, which lasted over two hours, and was comprised entirely of Rolling Stones covers.
**
Disc 1
01. Under My Thumb
02. Monkey Man
03. Doo Doo Doo Doo Doo
04. Can't You Hear Me Knockin
05. Angie
06. Ventilator Blues
07. Shattered
       Greene & Steve Elson
08. Wild Horses
09. Slav
10. Gimme Shelter
11. Play With Fire
12. Paint It Black

Disc 2
01. Bitch
02. Brown Sugar
03. Steppin Lightly
04. Broke Down On The Brazos
05. Railroad Boy
06. Monday Mourning Meltdown
07. Forevermore

Disc 3
01. Frozen Fear
02. Brighter Days
03. Blind Man In The Dar
04. Goin Out West
05. Bang A Gon
06. Goin Out West
**
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Archie SHEPP - The Cry Of My People 1972


Archie SHEPP - The Cry Of My People 1972
AS-9231

Jazz

Recorded in 1972 with a core band of Leroy Jenkins, Cornell Dupree (!), Jimmy Garrison, and Charles McGhee, Shepp supplemented these proceedings in much the same way he did with the cast of Attica Blues, with gospel singers, big bands, quintets, sextets, and chamber orchestras, with guests that included Harold Mabern on piano, Bernard "Pretty" Purdie on drums, and Ron Carter on electric bass! Recorded during a period in which Shepp was reaching out of the jazz idiom to include all of what he perceived to be "trans-African" music at the time, there is gutbucket R&B here, as well as the sweetly soul gospel of "Rest Enough." The charts' arrangements are a combination of Ellington's more pastoral moods -- usually expressed in his suites -- and the more darkly complex modal stylings of George Russell. Unlike some of Shepp's dates from this period, the vocals do not detract from the mix employed here. This is an urban record that showcases Shepp's ability, at this time in his career, to literally take on any project, combine as many sources as he was permitted by his financial resources, and come up with something compelling, provocative, and soulful. All extremes are subsumed by the whole: The avant-garde free jazz of the period is covered in the large-ensemble playing, which is covered by the gospel and R&B stylings that are accented by the free jazz players. Shepp worked with many larger ensembles as a leader, but never did he achieve such a perfect balance as he did on The Cry of My People. Given that the remastered version -- with excellent liner notes, superb sound, and a gorgeous package -- is being issued during an election year in the United States, its poignancy and urgency couldn't be more timely.
By Thom Jurek. AMG.
**
Bass - Jimmy Garrison (tracks: A2, A4 to B4)
Bass [Fender] - Ron Carter (tracks: A1, A3, B1)
Cello - Esther Mellon (tracks: A2, A4, B1, B3, B4) , Pat Dixon (tracks: A2, A4, B1, B3, B4)
Drums - Beaver Harris (tracks: A3 to B1) , Bernard Purdie (tracks: A1, A2)
Guitar - Cornell Dupree (tracks: A1, A3)
Percussion - Nene DeFense (tracks: A2, A4, B1, B4)
Piano - Dave Burrell (tracks: B2. B3) , Harold Mabern (tracks: A1 to B1, B4)
Saxophone [Soprano] - Archie Shepp (tracks: A2, A4, B3)
Saxophone [Tenor] - Archie Shepp (tracks: A3, A4, B1, B4)
Tambourine - Nene DeFense (tracks: A1, A3)
Trombone - Charles Greenlee (tracks: A2 to B3) , Charles Stephens (tracks: A2 to B1, B4)
Trumpet - Charles McGhee (tracks: A2 to B1, B3, B4)
Violin - Gayle Dixon (tracks: A2, A4, B1, B3, B4) , Jerry Little (tracks: A4, B3, B4) , John Blake (tracks: A2, B1) , Leroy Jenkins (tracks: A2, A4, B1, B3, B4) , Lois Siessinger (tracks: A2, B1) , Noel DaCosta (tracks: A4, B3, B4)
Vocals - Andre Franklin (tracks: A2, A3, B1, B3) , Patterson Singers (tracks: A2, A3, B1, B3)
**
A1. Rest Enough (Song To Mother) 4:38
       Backing Vocals - Andre Franklin , Patterson Singers
       Lead Vocals - Peggy Blue*
       Written By - Archie Shepp
A2. A Prayer 6:29
       Arranged By, Conductor - Romulus Franceschini
       Written-By, Arranged By - Carl Massey
A3. All God's Children Got A Home In The Universe 2:57
       Written By - Archie Shepp
A4. The Lady 5:28
       Arranged By - Romulus Franceschini
       Arranged By, Conductor - Cal Massey
       Vocals - Joe Lee Wilson
       Written By - Bob Ford
B1. The Cry Of My People 5:43
       Arranged By - Romulus Franceschini
       Written-By, Arranged By, Conductor - Carl Massey
B2. African Drum Suite, Part 1 0:35
       Vocals - Joe Lee Wilson
       Written By - William G. Harris
B3. African Drum Suite, Part 2 7:32
       Arranged By, Conductor - Dave Burrell
       Berimbau, Percussion [Brazilian] - Guilherme Franco
       Bongos, Congas - Nene DeFense
       Tambourine, Congas - Terry Quaye
       Written By - William G. Harris
B4. Come Sunday 9:30
       Arranged By, Conductor - Charles Greenlee
       Backing Vocals - Patterson Singers
       Lead Vocals - Joe Lee Wilson
       Written By - Duke Ellington
**
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Yusef LATEEF - In A Temple Garden 1979


Yusef LATEEF - In A Temple Garden 1979
GP 3208, CTI 7088

Jazz

One More Gem For Collection
**
Jimmy Madison, Steve Gadd- Drums
Tom Schuman- Electric Piano (tracks: B3, B4)
Thomas Beyer- Electronic Drums [Syndrums]
Eric Gale- Guitar
Jeremy Wall- Keyboards [All Other] 
Jeremy Wall, Ray Barretto, Sammy Figueroa- Percussion
Tom Schuman- Piano (tracks: B1)
Jerry Dodgion- Alto Sax
Michael Brecker- Tenor Sax
Yusef Lateef- Tenor Sax, Flute 
Tom Schuman- Synthesizer-  (tracks: B4)
Suzanne Ciani- Synthesizer [Programing]
Jim Pugh- Trombone, Trombone [Bass]
Randy Brecker- Trumpet -
**
A1. In a Temple Garden   5:15
A2. Bismillah   4:08
A3. Confirmation   6:50
A4. Nayaz   3:00
B1. Jeremiah   6:25
B2. Honky Tonk   3:55
B3. How I Loved You   3:55
B4. Morocco   4:19
**
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LEADBELLY, Big Bill BROONZY & Josh WHITE - Treasury Of Folk Music 1966


LEADBELLY, Big Bill BROONZY & Josh WHITE - Treasury Of Folk Music 1966
SDLP-247

Blues

Well, early in the morning I wake with the rising sun
Yes, early in the morning I wake with the rising sun
It's my daily motto and the people all calls it fun

Yes, I'm looking for a better future and forgetting about the past
I'm looking for a better future and forgetting about the past
Now I'm so glad that troubles don't always last

Yes, have fun whilst you can 'cos fate's an awful thing
Well, have fun whilst you can 'cos fate's an awful thing
You can't tell what may happen that's the reason I love to sing
**
A1. Leadbelly - How Long
A2. Leadbelly & Sonny Terry - John Henry
A3. Leadbelly & Josh White - Don't Lie Buddy
A4. Leadbelly - Ain't You Glad
A5. Big Bill Broonzy - Letter To My Baby
B1. Josh White - Saint James Infirmary
B2. Josh White - Lass With The Delicate Hair
B3. Josh White - When I Lay Down & Die Do Die
B4. Josh White - Early Morning Blues
B5. Big Bill Broonzy - Baby Please Don't Go
**
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Rising Sons - Featuring Taj MAHAL & Ry COODER 1965-1966


Rising Sons - Featuring Taj MAHAL & Ry COODER 1965-1966
1992 Issue CK 52828

Blues

This mid-'60s curio would have served as an introduction to two remarkable musicians had it not been buried in the vaults at Columbia Records from 1966 until 1992. Taj Mahal and Ry Cooder were two of the unfortunate Sons, who were briefly an L.A. club phenomenon. Neither man was in full possession of his talent, and the album (produced by Terry Melcher of Byrds fame) is more rewarding as an historical artifact than as a country-blues breakthrough.
By Steven Stolder.
**
Arranged By- J.L. Kincaid* (tracks: 1, 3, 9, 21) , Rising Sons (2) (tracks: 2, 4, 15, 16, 18, 19) , T. Mahal* (tracks: 1, 3, 9, 21) 
Bass- Gary Marker
Drums, Percussion- Kevin Kelley
Vocals, Guitar- Jesse Lee Kincaid
Vocals, Guitar [6-string, 12-string, Slide, Bottleneck], Mandolin, Resonator Guitar [Dobro]- Ry Cooder
Vocals, Harmonica, Guitar, Piano- Taj Mahal
Written-By - J.L. Kincaid (tracks: 8, 12 to 14, 22)
**
01. Statesboro Blues 2:23 
       Written-By - W. McTell 
02. If The River Was Whiskey (Divin' Duck Blues) 2:41 
       Written-By - Sleepy John Estes 
03. By And By (Poor Me) 3:31 
       Written-By - C. Patton 
04. Candy Man 2:04 
       Written-By - Rev. G. Davis
05. 2:10 Train 4:09 
       Arranged By - R.P. Cooder
       Written-By - L. Albertano 
06. Let The Good Times Roll 2:43 
       Written-By - S. Goodman / L. Lee 
07. .44 Blues 3:22 
       Written-By - Willie Dixon 
08. 11th Street Overcrossing 2:12 
09. Corrin, Corrina 2:55 
       Written-By - Traditional 
10. Tulsa County 2:42 
       Written-By - P. Polland 
11. Walkin' Down The Line 2:13 
       Written-By - B. Dylan 
12. The Girl With Green Eyes 2:14 
13. Sunny's Dream 3:01 
14. Spanish Lace Blues 2:12 
15. The Devil's Got My Woman 3:05 
       Written-By - S. James
16 . Take A Giant Step 2:54 
       Arranged By - B. Hansen , T. Melcher
       Written-By - G. Goffin / C. King 
17. Flyin' So High 3:05 
18. Dust My Broom 3:03 
       Written-By - R. Johnson 
19. Last Fair Deal Gone Down 2:38 
       Written-By - R. Johnson 
20. Baby, What You Want Me To Do? 2:54 
       Written-By - J. Reed 
21. Statesboro Blues (Version 2) 2:24 
       Written-By - W. McTell 
22. I Got A Little 2:07 
**
Tracks 18-20 contain new vocal tracks recorded by Taj Mahal, June 1992 in New York City.
Two different versions of "Statesboro Blues" are contained in this collection. All selections are previously unreleased, except for "Candy Man" and "The Devil's Got My Woman"
"I Got A Little" is a Mono recording.
**
Recording dates:
9/9/65 - Tracks 1, 11, 12, 21
10/6/65 - Tracks 4, 9
10/19/65 - Track 15
10/19/65 & 6/19/92 - Track 20
12/1/65 - Tracks 2, 7, 17
12/2/65 & 6/19/92 - Track 18
12/3/65 & 6/19/92 - Track 19
12/7/65 - Track 10
12/28/65 - Track 22
2/28/66 - Track 6
3/25/66 - Track 16
5/12/66 - Tracks 3, 5, 8, 13
5/18/66 - Track 14
**
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T-Bone WALKER - Stormy Monday Blues 1978


T-Bone WALKER - Stormy Monday Blues 1978
CR 30144

Blues

They call it stormy Monday, yes but Tuesday's just as bad.
They call it stormy Monday, yes but Tuesday's just as bad. Wednesday's even worse; Thursday's awful sad.

The eagle flies on Friday, Saturday I go out to play.
The eagle flies on Friday, but Saturday I go out to play. Sunday I go to church where I kneel down and pray.

And I say, "Lord have mercy, Lord have mercy on me.
Lord have mercy, Lord have mercy on me.
Just trying to find my baby, won't you please send her on back to me.

The eagle flies on Friday, on Saturday I go out to play.
The eagle flies on Friday, on Saturday I go out to play.
Sunday I go to church, where I kneel down, Lord and I pray.

Then I say, "Lord have mercy, won't you please have mercy on me.
Lord, oh Lord have mercy, yeah, won't you please, please have mercy on me.
I'm just a-lookin' for my sweet babe,
So won't you please send him home, send him on home to me.
**
A1. Stormy Monday Blues   
A2. All Night Long   
A3. My Patience Keeps Running Out   
A4. Glamour Girl   
A5. T-Bone's Way   
A6. That Evening Train   
B1. Louisiana Bayou Drive   
B2. When We Were Schoolmates   
B3. Don't Go Back to New Orleans   
B4. Got to Cross the Deep Blue Sea   
B5. You'll Never Find Anyone) To Be a Slave Like Me   
B6. Left Home When I Was a Kid
**
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Charlie MUSSELWHITE - Stand Back! Here Comes Charley Musselwhite's Southside Band 1967


Charlie MUSSELWHITE - Stand Back! Here Comes Charley Musselwhite's Southside Band 1967
VSD 79232

Blues

This is Charlie's debut and simply a killer. If you are blues fanatic such as I am, this is a must for your collection. The styling is much like Paul Butterfield's early work. Charlie is a master of the instrument and blues. This is an excellent place to start. I highly recommend all of Charlie's sets, but this is the place to start. Pure Chicago blues at it's finest. This is a must. .
**
Vanguard may have spelled his name wrong (he prefers Charlie or Charles), but the word was out as soon as this solo debut was released: Here was a harpist every bit as authentic, as emotional, in some ways as adventuresome, as Paul Butterfield. Similarly leading a Chicago band with a veteran Black rhythm section (Fred Below on drums, Bob Anderson on bass) and rock-influenced soloists (keyboardist Barry Goldberg, guitarist Harvey Mandel), Musselwhite played with a depth that belied his age -- only 22 when this was cut! His gruff vocals were considerably more affected than they would become later (clearer, more relaxed), but his renditions of "Help Me," "Early in the Morning," and his own "Strange Land" stand the test of time. He let his harmonica speak even more authoritatively on instrumentals like "39th and Indiana" (essentially "It Hurts Me Too" sans lyrics) and "Cha Cha the Blues," and his version of jazz arranger Duke Pearson's gospel-tinged "Cristo Redentor" has become his signature song -- associated with Musselwhite probably more so than with trumpeter Donald Byrd, who originally recorded the song for Blue Note. Goldberg is in fine form (particularly on organ), but Mandel's snakey, stuttering style really stands out -- notably on "Help Me," his quirky original "4 P.M.," and "Chicken Shack," where he truly makes you think your record is skipping.
By Dan Forte. AMG.
**
Barry Goldberg- Organ, Guitar, Piano, Producer, Keyboards
Bob Anderson- Bass
Fred Below- Drums
Harvey Mandel- Guitar
Charlie Musselwhite- Guitar, Harmonica, Vocals, Main Performer, Performer
**
A1. Baby Will You Please Help Me   3:20
A2. No More Lonely Nights   5:14
A3. Cha Cha the Blues   3:13
A4. Christo Redemptor   3:21
A5. Help Me   3:29
A6. Chicken Shack   4:17
B1. Strange Land   3:04
B2. 39th and Indiana   4:12
B3. My Baby   2:46
B4. Early in the Morning   4:31
B5. 4 P.M.   3:17
B6. Sad Day   5:04
**
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Arthur "Big Boy" CRUDUP - Cool Disposition 1999


Arthur "Big Boy" CRUDUP - Cool Disposition 1999

Blues

Well,It is all said before, so just enjoy it.
themonk.
**
Joe McCoy- Bass
Charles Sanders- Drums
Arthur "Big Boy" Crudup- Guitar, Vocals, Main Performer
Melvin Draper- Drums
Ransom Knowling- String Bass
**
01. Train Fare Blues 2:46
02. Black Pony Blues 3:21
03. Mean Old Frisco 2:36
04. Cry Your Blues Away 3:09
05. Shout, Sister, Shout 2:41
06. Give Me a 32-20 2:51
07. That's All Right 2:53
08. Death Valley Blues 3:13
09. Hey Mama, Everything's All Right 2:55
10. My Moma Don't Allow Me 3:08
11. Dirt Road Blues 3:06
12. Tired of Worry 2:44
13. Cool Disposition 3:08
14. Come Back Baby 2:36
15. Keep Your Arms Around Me 2:32
16. Gonna Be Some Changes Made 2:43
17. I Want My Lovin' 2:59
18. Hand Me Down My Walking Cane 2:44
19. Who's Been Foolin' You 3:15
20. That's Why I'm Lonesome 3:04
21. If I Get Lucky 3:05
**
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http://rapidshare.com/files/340360723/Arthur_Big_Boy_CRUDUP_-_Cool_Disposition_1999.rar

Wednesday, January 27, 2010

Junior WELLS & Chicago Blues Band with Buddy GUY - Coming At You 1968


Junior WELLS & Chicago Blues Band with Buddy GUY - Coming At You 1968
VSD-79262

Blues

Another eminently solid outing by the legendary harpist that captures his trademark barroom bravado in a studio setting. The band is quite tight -- Buddy Guy and Lefty Dizz are the guitarists, Douglas Fagan plays sax, and Clark Terry, believe it or not, occupies a third of the trumpet section -- and the set list is dominated by oldies from both Sonny Boys, Willie Dixon, and John D. Loudermilk (Junior invests his "Tobacco Road" with a lights-out toughness that the Nashville Teens could never even imagine).
By Bill Dahl, All Music Guide.
**
Tom McIntosh- (Trombone),
Wallace Davenport- (Trumpet),
Ed Bland- (Brass Arrangement),
Douglas Fagen- (Tenor Sax),
Jimmy Owens- (Trumpet),
Douglas Fagen- (Sax),
Buddy Guy- (Vocals),(Guitar),
Junior Wells- (Harmonica),(Vocals),
Walter Williams- (Guitars),
Douglas Fagan- (Tenor Sax),
Levi Warren- (Drums),
Clark Terry- (Trumpet),
Tom Crawford- (Bass),
and
Chicago Blues Band.
**
A1 Stop Breakin' Down  2:35
A2 Somebody's Tippin In  5:45
A3 Five Long Years  3:17
A4 Mystery Train  3:22
A5 So Sad This Morning  3:16
A6 When My Baby Left Me  2:30
B1 Little By Little  3:33
B2 Tobacco Road  2:35
B3 Worried Life Blues  2:40
B4 I'm Your Hoochie Coochie Man  2:40
B5 You Don't Love Me  5:00
**
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Big Brother & the Holding Company 1968


Big Brother & the Holding Company 1968
Fillmore Auditorium
San Francisco, CA
June 16, 1968
Bootleg
All Credits Go To *dexondaz*

Blues

This is an excellent partial set from Big Brother and the Holding Company, performed right around the time much of their classic album, Cheap Thrills, was being recorded. JONIS JOPLIN is in fine form here, and fans of James Gurley's grungy psychedelic guitar meltdowns will be delighted.
**
Jonis Joplin- Vocals, Percussion
Sam Andrew- Guitar, Vocals
James Gurley- Guitar
Peter Albin- Bass
David Getz- Drums
**
01. Cath Me Daddy 6:00
02. Combination Of The Two 6:50
03. I Need A Man To Love 6:31
04. Summertime 4:32
05. Road Block 6:07
**
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Tuesday, January 26, 2010

Buster WILLIAMS - Heartbeat 1978


Buster WILLIAMS - Heartbeat 1978
MR 5171

Jazz

One of jazz's most valuable sidemen, Buster Williams has been able to flourish through many periods of changing fashions in jazz. Best known since the 1980s for his solid, dark tone and highly refined technique on the acoustic bass, the jazz-rock generation knew him as the mobile anchor of Herbie Hancock's exploratory "Mwandishi" Sextet from 1969 to 1973, doubling on acoustic and electric basses sometimes attached to electronic effects devices.

Williams learned both the double bass and the drums from his father, but having been enormously impressed by Oscar Pettiford's recordings, he ultimately decided to concentrate on the bass. After studying theory and composition at Philadelphia's Combs College of Music in 1959, Williams joined Jimmy Heath's unit the following year and played with Gene Ammons and Sonny Stitt in 1960 and 1961, as well as behind singers Dakota Staton (1961-62), Betty Carter (1962-63), Sarah Vaughan (1963) and Nancy Wilson (1964-68). The gig with Wilson prompted a move to Los Angeles, where the Jazz Crusaders used him on concert dates and recordings from 1967 to 1969, and he also played briefly with Miles Davis in 1967 and the Bobby Hutcherson/Harold Land quintet. Moving to New York in 1969, Williams joined Hancock's sextet, appearing on all of his Warner Bros. albums, as well as The Prisoner (Blue Note), Sextant (Columbia) and with trumpeter Eddie Henderson's spinoff group on Capricorn and Blue Note. Over a five-year period (1976-1981), Williams led numerous recording sessions for Muse, Denon and Buddah while continuing to freelance before, during and after that span. In the 1980s, he was a member of both the Timeless All-Stars and Sphere, writing a number of compositions for the latter. Among the musicians for whom he has played from the 1980s onward are Kenny Barron, Frank Morgan, Stanley Cowell, Steve Turre, Emily Remler and Larry Coryell.
By Richard S. Ginell, All Music Guide.
**
Arranged By [Strings]- Buster Williams (tracks: A3, B1)
Bass- Buster Williams
Cello- Pat Dixon (tracks: A3, B1)
Drums- Ben Riley (tracks: A1, A2) , Billy Hart (tracks: A3, B1, B2)
Piano- Kenny Barron (tracks: A1 to A3, B2)
Violin- Gayle Dixon (tracks: A3, B1)
**
A1. I Fall In Love Too Easily 5:09
A2. Toku-Do 5:24
A3. Shadows 9:42
B1. Pygmy Lullabye 6:52
       Piano - Jimmy Rowles
       Vocals - Suzanne Klewan
B2. Ruby P'Gonia 8:25
B3. Veronica 2:32
**
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Yusef LATEEF with Charles MINGUS at Birdland 1961 (Flac&MP3)


Yusef LATEEF with Charles MINGUS at Birdland 1961 (Flac&MP3)
All The Credits Go  To *inconstantsol*
Charlie Mingus And His Jazz Workshop
October 21, 1961 (Live) Radio Broadcast
Birdland, New York City

Jazz

This tries to clarify the seven broadcasts that were made from Birdland in New York City between October 21, 1961 and October 26, 1962. These WADO AM (1280) broadcasts were taped by Boris Rose, hence the reference to "Boris Rose tapes". He manufactured acetates from those tapes and the recordings were released on (his own?) bootleg labels such as Alto, Ozone, Session Disc and Yadeon. None of this material has been legitimately released (a hint to Revenge Records, if you still exist).

The most important audio source for this discography is an unissued "connoisseur set" on three CD-R's called "The Complete Birdland Broadcasts 1961-1962". This set includes all seven broadcasts with radio announcements and is mastered from four reels (inserts for these reels, scanned as JPEG files: Tape No. 1 (98 kb), Tape No. 2 (94 kb), Tape No. 3 (93 kb), Tape No. 4 (86 kb)) that were recorded from acetates made by Boris Rose from his original reels. I have used this set for all timings which I have measured with an audio software. The timings do not include any count-ins, introductions etc. unless there is music going on, for example under Symphony Sid's speech. The timings are as accurate as possible with -/+ 1 second marginal.

For comparisons I've also used the following releases from my own collection: "Vital Savage Horizons" (Alto AL 714), "Live At Birdland 1962" (Jazz View COD 028), "Charles Mingus" (Frequenz 044-011) and some miscellaneous sources that have accumulated over the years. For other releases I've relied on the information provided by Luigi Turrino (Tempo di jazz CDTJ 704, Musica Jazz 2 MJP 1067, Jazzman JM 11741).

The discographical data is based on Priestley's Mingus discography and has been compared to other relevant discographies such as Tom Lord's The Jazz Discography Volume 15 and Michael Fitzgerald's Henry Grimes Discography. For session artist titles I've used announcements by Pee Wee Marquette and Symphony Sid, but basically this is Charles Mingus And The Jazz Workshop All Stars all the way.

Unless you already know my email address please use the email form at the Fiasko Records website to send me corrections and additions. The reason for not putting my email address on this page is because I receive so much spam that it's difficult to cope with it even with the efficient spam filter (POPFile) I'm using. When sending corrections etc. try to be as specific as possible and cite the sources for your information (e.g. do you personally have the recording etc.).
By Esa Onttonen.
**
Jimmy Knepper- (Trombone)
Yusef Lateef- (Tenor Sax)
Roland Kirk- (Tenor Sax, Strich, Manzello)
Charles Mingus, Doug Watkins- (Bass)
Dannie Richmond- (Drums)
Pee Wee Marquette- (Musical Cond)
**
A.  [unknown title] 7:12 Alto AL 714 (BAT 5-8, Frequenz 044-011)
B.  Ecclusiastics (Mingus) 9:15 Alto AL 714 (BAT 5-8)
C.  Hog Callin' Blues (incomplete; fade-out) (Mingus) 3:08 BAT 5-8

Notes:
[1] Despite Mingus's introduction the first item (track a) bears no relationship to Blue Cee (Priestley, 1983). It is possible that this composition was later recorded on November 6, 1961 for Atlantic and is one of the unissued tracks that were destroyed in the Atlantic Records vault fire in February 1978. The solo order is Kirk, Mingus, Lateef and Knepper.

[2] On Alto AL 714 all introductions by Mingus and Pee Wee Marquette have been edited away. The titles, Improvisation (track a) and Ecclestiastes (track b), are also incorrect/mistitled.

[3] On Frequenz 044-011 liner notes incorrectly claim Roland Hanna on piano and Mingus on bass. The first track (a) is also misidentified as Blue Cee.
**
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Tsuyoshi YAMAMOTO Trio - Blues To East 1978


Tsuyoshi YAMAMOTO Trio - Blues To East 1978
RJD 1

Jazz

Imagine listening to a piano trio,alone in the middle of the night as you sip your favourite drink.Tsuyoshi Yamamolo Trio offers just such a mood.Yamamoto is highly musical and his expressions nalural.neilher overly technical nor overly serious,and his performance is relaxed and melodious.
**
Tsuyoshi Yamamoto(p),
Tsutomu Okada(b),
Hiroshi Murakami(dr)
**
A1. Our Delight 4:40
A2. Love Theme From Spartacus 9:27
A3. All In Love Is Fair 2:27
B1. Love For Sale 5:45
B2. My Old Flame 5:12
B3. Blues To East 5:33
**
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