While Jimi Hendrix remains most famous for his hard rock and psychedelic innovations, more than a third of his recordings were blues-oriented. This CD contains 11 blues originals and covers, eight of which were previously unreleased. Recorded between 1966 and 1970, they feature the master guitarist stretching the boundaries of electric blues in both live and studio settings. Besides several Hendrix blues-based originals, it includes covers of Albert King and Muddy Waters classics, as well as a 1967 acoustic version of his composition “Hear My Train a Comin’.”
This is a live recording of Stevie Ray Vaughan’s first concert in Japan in 1985, accompanied by longtime stalwarts Double Trouble. He had by that time risen above his personal demons and was completely concentrated on his music. The audience was swept off their feet with his amazing guitar fireworks. The show included versions of ‘Texas Flood’, ‘Voodoo Chile’, ‘Love Struck Baby’, ‘Cold Shot’ and others.
Although Charles Kynard led a date for Pacific Jazz in the early ’60s and five albums for Prestige from 1968-1970, he never really became famous. A fine organist in the style of Jimmy Smith, Kynard could always groove and chug along with the best of them. This Prestige date (reissued on an LP in the Original Jazz Classics series but not yet on CD) matches Kynard with an interesting cast of players: tenor saxophonist Wilton Felder (of the Jazz Crusaders), guitarist Joe Pass (a few years before he became famous for his Pablo recordings), electric bassist Carol Kaye, and drummer Paul Humphrey. The music is quite groove-oriented and chiefly of interest for the contrasting solos of Kynard, Felder, and Pass. [The entire album has been combined with another 1969 session, The Soul Brotherhood, on Prestige’s 2001 CD reissue The Soul Brotherhood.]
Peter Edward “Ginger” Baker (born 19 August 1939 in Lewisham, South London) is an English drummer, best known for his work with Cream and Blind Faith. He is also known for his numerous associations with World music, mainly the use of African influences. He has also had other collaborations such as with Gary Moore, Hawkwind and Public Image Ltd.
Baker’s drumming attracted attention for its flamboyance, showmanship and his use of two bass drums instead of the conventional single bass kick drum (following a similar set-up used by Louie Bellson during his days with Duke Ellington). Although a firmly established rock drummer and praised as “Rock’s first superstar drummer”, he prefers being called a jazz drummer. Baker’s influence has extended to drummers of both genres, including Billy Cobham, Peter Criss, Bill Ward, Ian Paice, Nick Mason, and John Bonham. AllMusic has described him as “the most influential percussionist of the 1960s” and stated that “virtually every drummer of every heavy metal band that has followed since that time has sought to emulate some aspect of Baker’s playing.”
While at times performing in a similar way to Keith Moon from The Who, Baker also employs a more restrained style influenced by the British jazz groups he heard during the late 1950s and early 1960s. In his early days as a drummer, he performed lengthy drum solos, the best known being the five-minute drum solo “Toad” from Cream’s debut album Fresh Cream (1966). He is also noted for using a variety of other percussion instruments and for his application of African rhythms. He would often emphasize the flam, a drum rudiment in which both sticks attack the drumhead at almost the same time, giving a heavy thunderous sound.
This is a very rare album recorded live in London in 1982 , ripped from vinyl.
Many thanks to our friend Filopimin for giving it to Granazi…
Duke Robillard celebrates his 16th release for Stony Plain Records by taking a step back. Reuniting with several of his Roomful of Blues bandmates (Doug James, Rich Lataille, and Al Basile) as well as incorporating some new faces (singer Sunny Crownover), Robillard revisits the ’40s and ’50s blues and R&B that has been Roomful of Blues’ trademark for over 40 years on Stomp! The Blues Tonight. In addition to the powerful horn section, Robillard has assembled a top notch rhythm section (Marty Ballou and Jon Ross on bass, Mark Teixeira on drums) and a set list that includes a perfect blend of cover tunes and originals.
Robillard’s guitar work is as impressive as ever, as are his vocals. The band provides excellent support (Bruce Bears’ piano is a highlight) throughout. Any new Duke Robillard release is a guaranteed pleasure from start to finish, and Stomp! The Blues Tonight ranks up there with his best recordings.
You might have heard Darondo’s irresistable soul nugget “Didn’t I” – as the opening cut on the Gilles Peterson Digs America compilation.He opened-up for James Brown and lived a colorful lifestyle hanging with folks like the notorious Fillmore Slim. Take a listen to these tracks, released for the first time together on an album, and you may agree that he could have been the next Al Green or Sly Stone. But about 25 years ago Darondo disappeared. Let My People Go is nine tracks long, compiling the three super-rare 7″ singles that comprised Darondo’s musical career and includes three previously unreleased tracks recently found on a reel of demos. Mixing low-rider soul with blues and r’n’b, he delivered in a variety of styles. From the socially-charged title track to the sexually-driven funk of “Legs” Darondo’s raw soul sound is turning heads worldwide.
On 1999’s Continental Drifter, king harmonicat Charlie Musselwhite began stretching the boundaries of his Delta blues’ heart to embrace music that encompassed the emotional and organic range of blues music without adhering to a strict formula. In that case, it was Cuban son; on 2002’s One Night in America, it was roots country and Americana. In both cases, the blues were the root and the destination, but by winding in these other sounds, Musselwhite’s blues heritage became more, not less organic; it was more deeply rooted in the soul of the Americas at large. On Sanctuary, Musselwhite’s reach extends back to the blues from the Mississippi Delta, but his pedigree reveals the blues tradition as the true signifier of all American music, whether that music is grown from the soil itself and projects itself to the ends of the earth, or reflects its image back across the distances to the homeland, or into a mirror. Inside that tradition is the cornerstone, the “sanctuary” for all modern popular music to claim as its root. Issued on Peter Gabriel’s Real World label, Musselwhite has assembled a crack band for this outing: Joined by guitarist Charlie Sexton (formerly of the Bob Dylan band), bassist Jared Michael Nickerson (Gary Lucas, Freedy Johnston, Jeff Buckley) and back from the One Night in America sessions, and Michael Jerome on drums (Jerome also played with the Five Blind Boys of Alabama who, along with Ben Harper, guest on the set). Sanctuary opens with Harper’s “Homeless Child,” and the composer guests on his Weissenborn guitar, ramping it down and laying out the killer slide blues for Musselwhite to wrap and moan his lyrics around and into the void of the night sky. With a skeletal chorus provided by Harper and Sexton, the tune goes from the porch to the stratosphere with only the six-string razor and the vocalist’s funky harmonica to frame its flight. Harper also guests on Musselwhite’s amazing swamp autobiography with the Blind Boys. The song walks the knife’s edge of the sacred and profane; it’s a hymn of both acceptance and repentance. There is a wonderful tension here, between the darkness of the narrative and the exuberance of the backing vocals and the shuffling drum kit. The atmospheric edges in Musselwhite’s mix, though, are better-evidenced by the tunes he plays with his own band, whether it be in the nasty, guttural blues of his own “My Road Lies in Darkness,” or in the spooky, laid-back humidity of Randy Newman’s “Let’s Burn Down the Cornfield.” With a cover of Chris Youlden’s “Train to Nowhere” — a song made popular by Youlden’s band at the time, Savoy Brown — the listener travels through time and space: Savoy Brown was trying hard to capture the feel and spirit of the Delta in their version, as the music of the region traveled north to Chicago. Musselwhite, with the Blind Boys, embrace the feeling and take it right back down the Mississippi River, thereby creating a double. While there are no weak moments on the set, a couple of the other standouts include the band’s instrumental “Shadow People,” which evokes the dread, mystery, and sexy darkness inherent in the music’s grain; a stunningly edgy version of Townes Van Zandt’s “Snake Song,” and a sweet, low, rumbling, sexy twitch that comes from Eddie Harris’ “Alicia.” Sexton contributes his own magnificent “The Neighborhood” to this; in the deep, expressive world at the bottom of Musselwhite’s voice it becomes a song that opens into the shadow side of the world we inhabit everyday. The album ends with a harp solo on “Route 19 (Attala County, MS)”; the player breathing it through the subtle body channels of marrow, bone, and heart cavity, into history, making an offering to the listener as a gift. Sanctuary sets a standard for authenticity, vision, and inspired excellence. Amen.