Thanksgiving, Altered States of Consciousness & Django Reinhardt

 

I'm heading out to Los Altos, California to celebrate the Thanksgiving holiday with my children, grandchildren (with their significant others), and little Babs, my great-granddaughter.  I will start blogging again on December 4th.

In my short seven decades on this "Blue Marble", I've had quite a few memorable Thanksgivings, but one that really stands out took place on the Thanksgiving weekend of 1967.

In 1967, I was twenty-years-old, in my third year at Caltech in Pasadena, California, and majoring in Applied Mathematics.

On Thanksgiving Day, I had dinner in Caltech’s dinning hall with Jennifer and her roommate Sandy.  We weren’t close friends, but we had smoked weed (we called it "Grass" back then) a few times.  Both of them had a "hipper than thou" attitude, but they were always friendly enough, and the campus was empty due to the holiday, so why not? 

After dinner, the conversation turned to contraception.  I gave them the name and address of a nearby woman doctor who prescribed "The Pill" to unmarried women, and a pharmacy that didn’t ask questions (who’s hipper now, bitches?).  "The Pill" in 1967 was illegal for unmarried women and would remain so until 1972.

On our table was a copy of the psychedelic newspaper, The San Francisco Oracle.  After reading a few articles, I said to Jennifer, "Acid sounds very interesting" to which she replied, "Let’s do some tomorrow!" Sandy smiled and nodded her head in agreement.  Jennifer and Sandy had dropped acid a few times before, but I was a newbie to the Psychedelic drug scene.  I had smoked weed for the first time only a few months earlier in July, during summer break back home in Brooklyn with Denise "The Grease" (the beginning of a lifelong love affair with "The devil's cabbage").  Jennifer got up, walked across the dinning hall, sat at another table for a few minutes, came back, opened her hand, and showed us three sugar cubes, that had a spherical blue stain in the middle.  We made arraignments to meet at their place after lunch the next day.

That evening, I was trying to solve a differential equation, but I couldn’t concentrate due to the anxiety I was feeling about dropping acid.  Would I think I could fly, and jump off of Jennifer and Sandy’s roof?…What kind of hallucinations would I have, and what would I see?…What about those bum trips?…Flashbacks?  The media was reporting stories on chromosomal damage and genetic mutations, and I wanted to have children at some point in my life!  There was also a rumor going around, that you could be declared legally insane if you took LSD more than five times.  But then I thought about how everything they told us about weed in high school was complete and utter nonsense.  I also knew that LSD was wildly popular in certain intellectual circles, and that was a "club" I wanted to join.

The next day, while walking to Jennifer and Sandy’s place, I was more than apprehensive.  It was raining, and I had a few records under my arm, that I was trying to keep dry.  When I arrived, Sandy was making some kind of herbal tea, and on their kitchen table incense was burning.  Jennifer walked into the kitchen and handed out the sugar cubes.  We let the sugar cubes dissolve in our mouths, smoked a joint, and then sat there as if we were waiting for a bus or something, chain-smoking cigarettes.

Twenty minutes or so later, The Doors first album was playing, the room looked exactly the same and yet somehow different, everything had a glossy sheen that it didn’t have thirty minutes ago.  Sandy was rolling a joint and started to giggle, which caused all of us to laugh. I felt hyper aware, and in amazement I watched rain drops rolling down the kitchen window. The Doors sounded incredible, and I wished I had a piano to play.

Tim Buckley’s album "Goodbye and Hello" was playing, and Sandy goes very quiet and was staring across the room.  Jennifer and I looked at each other and start laughing.  I lit a cigarette, and it felt like the cigarette was smoking me.  There was an exposed brick wall in the living room that I couldn't stop staring at, it almost looked like it was breathing and there were all these little colored lights dancing around between myself and the wall.  I felt euphoric, and thought back to the article I read in The San Francisco Oracle regarding "The Cosmic Joke" and I started laughing hysterically.  I wondered if this was enlightenment or if I was having grandiose delusions, or maybe both, and thought, who knows, I was having too much fun to care.

It was now 7PM, we’d been tripping for six hours, I was still very high, but it was not as intense.  I decided to leave, so I thanked, and said goodbye to Jennifer and Sandy.  Walking home across campus, my mind was racing, and I knew my psyche had taken a quantum leap.  I thought about my abstract algebra class that was so confusing, but now I saw it in a different light, "I can do this!" I thought to myself.  As I was walking, there was a large puddle from the day’s rain.  As I stepped to avoid it, I saw the reflection of the moon in it.  It looked beautiful, a light breeze made it ripple, and I started laughing.  As I bent over to take a closer look, I heard a voice behind me say, "Are you OK?" I turned around and standing there was an athletic looking guy with blonde curly shoulder-length hair, who looked concerned, "I’m fine" I said, still giggling. "I thought you were crying" he said, followed by "What’s so funny, anyway?" I told him, "The universe is what’s so funny!".  He gave me a knowing look, smiled, and said, "Last Saturday the universe was a funny place for me too. Take care, and happy trails" and walked away.  When I got home, I listened to Albert Ayler's 'Spiritual Unity', then played my old beat up piano, smoked joints, and chain-smoked cigarettes thinking about the day's events.

The following Monday at lunchtime, I was back in the in Caltech dinning hall waiting to be served, when a voice said, "How funny is the universe today?" It was the guy from Friday night, I told him, "It's still funny, but not as funny as it was last Friday".  He laughed and said, "Probably not as beautiful either, right?" I smiled.  He then said, "I’m Jerry, and you are?" I told him. "I'm Barbara, but everyone calls me Babs" "Would you like to join me, Babs?" Jerry asked.  We had lunch, blew off our afternoon classes, made each other laugh while having the most wonderful conversation.  

Of the many things Jerry and I spoke about, music was a big topic of conversation.  Jerry had an eclectic taste in music, which was similar to mine.  When the subject of guitarists was broached, I remember asking Jerry if he ever heard Django Reinhardt (not many young people were listening to Django in the late 60s), he had, and we both agreed that Django was the most incredible guitarist ever.

Little did we know that afternoon, we would marry, have children, would be making each other laugh, and our conversation would flourish for the next forty-five years…

So here's a little Django, and by little I mean the motherlode of Django Reinhardt from those fine folks over at Frémeaux & Associés.

Enjoy, my friends!

Part One
https://workupload.com/file/GUFg9jDnGKc

Part Two
https://workupload.com/file/qqNuKhWcSGG

Part Three
https://workupload.com/file/NFp6FVE77t5

Part Four
https://workupload.com/file/JL6D79uUaNA

Otis Spann with Sammy Lawhorn, and Victoria Spivey‎ - "Up In The Queens Pad!"

 

'Up in the Queen's Pad!' subtitled, 'A Musical Parlor Social Deluxe!!' was recorded on April 9 and 10, 1969, but not released until 1980, on the Spivey Records label.  Spivey Records was created in the mid-1950s by Victoria Spivey and her agent and manager, and later husband, Len Kunstadt.

Victoria Spivey was known to fellow blues musicians and fans as, "Queen Victoria", so the "Queen's Pad" refers to her apartment on Albany Avenue in Brooklyn, New York.

This recording has Otis Spann on piano, vocals, and according to the liner notes, "percussive foot stomping", Sammy Lawhorn on guitar, and Victoria Spivey on vocals and according to the liner notes "incidental chatter, including emotional outbursts".  Also on the recording are Len Kunstadt playing kazoo credited as "Guess Who" (Len's nickname was "Kazoo Papa", so it was sort of a hip "in joke"), and you'll also hear "Tweet" and "Chirp", who were Victoria's Parakeets.

Tracklist

Side A
1. "I Just Want A Little Bit" — Otis Spann and Sammy Lawhorn.
This is a wonderful version of the countlessly covered Rosco Gordon classic, with some very cool interplay between piano and guitar.

2. "I'm Accused" — Otis Spann, Sammy Lawhorn and Victoria Spivey.
Otis' timing on this is unreal.  Once again, Otis and Sammy's interplay is very cool. Victoria takes a verse towards the end.

3. "Vicksburg Blues" — Otis Spann and Victoria Spivey
This is basically solo Otis with "incidental chatter, including emotional outbursts" courtesy of Victoria.  This is Otis at his most sublime.

Side B
1. "Five Long Years" — Otis Spann and Sammy Lawhorn
This is a really nice version of the Eddie Boyd classic, in 12/8 time.

2. Black Gal — Victoria Spivey and Sammy Lawhorn.
This is a reworking of Sonny Boy Williamson's "Black Gal Blues" from 1938. Victoria and Sammy really do this song justice.  Otis Spann was taking a "nap" during this recording.

3. Let's Look After Each Other — Otis Spann, Victoria Spivey and Len Kunstadt.
This is a very cool blues stomp, with Otis' piano, Victoria's vocals, and Len's kazoo, with backing vocals from Parakeets, "Tweet" and "Chirp".  Apparently, Sammy Lawhorn was passed out taking a nap on Victoria's couch.  Yes, alcohol and "Reefer" were involved in these sessions.  [shocking, I know… — Ed]

4. "Help Me Somebody" — Otis Spann, Sammy Lawhorn and Victoria Spivey.
All involved are having fun while they "nail" this tune.

As you may have surmised by the cover, with its typewritten notations glued onto a sheet of paper and photocopied, along with photos and various clippings and decorations, Spivey Records were decidedly low budget affairs.  The audio, all things considered, is OK.  But, to me, it all adds up to a record with a certain "je ne sais quoi" charm to it.

This record is a lot of fun, and you can hear how much fun everyone involved was having.

The freeload is a vinyl rip, of the hard to find original release.

For the freeload, tell us what are some of your favorite comedy albums? 

Mal Waldron - 'The Quest'

Mal Waldron’s music is a treasure trove of different styles and always delivers great performances.  He’s played with some of the biggest names in jazz, like Billie Holiday, Kenny Burrell, Charles Mingus, and John Coltrane, and he’s also led his own albums. Mal’s impact on jazz is truly one-of-a-kind.

"The Quest" was recorded in on June 27, 1961, and released the following year on Prestige Records’ subsidiary label New Jazz (the label was created in 1958 to focus on more experimental and adventurous jazz).  The album was recorded Van Gelder Studio in Englewood Cliffs, New Jersey, and produced by Esmond Edwards.

This is Mal’s most acclaimed album, and features a sextet consisting of Eric Dolphy on alto saxophone and clarinet, Booker Ervin on tenor saxophone, and Ron Carter on cello, Joe Benjamin on bass and Charlie Persip on drums.  Together, they delve into the boundaries of advanced bop and the newly emerging "New Thing".  

Mal and company, like most early New Thing albums (Coleman’s Free Jazz being a notable exception), don’t abandon traditional structure on 'The Quest'.  Instead, they infuse form with new energy that still resonates today.

All seven songs on ‘The Quest’ were composed by Mal.  Throughout the album, Mal, Booker Ervin, Waldron, and Eric Dolphy deliver memorable solos, showcasing their versatility.  They play dark chamber music on "Warp and Woof", dark chamber music on "Warm Canto", where Eic Dolphy switches to clarinet, and "Fire Waltz". the hippest waltz you’ll ever hear.

"The Quest" stands as a testament to Mal Waldron’s exceptional musical talent and versatility, demonstrating his remarkable ability to excel in both supporting and leading roles.  Its enduring popularity and critical acclaim continue to inspire jazz musicians and fans alike.

For the freeload, finish the following sentence:
Never trust a person who,..........

Chuck Berry - 'The Chess Years'

From signature guitar licks to easy-rolling rhythm to preoccupation with cars and girls to serving time, nobody's more rock 'n' roll than Chuck Berry.  His series of catchy, clever youth anthems inspired generations of rockers.

We all know the story of how he arrived at Chess Records as a blues guitarist, achieved a novelty hit with "Maybellene", and never looked back.  In fact, blues legend Willie Dixon was the primary bass player on his early recordings, and Berry incorporated a few blues songs and guitar instrumentals into each of his early LPs.

There has been some dispute about how much of his classic songbook was actually written by pianist Johnnie Johnson (left), who sued him in the 1980s.  Chuck has said, that if Johnnie Johnson really thought he'd been ripped off, he wouldn't have waited that long to do something about it, which seems reasonable.  That said, it does seem odd that most of his tunes are written in piano keys like F, C and B♭ rather than guitar keys like E, A or D…just sayin'.  Meanwhile, Chuck has sued John Lennon, The Beach Boys and three karaoke music distributors over copyright infringement.

Chuck hung around for forty years after his last significant composition, and often his admirers have performed his songs better than he did: both factors make it harder to appreciate how important he is.  His voice was decent enough, with remarkably crisp pronunciation though not too expressive, and he did have a tendency to repeat his guitar riffs.  But I don't judge him harshly for that, as pioneering artists tend to create their own clichés as they replace the clichés of the past.

Whenever rock and roll gets too pompous and serious for its own good, new bands return to Chuck's approach, like garage bands in the 60s, punk in the 70s, grunge in the 90s, but never do it with the same panache.

All that said, he wouldn't be anywhere without his cousin Marvin.  Right?

Today's freeload is a rare, long out of print, 9CD collection, that was released in 1991 on the Charly Records label as part of their RED BOX series.  I've previously done posts from the Charly Records RED BOX series, on Muddy Waters, Howlin' Wolf, Sonny Boy Williamson II, Elmore James, and John Lee Hooker.  If you freeloaded any of them, you know how much effort Charly Records put into the sound on their RED BOX series.  In fact, when I was ripping these CDs, I accidentally ripped them at 320 kbps/44100 Hz, instead of my usual FLAC.  When I listened to them, they sounded just fine (Charly remastered them hot and in your face), so I kept them at "320".

This set is all the Chuck Berry, you'll ever need [probably more than you'll ever need — Ed], it's all here.

For the freeload, what are your top 5 Chuck berry songs?

John Lee Hooker - 'The Standard School Broadcast Recordings'

 

'The Standard School Broadcast Recordings', released in February 2025; simply stated, is one of the best blues albums released in years.

In 1973, Hook recorded for 'The Standard School Broadcast', a weekly educational radio program.  Founded in 1928, The Standard School Broadcast was a pioneering educational program sponsored by Standard Oil (hence its name) and later by the ExxonMobil Corporation.  Dedicated to music appreciation and American history, the program was broadcast to schools across the Western USA through the NBC network.

On the session, Hook’s band featured his long-term rhythm section, bassist Gino Skaggs and drummer Ken Swank, along with his then-20-year-old son, Robert Hooker, on piano.  Together, they recorded eight tracks, but only three were ever broadcast.   This makes this release a must-listen for Blues fans.

Let's be honest, Hook had a reputation for varying performance quality over the years.  Be that as it may, in this case, the production is sparkling and clear, with a gorgeous sound remastered By Philip Shaw Bova (think Muddy Waters’ 'Folk Singer album'), and the performances are simply stunning.  The recording is live, without overdubs, edits, or any significant mixing.

There’s a rare sense of intimacy here, with Hook delivering his best vocals while playing some superb yet restrained guitar.  Gino Skaggs and Ken Swank subtly but effectively follow their leader, while Robert Hooker’s Otis Spann influenced piano adds depth and color to his father’s songs.  Robert never overplays or over-shadows his father, instead heightening his performance.

The album begins with the haunting one-chord drone of "Bad Boy", seamlessly transitioning into "Hard Times" a poignant reimagining of Hook's own "No Shoes".  The classic Hooker boogie is evident in both "Rock With Me" and “Should Have Been Gone”(which to my ears sounds like a reworking of the classic  "I’m Leaving").  Additionally, there’s a wonderful solo rendition of his 1948 classic "Sally Mae".  However, it is in the slower, meditative, emotionally brutal, and blisteringly raw tracks such as "I Hate The Day I Was Born" and the medley of  "When My First Wife Left Me" and "Hobo Blues" that Hooker’s true genius shines through. 

'The Standard School Broadcast Recordings' is a master class in how the blues should be played.

The freeload is a 24bit/96kHz vinyl rip that sounds sublime.

For the freeload, what was your favorite subject in school?

Also, if any of you out there on the World Wide Web Of Wonder, grew up in the western states, and heard The Standard School Broadcast Recordings in school, I'd love to hear about it.

Joe Zawinul - 'Zawinul'

Joe Zawinul was one of the most well regarded jazz pianists/keyboardists in the history of the Jazz.  He was one of the masterminds behind Weather Report and played on classic albums by Miles Davis and Cannonball Adderley.

This album is not as well known among his discography, but it deserves to be.  The music is atmospheric and dreamy, with pretty melodies driving most of the songs.  

Joe calls this album:

"Music for two electric pianos, flute, trumpet, soprano saxophone, two contra basses and percussion."

Some people consider this the real first Weather Report album, as two other Weather Report founding members, Wayne Shorter and Miroslav Vitous are on this recording.  Conceptually, and sonically, they have a point.  It is also the link between Weather Report and Miles Davis' keyboard-laden experiments on the album 'In a Silent Way', the song "In a Silent Way" is redone here, in the more complex form in which Joe envisioned it.

With two keyboardists, Joe and Herbie Hancock, the album’s foundation is laid.  Their work is complemented by spacey sound effects created using an Echoplex tape delay effects unit and a ring modulator, which is a sound-sculpting tool.

In the liner notes (included in the freeload), Miles Davis contributes a brief, but generous tribute to Joe:

Zawinul is extending the thoughts that we've both had for years.
And probably the thoughts that most so-called now musicians have not vet been able to express.

P.S. Dig the two drummers and Herbie with the echoplex-and the clear funky black soprano sound—and the setting that Woody has to play in. All these musicians are set up. Joe sets up the musicians so that they have to play like they do, in order to fit the music like they do. In order to fit this music you have to be "Cliché Free.
In order to wnte this type of music, you have to be free inside of yourself and be Josef Zawinul with two beige kids, a black wife, two pianos, from Vienna, a Cancer and "Cliché Free."

Track 1 "Doctor Honoris Causa". 
"Dedicated to Herbie Hancock for his Honorary Doctorate at Grinnel University in Des Moines, Iowa."

 Track 2 "In a Silent Way" which is very different here than the version on the Miles Davis album.  
"Impressions of Joe Zawinul's as a shepherd boy in Austria."

Track 3 "His Last Journey"
"A tone poem reminiscent of his grandfather's funeral on a cold winter day in an Austrian mountain village."
  
Track 4 "Double Image" is a different version of the song that was originally recorded for Miles' 'Bitches Brew', it went unreleased until "The Complete Bitches Brew Sessions" released in 1998.
"A concept of what man thinks he is as opposed to what he really is."

Track 5 "Arrival in New York"
"Joe Zawinul's first impression of New York when he arrived here as a boy on a ship from France."

Joe Zawinul – acoustic and electric piano
Herbie Hancock – electric piano
Hubert Laws – flute
Woody Shaw – trumpet
Wayne Shorter – soprano saxophone
Miroslav Vitouš, Walter Booker – bass 
Jack DeJohnette, Billy Hart, David Lee, and Joe Chambers – percussion 

For the freeload, tell us what the weather was like today, where you live.

Jimi Hendrix - 'Axis: Bold As Love' (UHQR Vinyl Rip)

 

Let’s take a trip down memory lane to 1967, a time when expectations were exceptionally high for the follow-up to the Jimi Hendrix Experience’s groundbreaking debut album, 'Are You Experienced'.  Most fans would have been content if Jimi had simply rehashed some of its most radio-ready moments, such as "Purple Haze", "Fire" or "Foxy Lady".

But, Jimi, like all artistic geniuses, resisted the pressure to deliver more of the same.  Instead, in January 1968 (December 1967 in the UK), he released 'Axis: Bold as Love', less than a year after 'Are You Experienced'.  'Axis: Bold As Love' focused on refining his melodies, lyrics, and, with producer Chas Chandler, who helmed the first album, creating a more expansive production.  While the guitar playing and tone were exceptional, they were integrated into song structures rather than being as prominent as on his previous or later sets.

Only one single was released, "Up From the Skies"/"One Rainy Wish", which went nowhere.  However, the material flowed together more organically as a cohesive statement rather than a batch of 45s, as in the previous offering. The album rose to #3 on the American charts and was considered a success, both commercially and artistically.

The dozen songs, excluding an opening two-minute sci-fi piece titled "Exp", span a range of genres, from the funky soul of "Wait Until Tomorrow" to the bubbling jazzy undertones of "Up from the Skies".  "One Rainy Wish" features psychedelic R&B, while "Little Wing" and "Castles Made of Sand" evoke a glistening dreaminess.  The latter, with its groundbreaking backwards guitar solo, is particularly noteworthy.  Dylan-esque lyrics, dramatic, provocative time and tempo changes, and oblique, spoken-word poetry are evident in "If 6 Was 9".  Alongside these elements, the driving rock of "You Got Me Floatin" and "Ain’t No Tellin" contribute to the collection’s forward-looking and genre-breaking nature.

Jimi along with engineer Eddie Kramer and producer Chas Chandler spent countless hours at London's Olympic Studios meticulously constructing and condensing these tracks.  Seven of them don’t exceed the three-minute mark, while only one song, "If 6 Was 9" surpasses the five-minute mark.  Despite their shorter lengths, nothing appears rushed.  Instead, the meticulous overdubbing creates layers of sound, showcasing the thoughtful crafting of each tune.

'Axis: Bold As Love' is by far my favorite Jimi Hendrix album, and the one I reach for most.

Today's freeload is the UHQR (Ultra High Quality Record) released in April 2019 by Analogue Productions on 200 gram vinyl.  This is the stereo version, and was limited to 5000 pressings.  The sonics on this reissue are nothing short of extraordinary.

For the freeload, what are some of your favorite song intros?

Muddy Waters - The Blue Sky Studio Recordings

In August 1975, Chess Records was sold to the All Platinum Records label and became a reissue label only, which left Muddy without a record label.  In 1976, Blues-Rocker Johnny Winter, who idolized Muddy since childhood and who had become a friend, signed Muddy to his label, Blue Sky Records.

From 1977 to 1981 Muddy and Johnny Winter had a fruitful collaboration, which created a new energy in Muddy's career.  He released his critically acclaimed, Grammy winning album 'Hard Again' in 1977, and the next year released one of his most timeless albums, 'I’m Ready'.  For several years Muddy enjoyed a large following of mostly white fans, which the genre’s popularity seemed to shift to, and he toured continuously with Johnny Winter.

Hard Again, 1977

The first thing you hear belting out of the speakers on this record is Muddy’s voice as he begins, "Mannish Boy". "Oooooh, yeah, everything, everything gonna be alright this morning…".  It’s one of the iconic moments in the blues.  This music is loud, brash, and so, well, joyful.  You can tell everybody involved is having a great time, when you hear the band shout back at Muddy in the call and response of the song.  

Muddy and Johnny Winter are on guitar along with Bob Margolin.  Legends Pine Top Perkins is on piano and James Cotton on the harp (alas Little Walter had passed years prior).  Willie "Big Eyes" Smith is pounding the drums and Charles Calmege is on bass.

This is big, old-school Chicago blues. There is not a bad moment here. Muddy revisits some of his older, iconic tracks here, like "Mannish Boy", and also "I Can’t Be Satisfied" (A rare acoustic blues moment here) and "I Want To Be Loved".  They also do some new material, the epic "Bus Driver" and "Deep Down In Florida".  This is simply one of the greatest blues albums of all time.  It was marketed as a "comeback" to proved, Muddy still had it.  As if that was ever in doubt.

I’m Ready, 1978

On 'I'm Ready', Muddy was reunited with a member of his classic, late 40s/early 50s band, Jimmy Rogers on guitar.  'Hard Again' gets all the attention, but I almost like 'I’m Ready' better.  The way Muddy and Jimmy weave together their guitars (much like Keef and Ronnie Wood do on 'Some Girls'), is mesmerizing.  Bob Margolin jumped over to bass.  You throw in Johnny Winters on guitar, and you have a pretty amazing trio of guitars.  

The title track opens things up, and it’s a great version of a Muddy classic.  Muddy not only wrote his own stuff, but he sang a lot of Willie Dixon’s songs, with the great "I’m Your Hoochie Coochie Man" included here in a rousing version.  "33 Years" is another stand out blues track.  That good time, happy vibe continued over from the first album.  Muddy and band had found blues gold, and they kept it rolling on this second album of the trio.  This is another must have blues album from Muddy.

King Bee, 1981

After a live album (Muddy "Mississipi' Waters Live", which will be a future post), the group reconvened in the studio for the third and alas the final installment of this trio of superb records.  By this time, Muddy’s health had begun to fail, and he was forced more often than not to cancel his live performances.  His great touring band made most of their money from concerts, so if a show was canceled, they didn’t get paid.  This caused a fallout between Muddy and the band, his manager Scott Cameron, his road manager and guitarist, Brian Bisesi, "roadies" etc. etc.

The big party sound of the first two albums is gone, and Muddy sounds like he’s settled into a sadder, bluesier mood here.  It’s not that it’s bad, it’s just a farewell vibe.  They only managed to bang out part of the album and had to augment it with outtakes from the 'Hard Again' sessions.  But I still think this record is essential listening.  The title track is outstanding, and I love this version of "Champagne and Reefer".  Muddy’s favorite drink was champagne, and his drug of choice was weed, so why not sing about it, I mean, there are worse pastimes.

Today's freeload, is vinyl rips of the above albums.  They are the original release albums with 24bit/96kHz sonics, that sound much better than the CDs do.

For the freeload, what are some of your favorite so-called "comeback" albums?

New Boz Scaggs album - 'detour'

 

I've had this for about a week and a half, and only just got around to listening to it.

This is Boz's third album of standards, "But Beautiful" from 2003 and 2008's "Speak Low" are beautiful recordings of primarily Great American Songbook classics.  However, 'detours' is clearly different. With these earlier recordings, Boz was backed by larger ensembles.  'detours' involves sparse arrangements performed in trio or quartet formats of primarily acoustic piano, guitar, bass & percussion.

'detour' creates a very intimate setting for a late night jazz club vibe.  Goes nice with Elijah Craig 12-year-old Bourbon.

Enjoy!
Link
https://workupload.com/file/9fsAzGfNCCa

Joe Pass:Virtuoso (2025 24bit/192kHz Remaster)

 

'Joe Pass: Virtuoso' was released in December 1973, on Norman Granz's recently founded, Pablo label.  It was jazz guitarist Joe Pass' 10th album, and the first of three 'Virtuoso' recordings.  The album is widely considered his best, and a landmark of Jazz guitar.

The album was recorded on August 28, 1973, at MGM Recording Studios, in LosAngeles, CA, it was produced by Norman Granz, and the recording engineer was Val Valentin.

One track on 'Virtuoso' ("Here's That Rainy Day") sounds electric, while the rest sound of the songs sound acoustic, which was due to an amplifier malfunction.  Joe plays his Gibson ES-175 electric archtop guitar on all tracks. I've heard two stories regarding the malfunction, both from reliable sources.

• One is that, Joe's Polytone amp amplifier stopped working, and rather than stopping the session, Norman Granz kept the tapes rolling, deciding to capture Joe's performance with only a microphone placed in front of his unamplified guitar.
• Another version is that the amp and the guitar were separately miked, and the amplified track was lost, except for "Here's That Rainy Day" which was the first track recorded.

Regardless of whether the amp physically broke or the tracks were lost, the result was the same: the album showcases Joe's incredible skill and improvisational creativity in a stripped-down, acoustic-flavored setting that was not the initial intent.

Joe plays with the complexity of a pianist, making it sound like multiple guitars are being played at once.  Many times, I've played this album, for people unfamiliar with Joe, and they almost always ask, "Who's on the other guitar?".

'Virtuoso' wasn’t just a breakthrough for Joe; it was a game-changer for jazz guitar as a whole.  Before its release, solo jazz guitar albums were rare, and those that did exist often leaned on classical influences or heavily arranged material.  Joe proved that a guitarist could improvise an entire album with the depth and spontaneity of a full band.  This album remains a touchstone for generations of guitarists. 

When released, ‘Virtuoso’ had a crisp and clean sound.  It’s one of those albums that makes you feel like you’re sitting in the room with the artist. Kevin Gray’s 2025 remaster, with 24-bit/192kHz sonics, only enhances this feeling.

For the freeload, tell us about the last thing that malfunctioned on you.

King Crimson - 'Sheltering Skies'

 

Through the years, King Crimson has had various lineups, each with its own distinct musical identity, with Robert Fripp as its only constant.

The 1980s version of King Crimson (pictured above) with Robert Fripp on guitar, returning drummer Bill Bruford, Tony Levin on Chapman stick, bass and vocals, and guitarist/singer/songwriter Adrian Belew  represented the most radical overhaul to date of the group’s approach.  And that’s saying something.

'Sheltering Skies' was recorded on August 27th 1982, at the Amphithéâtre Les Arênes De Fréjus, France, but not released until September 2024.

The album captures the raw energy and innovative sound of King Crimson’s 1980s lineup during their European tour, co-headlining with Roxy Music.  The tour was promoting their albums 'Discipline' from 1981, and 'Beat' from 1982, which was the first King Crimson album recorded with the same band lineup as the album preceding it.  The band’s dynamic stage presence and powerful live renditions of their music are fully highlighted in this recording, featuring classic King Crimson instrumentals such as "Red" and "Larks’ Tongues in Aspic Part Two".

Fun Fact: in 1984 Robert Fripp dissolved King Crimson for the second time, exactly ten years after dissolving the previous group.  Adrian Belew was unaware of this, until he read about it in Musician magazine.

For the freeload, what are some of your favorite personnel changes in rock bands?

Chicago/The Blues/Today! Vols. 1, 2 & 3

 

There are influential albums, and then there's 'Chicago/The Blues/Today! Vols. 1, 2 & 3'.

In 1965, musician, author, historian, and producer Samuel Charters enlisted nine of the Chicago’s finest blues artists to record a brief set each for a Vanguard Records sampler.  This compilation aimed to showcase the distinctive electric sound of Chicago Blues.  Artists like Otis Rush, Junior Wells, Buddy Guy, Willie Dixon, Jonny Young, Otis Spann, Johnny Shines and Big Walter Horton exemplified this unique style, which featured electric guitars, amplified harmonicas, a rhythm section, and often a piano. All of these artists are featured on the compilation. 

The 'Chicago/The Blues/Today!' trilogy introduced countless listeners to the blues, helping to popularize the genre in the US, the UK, and beyond.  These recordings also influenced a host of up-and-coming rock artists, including The Animals, Eric Clapton, The Yardbirds, The Rolling Stones, and later, The Allman Brothers Band. I guarantee that all of these artists have these three albums in their collections.

As AllMusic notes: 

"It’s fair to assume that most blues-influenced artists had all three volumes in their respective collections, and the songs on them ended up in the repertoires of everyone from Jimi Hendrix…to Led Zeppelin…to Steppenwolf."

If you're a Blues fan and don't have 'Chicago/The Blues/Today! Vols. 1, 2 & 3' [Shame on you - Ed], you should have this in your collection.  If you already have them, the freeload is a reissue from 2021, on the Craft label and are Hi-Res 24bit/192kHz files, so they make for a serious upgrade.  You've never heard them sound this good.

I rebought (had it on the original vinyl and also CD)  Chicago/The Blues/Today! Vols. 1, 2 & 3 on Record Store Day 2021, which were limited edition of 1,800 copies on 180g vinyl.  Included was a card with a link to download the Hi-Res 24bit/192kHz files.

Volume 1
The Junior Wells Chicago Blues Band
    
Junior Wells – harmonica, vocals
Buddy Guy – guitar
Jack Myers – bass
Fred Below – drums

01. "Help Me"
02. "It Hurts Me Too"
03. "Messin' with the Kid"
04. "Vietcong Blues""All Night Long"

J. B. Hutto and His Hawks

J. B. Hutto – guitar, vocals
Herman Hassell – bass
Frank Kirkland – drums

05. "Going Ahead"
06. "Please Help"
07. "Too Much Alcohol"
08. "Married Woman Blues"
09. "That's the Truth"

Otis Spann's South Side Piano
    
Otis Spann – piano, vocals
S. P. Leary – drums

10. "Marie"
11. "Burning Fire"
12.  "S. P. Blues"
13. "Sometimes I Wonder"
14. "Spann's Stomp"



Volume 2
The Jimmy Cotton Blues Quartet
    
Jimmy Cotton – harmonica, vocals
James Madison – guitar
Otis Spann – piano
S. P. Leary – drums

01. "Cotton Crop Blues"
02. "The Blues Keep Falling"0
03.  "Love Me or Leave"
04.  "Rocket 88"
05. "West Helena Blues"

The Otis Rush Blues Band

Otis Rush – guitar, vocals
Robert "Sax" Crowder – alto saxophone
Luther Tucker – guitar
Roger Jones – bass
Willie Lion – drums

06. "Everything's Going to Turn Out Alright"
07. "It's a Mean Old World"
08. "I Can't Quit You Baby"
09. "Rock"
10. "It's My Own Fault"

Homesick James and His Dusters
Homesick James – guitar, vocals
Willie Dixon – bass
Frank Kirkland – drums
    
11. "Dust My Broom"
12. "Somebody Been Talkin'"
13. "Set a Date"
14 "So Mean to Me"



Volume 3
Johnny Young's South Side Blues Band

Johnny Young – guitar, mandolin, vocals
Walter Horton – harmonica
Hayes Ware – bass
Elga Edmonds – drums

01. "One More Time"
02. "Kid Man Blues"
03. "My Black Mare"
04. "Stealin' Back"
05. "I Got Mine In Time"
06. "Tighten Up on It"

The Johnny Shines Blues Band
    
Johnny Shines – guitar, vocals
Walter Horton – harmonica
Floyd Jones – bass
Frank Kirkland – drums

07. "Dynaflow Blues"
08. "Black Spider Blues"
09. "Layin' Down My Shoes and Clothes"
10. "If I Get Lucky"

Big Walter Horton's Blues Harp Band with Memphis Charlie

Walter Horton – harmonica
"Memphis" Charlie Musselwhite – harmonica
Johnny Shines – guitar
Floyd Jones – bass
Frank Kirkland – drums

11. "Rockin' My Boogie"

The Johnny Shines Blues Band

Johnny Shines – guitar, vocals
Walter Horton – harmonica
Floyd Jones – bass
Frank Kirkland – drums

12. "Mr. Boweevil"
13. "Hey, Hey"

I've also included in the freeload the excellent liner notes by Ed Ward, from the 2000 CD release.

For the freeload, name some artists/bands that you wish you saw live.

Cecil Taylor – 'Unit Structures'

 

Cecil Taylor, a classically trained pianist, drew significant inspiration from composers like Karlheinz Stockhausen and Béla Bartók, and later incorporated these influences into his music.  His approach to the piano was always ahead of its time, treating it more like percussion.  Photographer and writer Val Wilmer aptly described Taylor’s piano style as "eighty-eight tuned drums".

Cecil Taylor’s 1966 debut album, ‘Unit Structures,’ for Blue Note Records, was a game-changer in the avant-garde/free jazz scene.  Blue Note had never released anything so avant-garde and out there.  It’s atonal free jazz, like abstract impressionism for your ears; imagine a Jackson Pollock painting on vinyl.

'Unit Structures' features Eddie Gale on trumpet, Jimmy Lyons on alto saxophone, Ken McIntyre on alto saxophone, oboe, and bass clarinet, Henry Grimes and Alan Silva on bass, and Andrew Cyrille on drums. 

This music has something so unique and otherworldly about it. The jagged rhythms and abrupt changes create a sound that feels like a hundred songs have been condensed into one.  I particularly appreciate how Cecil allows each player to shine, making it more accessible to casual jazz fans.  While it may not be the easiest music for those unfamiliar with jazz, I highly recommend giving it a chance—you’ll be pleasantly surprised.  

In my eye, 'Unit Structures' is an album that all music fans should listen to at least once.  If you give it a few more listens, it sounds more controlled, and becomes very clear that Cecil and the others are following a "chart" on this absolute beast of a record.

The freeload is a 2014 remaster (24bit/192kHz), so if you already have the album, this makes for a nice upgrade.

For the freeload, what albums took you a few listens before they "clicked"?