Howlin Wolf, Muddy Waters - The Real Folk Blues (Chess Records 75th Anniversary Series Remastered Mono Vinyl - 2026 Reissues)

Chess Records’ 'The Real Folk Blues' series was designed to cater to the "Folk revival craze" that swept through the 1960s.

Muddy Waters’ ‘The Real Folk Blues’ released in 1966 marked the inaugural release of this series, showcasing some of Mud's earliest recordings.  Notably, it includes his inaugural recording for the Aristocrat label, the precursor to Chess Records.  The early material on this record encapsulates the essence of early blues music before its transition into the electric era.  Songs like "Mannish Boy", "Walking Blues" and "Walking In The Park" serve as poignant reminders of Muddy Waters’ profound influence on the musical landscape of America.

Although most of these tracks were recorded in Chicago studios, often with electric guitar in the mix, the spirit is unmistakably down-home. There's a stark, front-porch authority in the performances — spare instrumentation, unvarnished arrangements, and a gritty, conversational vocal style that carries the emotional weight of Delta tradition straight into the urban blues era.

Tracklist:
Side A
1. Mannish Boy
2. Screamin’ And Cryin'
3. Just To Be With You
4. Walkin’ Thru The Park
5. Walkin’ Blues
6. Canary Bird

Side B
1. The Same Thing
2. Gypsy Woman
3. Rollin’ And Tumblin’ - Pt. 1
4. Forty Days And Forty Nights
5. Little Geneva
6. You Can’t Lose What You Never Had

Howlin’ Wolf's 'The Real Folk Blues' is a compilation of singles recorded between 1956 and 1965.  The music on this record offers a daring portrait of Howlin' Wolf, showcasing exceptional music that hadn’t been presented in album format before.  Classics on this record include "Killing Floor", "Tail Dragger", and "Built for Comfort".

This album did not fit the usual definitions of the so-called "folk blues", featuring instead Chicago urban blues by an incomparable singer and a host of great sidemen (including Hubert Sumlin and Buddy Guy), but Chess was making a move to remarket the blues to a new audience that had developed with the boom in folk music.

What's interesting is when you consider how many of the songs on this album have become standards in the repertoires of countless blues and rock bands, it's hard to fathom that none of these Wolf 45s sold well enough to make the Billboard R&B charts.

Tracklist:

Side A
1. Killing Floor
2. Louise
3. Poor Boy
4. Sitting On Top Of The World
5. Nature
6. My Country Sugar Mama

Side B
1. Tail Dragger
2. Three Hundred Pounds Of Joy
3. The Natchez Burnin’
4. Built For Comfort
5. Ooh Baby (Hold Me)
6. Tell Me What I’ve Done

The freeloads are 24-bit/192 kHz vinyl (180-gram) rips of both albums released this past May.  
They have never sounded better.

For the freeload make up a music subgenre.

The Art Ensemble Of Chicago - 'BYG Actuel Trilogy'

The Art Ensemble of Chicago, an avant-garde jazz group, emerged from the Association for the Advancement of Creative Musicians (AACM) in the late 1960s.  It blends various jazz styles and plays numerous instruments, including unconventional ones like bells, bicycle horns, and wind chimes.  The musicians wear costumes and face paint, creating a multisensory experience.  In 1969, during a European tour, they used five hundred instruments.

This collection is a 2CD reissue of the three albums The Art Ensemble Of Chicago recorded for the BYG Records label on June 23rd, and August 12th, 1969.  The sessions were produced by Jean-Luc Young. The reissue is a 2013 release on the Charly Records label.

'Jackson in Your House' is the group’s highly acclaimed debut under the BYG Actuel label, featuring the circus-inspired title track, the marimba-infused spoken-word piece "Ericka",  and the lyrical "Song for Charles".

'Message To Our Folks' ranges from gospel ("Old Time Religion") and bebop ("Dexterity") to wild, percussion-heavy funk ("Rock Out").

'Reese And The Smooth Ones' is a relentless, continuous 40-minute odyssey recorded over two parts that blends unchained free improvisation, blues, and avant-garde soloing.

The Art Ensemble Of Chicago are:
Lester Bowie on Trumpet, Flügelhorn, Bass Drum, and Horns.

Roscoe Mitchell on Alto Saxophone, Soprano Saxophone, Bass Saxophone, Clarinet, Flute, Cymbal, Gong, Congas, Percussion [Logs], Bells, Siren, Whistle, and Steel Drums.

Malachi Favors on Double Bass, Electric Bass, Banjo, Drum, Guitar [Cythar], and Percussion.

Joseph Jarman on Alto Saxophone, Soprano Saxophone, Clarinet, Oboe, Flute, Marimba, Vibraphone, Congas, Bells, Whistle, Gong, Siren, Guitar.

CD1
A Jackson In Your House
1. A Jackson In Your House
2. Get In Line
3. The Waltz
4. Ericka
5. Song For Charles
Message To Our Folks
6. Old Time Religion
7. Dexterity
8. Rock Out
9. A Brain For The Seine

CD2
Reese And The Smooth Ones
1. Reese And The Smooth Ones Part 1
2. Reese And The Smooth Ones Part 2

You really should listen to The Art Ensemble Of Chicago at least once in your life.  Who knows what might happen?

For the freeload tell us about a chance you took on music that really "paid off".

Keep On Keeping On: Curtis Mayfield Studio Albums 1970-1974

 

Keep On Keeping On: Curtis Mayfield Studio Albums 1970-1974 is a remastered 4CD box set released by Rhino Records in 2019.

Curtis Mayfield, the "Gentle Genius", recorded a series of hits with The Impressions before leaving the influential soul-gospel group to embark on a solo career that began 56 years ago.  This solo career produced some of his greatest work.  Curtis has been inducted into the Rock and Roll Hall of Fame twice – first as a member of The Impressions and later as a solo artist.

This collection focuses purely on his standalone studio LPs from this period, so it excludes Curtis' 1972 'Super Fly' soundtrack album.  Frankly, if you don’t already own 'Super Fly' your music library is lacking. (I will link a sweet 24-bit 'Super Fly' on request)

Curtis, a soul and pop innovator, revolutionized music by seamlessly blending socially conscious lyrics with soul, pop, gospel, jazz, and psychedelia.  This groundbreaking fusion laid the foundation for later influential works like Marvin Gaye’s 'What’s Going On' and Stevie Wonder’s "Innervisions".

These four CDs are masterclass in progressive soul.

Curtis (1970)
Mayfield’s solo debut is a masterpiece of progressive soul music. It effortlessly blends heavy, socially conscious groove epics like "(Don’t Worry) If There’s A Hell Below, We’re All Going To Go" with transcendent, uplifting anthems like "Move On Up" (one of my all-time favorite pop/rock/soul songs).  The album’s lush, cinematic strings and delicate ballads like "The Making Of You" create a definitive, lush, and deeply human sound.

Roots (1971)
Serving as an equally sophisticated follow-up, 'Roots' leans slightly more into breezy, danceable soul while retaining its political edge, as only Curtis can.  The arrangements here are impeccably layered with flutes, harps, and heavy brass.  Highlights like "Get Down," "Beautiful Brother Of Mine," and the title track showcase some of his finest electric guitar grooves.

Back to the World (1973)
Following the monumental success of the Super Fly soundtrack, Curtis intentionally expanded his musical horizons.  Instead of trying to replicate the frenetic intensity of his blaxploitation masterpiece, this album presents a bluesy, laid-back, and cinematic funk vibe.  Songs like "Right On For The Darkness" and "Future Shock" are expansive, jazzy epics with undeniable positivity.

Sweet Exorcist (1974)
Leaning heavily on deep grooves, 'Sweet Exorcist' shifts from the fiery political outrage of his earlier work to a more sorrowful, reflective, and lushly produced R&B tone. Tracks like "Kung Fu" and the title track feature a deep, psychedelic funk undercurrent that continues to be a fan favorite.

Curtis continued to create some truly amazing and incredible songs in the latter part of the ’70s, but the core of his influence and lasting impact is captured here.  Listening to it now offers a fresh perspective, allowing you to truly appreciate how his music (to paraphrase) keeps on keepin’ on.

Audio-wise, this set offers the best audio presentation of these albums since their original print runs.  Mastered by Chris Bellman at Bernie Grundman Mastering, the audio is warm, vibrant, and remarkably clear, replacing the older, muddy digital transfers.  These are the versions you should have. 

For the freeload, let's talk about socially conscious artists, and albums.

R.L. Burnside – 'First Recordings'

 

'First Recordings' compiles the very first tracks recorded by Mississippi hill country bluesman R.L. Burnside. 

In 1968, field researcher George Mitchell recorded these raw acoustic songs in R.L. Burnside’s home using a portable recorder.   At the time, R.L. was a farmhand who only played music for his family and friends.

In 2003, Fat Possum Records compiled and released his music to the public.  'First Recordings' offers a captivating glimpse into the development of a legendary artist’s hypnotic and rhythmic guitar style.

The songs on 'First Recordings' are raw and dark, bursting with intense emotion.  R.L. has clearly poured his heart into them, his moans and howls telling stories of broken hearts, loose women and the end results that both bring.  Even though R.L. Burnside’s humor became more noticeable on later albums, you can still catch glimpses of it, especially in "Skinny Woman" and "Long Haired Doney".  If you’ve heard Burnside’s later, more electric output, it’s really moving to hear him at his most honest and vulnerable.

Despite being taped in a small shack with a portable tape recorder, the audio quality is surprisingly clear, intimate, and well-balanced.

While I'm on the subject of audio quality, the freeload is a 24-bit/174.4kHz SACD rip of the Mobile Fidelity Sound Lab’s Ultradisc UHR, released in 2004.  It's a truly immersive audio experience, as if you’re sitting in the same room as R.L. Burnside.

For the freeload, what are some of your favorite first recordings, or debut albums?

Grant Green - 'Matador'

Matador was recorded on May 20, 1964, at the Van Gelder Studio in Englewood Cliffs, New Jersey.  It was produced by Alfred Lion, and recorded by Rudy Van Gelder (natch).  Grant's "sidemen" are pianist McCoy Tyner and drummer Elvin Jones (both of whom at the time were part of John Coltrane's classic quartet) and Bob Cranshaw on bass.

During Grant's four-year frenzy (1961–1965) at Blue Note, he recorded over twenty sessions under his own name (and many more as a sideman) for producer Alfred Lion.  'Matador' though is one of those many sessions that went unreleased for a good many years until after Grant's premature death at the age of 43.  Despite its high quality, Alfred Lion made the business decision to prioritize Green's organ-based soul-jazz records at the time, leaving this session unreleased.

Jazz archivist, historian, and producer Michael Cuscuna played a pivotal role in preserving Matador from permanent obscurity.  His relentless exploration of the Blue Note Records vaults ensured that this progressive jazz masterpiece would not be lost forever.  Michael Cuscuna first produced the session for commercial release through Japan's King Records in 1979.  It eventually went on to get the first of a few issues in the rest of the world in as a CD in 1990.

'Matador' is a special moment in Grant Green's music, showcasing his incredible skill in straight-ahead modal jazz.  Many jazz fans myself included think it’s one of his best and most innovative pieces, moving away from his usual soul-jazz style to explore a more complex, straight-ahead modal sound.

The freeload is a 24bit/96kHz vinyl rip of a 1993 promotional copy (Japanese Kanji letters on labels are "Hibai Hin", which means "not for sale") released by Blue Note BRP-8045, Japan Toshiba-EMI.  This was a very cool find at Colony Records here in Manhattan.

For the freeload let's talk about things you found at a flea market, yard sale etc.

Grateful Dead - 'Winterland May 30th 1971'

 

Here's a rare one.

'Winterland May 30th 1971' was released on the Rhino Records label, on November 23, 2012.  This was a Black Friday Record Store Day exclusive, a limited edition of 7,500 copies, and was available only on 180 gram vinyl

The album was produced from the original 7½ i.p.s. reels of quarter-track ¼ tape.  The lacquers were cut at Bernie Grundman Mastering.

This is a stripped down version of The Dead, just after Mickey Hart left for a few years in February 1971, and just a few months before the "Keith & Donna Era" commenced.

Jerry Garcia – lead guitar and vocals

Bob Weir – rhythm guitar and vocals

Ron "Pigpen" McKernan – organ, harmonica, and vocals

Phil Lesh – bass and vocals
Bill Kreutzmann – drums

Tracklist:
Side one
1. "Sugar Magnolia"
2. "Cumberland Blues"

3. "Big Boss Man"


Side two
1. "Me and My Uncle"
2. "Deal"
3. "Truckin'"


Side three
1. "Turn On Your Lovelight"


Side four
1. "Uncle John's Band"
2. "Casey Jones"
3. "Johnny B. Goode"

The freeload is a nice warm sounding 24-bit vinyl rip.

For the freeload, who's your favorite counter culture figure?

Homesick James - ' Blues on the South Side'

 

'

Blues on the South Side' was released in November 1963, on the Prestige Records label, it was produced by Sam Charters.

This recording features Homesick’s fierce bottleneck guitar style, accompanied by the legendary Chicago backing band of pianist Lafayette Leake, bassist Eddie Taylor, and drummer Clifton James.  This album marked Homesick’s breakthrough, and it’s widely regarded (including myself) as his best work.  It also solidified his status as a solo artist, transcending his earlier roles as a sideman.  The album seamlessly blends traditional Delta influences with urban electric sounds.

Musicians and friends called him "Homesick", but he also had the nickname "Look Quick".  He got that name because he loved to pack up and move to different cities without warning.  He would tell people, "Look quick, 'cause tomorrow I may be gone."  He loved to tell wild stories about his life, which made him a very mysterious and fun person to be around.  

Homesick James was the cousin of Elmore James, and claimed he bought Elmore his first guitar and to have taught him how to play slide.  He also claimed to have played with Yank Rachell, Sleepy John Estes, Blind Boy Fuller and Big Joe Williams, among others, and to have been acquainted with Robert Johnson.  Most of what Homesick claimed has never been confirmed.

'

Blues on the South Side' is a classic example of Chicago Blues, and belongs in every Blues collection.

For the freeload, make a claim about yourself that isn't true.

Nina Simone - 'In Concert'

 

'In Concert' was recorded on March 21, April 1, and April 6, 1964, at Carnegie Hall, here in Manhattan.  It was produced by Hal Mooney, and released on the Philips label in the Autumn of 1964.  This was Nina's her first album for the Philips, after leaving Colpix Records. This was when she transitioned into the "Voice of the Civil Rights Movement".

In most of her studio work, Nina's collaborations with orchestras either beautifully complemented her voice or overpowered it.  She explored an incredibly diverse array of songs, which, while wonderfully varied, sometimes made the listening experience a little inconsistent. 

On 'In Concert' Nina is accompanied by a simple quartet, with Rudy Stevenson on guitar, Lisle Atkinson on bass and Bobby Hamilton on drums, and of course, Nina's vocals and piano.  I kind of wish, Nina made more records like this in a small group setting.

The songs are some of Nina's most heartfelt, "Old Jim Crow", "Pirate Jenny",  "Go Limp" and especially the historic live debut of "Mississippi Goddam" were some of the most genuine musical takes on the Civil Rights movement back then.  Plus, she also brings her classic hit "I Loves You, Porgy" and the jazz ballad "Don’t Smoke in Bed’ to life.

The freeload is a 24bit/192kHz vinyl rip of the 180-gram vinyl LP from the Acoustic Sounds Series reissues from 2024.

For the freeload, what are some of your favorite protest songs?

Cheap Xmas: Donald Fagen Complete

 

If Donald had a placard around his neck, this could be a mugshot. What's the deal on that military print?... And that couch!

A few years back, I was in shopping at Macy’s on 34th street here in Manhattan and noticed that even though it was mid-October, Christmas items were on display everywhere, I mean, it wasn't even freaking Halloween yet!

As I was walking around the store, I stumbled across the Toy Department, so for "shits-and-giggles", I thought I’d look around.  Not having bought toys in several years, as my grandchildren are all now grownup, I wondered what were the hot toys for the upcoming holiday season?  As I walked through the isles of toys I noticed that most toys require absolutely no imagination whatsoever, or for that matter, any type of physical exertion, except perhaps for the rapid movement of children’s thumbs.

After looking at toys, I went to the café, which is on the same floor.  While enjoying a double espresso and a chocolate croissant, I thought of a memorable Christmas in the late 50s, when I was around ten-years old.  My mother’s brother (Uncle Émile) and his wife (Aunt Avril), were coming down to Brooklyn from Quebec City for the Holidays.  A few weeks before Christmas, Uncle Émile called us, and asked my brother and myself what presents we wanted.  When it was my turn to talk to him, I asked for a Pogo Stick, and he said, "OK, Babs, I’ll tell Père Noël" (that’s what French-speaking people call Santa Claus or Father Christmas).

As an aside, did you know that George Hansburg invented and patented the Pogo Stick in 1919?   Hansburg claimed that on his travels through Burma, he met a poor Buddhist farmer.  The farmer had a daughter named Pogo, who was a devout little girl that wanted to go to temple every day to pray, but couldn't because she had no shoes to wear for the long walk through the mud and over the slippery rocks.  So Pogo’s father built a jumping stick for her, and Pogo was able to make daily trips to the temple.  When Hansburg returned home, he made a jumping stick of his own, attaching a spring to the wooden stick contraption that the poor farmer had introduced to him.  

Another version of the Pogo stick’s origin is about a young bride named (you guessed it) Pogo whose father, hoping to spare her from soiling her wedding clothes in mud puddles, put a cross-piece on a post and had her jump across the street. Both are stories are far-fetched, but they are nice enough anecdotes.

But I digress

So, it’s Christmas morning, and Santa brought me a toy beauty kit, hula-hoop, a paint by numbers kit, and a dollhouse.  Next to Émile and Avril were more presents, that I kept eyeing up, but none looked like they had a Pogo stick inside.  Émile handed me a present that was rectangular, thick and heavy, I quickly ripped the wrapping paper off, and to my surprise (and disappointment), it was a dictionary! I said to Uncle Émile, "This isn’t a Pogo stick!" "Babs, don’t be so rude." interjected my mother.  Uncle Émile smiled and said to me, "Yes, Babs, but Pogo stick is in the dictionary!".  "Yeah, so's cheapskate!" quipped my older brother.  This caused my father to smack the back of my brother’s head, and say to him, "What did I tell you about being mister smart ass?"  My brother was, and even now at eighty-four years old, still a world-class smart ass.  All my children and grand children fondly refer to him as "Uncle Smart Ass".  My brother is aware of this, and is proud of his moniker. 

Meanwhile, back in Macy’s, I finished my double espresso and chocolate croissant, and took an Uber home.  When I returned home, I sparked up an "OG Kush Breath" spliff, and thought I’d play some Mose Allison (I had the Mose song "Ever Since the World Ended" stuck in my heads all day), specifically the two CD retrospective, 'Allison Wonderland: Anthology' which I saw earlier in the day on top of a few boxed sets.  When I picked up the Allison set, underneath it was: Donald Fagen’s boxed set 'Cheap Xmas: Donald Fagen Complete', which caused me to do a double take, and wonder if I had entered The Twilight Zone, and I pictured Rod Serling standing in the corner, cigarette in hand, and saying something along the lines of, "Babs had one foot in the Button Factory, and one foot in a place where Christmas is always a disappointment...a place called the Twilight Zone."

CD1 'The Nightfly' from1982.
This is a long time favorite of mine, and to my ears, one of the best recordings released in the 1980s.  It is a classic, among classics.

CD2 'Kamakiriad' from1993.
This is an album of slinking smooth sly witted jazzy funk, produced by Walter Becker, with audio that we’ve come to expect the duo.

CD3 'Morph The Cat' from 2006.
More irresistible grooves, that you bop your head along with, even though the lyrics deal with alien invasion and death.  This is the classic Steely Dan paradox: sugar-coated cyanide.  This record also has more guitar on it, since Steely Dan’s 'Royal Scam' from 1976, courtesy of Jon Herrington, Wayne Krantz and Hugh McCracken [No relation to Phil - Ed].

CD4 'Sunken Condos' from 2012.
‘Sunken Condos’ is jazzy, bluesy and as musically precise as anything Donald has recorded, with or without Steely Dan.  No surprise, since many of the musicians have played with him in one form or another over the years.  Most of the nine songs make room for efficient solos, tasteful backing vocals and a very clean production.

CD5 '10 Extras'
A bonus disc, "10 Extras" features rarities such as demos, songs written for films and live tracks. My favorite track is "True Companion" which was recorded for the animated feature film 'Heavy Metal'.  It’s also the oldest song on this entire collection, and was recorded a year before 'The Nightfly' in 1981.  Musically, the first half of the tune is almost a mini guitar symphony for Steve Khan, on acoustic and electric guitars.  The song also showcases Donald’s dense overdubbed vocal harmonies, he would go on to use again on The Nightfly‘s "Maxine".

The freeload is 24-bit remasters.

For the freeload, tell us about a toy or something you wanted as a child, but never got. 
 

Muddy Waters - 'Can't Get No Grindin'

 

"Some people said that a preacher won't steal
I caught one in my cornfield"
—Muddy Waters

Can't Get No Grindin' was recorded at Ter-Mar Recording Studios in March 1972, and released in August 1973 on the Chess Records label.  The album was produced by Ralph Bass, and was Mud's next-to-the-last album release for Chess Records.

The album represents a major milestone in Mud's later career, signaling a raw, intentional return to his classic 1950s Chicago electric blues style.  This shift followed years of experimental, psychedelic, celebrity-packed collaborations and brass-heavy releases pushed by "the geniuses" at Chess.  Ralph Bass' production captures live spontaneity and raw energy without relying on electronic studio gimmicks.

Surprisingly, 'Can't Get No Grindin' is the only Muddy Waters album in the Blues Hall of Fame (inducted in 1991) that was actually recorded as an album, not a compilation of singles and older material.

Muddy Waters – Vocals and Slide Guitar (natch)
James Cotton – Harmonica
"Pinetop" Perkins – Piano and Organ
Sam Lawhorn – Guitar
James "Pee Wee" Madison – Guitar
Calvin "Fuzz" Jones – Bass
Willie "Big Eyes" Smith – Drums
[This is what you call a blues band - Ed]

For the freeload, let's play 'Word Association'. 
I'll give you a starter word.  Then, the next person will post the very first word that pops into their head.  The next person then posts another word that is related to the second one.  So on and so forth...

John Coltrane - 'Impressions' (2026 Remaster)

 

"Never trust anyone who doesn't like John Coltrane"
—Lao Tzu



While we're waiting for the Verve Acoustic Sounds Series 180-gram vinyl to be released on June 26, 2026, here's the 24bit/96kHz digital version released on June 5th.  I will post a vinyl rip once I'm in possession of it.

'Impressions' originally released in July 1963 on the Impulse! Records label , and was produced by Bob Thiele.  The album features a blend of electrifying live tracks from the Village Vanguard and deep studio recordings.

John Coltrane
McCoy Tyner
Jimmy Garrison
Elvin Jones
Eric Dolphy
Reggie Workman
Roy Haynes

Tracklist
India — A hypnotizing modal track recorded live at the Village Vanguard in 1961. It features Eric Dolphy on bass clarinet and Reggie Workman as a second bassist.

Up 'Gainst the Wall — A gritty, hard-driving blues studio track recorded at Van Gelder Studio in 1962.

Impressions — The blazing 15-minute title track taken from the November 1961 Village Vanguard live dates.

After the Rain — A deeply peaceful, majestic studio ballad recorded in 1963 featuring Roy Haynes on drums.

For the freeload, makeup a quote by and attach a famous name to it, like the above Lao Tzu "quote".

Bab's Bootleg Bonanza - Led Zeppelin Edition

 

'Blues Anytime' is a show from April 24th, 1969, at Fillmore West, in San Francisco.

Recorded from the side of the stage by concert promoter Bill Graham, this is an outstanding audience recording of a young Led Zeppelin just blowing the audience away.  The sound is crisp and punchy, but Plant is a little far back in the mix as a result of the recorder placement.  John Paul Jones' amp craps out during the "As Long As I Have You" medley, and Robert Plant jokes about it via some amusing impromptu lyrics.

Track List:
1. As Long As I Have You
    -Fresh Garbage
    -Shake
    -Mockingbird
    -You Can't Judge A Book By The Cover
2. Killing Floor
3. White Summer/Black Mountainside
4. Babe I'm Gonna Leave You
5. Pat's Delight

What equipment malfunctions have you seen at shows?

Clifton Chenier - 'Black Snake Blues'

 

One day back in 1967, I was in my Topology (a.k.a. "Rubber-Sheet Geometry") class, when my pretentious Caltech Professor belched and mispronounced the French word Croissant as "cruss-AUNT", saying the croissant he had for breakfast caused him to belch.  Being a person who loves to take pretentious people down a few pegs I shouted "It's pronounced krwa-san, not cruss-AUNT".  A girl on the other side of the classroom laughed loudly, causing the professor to become slightly agitated (my intention), and said "Excuse me, Miss Marie Antoinette!", causing the class to laugh.

So what in the wide, wide world o' sports does this have to do with Clifton Chenier, you ask?

Well, after class the girl on the other side of the room, who laughed, introduced herself to me.  Her name was Seraphine, and she was from New Iberia, Louisiana.  She asked me if I was French, and I told her, Corsican on my Mother's side, and Seraphine told me she was Cajun.  After that, whenever we met, our conversations were in French.  We had some interesting and funny conversations about the different French dialects that my Mother and her parents spoke.

One weekend Seraphine threw a party.  During the party, she told me had an album her brother sent her she wanted to play, but she didn't think anyone would like it, and she showed me a copy of Clifton Chenier's recently released album, 'Black Snake Blues'.  The cover piqued my interest, and I told her, "Put in on, if they don't like it, well that's just too bad." This would be my introduction to Clifton Chenier, and Zydeco for that matter.

The 1967 SoCal partygoers were bemused by Clifton.  Seraphine was surprised a Brooklyn girl knew the lyrics to "Black Snake Blues", and "Walking To Louisiana".

Seraphine went on to a long career in academia, at Duke University and MIT.  She's retired now and lives in New Orleans' Garden District. Were still in contact.

When Clifton Chenier’s third album, Black Snake Blues, came out in 1967, the zydeco legend had already started reaching people from all over, not just Louisiana and the Texas Gulf Coast.  This was his first album recorded in California, and he teamed up with producer and Arhoolie founder Chris Strachwitz again.

'Black Snake Blues' marked the debut of the band’s main lineup: Clifton on accordion and vocals, his brother Cleveland playing frottoir (rubboard), Robert St. Judy on drums, and Joe Morris on bass.  Plus, Felix James Benoit, a regular collaborator, joined them on guitar for the song "I Got A Little Girl".

Songs like "Black Snake Blues", which gets its spark from the themes that Victoria Spivey and Blind Lemon Jefferson made famous, and "Walking to Louisiana", which playfully nods to a Fats Domino tune, really show how Chenier can breathe new life into old blues and classic R&B, making them feel fresh and exciting.

Today's freeload is a 2025 24-bit/96 kHz digital release from Arhoolie Records, and is a reissue of the 1986 reissue that introduced new tracks "Key to the Highway" and "Pepper in My Shoe" to the original 1967 release.

For the freeload tell us about an artist or group, you've recently became aware of.

Requests

 

https://workupload.com/file/WGPqCenrxTu

https://workupload.com/file/JvgfFn5qma4

https://workupload.com/file/CccCvFbn5Ux

https://workupload.com/file/WYaYuUSBPP2

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https://workupload.com/file/jCKqGuALFfR

https://workupload.com/file/Nh68YF3bP4H

Pre Schmaltz

https://workupload.com/file/t6AwTVdv9Rx

https://workupload.com/file/y7y92nqyhbc

For maintaining good graces with Ms. pmac

Betty Links
https://workupload.com/file/DP8V2wExsMb

Part 1 
https://workupload.com/file/ZTC3VKqSaT2
Part 2 
https://workupload.com/file/HjpFDqrqG9Q

Enjoy, my friends!

Charlie Haden Quartet West

 

Today's post is a request (for a friend) from Farquhar Throckmorton III, and is made possible through a grant from the Acme Pop-Rivet Foundation.

Charlie Haden, a musician, composer, bandleader, educator, producer, and activist, crafted a remarkable collection of work throughout his extensive and productive career.  As a member of saxophonist Ornette Coleman’s early bands, bassist Charlie emerged as one of free jazz’s pioneering figures.  However, Charlie has never confined to any of jazz’s numerous stylistic niches, and has embraced a variety of musical genres, ranging from Jazz to Country to so-called "World Music".

Charlie’s Quartet West, specialized in creating a nostalgic, cinematic atmosphere, frequently performed classic American standards, underappreciated movie themes, and jazz classics from the 1930s and 1940s.  Their records elegantly blended live quartet instrumentation with lush string arrangements, occasionally incorporating vintage vocal recordings from past eras, such as historic audio from Jo Stafford, Jeri Southern, Billie Holiday, and the guitar of Django Reinhardt. 

The Quartet West are:
Charlie Haden on bass
Ernie Watts on tenor saxophone
Alan Broadbent on piano
Larance Marable on drums

So without further ado, for your dining and dancing pleasure we have:

Some of you might be thinking to yourselves, "Where's 1996's 'Now Is The Hour'?" I wish I knew, I can't find the damn CD! When it turns up, I'll post it.

For the freeload, make a request for a future post.