I'm Taking A Short Break

Another summer, another Newport Jazz Festival.  This will be my 50th Newport weekend.  Back in 1975, a group of friends my husband Jerry and I knew from the Manhattan Jazz clubs and after-hours jam session joints decided to go to the 1975 Newport Jazz Festival together.  At the time we all lived in Greenwich Village and we called ourselves "The Lucky Thirteen."  We’ve been going to Newport every summer since (except for 2020, which was canceled due to the COVID-19 pandemic).  In 2026, we’re down to six members.

 
On Thursday, August 6th, I'm having cataract surgery.



I'll be back to posting, sometime during the week of August 9th to the 15th, depending on how it all goes.

So here's something to keep you busy in my absence.  

'The Complete Live at the Plugged Nickel 1965' is an 8CD set that was recorded on December 22 and 23, 1965, at the Plugged Nickel nightclub in Chicago.  Teo Macero produced the original sessions, Buddy Graham and Frank Bruno were the recording engineers.  It was released July 18, 1995, on the Columbia/Legacy Records label. Michael Cuscuna produced the reissue.

This is Miles' "Second Great Quintet" with Wayne Shorter on tenor saxophone, Herbie Hancock on piano, Ron Carter on bass, and Tony Williams on drums.  [This is my all-time favorite group of any genre - Ed]

These eight CDs capture seven sets of music spread across 39 tracks for over seven and a half hours of music.  Don't let the repeating song titles fool you, no two performances sound even remotely alike.  There is sublime creativity on display here, and is a master class in the art of improvisation.

Play this LOUD, close your eyes, and you'll be right in the middle of Plugged Nickel in 1965.

Tracklist

CD 1
December 22, 1965 - 1st Set
01. If I Were A Bell
02. Stella by Starlight
03. Walkin'
04. I Fall In Love Too Easily
05. The Theme

Please Note: The second set from the first night (December 22) ran too long for a single standard disc slot in certain US pressings, so Legacy split it across two discs labeled 2A and 2B inside the same package, even though the total run time could technically fit on one.

CD 2A
December 22, 1965 - 2nd Set
01. My Funny Valentine
02. Four
03. When I Fall In Love

CD 2B
December 22, 1965 - 2nd Set continued
01. Agitation
02. 'Round Midnight
03. Milestones
04. The Theme

CD 3
December 22, 1965 - 3rd Set
01. All Of You
02. Oleo
03. I Fall In Love Too Easily
04. No Blues
05. I Thought About You
06. The Theme

CD 4
December 23, 1965 - 1st Set
01. If I Were A Bell
02. Stella By Starlight
03. Walkin'
04. I Fall In Love Too Easily
05. The Theme

CD 5
December 23, 1965 - 2nd Set
01. All Of You
02. Agitation
03. My Funny Valentine
04. On Green Dolphin Street
05. So What
06. The Theme

CD 6 
December 23, 1965 - 3rd Set
01. When I Fall In Love
02. Milestones
03. Autumn Leaves
04. I Fall In Love Too Easily
05. No Blues
06. The Theme

CD 7
December 23, 1965 - 4th Set
01. Stella By Starlight
02. All Blues
03. Yesterdays
04. The Theme

Enjoy, my friends, and I'll "see" you soon!

Link 1
https://workupload.com/file/dQuXRxc45PU

Link 2

https://workupload.com/file/NsZhSWVJCzD

Thelonious Monk – 'Big Band And Quartet In Concert'

'Big Band And Quartet In Concert' was recorded on December 30, 1963, at Lincoln Center's Philharmonic Hall in New York City.  It was produced by Teo Macero, recorded by Columbia Records' staff engineers Frank Laico and Fred Plaut, and released in March 1964 on the Columbia Records label.

This recording is split between Monk’s classic quartet and a full expanded orchestra:

The quartet is the "usual suspects": along with Monk's piano are, Charlie Rouse on tenor saxophone, Butch Warren on bass, and Frankie Dunlop on drums.

The additional big band musicians are Thad Jones on cornet, Nick Travis on trumpet, Eddie Bert on trombone, Steve Lacy on soprano saxophone, Phil Woods on alto saxophone and clarinet, and Gene Allen on baritone saxophone and bass clarinet.

You can't talk about this album without talking about Hall Overton’s (left on piano) arrangements that are the centerpiece of the album's success, which brilliantly translated Monk's complex idiosyncratic, jagged piano solos into rich, swinging orchestral charts.

Monk being Monk had to be pushed by Teo Macero into playing with the big band, and the musicians were unrehearsed, but it doesn't show a bit.

'Big Band And Quartet In Concert' is one of Monk's finest performance and recordings, but for some reason gets overlooked.

The freeload is a 2CD set released in 1994. This is the entire unedited concert, that adds "Bye-Ya," "Misterioso," and "Light Blue," and Frankie Dunlop's drum solos to the original 1964 release.

For the freeload let's talk about excellent albums, that for some reason get overlooked.

Charley Patton - 'Screamin' and Hollerin' the Blues'

"If I made records for my own pleasure, I would only record Charley Patton songs."
– Bob Dylan


Here it is, Charley Patton's 'Screamin' and Hollerin' the Blues: The Worlds of Charley Patton', the legendary 7-CD box set released in 2001 on the Revenant Records label.

Charley Patton was undoubtedly the most influential blues musician of his time.  His guitar skills were legendary, and he set a high standard of excellence.  Through his music, he captured the essence of his era.  Unfortunately, he has largely fallen into obscurity, except among dedicated fans of historic blues.

This collection is widely considered by blues fans and music critics alike as one of the most beautiful and complete historical music packages ever made.

The collection won three Grammy Awards in 2003.

• Best Historical Album: Awarded to producers Dean Blackwood and David Glasser.
• Best Boxed or Special Limited Edition Package: Awarded to designer Susan Archie.
• Best Album Notes: Awarded to blues historian and author David Evans.

The set was the dream project of the late musician John Fahey, who started the Revenant record label, sadly John did not live to see its completion. 

The first five CDs have every single song Charley Patton ever recorded.  

CD 6 has artists in Charley’s "orbit" like Ma Rainey, Howlin' Wolf, Poor Boy Lofton, Kid Bailey, Walter Rhodes, Rube Lacy, Blind Joe Reynolds (a newly discovered track!), Tommy Johnson and Roebuck "Pops" Staples.

CD 7 has interviews with Howlin' Wolf, Rev. Booker Miller, H.C. Speir, and Roebuck "Pops" Staples...all of which are a pure treasure in and of themselves.

This set comes with a reprint of John Fahey's 1970 book on Charley Patton, plus 128 pages of new writing on Patton.  The slipcase also contains full-size reproductions of 1929 Paramount ads and a complete Paramount/Vocalion record label sticker set.

All tracks are fully remastered and pitch-corrected from the best possible sources, resulting in the definitive versions of this material (just don't expect audiophile quality).  

If you're a Blues fan, you'll find this box set nothing short of fascinating.

For the freeload lets talk about groups/artists who became hugely popular – but lost what made them special.

Hank Mobley - 'Workout'

 

"It must schwing!" 
—Alfred Lion

'Workout' was recorded on March 26, 1961, at Van Gelder Studio in Englewood Cliffs, New Jersey, and released in March 1962 on the Blue Note Records label.  It was produced by Alfred Lion, and recorded by Rudy Van Gelder (who else?).

Instead of going with a traditional hard bop two-horn (or more) setup, Hank used Grant Green's guitar to form the frontline. This allowed Grant Green's stinging, single-note phrasing to weave directly with Hank's saxophone,


This unique combination makes for an extraordinary dynamic that seamlessly blends straight-ahead swing with deep blues. 

For the rhythm section Hank uses pianist Wynton Kelly, bassist Paul Chambers, and drummer Philly Joe Jones, the powerhouse rhythm section from Miles Davis's first great quintet whom are universally noted for driving the record forward with door-rattling intensity.

Hank Mobley's 'Workout' is one of the finest Hard Bop albums in jazz history.

I was gifted 'Workout' for my 15th birthday in 1962, and it's a long time favorite.  It's one of those "soundtrack of my life" albums.

The freeload is a sweet sounding remastered SHM-CD, Japanese reissue from 2014, and is part of the Blue Note 75th Anniversary reissue series.  This reissue also has with two bonus tracks from the 'Workout' session, "Three Coins In The Fountain" (Take 21) and "Three Coins In The Fountain" (Take 19), both of which are sublime.

For the freeload, tell us about albums that are the soundtrack of your life.

Bab's Bootleg Bonanza - Tom Waits Edition

'Tales From the Underground Volumes 1-5' (1994-2000)

'Tales From the Underground' is a legendary, 5-volume, unofficial Tom Waits bootleg compilation series originally released in the 1990s and early 2000s on the PmS Records label.  It spans his rarities, alternate takes, unreleased tracks, and obscure collaborations from 1973 to 2000.  Some of the songs would be officially released on Tom's 'Orphans: Brawlers, Bawlers & Bastards' box set released in 2006.

Volume 1 was released in 1994 includes a mix of rare alternate masters and early radio sessions.

1 Blue Skies
2 Jersey Girl (Alternate Master)
3 Whistlin' Past The Graveyard (Alternate Master)
4 Mr Henry
5 Downtown Train (Alternate Master)
6 I'm Not Your Fool Anymore
7 Adios Lounge (Duet W/Bob Forrest)
8 Sea Of Love
9 Silent Night
10 Little Man
11 What Keeps Manking Alive
12 The Dwarfs Machine Song
13 The Piano Has Been Drinkin' (Live In Dublin, March 1981)
14 It's Alright With Me
15 Tommy The Cat (Duet W/Les Claypool)
16 Filipino Box Spring Hog
17 16 Shells From A Thirty Ought Six / Rain Dogs / Jesus Blood Never Failed Me Yet.

Volume 2 released in 1996 focuses heavily on live rarities, unique spoken-word pieces, and unreleased studio outtakes.

1 Waitin' For Waits
2 I'll Never Let Go Of Your Hand
3 Walk Away
4 Sleep Tonight
5 I'm Crazy About My Baby
6 Pontiac
7 Take Care Of All Of My Children
8 Serrano
9 The Fall Of Troy
10 Jesus Blood Never Failed Me Yet
11 Martin Goes And Does Where It's At
12 Eggs And Sausage
13 Date To Church (Reverend Backwash)
14 Metrotown
15 Thousend Bing Bangs
16 Down There By The Train
17 Sweet And Shiny Eyes
18 Fumblin' With The Blues / Drunk To The Moon / 20 Virginia Avenue
19 Encore The Lost Track From Part One

Volume 3 released in 1997 features collaborations (including duets), alternate takes, and deeper cuts from his Asylum-era catalogs.

1 Little Drop Of Poison
2 What Else Is New
3 (Slam On) Little Sheep
4 Jersey Girl
5 Suitcase I
6 Paradise Alley
7 Annie's Back In Town
8 Suitcase II
9 Strange Weather
10 Standing On The Corner
11 Movie
12 No One Can Forgive Me But My Baby
13 Playin' Hooky
14 A Nickel's Worth Of Dream
15 Mr. Henry (Early Version)
16 Smuggler's Waltz
17 Once More Before I Go
18 Straydog Help Yourself
19 Candy Mountain

Volume 4 released in 1999 centers on soundtrack contributions, covers of Tom’s songs by other artists, and notoriously difficult-to-find single B-sides.

1 Saving All My Love
2 What Else Is New
3 Chase The Clouds Away
4 Flash Pan Hunter
5 Memories Of What
6 Hang On St. Christopher
7 World Of Adventure / River Of Men
8 Empty Pockets
9 Old Time Feelin'
10 Ol' 55 Story
11 Louise
12 Just Another Dime Store Novel
13 Papa's Got A Brand New Bag
14 Brother Can You Spare A Dime
15 Eggs And Sausage / Invitation To The Blues
16 Temptation
17 Purple Avenue
18 Hang On St. Christopher (Instrumental)

Volume 5 released in 2000 highlights the later Island/Anti-era studio outtakes.

1 On The Road
2 Coattails Of A Dead Man
3 It Rains On Me
4 Do You Know What I Idi Amin
5 Putting On The Dog
6 It's Over
7 Book Of Moses
8 Babbachichuija
9 Highway Cafe
10 Helium Reprise
11 Home I'll Never Be
12 Fever / Whose Sportcoat Is That?
13 (My Baby Left Me On A) Trash Day
14 I'm Big In Japan
15 Old Blonde Gal / Big Ol' Moon
16 White Rabbit's Lament
17 'Til The Wheels Come Off 
18 Revival Revery

For the freeload, who is your favorite twentieth century pop culture figure (living or dead), who has taken on an almost mythical, legendary status similar to that of a traditional folklore character?

Albert King - 'I'll Play The Blues For You' (2026 Remaster)

 

'I'll Play The Blues For You' was recorded across the winter and spring months of 1972 at Stax Studios in Memphis, Tennessee.  It was produced by Allen Jones, and released in September 1972, on the Stax label.  This would go on to be Albert's biggest selling record. 

[I would have guessed, 'Born Under a Bad Sign' - Ed]

The iconic Albert King, is one of the single most influential bluesmen in history, he ushered blues into the modern era by combining his direct, urgent Mississippi blues style with contemporary soul rhythms.  He continually redefined the state of contemporary blues with his dry, husky voice and scorching razor-sharp guitar work, featuring the raw, searing, and incredibly fat tone he coaxed from his Gibson Flying V.

Instead of relying on a conventional blues backing group, Stax paired Albert with an elite roster of the label's house musicians. The rhythms were alternately provided by The Bar-Kays and The Isaac Hayes Movement, while the punchy, driving horn lines were arranged by the renowned Memphis Horns.  This unique combination created a dynamic, funk-infused "Soul-Blues" record that strips away predictable blues structures in favor of tight, syncopated grooves and rich sonic textures that allowed Albert's vocal delivery and dramatic string-bending technique to shine over deep, danceable grooves.

The freeload is a 24-bit/192 kHz vinyl (180G) rip of Craft Recordings (Bluesville Series), released on June 12, 2026.  The audio on this is phenomenal, preserving the tight, punchy bass and deep three-dimensional analog warmth of the original 1972 tapes. 

For the freeload, tell us a joke.

The Complete Sarah Vaughan Live In Japan

‘Live In Japan,’ recorded on September 23 and 24, 1973, at the Nakano Sun Plaza Hall in Tokyo, Japan, was initially released in December 1973 as a double-LP set on the Mainstream Records label.  Over the years, the album has been re-released under slightly different titles on various record labels.

In 2006, 'Live in Japan' was inducted into the National Recording Registry of the Library of Congress, recognizing its cultural, historic, and aesthetic significance as a landmark live jazz recording.

Sarah Vaughan, also known as "Sassy," "The Divine One" and "Sailor" (for her salty speech), possesses a remarkable four-octave contralto singing voice.  Her perfect pitch, unmatched improvisational command, and truly amazing intonation make her a truly exceptional singer.

'Live In Japan' captures a spectacular return to Sarah's jazz roots.  Backed by a tight acoustic trio featuring pianist Carl Schroeder, bassist John Gianelli, and drummer Jimmy Cobb, the release presents a looser, more open and improvisational setting than her heavily orchestrated 1970s studio jazz/pop albums for the Mainstream Records label.

To my ears, this is Sarah Vaughan's masterpiece that captures "The Divine One" at the absolute peak of her vocal and improvisational powers.

The freeload is the Mobile Fidelity Sound Lab 2CD reissue from 1987, and has pretty spiffy sonics.

For the freeload, let's talk about misheard lyrics.

Babs Bootleg Bonanza - Bob Dylan Edition

 

'Fourth Time Around' is a 3CD bootleg compilation released on the Scorpio label in 2008.  It compiles rare live and studio recordings and should not be confused with official releases like Sony's The Bootleg Series 'Vol. 1-3' or 'Vol. 4 - Live 1966'.

This box covers Bob's career, in chronological order up to the 1990s.  A lot of emphasis, of course, is placed on the 1960s.  There are some incredible gems here, but there are also several previously released boots that are collected here due to their relative obscurity.

Disc 1

01 Ranger’s Command

     (Sept. 29, 1961, Gerde’s Folk City, NYC)

02 Baby Let Me Follow You Down

     (Dec. 22, 1961, Minnesota Hotel Tape)

03 Midnight Special

     (Feb. 2, 1962, Belafonte session rehearsal, Bob on

     harmonica)

04 Makes a Long Time Man Feel Bad

     (Cynthia Gooding radio show, February 1962)

05 Baby Please Don’t Go

     (Freewheelin’ Bob Dylan outtake, April 25, 1962)

06 Ballad of the Gliding Swan

     (Madhouse on Castle Street, BBC broadcast, recorded Dec.

      30, 1962, or Jan. 04, 1963)

Tracks 7-11 from MacKenzie Tape, NYC, April 1963

07 James Alley Blues

08 Long Time Gone

09 Only a Hobo

10 Not the Cough Song

11 A Hard Rain’s a-Gonna Fall

12 Troubled and I Don’t Know Why

     (Aug. 17, 1963, Forest Hills, N.Y., duet with Joan Baez)

Tracks 13-16, Oct. 26, 1963, Carnegie Hall, NYC

13 Ballad of Hollis Brown

14 Boots of Spanish Leather

15 North Country Blues

16 Seven Curses

Tracks 17-18 May 17, 1964, Royal Festival Hall, London

17 Eternal Circle

18 Mr. Tambourine Man

19 Outlaw Blues

     (Jan. 13, 1965, studio session)

20 Can You Please Crawl Out Your Window

     (Oct. 25, 1965, studio)

21 Keep It With Mine

      (Feb. 15, 1966, studio)

Disc 2
01 Tell Me Momma
       (May 14, 1966, Liverpool)
02 I Ain’t Got No Home

     (Jan. 20, 1968, Guthrie Memorial Concert, NYC)

03 See That My Grave Is Kept Clean

     (Basement Tapes)

04 One Too Many Mornings

     (Feb. 18, 1969, Dylan-Cash Nashville session.)

05 Song to Woody

     (May 1, 1970, studio)

06 If Not for You

     (July 31, 1971, Concert for Bangladesh rehearsal,

      NYC)

Tracks 7-8 are Nov. 9 and 17, 1971, studio

07 Put My Money Down

08 For You, Oh Babe, for You, 

09 Going Going Gone

     (studio, Nov. 5-6, 1973)

10 What Will You Do When Jesus Comes?

      (studio, October 1975)

11 No Man Righteous

     (Nov. 16, 1979, San Francisco.)

12 I Will Sing

     (April 20, 1980, Toronto.)

13 Let’s Keep It Between Us

     (Rundown Studios, October 1980)

Tracks 14-15 rough mixes, May 1981

14 Shot of Love

15 In the Summertime

16 Let It Be Me

     (studio, May 1981)

17 The Groom’s Still Waiting at the Altar

      (rough mix, May 1981)

18 I and I

     ("dub mix" spring 1983)

19 Sidewalks, Fences and Walls

     (studio, May 5, 1987)

Disc 3

01 Soon, March 11

     (1987, Gershwin concert, Brooklyn, N.Y.)

Tracks 2-3 demos, March 1989

02 Ring Them Bells

03 Dignity

Tracks 4-9 studio, spring 1990

04 Two by Two

05 Born in Time

06 Wiggle Wiggle

07 TV Talkin’ Song

08 Unbelievable

09 Under the Red Sky

Tracks 10-13 studio, June 1992

10 Polly Vaughan

11 Catskill Serenade

12 Miss the Mississippi

13 Sloppy Drunk, 

14 If You Belonged to Me

     (Dylan’s garage studio, summer 1993)

Tracks 15-18 studio, Sept. 30, 1994

15 Any Way You Want Me

16 Lawdy Miss Clawdy

17 Money Honey 1

18 Money Honey 2

Tracks 19-21 various studio sessions

19 I Can’t Get You Off My Mind

20 Return to Me

21 Red Cadillac and a Black Mustache

22 Tell Old Bill

     (Take 6, summer 2005, unknown location)

23 A Change Is Gonna Come

     (March 28, 2004, Apollo Theater, NYC)

24 Baseball

If you're a Zimmy fan, you'll enjoy this collection.

For the freeload, What Bob Dylan album do you play the most?

Blind Gary Davis - 'Harlem Street Singer'

 

'Harlem Street Singer' was recorded on August 24, 1960, at Van Gelder Studio, Englewood Cliffs, New Jersey.  It was produced by Kenneth S. Goldstein and released on Prestige Records' Bluesville label in December 1960.

The album's title comes from Gary Davis’s a.k.a. Reverend Gary Davis' real-life moniker as he spent decades performing and preaching throughout the streets of the Harlem section of New York.

'Harlem Street Singer' is a foundational pillar of country blues and gospel music with its songs and complex fingerpicking style.  Bob Dylan, the Grateful Dead, Dave Van Ronk, and Jorma Kaukonen (to name but a few) have sited this album as a major influence.

Gary Davis was 65 years old when this album was recorded, and he delivers his most famous original composition, "Death Don't Have No Mercy," alongside his definitive rendition of the traditional standard "Samson and Delilah."

Legendary engineer Rudy Van Gelder captured the 12-track session in pristine hi-fi, in a single, three-hour session allowing Gary's guitar and soulful voice to ring with incredible warmth and clarity.

'Harlem Street Singer' is an essential album, that belongs in every Blues collection. 

For the freeload, name one Jazz, Blues or Rock album that to you is an essential album that belongs in every music collection.

Bobby Hutcherson - 'Dialogue'

 

'Dialogue' was recorded at Van Gelder Studio, Englewood Cliffs, NJ on April 3, 1965.  It was produced by Alfred Lion, and released on the Blue Note label in August 1965.  As with all classic Blue Note albums, the cover was designed by Reid Miles, with photography by Francis Wolff.

This was Bobby Hutcherson's debut album who had already proven himself a versatile sideman on classic Blue Note albums from Grant Green's 'Idle Moments' to Jackie McLean's 'Destination Out' to Eric Dolphy's 'Out To Lunch'.  Alfred Lion had brought Bobby into the studio as a leader for a 1963 session of straight-ahead hard bop that he opted not to put out at the time (it was eventually released in 1999 as the excellent album 'The Kicker'). 

'Dialogue' on the other hand showcased Bobby’s more adventurous leanings with a state-of-the-art sextet featuring Freddie Hubbard on trumpet, Sam Rivers on tenor and soprano saxophone, bass clarinet, and flute, Andrew Hill on piano, Richard Davison bass, and Joe Chambers on drums.  The albums' distinctive compositions are by Andrew Hill and Joe Chambers.

Many people, myself included, consider 'Dialogue' to be vibraphonist Bobby Hutcherson's masterpiece that bridges the gap between advanced hard bop and the mid-1960s "New Thing" movement without descending into chaotic (and sometime migraine inducing) free jazz.

I bought this album in the summer of 1965, and have rebought it quite a few times in different formats over the years.  For 61 years now, it's been in rotation and semi-rotation, and it’s one of those albums that every once in a while, I notice things I had not before.

Today's freeload is a remastered limited edition from Blue Note Japan, in the UHQCD format, from masterings that Kevin Gray did for the Tone Poet and BN Classic LP releases.  And they sound sweet!  If you freeloaded the previously posted 'Blue Note 85 Reissues', you know what I'm talking about.  This is my current "go to" version.

For the freeload name an (as in one) artist or group, and the album you consider to be their masterpiece.

Van Morrison – 'Be Just and Fear Not: Live At Orangefield'

 

'Be Just and Fear Not: Live At Orangefield' was recorded at the Orangefield Secondary School in Belfast, Northern Ireland, from August 22 to 24, 2014.  "Be Just And Fear Not" was the school's motto.  Produced by Van, the album was released in July 2024 on the Orangefield Records label.  

Orangefield Records was established by Van, as an exclusive record label and direct-to-fan online store releasing archival material, live performances, and special projects spanning the 1970s to the 2000s directly to fans.

In 2014, Van made a nostalgic return to his alma mater, Orangefield Secondary School in Belfast, Northern Ireland.  It was here, in 1959, that he first performed publicly with his skiffle group, Midnight Special.  

As a heartfelt farewell to his school, which was preparing to close its doors for the final time that year, Van performed three shows.  Van wrote and sings two songs specifically about the Orangefield school, the ode "Orangefield" and "Got To Go Back", in which he explains why he had to return to the school of his youth.  The spoken childhood memory On "Hyndford Street" about "the days before rock music" is also a direct reminder of that time.  

Van (on vocals, alto sax, electric guitar, acoustic guitar, harmonica, piano) is backed by an excellent band, consisting of Dave Keary on guitar, Paul Moran on keyboards and trumpet, Paul Moore on bass, Bobby Ruggiero on drums, Alistair White on euphonium and trombone, Chris White on tenor sax, baritone sax, clarinet and flute, and outstanding backing vocals by Dana Masters and Jolene O’Hara.

The set departs from conventional renditions, incorporating swinging rhythms, jazzy(ish) reinterpretations, horn sections, and female co-lead vocals. The performance also includes inspired takes on classic songs such as "Moondance", "Into the Mystic" and "Cleaning Windows".

Don't miss this one, this is late period Van Morrison, at his best.

Setlist:

01. Celtic Excavation/Into The Mystic

02. Cleaning Windows

03. Orangefield

04. Moondance

05. Precious Time

06. That’s Life

07. Too Many Myths

08. Got To Go Back

09. Real Real Gone/You Send Me

10. Rough God Goes Riding

11. Enlightenment

12. Sometimes We Cry

13. Northern Muse (Solid Ground)

14. On Hyndford Street

15. Ballerina

16. In The Garden

'Be Just and Fear Not: Live At Orangefield' also features spectacular sound engineering, with crisp clean audio.

The freeload is 24bit/96kHz.

For the freeload, what Van Morrison album do you play the most?

The New One

 

24bit/96kHz
Link
https://workupload.com/file/RYHrG7vbPBm

Enjoy, my friends!

Herb Ellis, Joe Pass, Ray Brown, Jake Hanna - 'Jazz/Concord'

'Jazz/Concord' was recorded at Wally Heider Studios in Los Angeles on July 29, 1973.  It was produced by Carl Jefferson, and released on January 1, 1974, on the Concord Records label.

This album holds a special place in music history as the very first official release (Catalog No. CJ-1) by the highly respected Concord Jazz record label.  The label was founded by Carl Jefferson after Herb Ellis and Joe Pass (whom unbelievably at the time were without recording contracts), asked him to produce a record for them following their fiery performance at the 1973 Concord Summer Festival.  Carl Jefferson would go on to produce well over 500 recording sessions.

'Jazz/Concord' is high-energy live-in-the-studio album featuring Herb Ellis and Joe Pass on guitar, Ray Brown on bass, and Jake Hanna on drums.  The result is an intuitive dialogue between two of jazz history’s greatest guitar virtuosos, underpinned by one of the tightest rhythm sections of the era.  Herb and Joe explore the history of electric jazz guitar, while constantly switching between melodic leads and rhythmic accompaniment.

Years ago, my husband Jerry and I had a conversation with Carl Jefferson.  Over a joint and glass of bourbon, he told us the nine tracks were completed with no overdubs in eleven takes, due to one false start and a broken guitar string.  They went into the studio at 3PM, and left the studio at 7PM, with a finished album and went out for dinner.

Tracklist 
1. "Look for the Silver Lining"
2. "Shadow of Your Smile" 
3. "Good News Blues"
4. "Honeysuckle Rose" 
5. "Happiness is the Concord Jazz Festival"
6. "Stuffy"
7. "Georgia on My Mind"
8. "Love for Sale"
9. "Bad News Blues"

If you like guitar music, you'll love this album.

'Jazz/Concord' (not unlike all Concord Records releases) has excellent sonics, featuring excellent stereo separation with Herb Ellis and Ray Brown in the left and channel and Joe Pass and Jake Hanna in the right.

The freeload is a 2014 remastered CD released for the Japanese domestic market.

For the freeload:
In the recent Rickie Lee Jones feature, I asked about artists or groups you like, but whose work you find inconsistent or uneven.  Regular poster, and all around nice guy "Mike" replied with his thoughts on the subject, and then asked:

"P.S. Which artist has made *exclusively* good albums or music? I’d be interested to hear your thoughts on that...".

So would I, so let's go with Mike's question.

Joe Cocker - 'With a Little Help From My Friends'

 

'With a Little Help from My Friends' was recorded at Olympic Studios, London and Trident Studios, London during 1968.  "Feeling Alright" was recorded at A&M Studios, Los Angeles, September 1968.  It was released on April 23, 1969, on the A&M Records label.  This was Joe's debut studio album, and in my opinion, his best.

Joe gets a lot of help from his large circle of friends, with 24 of them collaborating on the album.  Among them were Jimmy Page, Steve Winwood, Albert Lee, Matthew Fisher, and B.J. Wilson of Procol Harum, David Bowie’s producer Tony Visconti, Merry Clayton, and Madeline Bell.

To my ears this album sounds remarkably similar to one of Aretha Franklin’s exceptional albums from the late 1960s or early 1970s, where Aretha Franklin temporarily stepped aside and Joe took her place at the microphone.  The background vocalists, piano and organ are eerily similar.  It’s pretty clear that her recordings were being used as a template for this album, and it seems to have worked out very well for everyone involved.  Sometimes it reminds me of Aretha stepping aside, and Ray Charles taking over vocal duties.  And I mean all of the above in the best possible way.

This is a masterclass in Blue Eyed Soul, as well as the art of the cover song, as Joe just doesn't just replicate material; he completely dismantles and claims it.

The freeload is a 24bit/96kHz SACD rip of the Audio Fidelity release from 2015.  This version has serious sonics.

For the freeload, what some of your favorite cover versions of songs that in your opinion surpass the original?