Thursday, April 11, 2024

Yusef Lateef - 'Eastern Sounds'



'Eastern Sounds' from 1962, is one of those albums that transcends its genre and becomes a timeless classic.  This is a stirring, meditative musical excursion of sound, that could be considered a precursor of the so-called "world music", or even a more nuanced, textured, and varied early new age recording, without the negative baggage of that now almost nearly forgotten musical genre.

Yusef had been exploring these kinds of sounds on previous albums as a leader, most notably on 'Prayer to the East' from 1957, but 'Eastern Sounds' brings together all the elements that make Lateef’s take on jazz sound work so well.  While the album starts off with the subtle swing of “The Plum Bossom” and readings of the love themes of the epic films 'Spartacus' composed by Alex North and 'The Robe' composed by Alfred Newman, it’s the other six tracks that reflect more of the contemplative side of this groundbreaking album.

Yusef is supported by the rhythm section of Barry Harris on piano, Lex Humphries on drums, and Ernie Farrow on bass. Farrow also plays rabat (spelled various other ways through history), which is a lute-like instrument that blends perfectly with Lateef’s work here on tenor saxophone, oboe, and especially the Chinese globular xun, which is a type of flute.

This is one of those jazz albums that can be appreciated by even non-jazz fans for its sheer beauty. It also is a must-have for any jazz fan.

For the freeload, tell us about an album you like that has multiple genres.


Wednesday, April 10, 2024

Son House - 'The Complete Library of Congress Sessions, 1941-42'

 


'The Complete Library of Congress 1941-42' is the 19 recordings Son House made in 1941-42, and were recorded by Alan Lomax.

Some of the recordings were recorded in Klack's Store, Lake Cormorant, Mississippi. You'll hear occasional railway noises in the background, as the store, which had the electricity necessary for the recording, was close to a branch-line between the lake & Robinsonville. 


If Son wasn't at his peak here, he wasn't far off.  Vocally, he sounds like a younger man, his guitar playing is, as always, excellent. 
On some tracks Son is joined by Willie Brown, Fiddlin' Joe Martin & Leory Williams who sound like they are enjoying themselves, and I wouldn't be at all surprised if a little whiskey was involved.

Son didn't record all that often, so your choice is among a handful of badly preserved Paramount sides from 1930, these field recordings (ambient train sounds and all) from his home locale and not far beyond his prime, or the studio collection from 1965, when Columbia Records had to find Son a guitar before he could even try to recreate his sound.  That's pretty much it for recorded Son House.  His genius shows up in each of those choices, but this one, to my ears, is the best overall.

The Complete Library of Congress Sessions, 1941-42
01. Levee Camp Blues
02. Government Fleet Blues
03. Walking Blues
04. Shetland Pony Blues
05. Fo' Clock Blues
06. Camp Hollers
07. Delta Blues
08. Special Rider Blues
09. Special Rider Blues
10. Low-Down Dirty Blues
11. Depot Blues
12. The Key of Minor
13. American Defense
14. Am I Right or Wrong
15. Walking Blues
16. County Farm Blues
17. The Pony Blues
18. The Jinx Blues, Part 1
19. The Jinx Blues, Part 2


Tracks 1 to 7, were recorded at Klack's Store, Lake Cormorant, Mississippi in August 1941.
Tracks 8 to 19, were recorded in Robinsonville, Mississippi, on 17 July 1942.

This is music that reaches inside of you...

For the freeload, tell us about a song that reaches you on an emotional level

Tuesday, April 9, 2024

Bob Dylan - 'Genuine Live 66'

 


Bootleg label Scorpio put out this 8 CD set entitled 'Genuine Live 66' in 2000.  If you are into Dylan enough to start hunting down bootlegs of his material, then this set is essential.  Like the official 'Live 66' album it covers his tour of that year, unlike the official release though, it goes into far greater detail on every level.  The 1966 world tour, is arguably the peak of pre-motorcycle crash Dylan, when our anti-hero was strung out on amphetamines and desecrating acoustic folkie expectations night after night for an audience that largely hated him. 

This set collects together concerts from Australia, England, Ireland, Denmark and Scotland, and packages them in the box in full color paper jackets inside mini "LP" gatefold cardboard sleeves along with two detailed booklets crammed with info and great pictures, three postcards and a poster (all included in the freeload).  Far more love and attention has gone into this than many "official" releases.

Recorded from the original 3-track source tapes, quality is superb throughout, which when coupled with the stellar performances really impress.  Both electric and acoustic performances are first-rate, and you can tell Dylan is on top form throughout this tour.  One of my personal favorites are the acoustic tracks recorded at the Gaumont Theatre in Sheffield, which are real gems.  One of the great things about Bob's live performances is his passion and interest in the songs and constant effort to try and keep them fresh, whether through completely altering lyrics and jumbling things around as in a lot of his later concerts, or as he does here, by really living the words and bringing out all the little subtleties and nuances in each song.

I love the electric version of "I Don't Believe You (She Acts Like We Never Have Met)" that he was playing on this tour, especially the May 14 version from Liverpool.  You can hear him give an amusing (probably amphetamine fueled bunkum) explanation of "Just Like Tom Thumb's Blues" according to which the song is about a painter, Tom Thumb, who was from Juarez but living outside Mexico City, and, "When Tom Thumb was going through his blue period, this was one of the most important times of his whole life." Bob repeatedly performs his mumbling trick, wherein he quiets the crowd by murmuring indistinctly into the microphone, which prompts everybody to shut up, the easier to discern the word of their oracle.

CDs 1&2 - 'A Phoenix In April'

  • Recorded at Sydney Stadium, Sydney, Australia - April 13, 1966

CD3 - 'The Children's Crusade'

  • Recorded at Melbourne Festival Hall, Melbourne, Australia - April 20, 1966

CD4 - 'While The Establishment Burns'

  • Tracks 1-7: Adelphi Theatre, Dublin, Ireland - May 5, 1966
  • Track 8: (presumably) K.B. Hallen, Copenhagen, Denmark - May 1, 1966
  • Tracks 9-10: ABC Theatre, Edinburgh, Scotland - May 20, 1966

CD5 - 'A Nightly Ritual'

  • Tracks 1-10: The Odeon, Liverpool, UK, May 14, 1966
  • Tracks 11-12: A Glasgow Hotel Room, May 19, 1966

CD6 - 'The Genuine Royal Albert Hall Concerts'

  • Tracks 1-9: Gaumont Theatre, Sheffield, UK, May 16, 1966
  • Track 10: Odeon Theatre, Birmingham, UK, May 12, 1966

CD7 - 'The Genuine Royal Albert Hall Concerts'

  • Tracks 1-5: Manchester, UK, May 17, 1966 - 3 track tape
  • Tracks 6-12: Royal Albert Hall, London, May 26, 1966 

CD8 -'The Genuine Royal Albert Hall Concerts'

  • Tracks 1-7: Royal Albert Hall, London, May 27, 1966
  • Track 8: WBAI Radio, NYC - 1/19/66

 For the freeload, post one verse from your favorite Bob Dylan song

Monday, April 8, 2024

The Atlantic New Orleans Jazz Sessions


In 1962 the Atlantic label, within a four-day period, recorded four albums titled 'Jazz at Preservation Hall, Volumes 1-4', featuring six different groups of New Orleans jazz veterans. 

Today's freeload is a
limited-edition 4CD box set from Mosaic Records, from 1998 has all the music from those sessions, plus two other related albums.  The Ertegun Bothers, founders of the Atlantic label, were very fond of the traditional styles of the time, and we have them to thank for preserving these historically significant recordings. 

For a perfect example of that classic saying, "you are there", is provided by the Young Tuxedo Brass Brand's 1958 remote recording that recreates funeral and parade music in the streets of New Orleans.  This is the type of music that inspired the renown "second line", with the parades working up steam and adding drummers and players as they progressed.

The remainder of the recordings in this set come from five nights taped in July 1962 at the famed Preservation Hall.  An icon of the New Orleans jazz community, the hall was an important venue in terms of giving many of the older and once innovative players new exposure and steady work during a time when traditional and Dixieland styles had largely gone out of fashion.  

There are sets to be found here from Paul Barbarin, The Eureka Brass Band, Billie and De De Pierce, Punch Miller, Jim Robinson, and George Lewis. Among these groups are such luminaries as Louis Cottrell, Alcide Pavageau, Emanuel Sayles, and Ernie Cagnolatti.  All of these men were in their '60s and '70s, yet they still had much to say, and these sides might be considered some of the best of their modest recorded outputs.  Like the other material in this set, the sound quality is superb, and it's a joy to hear this type of music presented with in such a desirable sonic light.

The traditional music of New Orleans has such a rich heritage and yet is so misunderstood and undervalued these days.  If you haven't yet explored this stylistic era of jazz, you really owe it to yourself, and I can't think of a better place to start in terms of true New Orleans jazz.  Historical significance aside, this music is fun, and is guaranteed to put a smile on your face

The 16-page booklet (included in the freeload) contains an informative essay from Bruce Boyd Raeburn, curator of Tulane University's jazz archives, and a treasure of period photographs.

OK, so today I was walking along the Hudson River Greenway, when a woman did a b-line towards me, and screamed "You're not in Germany anymore, this is America!" In typical New York fashion, I replied, "Whatevs", and kept walking...

For the freeload, tell us about something weird you experienced while walking, and minding your own business.

Sunday, April 7, 2024

Van Morrison - 'From Dublin Up To Sandy Row'


'From Dublin Up To Sandy Row' is a 2 CD live bootleg, that was recorded at The Point Theatre, Dublin on December 17th, 1995 for an FM broadcast. 

This is one of those bootlegs where the sound and performance are absolutely outstanding.  It actually sounds better than some of Van's official releases.  In the mid-1990s, Georgie Fame was Van's "right-hand man", and is sublime on this.

'From Dublin Up To Sandy Row' is one of my favorite Van Morrison bootlegs, it's 2 hours of perfection.


Setlist
CD1

  1. Ain't That Loving You Baby?
  2. No Religion
  3. Days Like This
  4. Raincheck
  5. That's Life
  6. Wonderful Remark
  7. Saint Dominic's Preview
  8. Listen To The Lion
  9. Slim Slow Slider
  10. Vanlose Stairway, TransEuro Train
  11. Irish Heartbeat

 
CD2
  1. Tupelo Honey, Why Must I Always Explain?
  2. Moondance
  3. Whenever God Shines His Light
  4. In The Garden / You Send Me
  5. Star Of The County Down
  6. Satisfied
  7. Melancholi
  8. I'm Not Feeling It Anymore
  9. Madame George
  10. Brown Eyed Girl
  11. Have I Told You Lately

Van Morrison on Vocals and Acoustic Guitar
Georgie Fame on Hammond Organ and Vocals
Brian Kennedy on Vocals
Robin Aspland on Piano
Alan Skidmore and Leo Green on Tenor Saxophone
Guy Barker on Trumpet
Alec Dankworth on Double Bass
Ralph Salmins on Drums

To qualify for the freeload, tell us what some of your favorite Van Morrison songs are.

Saturday, April 6, 2024

Wilson Pickett - 'Hey Jude'


I've always considered Wilson Pickett the best screamer in the history of soul, R&B, and rock.  He lays into “Hey Jude” like he just accidentally chopped his foot off with a hatchet, while the horn section cooks and Duane Allman, who was just beginning his career as a session musician, tears off one of the most brilliant and in-your-face guitar solos you’ll ever hear.  It’s a terrific performance, on a classic album.  If the rest of the album was jingles for breakfast cereal and Big Pharma, Wilson and company would have still made a heartfelt album.

Fortunately, Wilson fills out the album with a bunch of other songs that, while they can’t (what could?) compare with “Hey Jude,” are excellent in their own right. His voice is a miracle, his screams make Joe Cocker sound like a pee wee leaguer, and in short he turns in a whole slew of superb performances, demonstrating his mastery of phrasing and the entire genre.

Putting Pickett, Allman, the Muscle Shoals Rhythm Section (the so-called Swampers), and some great horn players together in the studio was a stroke of genius on Atlantic Records honcho Jerry Wexler’s part, and it paid off in a royal flush.

Fun fact: at one point during the sessions,
Duane Allman dosed the water cooler with mescaline.


'Hey Jude' was recorded
In October 1968 at FAME Studios in Muscle Shoals, Alabama.

Wilson Pickett on vocals
Duane Allman on lead guitar
Jimmy Johnson and Albert S. Lowe Jr. on rhythm guitars
Jerry Jemmott and David Hood on bass
Barry Beckett on piano
Marvell Thomas on organ
Roger Hawkins on drums
Gene "Bowlegs" Miller and Jack Peck on trumpet
Joe Arnold and Aaron Varnell on tenor saxophone
James Mitchell on baritone saxophone
The Sweet Inspirations ("Cissy" Houston, Sylvia Shemwell, Myrna Smith and Estelle Brown) on backing vocals

For the freeload, what are some of your favorite cover versions, that to you, are better than the original hits?

Friday, April 5, 2024

Donovan – 'Breezes Of Patchouli - His Studio Recordings: 1966-1969'

 

"The long gone breezes are blowing down the sky."


In 1968 at Caltech, there was a knock on my dorm room door.  It was my friend Sandy, who told me, “We are going to have a mini be-in in the common room, get high, and listen to Donovan’s new album, the ‘The Hurdy Gurdy Man’…you in?” I nodded my head and said, “Far-out, Sandy, I’ll be there in a few.”  When I got to the common room, everyone was sitting in a circle, and I took a place in the circle.  Joints were being passed around, one of which tasted odd, and the girl who passed it to me said, “That’s DMT, take another hit, and hold it in as long as you can” which I did. Three minutes later, I was “Joan of Arc,” as the needle dropped on Donovan’s ‘The Hurdy Gurdy Man’ and his words and music conveyed the Zeitgeist of the day.

In the mid-1960s, Scottish-born Donovan Leitch was viewed as both the epitome of hippiedom and unfairly as the UK’s answer to Bob Dylan.  Such perceptions (further enhanced by album titles such as Breezes of Patchouli) have followed him, often unkindly, ever since.  However, there was far more to Donovan than met the eye, as today's freeload will show.

'Breezes Of Patchouli' is a 4 CD set that contains 90 tracks, the 5 albums released during Donovan's heyday 1966-1969, and accompanied by essential related recordings.  The albums are: "Sunshine Superman" from 1966); "Mellow Yellow" from 1967; "The Hurdy Gurdy Man" from 1968; "Barabajagal" from 1969; and the double LP "A Gift From A Flower To A Garden".  The five aforementioned albums occupy the first 3 CDs, while CD4 contains "related recordings" ranging from the familiar extended stereo version of "Sunshine Superman" to alternate versions of "Superlungs" (perhaps best known for its cover version by British rocker Terry Reid) and "Epistle To Dippie."

All the hits are here: "Sunshine Superman", "Mellow Yellow", "Hurdy Gurdy Man" and "Jennifer Juniper" that represent high points in the 1960s pop/psychedelia.  As well, obscure album tracks such as "Writer in the Sun", "Sunny South Kensington" and "Mad John’s Escape" (to name but three) highlight Donovan’s classicist approach. Are there occasional moments of fey and whimsy? You bet, but there’s plenty of era-defining material here that also stands the test of time.  This impressive collection opens with the title track from Donovan's breakthrough LP "Sunshine Superman" which not only quickly climbed the Billboard album and single charts in the US, but began the short, yet incredible run of Mickie Most produced classics Donovan released between 1966 and 1969.

Represented are all the good qualities of "psychedelic rock" and is proof positive that music of this genre need not be filled with extended, heavy guitar riffs and solos, or shake the walls and shatter the windows.

Donovan fully embraced the wide-eyed optimism of the flower power movement, his dreamy, ornate songs radiating a mystical beauty and childlike wonder, and his recordings remain quintessential artifacts of the psychedelic era, capturing the peace and love idealism of their time to perfection.

The sound quality is excellent, and is the
best remastering to date.  I've included the
well annotated 24-page booklet written by Lorne Murdoch, which tracks through this collection quite rightly, and also includes rare photos as well as insightful information regarding Donovan's musical journey through 1966-69 and even beyond.

To qualify for the freeload, tell us what your favorite psychedelic album is.




Thursday, April 4, 2024

Sonny Rollins - 'The Complete RCA Victor Recordings'


 This 6CD set has all of Sonny's recordings for RCA, including the complete contents of 'The Bridge', 'What's New', 'Our Man In Jazz', 'Sonny Meets Hawk', 'Now's the Time' and 'The Standard Sonny Rollins', the three selections originally included in the sampler '3 for Jazz', and 11 alternate takes only previously released on the French album 'The Alternative Rollins'.

Less known than Rollins' earlier Prestige and Riverside records and the slightly later Impulse albums, his output for RCA was recorded right after he came back from an extended sabbatical. The music on 'The Bridge' (which co-stars guitarist Jim Hall) is the most famous of these dates.

Sonny became increasingly interested in the avant-garde during the era, and he used two of Ornette Coleman's sidemen (trumpeter Don Cherry and drummer Billy Higgins) in his group for a period.  On 'Sonny Meets Hawk', Sonny challenged his idol Coleman Hawkins by playing as outside as possible (Hawkins responded well).  

Other musicians heard on the recordings include bassists Bob Cranshaw, Ron Carter and Henry Grimes, drummers Ben Riley and Mickey Roker, pianists Paul Bley and Herbie Hancock and (on a couple of numbers) cornetist Thad Jones.  However, Sonny is the main star throughout the adventurous and sometimes eccentric performances, coming up with many remarkable ideas, often rollicking with a pianoless rhythm section and in two cases taking duets with the congas of Candido. 

 
For the freeload, tell us who's your favorite literary fictional villain.

Wednesday, April 3, 2024

Rory Gallagher - 'Blues'

In the subgenre of Blues Rock, Rory Gallagher has long been a favorite of mine.  His guitar playing is phenomenal, and I like that his singing style doesn't try to imitate African Americans, it's just his natural singing voice, and yet it still sounds like he's singing the blues.


This 3CD set is rare and unreleased recordings of Rory playing his favorite blues material, and is from the vaults of the Rory Gallagher estate’s tape archive. 
Hats off to Rory's brother, Donal, who had done a great job curating Rory's back catalog.  The tracks were mastered at Abbey Road Studios by Frank Arkwright.

Ranging from never heard before tracks to special guest sessions with Muddy Waters and Albert King, and lost radio sessions, this album uncovers Rory’s love of the blues throughout his solo career from 1971 right through to 1994.

CD1 Electric Blues:

  1. ‘Don’t Start Me Talkin’ (Unreleased track from the Jinx album sessions 1982)
  2. ‘Nothin’ But The Devil’ (Unreleased track from the Against The Grain album sessions 1975)
  3. ‘Tore Down’ (Unreleased track from the Blueprint album sessions 1973)
  4. ‘Off The Handle’ (Unreleased session Paul Jones Show BBC Radio 1986)
  5. ‘I Could’ve Had Religion’ (Unreleased WNCR Cleveland radio session from 1972)
  6. ‘As the Crow Flies’ (Unreleased track from Tattoo album sessions 1973)
  7. ‘A Million Miles Away’ (Unreleased BBC Radio 1 Session 1973)
  8. ‘Should’ve Learnt My Lesson’ (Outtake from Deuce album sessions 1971)
  9. ‘Leaving Town Blues’ (Tribute track from Peter Green ‘Rattlesnake Guitar’ 1994)
  10. ‘Drop Down Baby’ (Rory guest guitar on Lonnie Donegan’s Puttin’ On The Style album 1978)
  11. ‘I’m Ready’ (Guest guitarist on Muddy Waters London Sessions album 1971)
  12. ‘Bullfrog Blues’ (Unreleased WNCR Cleveland radio session from 1972)

CD2 Acoustic Blues:

  1. ‘Who’s That Coming’(Acoustic outtake from Tattoo album sessions 1973)
  2. ‘Should’ve Learnt My Lesson’ (Acoustic outtake from Deuce album sessions 1971)
  3. ‘Prison Blues’ (Unreleased track from Blueprint album sessions 1973)
  4. ‘Secret Agent’ (Unreleased acoustic version from RTE Irish TV 1976)
  5. ‘Blow Wind Blow’ (Unreleased WNCR Cleveland radio session from 1972)
  6. ‘Bankers Blues’ (Outtake from the Blueprint album sessions 1973)
  7. ‘Whole Lot Of People’ (Acoustic outtake from Deuce album sessions 1971)
  8. ‘Loanshark Blues’ (Unreleased acoustic version from German TV 1987)
  9. ‘Pistol Slapper Blues’(Unreleased acoustic version from Irish TV 1976)
  10. ‘Can’t Be Satisfied’ (Unreleased Radio FFN session from 1992)
  11. ‘Want Ad Blues’ (Unreleased RTE Radio Two Dave Fanning session 1988)
  12. ‘Walkin’ Blues’ (Unreleased acoustic version from RTE Irish TV 1987)

CD3 Live Blues:

  1. ‘When My Baby She Left Me’ (Unreleased track from Glasgow Apollo concert 1982)
  2. ‘Nothin’ But The Devil’ (Unreleased track from Glasgow Apollo concert 1982)
  3. ‘What In The World’ (Unreleased track from Glasgow Apollo concert 1982)
  4. ‘I Wonder Who’ (Unreleased live track from late 1980s)
  5. ‘Messin’ With The Kid’ (Unreleased track from Sheffield City Hall concert 1977)
  6. ‘Tore Down’ (Unreleased track from Newcastle City Hall concert 1977)
  7. ‘Garbage Man Blues’ (Unreleased track from Sheffield City Hall concert 1977)
  8. ‘All Around Man’ (Unreleased track from BBC OGWT Special 1976)
  9. ‘Born Under A Bad Sign’ (Unreleased track from Rockpalast 1991 w/ Jack Bruce)
  10. ‘You Upset Me’ (Unreleased guest performance from Albert King album ‘Live’ 1975)
  11. ‘Comin’ Home Baby’ (Unreleased track from 1989 concert with Chris Barber Band)
  12. ‘Rory Talking Blues’ (Interview track of Rory talking about the blues)

 

For the freeload, and a bonus surprise mystery freeload, tell us what was the last album you listened to.

Tuesday, April 2, 2024

The Doors - 'Infinite' (SACD Box Set)

 


In 1970, I was living in Boston, Massachusetts, and working on my PhD in
Itô calculus at M. I. T., and Jerry (my future husband) was working on his PhD in Applied Physics at Wellesley College.  Jerry and I were living together, which in 1970 was considered quite provocative.

One early March afternoon in the Stratton Student Center of M. I. T., I was thumbing through ‘Boston After Dark’, which was a weekly entertainment newspaper, and saw an advertisement for a Doors concert at the Boston Arena on April 10th.  Jerry and I saw The Doors the previous July at the Aquarius Theater in Hollywood, CA, and it was quite a show.  So I hurried to the Boston Sears Roebuck, where they had a Ticketron (a computerized event ticketing company) outlet.  At Sears, I scored two $6.50 tickets for the late show, which cost $14.30 with the 10% Ticketron fee.  Opening my purse, I realized that I had a ten and threes single dollars bills, I managed to find four quarters, but I was still 30 cents short!  Deep in a corner of my bag, I found two dimes, but I was still ten cents short.  A very strait-laced looking guy in a three-piece polyester suit behind me, who was there to get circus tickets for his family, gave me the extra 10 cents.

Later that day, Jerry came home and proclaimed “I scored two Doors tickets!” to which I replied “Me too, early or late show?” “Early show” said Jerry, I replied, “I’ve got late show tickets” We laughed, and Jerry said “It looks like we’re seeing the Doors twice!”

The day of the show

Neither Jerry nor myself had classes on Friday afternoons, so we went to see our “connection” Larry, a.k.a. “Lucky Larry” who played trombone, and was attending Berklee College of Music.  Larry was a fellow Brooklynite, and a friend of a friend.  He had hair that went halfway down his back, a long beard and always looked completely disheveled.  Larry wore a huge belt buckle that had “LUCKY 13” engraved on it.  He lived in a turn of the century tenement building that had a bathtub in the kitchen of his apartment.  We bought an ounce of Oaxacan buds, two Thai Sticks (Thai buds on bamboo sticks, and tied with hemp string), and four “hits” of “Clearlight Windowpane” acid, which was LSD on a very small triangular shaped piece of red gelatin.  Larry would go on to become an in-demand session musician, toured with Frank Sinatra and Tony Bennett, and played on countless television and radio commercials.  In 2024, Larry and I, are still in contact.

We left Larry’s, and went back to our apartment, smoked a joint, and had a bite to eat.  After we ate, while rolling joints for the show, we toyed with the idea of doing two hits of windowpane each.  We dropped a hit a windowpane, and as we were ready to leave, Jerry said “C’mon Babs, let's do the other hits!” I agreed, we ate the other two hits, and we headed for the bus stop.  On the bus, and halfway to the Boston Arena, we had an “acid shiver” and we were “off to the races” so to speak.

When we arrived at the arena, there was a carnival atmosphere of people selling tee shirts, rolling papers and pipes, weed, acid, uppers and downers - you name it.  We went inside, found our seats, smoked a joint and waited for the show to start.  The lights went down, and a band called “Axis”, an uninspiring blues trio, were introduced.  Next up was folk singer Gordon Lowe, who played solo with an acoustic guitar.  We couldn’t hear Gordon over all the heckling and booing, the poor man received.  Forty-five minutes later, the Doors came on stage to cameras flashing and the entire audience on its feet letting a roar.  Jim Morrison was clearly drunk, but in a jovial mood, and the early show was very cool.

After the early show, we were ushered outside, where it was pouring with rain.  We found a dry area under some scaffolding, smoked a joint and giggled in delight at our acid induced euphoria.  Jerry said he was thirsty, and asked if I was too, and told me “Wait here Babs, and I’ll run across the street, to the store”.  While Jerry was gone, two girls who were drinking beer a few yards away from us started screaming at each other; the next thing I knew, one hit the other one in the head with a beer bottle, and ran away!  People nearby thought that I hit her, and started shouting “That's not cool, why did you do that?” at me.  The girl who was hit, got up on her feet and told them “It wasn’t her” and then she took off with her head bleeding.  By now I was more than freaked out, I lit a cigarette, and noticed two cops getting out of their patrol car, and people pointing in my direction.  Both cops started walking quickly straight towards me, my heart starting pounding and my hands started shaking thinking they thought I did it.  One cop put his hand on my arm and said, “Excuse me, young lady” as they both hurried pass me.  A sense of relief came over me, and I started laughing and couldn’t stop.  Jerry came into view with two bottles of orange juice in his hand.  As we drank the juice, I related to Jerry what just happened, causing him to laugh and pass orange juice through his nose.  By now, it was time to go back inside the arena for the late show.
 
For the late show, scheduled to start at 10PM, we had better seats that were ten rows back from the stage.  It wasn’t until midnight before the Doors hit the stage again.  By midnight, Jim Morrison was an inebriated mess, but managed to keep it together. I remember Jerry commenting, "Jim should stick to pot and acid."  At 2AM due to Boston’s curfew laws, the power to the stage was cut except for Jim’s microphone, which was powered by a separate P.A.  Realizing he had a live mic, Jim quickly used it to rant and curse.  Ray Manzarek grabbed Jim and pulled him offstage, but lost his grip once the two reached the wings.  Running back to the mic, Jim told the crowd, screaming: "We all should get together and have some fun, because the assholes are gonna win if we let them".  The promoter, not wanting a riot on his hands, decided it was best to let the Doors perform one more song. The band came out with Manzarek on guitar and Robby Krieger on bass and did an early rendition of "Been Down So Long," which would appear on the ‘L.A. Woman’ album the following year.

After the show, there were no more buses running, and we couldn’t find a cab, so we walked the few miles home, singing Doors songs, still tripping our brains out.



Today's freeload is The Door's 'Infinite', a 6 SACD box set of their studio albums:
  • The Doors
  • Strange Days
  • Waiting For The Sun
  • The Soft Parade
  • Morrison Hotel
  • L.A. Woman 
The albums were remastered from the original analog source tapes by Doug Sax and original Doors engineer Bruce Botnick.  High frequencies, low frequencies, and those in between--they're all here, and make it seem as if the Doors are playing in six feet away from you.  This is the definitive digital audiophile edition.
 
 For the freeload, tell us about a concert you attended, that turned into a fiasco.

Monday, April 1, 2024

Charles Tolliver - 'Mosaic Select 20'

 


This is an interesting Mosaic set, in that these recordings were not owned by Blue Note or any of Capitol's subsidiaries; they are owned by Charles Tolliver, and originally appeared on the Strata East label which he co-founded with the pianist on these dates, Stanley Cowell.  Strata East was a musician's label that recorded some of the greatest jazz music of the 1970s and was well distributed. (Unfortunately, with very few exceptions -- and a real comment on the record industry here in the U.S. -- the only way to procure most Strata East recordings on CD these days is from Japan.)  Most of these sides were cut live at Slug's Saloon, a legendary, long gone spot on the Lower East Side of Manhattan in a space now occupied by a chic bakery.   Slug's Saloon was the go-to joint for musicians who were still developing the "new thing" after Coltrane, who played regularly and collaborated with one another.  Its audience was hip and sophisticated and deeply interested in music that was current.  Charles Tolliver himself went all out to find more of the music recorded on these dates, and there are six selections, roughly a full CD, of completely unreleased music from the Slug's gigs. 

This 3CD Mosaic box set features the music from two Charles Tolliver concerts. The first concert was recorded live at Sluggs Saloon, in New York on 5/1/70. This concert fetures, Tolliver (trumpet), Cecil McBee (bass) Stanley Cowell (piano), and Jimmy Hopps (drums). The second concert was recorded live in Tokyo 12/7/73.  This show features Tolliver, Cowell, Clifford Barbaro (drums), and Clint Houston (bass).  The sound quality is just phenomenal.  In particular, the bass could not sound better. The two concerts feature some of Tolliver's most creative and exciting songs, as well as some great songwriting by McBee and Cowell.  The first show features some of the best playing I've heard from bassist McBee.  Pianist Stanley Cowell, but he provides both some excellent songwriting and playing on these two shows.  The style of the music is 1960s post bop with a tinge of soul jazz, hard bop, and avant-garde.   It is fairly similar in style to the work Charles did on Jackie Mclean's blue note recordings.  To my ears, this is hands down the best recording, with Charles Tolliver listed as the leader.

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