Eddie "Cleanhead" Vinson - 'Kidney Stew Is Fine'

 

Eddie "Cleanhead" Vinson was a vocalist and played alto saxophone.  Vocally, he's what's known as a "Blues Shouter" and sings similarly to his contemporaries Jimmy "Mr. Five by Five" Rushing and "Big" Joe Turner.  Musically he played, jump blues, jazz, bebop and R&B.  Eddie was also such a proficient musician, that he could blur the lines of the aforementioned genres, sometimes in the same song, and make it look effortless.

Fun Fact: Eddie got his nickname "Cleanhead after an incident in which his hair was accidentally destroyed by lye contained in a hair straightening product, necessitating shaving it off.  Eddie liked the look, and maintained a shaved head from then on.

On the fourth of July weekend in 1971, my husband Jerry and I attended the Newport Jazz Festival.  Under different circumstances, we would have seen "Cleanhead" with T-Bone Walker if a riot had not disrupted that summer’s Newport Jazz Festival.

The riot broke out on Saturday night during Dionne Warwick's set when people without tickets stormed the gates. "Cleanhead" was scheduled for an all-blues program on Sunday night, with Ray Charles was the headliner of a line-up that also featured James Cotton, B.B. King, T-Bone Walker, Big Joe Turner, and the Allman Brothers.  Due to the riot, Newport Jazz Festival founder George Wein cancelled the rest of Saturday's show and the Sunday and Monday shows.

George Wein in his autobiography, 'Myself Among Others' wrote:

“T-Bone Walker and Eddie Vinson were supposed to have played, T-Bone shook his head and mused about how long he had waited to play Newport.”

George Wein, who was not a fan of rock music or Hippies, blamed the riot on "Drugged out Hippie Allman Brothers fans", which was total bunkum.  I mean, why would Allman Brothers fans storm the gates the day before the Allman's show, and during Dionne Warwick's set no less?  Sorry George, but it just doesn't add up.

Jerry and I were in disbelieve that the rest of the festival was cancelled.  Check out the above line-up for Sunday and Monday shows, that we would not see.  We were going to drop acid for the 1PM show on Monday.  Plus, we had a hotel room booked until Tuesday.

'Kidney Stew Is Fine' from 1969 is a wonderful recording from Eddie "Cleanhead" Vinson.  It was recorded in France, and originally released on the French Black & Blue label as 'Wee Baby Blues', and then licensed by the Delmark label, and released in the United States under the title of, 'Kidney Stew Is Fine'.

For the sessions, Eddie brought in two of his closest friends:

T-Bone Walker, who was one of the earliest of electric guitar, Blues and Jazz players, and is undoubtedly one of the most influential guitarists of all time (how many people could have said they influenced B.B. King?).

Jay McShann who was a prominent and influential jazz pianist and band leader, who along with Count Basie helped shape and develop the Kansas City swing sound.  Jay also gave Charlie Parker his first big break.


"Cleanhead" selected an array of great blues songs for 'Kidney Stew Is Fine'.  Highlights include : Big Bill Broonzy's "Just a Dream", Duke Ellington’s "Things Ain’t What They Used to Be", and Percy Mayfield’s "Give Me Someone To Love".

On 'Kidney Stew Is Fine', along with Eddie "Cleanhead" Vinson's alto saxophone and vocals are:

Hal Singer − tenor saxophone
T-Bone Walker − guitar
Jay McShann − piano
Jackie Sampson − bass
Paul Gunther – drums

For the freeload, tell us about music festivals you have attended.

Lee Morgan - 'Live At The Lighthouse'

 

Lee on Hermosa Beach, which is my all-time favorite beach

'Live At The Lighthouse' has long been considered one of the best live albums in Blue Note Record's impressive catalog, and the only live recording from iconic trumpeter Lee Morgan as a leader.

The album was recorded at The Lighthouse Café in Hermosa Beach, CA from July 10-12, 1970, was first released by the label as a 2-LP set with just four tracks, one track per side.  Today's freeload is a 3CD set, released in 1996 set that expands the number of tracks, from four to twelve.

'Live At The Lighthouse' was trumpeter Lee Morgan's next-to-last recording.  At the time, Lee Morgan was listening to the Miles Quintet [who wasn't? - Ed.], and had gotten tired of playing the same hard bop-styled music that he had excelled at during the past decade.  Lee was searching for newer sounds, and ready to leave his 'Sidewinder' days behind.  While I love "hard bop" as much as the next jazz fan, this album will surprise you with twists and turns that will stretch your ears and mind.

The music here is very modal-oriented, and John Coltrane's influence is also apparent, but Lee's signature sound is still very much intact, and he takes some fiery solos that still sound lively decades later.

This is music that truly deserves its status as Art, and is delivered with inspiration and passion.

Along with Lee Morgan's trumpet, are:
Bennie Maupin on flute and tenor saxophone
Harold Mabern on piano
Jymie Merritt on bass
Mickey Roker on drums
Jack DeJohnette on drums

For the freeload, what's your favorite beach?

Van Morrison - 'My New World Crystal Ball'

Here's a really nice show with some oddities from Van, recorded off the soundboard at The Lion's Share, in San Anselmo, California, on August 8, 1971.  This is a 2CD set of the early and late shows.

The early set begins with three acoustic songs, "Sweet Thing", "I Wanna Roo You" and "Tupelo Honey" with slightly different lyrics than the released version on "Tupelo Honey".  After that, the band joins in with Van singing part of "Que Sera Sera" (the 1956 Doris Day hit from the film, 'The Man Who Knew Too Much'), which abruptly changes to "Hound Dog".  "These Dreams Of You" is next, with very nice saxophone courtesy of Jack Schroer.  Van then does the Everly Brothers "Let It Be Me" and is followed by Patti Page's 1950 hit, "The Tennessee Waltz".  "Moonshine Whiskey" is next, when I played this recording for my friend Zelda, as "Moonshine Whiskey" started, Zelda was exhaling a huge hit from spliff, and said, "Janis Joplin drank a lot of whiskey." to which I replied, "Yes she did." Zelda then told me, "Janis Joplin's wake took place at The Lion's Share in San Anselmo... I wonder if Van made that connection?" I then asked Zelda, "Do you think Kevin Bacon's parents were at this show?" Zelda replied, "Probably not." and then took a Peter Tosh sized hit, without passing it to me. "Back in the day" we called people who did that a "Bogart".  Be that as it may, next, Van puts his spin on Dylan's classic "Just Like A Woman".  Two songs from the Street Choir album follow, "I've Been Working" and "Domino".  Van closes out the set with Louis Prima's 1956 hit, "Buena Sera Senorita".  We then hear an announcement asking everybody to leave by the back door, as people are already online at the front for the second show.

Van with Janet Rigsbee

The late set is almost the same show, with three song changes. "Street Choir" replaces "I Wanna Roo You" with lyrics that the title of this bootleg came from.  "When That Evening Sun Goes Down" replaces "Tennessee Waltz", and Van adds "Gloria".

The band and backing singers are tight throughout, and Van is good voice, good spirits, and has no meltdowns or "hissy fits".

For the freeload, tell us about live shows you saw, that were disappointing to you, or shows that went off the rails.

Albert King - 'Live Wire Blues Power' (2024 Craft Records Reissue)

"If you don't dig the blues, you got a hole in your soul" – Albert King

Albert King was an intense performer, and his sound, loaded with bent and crying notes, was among the meanest produced by any bluesman.  Albert's nickname was "The Velvet Bulldozer"  due to both his size – Albert was six-foot-four and 330lbs  – his smooth singing style that had a passionate and steady vibrato to it.

Born on April 25, 1923, in Indianola, Mississippi, he did farm work as a child.  His first experiences with music were in the church, and he spent the 1940s doing manual labor and occasionally singing in a family gospel group.

In the early 1950s, Albert moved north looking for work.  In Gary, Indiana, he played drums for Jimmy Reed, who was starting his own career.  In 1953, at the suggestion of Muddy Waters, he made his first recordings, for the Parrot label.  Those recordings made Albert a major figure in postwar American music.

In the mid-1950's he moved to St. Louis, where a flourishing blues scene nurtured Chuck Berry and Ike Turner.  There, he put together one of his best bands and became a major figure on the blues circuit, playing exclusively for black audiences.

His career took a radical turn in 1966, when he was signed by the Memphis-based Stax Records label.  Backed by excellent bands, including Booker T. and the MG's, he made the classic albums "Born Under a Bad Sign" and "Live Wire/Blues Power."

In 1967 Albert opened for Jimi Hendrix, who considered him a hero. Albert boasted:

“I taught Jimi a lesson about the blues. I could have easily played his songs, but he couldn’t play mine.”

In 1968, Rolling Stone Magazine reporter Jon Landau asked Albert who his guitar influences were, to which he replied:

“Nobody. Everything I do is wrong“.

Albert's ‘upside down’ style of playing was so unorthodox, so unusual, that it created a sound that went on to inspire generations of guitarists.  Unlike traditional guitarists, who pushed up on the strings, King distinguished a definitive style by pulling them down with his thumb.

Albert spent the rest of his career touring regularly, working with his own band, capturing a dark, Southern blues sound, and singing and playing with undiminished power.  At the time of his death in 1992, he was planning a European tour with two other blues masters, Bobby (Blue) Bland and B. B. King.

'Live Wire Blues Power' is a set of six live blues pieces recorded at the Fillmore Auditorium, San Francisco on June 26 & 27, 1968, and released in November 1968.  It's considered one of the very best live blues recordings.

The reissue of 'Live Wire Blues Power' released this past September on the Craft label revisits the acclaim & reception the counter-culture/hippies of the late 60s bestowed on the elder blues artists, such as Albert (one of the 3 Kings of the blues: Albert, B.B. & Freddie) at this time when the late 60s white audience may have missed it the first time around.  This particular set was Mr. King’s definitive guitar LP & it featured a tight quartet of supporting musicians, with Willie James Exon on second guitar, James Washington on organ, Roosevelt Pointer on bass and Theotis Morgan on drums.

To my ears, this reissue from the original tapes delivers the goods, and is an absolute masterclass in how to remaster an album.

For the freeload, what was the first concert you saw?

Art Pepper: Promise Kept – The Complete Artists House Recordings

 

Art Pepper: Promise Kept – The Complete Artists House Recordings is a five CD boxed set.

Art Pepper’s widow Laurie Pepper put these recordings into perspective:

"Art had had a brilliant career as a jazz soloist and band leader until the mid-1950s, when he started using heroin. After that, incarcerations and treatments in prisons and hospitals kept him off the stages and out of the studios. He was only able to record sporadically until he got (relatively) sober in Synanon in 1972 and married — me. Then in the last ten years of his life he composed recorded and toured more ambitiously than ever before, focused on securing his place among the true jazz greats — where he knew he belonged."

Producer John Snyder had long wished to record Art, and to that end, booked him into a week at the Village Vanguard in New York.  But Art was under contract to Contemporary Records label, whose head honcho, Les Koenig opted to record the stint himself.  Art, however, remained committed to recording for Snyder, the result of which was four albums recorded in 1979 and released in the ensuing years.

The albums that make up 'Promise Kept – The Complete Artists House Recordings' are the original releases: 'So in Love', 'Artworks', 'New York Album', 'Stardust' plus a bonus CD titled 'Sessions'.  All albums have all been remastered and expanded for this release, while an additional 11 session takes appear on the bonus album.

As for the title 'Promise Kept', Laurie Pepper explains:

"John and Art both kept their promises. John brought Art into the wider world; he put him on the road. Just as he said he would, he brought him to New York and to the Village Vanguard, got his picture in the papers, got him on the radio.  From Art, John got his dearest wish. He made these recordings."

The quality of Art's playing remained unchanged throughout the years, despite his many personal ups and downs.  From the first note of his debut album to the last note he ever recorded, he was phenomenal, and this box set proves the point.

If you like jazz, you’ll like this set.  If you like Art Pepper, you’ll love this set.

The freeload is 24bit/44.1kHz, and it sounds sweet.
 
For the freeload, tell us what was the very first album you owned? (LP, CD, Cassette, whatever you had)

Steppin' Out with the Grateful Dead: England '72

 

Europe in 1972 was not the Europe that exists today; it was still a handful of little countries that had been trying to kill each other a generation earlier.  There was new money every hundred miles, and new cops and officials to give that money to: Europe was a collection of borders with countries separating them.

It was also farther away, and expensive to reach in any medium.  Air mail required a whole different set of tools than regular mail: obscure stamps and special envelopes with red-and-blue wainscoting and see-through paper to save on weight.  You could not call Europe.  I mean, you could if someone else was paying for it, but if the phone line was in your name, you could not call Europe.

Ron "Pigpen" McKernan in Copenhagen, 1972

Pig’s deathly ill? Let’s schlep him around Europe on a cold and damp bus for six weeks. [Solid plan, there, guys! - Ed.]

An imaginary conversation between Jerry and Pig Pen, in Copenhagen, 1972…


Jerry: "How do you like Denmark, Pig?
"

Pig Pen: "The Pig don’t like it!  I’m a damn California boy.  How can a man sing the blues when he’s turnin’ blue?  It just ain’t natural, Jer!"

Jerry: "I agree. How'ya feeling?
"

Pig Pen: "Not so hot."


Jerry: "Ha!"

Pig Pen: "Yeah, I made a li’l joke.  Nah, I ain’t so great.  It’s okay, though, touring Europe’s just what the doctor ordered."

Jerry: "Really?"

Pig Pen: "Hell, no, peabrain!  The doc said to me the exact opposite thing!  Was specific ’bout it, too!  Pig, he said, Whatever you do: don’t let no one drag you ’round Europe on a bus, and then make you stand out in the cold all afternoon."

Jerry: "Well, what do doctors know?
"

Pig Pen: "That’s right, Jer, the Pig's schedule ain’t made by no sawbones!"

Jerry: "Seriously though, you look cold, Ron.  Do you want some hot chocolate?"


Pig Pen: "Aw, you know they don’t make it right over here, probably all fancy."

Jerry: "I’ll find you some Nestles Quik.
"

Pig Pen: "And if you could rustle up some of them itty-bitty marshmallows, then I wouldn’t mind."

Jerry: "Sure man, hang tight."

[60's Garcia was hep; he was a real beat cat.  80's Garcia was a mess, and 90's Garcia was just plain sad, but 70's Garcia was a cool mofo. - Ed.]

But seriously,
The liver problems that plagued "Pigpen" for most of his life became more severe in 1971, of course the Southern Comfort didn't help.  Against doctor’s orders, "Pigpen" hit the road one more time with the Grateful Dead.  The band’s 1972 tour of Europe is legendary, but at the time, "Pigpen" was just trying to stay above ground.  You could hear it in his voice when he took the mic onstage.  Close your eyes and his voice was a window into the past.  But listen closer, and you’d hear something else. Something you couldn’t quite put your finger on.  A distance.  Some pain.  Truth was, Pigpen was on borrowed time.  Rest In Peace, Ron "Pigpen" McKernan.

'Steppin' Out with the Grateful Dead: England '72' is a live 4 CD box that collects performances from seven of their eight shows in England during their spring 1972 tour of Europe (their first tour of the UK and continental Europe)

The band visited England three times on the tour.  They had booked four concerts in London (condensed to two) and one for Newcastle before touring mainland Europe. After the tour began, an opportunity came to return to England to play the stormy Bickershaw Festival, in between dates in Paris and Amsterdam.  To make up for the poor sound and crowded shows at the last-minute replacement venue, the Empire Pool, they added more dates at the end of the tour, returning again to London for four performances at the acoustically favorable Lyceum Theatre in the West End.

Jerry Garcia - lead guitar, vocals
Bob Weir - rhythm guitar, vocals
Ron "Pigpen" McKernan - organ, harmonica, vocals
Phil Lesh - bass guitar, vocals
Bill Kreutzmann - drums
Keith Godchaux - piano
Donna Jean Godchaux - vocals

For the freeload, what was your favorite "blotter art"?

Coleman Hawkins - 'The Hawk Flies High'

By the time he recorded 'The Hawk Flies High' in 1957, Coleman Hawkins had already been playing music professionally for over 35 years.  Coleman made his reputation as the first great tenor saxophonist, essentially validating the instrument as a jazz horn, and was an important figure in swing, big band, and bebop.  Not content to fade into irrelevancy like many other swing and big band players, by the 1950s he was still holding his own against young players.  His style and improvisational ability was so versatile, that he managed to transcend trends.

During his 40-plus year career, he recorded and toured with such jazz legends as Thelonious Monk, Miles Davis, Sonny Rollins, John Coltrane, Dizzy Gillespie, Max Roach, and Duke Ellington.  His improvising skill was legendary, having considerable influence on younger players such as Sonny Rollins and John Coltrane.  Despite his relative late age at the time of recording, "Hawk", as he was commonly known, was still hip to the avant-garde, and even surrounded himself with some younger players to be his sidemen.

'The Hawk Flies High' is filled with memorable melodies, exciting interplay, and furious solos, there is no doubt that this is a landmark jazz album.  In 2008, for its 50th anniversary, the Riverside label revived this classic record as part of the Keepnews Collection series with a much needed remastering.

Most of the songs on the record were recent compositions, some of which were written by the band members themselves, though  "Laura" an old standard, is included towards the center of the six-track album.  Songs, such as "Juicy Fruit" and "Blue Lights" demonstrate how Hawk's brilliant powers as an improviser could hold up to more modern material.  Filled with memorable melodies, exciting interplay, and furious solos, there is no doubt that this is a landmark jazz album, that still sounds fresh 67 years later.

Along with Coleman Hawkins on tenor saxophone, are:
J.J. Johnson on trombone
Idrees Sulieman on trumpet
Hank Jones on piano
Barry Galbraith on guitar
Oscar Pettiford on bass
Jo Jones on drums

If you are already familiar with 'The Hawk Flies High', you will appreciate the 24-bit remastering by Joe Tarantino, with its increased clarity and instrument separation.

For the freeload what types of birds do you see where you live?

The Kinks - 'At The BBC: Radio & TV Sessions And Concerts: 1964-1994'

 

'At The BBC: Radio & TV Sessions And Concerts: 1964-1994' is a 5CD - 1DVD set that was released in 2012 (the freeload is the 5CDs). 

Essentially this new box is an expansion of the 2001 'Kinks BBC Sessions 1964-1977', with more thorough selections from the early mid-60s sessions, the full live sets from Golders Green Hippodrome 1974 and Finsbury Park 1977, a handful of mid-90s Radio 1 appearances, plus a few performances that were wiped from the BBC archives but have been recovered from fan recordings.

The music for this set was remastered by Kinks aficionado Andrew Sandoval with Dan Hersch.  The excellent booklet (included in the freeload) by Peter Doggett, tells the story of the band’s history at the BBC

This is the proverbial treasure trove of seminal recordings over a variety of years and periods from The Kinks career.

If you compare the English to the Japanese, you can teach yourself another language!

For the freeload, answer two questions:
What are your favorite Kinks albums?
What are your favorite Kinks songs?

Skip James - 'Hard Time Killin' Floor'

 
Skip James was one of the finest and most refined masters of the Delta blues tradition.  He plays the guitar with grace and nuance, and his rather rustic, eccentric piano style makes up with charm for whatever it may lack in technical virtuosity.

Skip James is one of the most important figures in The Blues, whose shadow still looms large.

The performances on 'Hard Time Killin' Floor' are nothing less than superb.  If you haven't heard Skip James before, hearing this CD you will get the feeling that you've heard these songs somewhere before, probably because you have; Cream, Jimi Hendrix, and countless Rock acts have covered, drawn inspiration from, or just plain "borrowed" parts of the songs that are found here.

To my ears, this is the definitive collection of Skip James' early recordings. Yazoo Records has always had the best sound on old Blues 78s, mostly because of the label's judicious use of noise reduction (in the old days, that meant no noise reduction).  Now they've apparently used the latest tools to remove most of the intermittent noise, while leaving the music and some high-end background noise intact.  Whatever process was used, sound engineer Richard Nevins has created the best sounding versions of these songs that I've ever heard. [and I've heard quite a few - Ed.]  On the old Yazoo compilation, songs like "Special Rider Blues" and "Illinois Blues" were almost completely buried in noise.  Somehow, Richard Nevins has resurrected them.  In particular, the guitar parts are much clearer.  There is still quite a bit of noise and distortion, as these records are notoriously rare and in poor condition, but this is probably the best they'll ever sound.  This CD has all the Skip James 1930 Paramount recordings that are known to exist.  It also includes four cuts by Son House from the same year.  These recordings are also extremely rare in and in very poor condition.  Once again, Richard Nevins has made them sound better than ever. As for the music, it is some of the most evocative music ever recorded in the Blues genre.

For the freeload, tell us about some of your favorite songs that were "borrowed" from other songs.

Talking Heads - 'Brick'

 

To my ears, the Talking Heads were not just the biggest, but most consistently listenable of the so-called "New Wave" (a tricky term, I know) acts.  Releasing eight commercially successful albums over a decade, they broke ground with Byrne's electronic funk and World Music affectations, and always retained enough musical integrity to make them the darlings of critics (not to mention coke heads everywhere).  Musically, they didn't have the chops of their counterparts in bands like XTC and Television, but on the other hand, most of the New Wave groups were nothing more than attitude to start with - just look at the B-52's.  Not unlike Blondie and the Police, the Talking Heads had an imaginative and easily recognizable lead vocalist in David Byrne, who could also enliven even the most dull backing tracks.

'Brick' is an eight DualDisc box set containing the band's eight studio, with high resolution stereo remastered mixes on the CD layer and extra tracks from the recording sessions and video and 5.1 mixes on the DVD layer.  This is a body of work that makes the so-called "Arty" younger bands sound timid, even without any live material.

The outtakes on 'Brick' are often wilder than the cooler-headed, more deadpan versions chosen for the original releases.  Highlights include four rhythmically-charged, unfinished 'Remain in Light' outtakes (including one that eventually evolved into the band's signature "Once in a Lifetime") that allow insightful glimpses into Brian Eno's innovative production techniques on the album (and I say that as not much of an Eno fan), alternate versions of "Cities," "Life During Wartime" and "Mind" from 'Fear of Music', a countrified version of "Thank You For Sending Me an Angel" from 'More Songs About Buildings and Food' and a strangely muted early version of another Heads staple, 'Speaking in Tongue's', "Burning Down the House."  An early demo of "And She Was" from 'Little Creatures' demonstrates that the whole of a glorious pop song can be the assembly of its simple parts.

The Talking Heads catalog was in desperate need of remastering, with the original CD attempts sounding pretty poor.  Thanks to Jerry Harrison's supervision, the new mixes really add a lot, are tastefully done and give us state-of-the-art audio.  If you're a Talking Heads fan, you really should have these sonic upgrades.  The freeload is the high resolution stereo remastered mixes.

To freeload the Talking Heads in all their nervous energy and jittery glory, tell us who are some of your favorite "New Wave" or "Post Punk" albums are.

Stanley Clarke - 'School Days'

 

You can count on your fingers the bass players whose legacy comes close to Stanley Clarke, who has done more for the electric bass guitar than almost anybody else.

Jaco Pastorius gets a lot of credit (and rightly so) for revolutionizing the electric bass, putting it front and center, but Stanley is equally important.  While Jaco relied more on harmonics and standard (yet extremely challenging) bass playing, Stanley delved far more into bass chording and slapping, and to my ears, all while staying in the boundaries of good taste, which many times is lacking in Jaco's playing.

Stanley's bass slapping, can be traced back to William Manuel "Bill" Johnson, who is generally considered the father of the "bass slapping" style, in early 1900s, New Orleans.  George and Ira Gershwin were fans of the style, wrote a song about it titled, "Slap That Bass" for the 1937 movie 'Shall We Dance'.  The slap bass went technique went on to be used by Western Swing and Hillbilly musicians, and became an important component of an early form of rock and roll that combined blues and what was then called hillbilly music, we know now as rockabilly.  In the 1960s, Larry Graham, of "Sly and the Family Stone" became the first electric bass guitarist to use the technique, which he called, "thumpin' and pluckin'".  Inspired by Larry Graham, Stanley made it an art, and pushed it to the limits.

School Days' album cover is a painting by Lynn Breslin.
Stanley's white flares aside, it has a very Hip Hop-esque quality about it.

'School Days' released in 1976 (the same year as Jaco’s legendary debut album) was Stanley Clarke’s third solo album, and it was the one on which his compositional skills and his flamboyant bass solos really caught the bass world’s imagination.  Stanley had already demonstrated his double bass chops on the first two albums with Chick Corea's Return to Forever, but with the advent of his custom-built Alembic bass guitars, he now had a distinctive tone.  The grooves are phenomenal, the playing is impeccable.  'School Days' always puts a smile on my face.

Track list

1. School Days
2. Quiet Afternoon
3. The Dance
4. Desert Song
5. Hot Fun
6. Life Is Just A Game

The Players
Stanley Clarke on electric bass guitar, piccolo bass guitar, acoustic bass, acoustic piano, vocals, hand bells, gong, and chimes.
Raymond Gomez on electric guitar.
David Sancious on keyboards, mini-Moog synthesizer, organ, and electric guitar.
Gerry Brown on drums and hand bells on tracks 1 & 3.
Billy Cobham drums and Moog 1500 on track 6.
George Duke all keyboards on track 6.
Steve Gadd drums on tracks 2 & 5.
Milton Holland percussion on tracks 3 & 4.
Icarus Johnson electric & acoustic guitar on track 6.
John McLaughlin acoustic guitar on track 4.

Produced by Stanley Clarke and Ken Scott.

For the freeload, tell us who a few of your favorite bass players are