The Complete Dean Benedetti Recordings Of Charlie Parker

In the late 1960s, I heard vague rumors in jazz clubs about an obsessive fan, named Dean Benedetti (or a name similar to Benedetti, depending on whom you spoke to) who followed Bird around and recorded his solos, and only his solos, on a wire recorder. Because the name Dean Benedetti reminded me of a moniker out of a Jack Kerouac novel, I wrote the rumors off as urban legend. In 1973, Ross Russell's often fictitious biography of Charlie Parker, "Bird Lives," was published, and Russell embellished the myth of Benedetti a hipster, saxophonist lurking around recording everything Parker played. To be fair to Ross Russell's book, despite being apocryphal, his account dramatizes Parker's appeal and his immense cultural influence. "Bird Lives" is Bird as an icon. Within limits, the book is true fiction.

Dean Benedetti

As it turned out, the rumors were true. Dean Benedetti did record all of Bird's solos from a two-week stand of performances in March 1947 in California on a vinyl acetate cutter, and the next year recorded some sporadic New York performances on paper tape. The recordings vanished into lore, and Dean died in 1957.

Dean's tapes reappeared in 1988 at his brother's house in Burbank, California. Mosaic Records secured the rights to them and issued them. There are a few minutes of recordings that, for reasons I'm not sure of, weren't included in the set, making this, in reality, "The Almost Complete Dean Benedetti Recordings."

'The Complete Dean Benedetti Recordings of Charlie Parker' is a 7-CD collection of the legendary, lost recordings, which were recorded by Dean between March 1, 1947, and July 11, 1948. The set collects 15 days' worth of Bird's improvisations and rehearsals at a variety of clubs, including the Hi-De-Ho in Los Angeles and the Three Deuces and the Onyx in New York.

Birds's solos during this run are a constant source of creativity. He repeats himself amazingly little in two weeks' worth of soloing. Some people have criticized the decontextualization of the solos, but personally I think they're pretty cool. While I know that the solos from the other band members are exceptional, it's easy to see Dean's fascination and admiration for the most gifted soloist and improviser to ever walk the earth.

A brief note on the sound quality. My ears are well bootleg-seasoned, if yours aren't, and if you can't listen through lo-fi murk, you might want to avoid this set, as it conforms to the First Law of Bootlegs: The more interesting the material, the worse the fidelity. These recordings are unquestionably amateur affairs and were not exactly meticulously cared for. The set also includes a booklet, that is beyond outstanding, and has fascinating information and excellent technical notes on how Dean recorded, as well as the equipment he used.
Another rumor in the jazz world is that there is a lost wax cylinder made by the New Orleans trumpeter Buddy Bolden, and are the holy grail of jazz. If that's true, then the Benedetti recordings are the vice-holy grail. For the freeload, tell us about your favorite urban legends and rumors, musical or otherwise.

Freddie King - 'The Complete King Federal Singles'

"Working in Chicago, that's where I first started playing in a band, but I been playing guitar since I was six. I picked up the style between Lightnin' Hopkins and T-Bone Walker. That's in-between style, that's the way I play, see. So I plays country and city. I used to use three picks, but then Eddie Taylor, he showed me how to get the speed out of two picks, see. He's fast, man, Eddie is. But in a way I'm fast in some things, you know?"

— Freddie King

Texas claims Freddie King as its son. However, although he was born on a farm near Gilmer in 1934, King's real contribution came as one of the young musicians from Chicago's West Side who challenged the first generation of South Side musicians starting in the late '50s. Guitarists like Otis Rush, Jimmy Dawkins, Luther Allison and Magic Sam and other then contemporary guitarists played aggressive, virtuosic blues that attracted a younger crowd. Freddie King ran with them.

Freddie was always an innovator, and on his very first record, (made for the tiny El Bee label in 1956), he used Robert "Big Mojo" Elem (left) on electric bass, an instrument few others were using at the time.

Freddie also pushe­d boundaries by assembling one of the­ first multiracial backing bands, demonstrating his progressive mindse­t towards music.

In 1982, Freddie was inducted into the Blues Hall of Fame, and in 2012 to the Roll Hall of Fame, as an early influence.

Freddie King's big break came in 1960, when King/Federal Records opened an office in Chicago.  Sonny Thompson, a seasoned veteran of postwar rhythm and blues, was the talent scout, and after learning that Leonard Chess didn't think Freddie King was worth signing, snapped him up and took him to the label's home in Cincinnati to record. Singles "Have­ You Ever Loved a Woman" and the instrume­ntal track "Hide Away" truly showcased King’s exce­ptional guitar style, which drew inspiration from both Texas blue­s and Chicago blues traditions. "Hideaway" was so popular after its release that every bluesman with a band felt like he had to add the song to his repertoire.

Today's freeload is 'The Complete King Federal Singles', a 2CD set that collects, in chronological order, all 54 singles Freddie recorded for the King/Federal label, from his best (at least to my ears) period —1960 through 1967.

This is two and a half hours worth of great blues. There's a good mix of vocal and instrumental sides included and with the help of arranger/pianist Sonny Thompson, King released a number of great (sometimes incendiary) blues sides. There are a few tracks that were released to hopefully catch teenage ears from the "Twist" period, and some of his "Surf" sides. But all in all, this is a great collection from one of the best, most influential electric guitarists to ever play the blues.

This collection has a 15 page booklet (included in the freeload) that contains an essay by Freddie King expert Bill Dahl.  Also included are photographs, recording dates and chart positions of singles.

Jurgen Crasser's remastering is crystal clear.  CRANK UP THE VOLUME!

For the freeload, tell us what albums you listen to at a higher than usual volume.

Good Ol’ Grateful Dead - 'Dave's Picks, Volume 52'

From the Downs show

'Dave's Picks, Volume 52' is a show from September 11, 1983, at The Downs in Santa Fe, New Mexico.  It was also drummer Mickey Hart's 40th birthday.

This show was recorded by Dan Healy, who for many years was the Grateful Dead's audio engineer.  It's a Dead Head favorite, due to the sound quality and set list.  It has been traded and distributed for free (Dead Heads are like that) since 1983 (never, ever pay for a Dead boot).  Over the years, I've had it cassette, reel to reel, CDR and as FLAC files.  Until 'Dave's Picks, Volume 52' was released, my favorite version was 'Hunter's Trix vol. 129'.

'Hunter's Trix vol. 129' cover

Many people consider this show the best of 1983 and some say, the entire 1980s.

The Downs was a horse racing facility, hence the cover

'Dave's Picks, Volume 52' was released on Oct 30, 2024, and has been mastered to HDCD specs by Jeffrey Norman at Mockingbird Mastering.

CD1 is the first set:
Alabama Getaway ->
Greatest Story Ever Told
Dire Wolf
Hell In A Bucket
West L.A. Fadeaway
Me And My Uncle ->
Mexicali Blues
Althea
C C Rider ->
Might As Well

There was a thunder storm between the first and second sets, with a rainbow afterward.  Here's a photo of it.

Imagine being "dosed" a Dead show, and seeing this?

CD2 is the second set
Help On The Way ->
Slipknot! ->
Franklin's Tower
Let It Grow
He's Gone ->
Drums ->
Space

CD3 is the continuation of the second set, plus three songs (to fill out the CD) from the previous night's show, also at The Downs.
Truckin' ->
Wang Dang Doodle ->
Morning Dew ->
Around And Around ->
Sugar Magnolia
U.S. Blues (encore)
From previous night's show
Cumberland Blues
Playing in the Band
China Doll

For the freeload, tell us about where and when you've seen spectacular rainbows.

John Coltrane - 'Complete 1961 Village Vanguard Recordings'

This will be my last post until Tuesday, December 3rd. If anybody is looking for me, I'll be in Los Altos, California, celebrating the Thanksgiving holiday with my family.

In the meantime, this should keep you busy.

Links are at the bottom of this post (no "qualifying" question).

In November 1961, at the height of his musical imagination, Trane was booked to play five nights at New York's Village Vanguard.  Bob Thiele, Trane's new producer at Impulse! Records, arranged for the sessions to be recorded by Rudy Van Gelder for a live album.



At the time, Trane was touring with his classic quartet of McCoy Tyner on piano, Jimmy Garrison on bass, and Elvin Jones on drums. In addition, for the Village Vanguard gigs, Trane brought in Eric Dolphy on alto saxophone and bass clarinet, bassist Art Davis to experiment with two basses on a song or two. And for an additional exotic flavor, one night he brought in Garvin Bushell on cor anglais (which is described wrongly in the disc notes as an oboe) and Ahmed Abdul-Malik on tampura (a long-necked, four-stringed instrument originating in the Indian subcontinent, also described wrongly in the disc notes as an oud)

The result was four and a half hours of groundbreaking improvisational jazz of the highest quality.

In 1962, the Impulse! label released three songs; "Spiritual", "Softly, as in a Morning Sunrise" and "Chasin' the Trane" from the five nights as 'Coltrane "Live" at the Village Vanguard' on one LP. The album resulted in much controversy among both critics and audiences alike with its challenging music.

 In 1997, Impulse! Records released all five nights on Four CDs, as 'The Complete 1961 Village Vanguard Recordings'



CD1: "India", "Chasin' The Trane", "Impressions", "Spiritual", "Miles' Mode", and "Naima

"

CD2: "Brasilia", "Chasin' Another Trane", "India", "Spiritual", and "Softly As In A Morning Sunrise"






CD3: "Chasin' The Trane", "Greensleeves", "Impressions", "Spiritual", "Naima", and "Impressions"

CD4: "India", "Greensleeves", "Miles' Mode", "India", "Spiritual"









Link
https://workupload.com/file/3StGkytJeBj

RIP Alice Brock (February 28, 1941 – November 21, 2024

 

Alice Brock is the Alice from Alice's Restaurant.  It's a tradition in my family (and many others) to play Arlo Guthrie's 'Alice's Restaurant' on Thanksgiving.

My wine glass will be half full this Thanksgiving in her honor.

'Alice's Restaurant'
Link
https://workupload.com/file/HH3CHqG7pV8

From Arlo:

“Alice passed away a week before Thanksgiving. She was living in one of her favorite places – Provincetown, Massachusetts where she’d been for over four decades.

I first met Alice in 1962 when she was the school librarian at The Stockbridge School, in Stockbridge, Massachusetts. I was there beginning my second of four years. I also met, Rick Robbins, another student, and we’ve been friends ever since.

Alice’s mother, Mary Pelky, bought the church in June of 1963 and gave it to Ray & Alice who began transforming it into a home. After the school year, my brother and I, along with Rick and a few others spent the summer with Alice and her husband, Ray on Martha’s Vineyard where they ran the Youth Hostel in West Tisbury. Alice always loved being on the Cape. It was home.

I returned to The Stockbridge School after a most wonderful summer, playing music every night, and generally goofing off. Ray & Alice got busy at the church, making it into a home.

For the next couple of years, friends would gather at the church from time to time, play some music, and generally enjoy a loose network of like minded people. Then it all changed.

Rick & I went to visit Ray & Alice for Thanksgiving in 1965. The rest is history. Alice went into the restaurant business and I began my years as an entertainer. We were, both in our own ways, successful. As well as being a restauranteur, Alice also became an author, and an artist. We worked together on various projects. During the next few decades we remained friends while our lives kept us busy. She was a no-nonsense gal, with a great sense of humor.

This coming Thanksgiving will be the first without her. Alice and my daughter, Annie had spoken together recently and Alice, knowing her circumstances, approved an exhibit at the church to tell her own story. Alice and I spoke by phone a couple of weeks ago, and she sounded like her old self. we joked around and had a couple of good laughs even though we knew we’d never have another chance to talk together.

A couple of years ago, Alice, Rick and I met up at the church, and from there went to Rick’s home for a Thanksgiving Dinner. Marti & I, along with a lot of old friends celebrated 60 years of friendship. Some couldn’t be there, as time has taken its toll. But, the spirit was all that mattered, and we got to celebrate it.

This year we get to add one more to those whose life we celebrate – An important one. Alice was a lifelong friend.”

Johnny Shines - 'The Blues Came Falling Down'

 

The music industry’s history is littered with talent that never managed to intersect popular acclaim, and such might have been the story of bluesman Johnny Shines, if not for his sideline as a photographer and a chance encounter with Howlin’ Wolf.

Johnny started gigging in the early ‘30s, and hoboed with Robert Johnson through Depression-era America.  They hopped freights, played on street corners, shared rooms, whiskey, women and they made it as far north as Canada.

In 1946, Johnny made recordings for the for Columbia, and for the Chess label in 1950, both sessions but were consigned to the vault.  In 1952, he recorded what many (myself included) consider his best work, for J.O.B. Records.  Unfortunately the J.O.B. sides didn’t make a dent in the market.

By the mid-50s Johnny had withdrawn from performing and turned to the construction industry, but a sideline photographing Chicago club patrons put him in touch with Howlin’ Wolf, and in turn secured him a half-dozen tracks on Vanguard’s influential 1966 anthology, Chicago/The Blues/Today, Vol. 3. (All three volumes, will be a future post)

Upon its release, the Vanguard album sparked the renown that circumstance had denied Johnny for two decades.  He recorded albums for several independent labels and toured the international blues circuit to wide acclaim before a stroke in 1980 sidelined him for several years.

In 1991 Johnny appeared and played in the documentary 'The Search For Robert Johnson' just before his 1992 death.  The Blues Hall of Fame wasted no time in inducting him that same year.

'The Blues Came Falling Down' was recorded live in 1973, but for some reason not released until 1999.  The performance was recorded in the acoustically friendly Graham Chapel at Washington University in St. Louis, and finds Johnny in peak form.  His guitar playing is crisp, nimble and deeply informed by decades steeped in the blues.  At 58, his voice was still strong and supple, showing no signs of age, and his touring experience shows in a powerful command of the stage.  His song introductions and between song banter is essential, adding context and some humor to the listening experience.

Johnny’s solo and acoustic for the first 12 and final five cuts of this concert.  He’s accompanied on guitar for the other three tunes by Nighthawk co-founder Leroy Jodie Pierson.

If you have a warm spot in your heart for traditional acoustic blues, you’ll absolutely love this CD. The sound quality is so good that you can almost feel Johnny Young’s breath between verses. It’s an absolute shame that his concert went unreleased for 46 years, but we can enjoy it now.

For the freeload, tell us about some of your favorite music that sat on a shelf unreleased for many years.

Buffalo Springfield - 'Box Set' + 'The Missing Herd'

 

Buffalo Springfield was an American/Canadian rock band formed in Los Angeles by Neil Young, Bruce Palmer, Dewey Martin, Stephen Stills, and Richie Furay. One of the most beloved folk-rock bands of the '60s, Buffalo Springfield is better known these days primarily for their hit "For What It's Worth," but in their brief heyday they were one of the most important groups around. From the aforementioned protest anthem to the sunny, melodic "Bluebird" and the burning psychedelia of "Mr. Soul," they were at the vanguard of so many '60s pop styles it's "scary".
Their music combined characteristics of folk music and country music with influences from the British Invasion and psychedelic rock. Along with the Byrds, they laid the groundwork for folk-rock. Despite their short-lived time together of roughly 25 months, they released three albums and several singles from 1966 to 1968, leaving a lasting legacy.

The Buffalo Springfield Box Set is a 4CD set, that contains 88 tracks, including familiar recordings as well as 36 demos, remixes, and other previously unreleased material, all spanning Buffalo Springfield's brief but intensely creative existence between 1966 and 1968. CDs 1 through 3 are demos, studio outtakes, and live recordings assembled by Neil Young in early 2001. Neil sequenced everything chronologically to show how the band evolved and unraveled in the span of two years. More than half of these tracks have never been available commercially.

CD 4 is newly remastered versions of Buffalo Springfield's first two albums.

The box also includes a spiffy 84-page booklet that contains historical essays by Pete Long and Ken Viola; it also has, photos, memorabilia, vintage newspaper and magazine clippings, a complete discography, and a listing of the band's concert appearances. A PDF of the booklet is included in the freeload.

When the Buffalo Springfield Box Set came out, there was much discussion about what was left off.

"The Missing Herd" is a bootleg compiled and released as a companion piece to the Buffalo Springfield Box Set, filling in for the set's shortcomings, notably the lack of live cuts as well as the 9-min Bluebird, etc. CD1, also known as "Livestock", consists of some better-sounding live performances by Buffalo Springfield in circulation that have been sonically cleaned up. CD2, also known as "Rust Edition", largely consists of the unreleased studio tracks that did not make the box set. The Monterey Pop set is included on this disk, as well as an odd rehearsal involving the 5 original members in Steven Still's Basement in 1986. These 2 CDs effectively bring together most of the tracks available on bootleg in superior form and in one place. Everything, including the "Dallas" show, included here in its entirety, sounds better. "For What It's Worth" is a song that's evocative of the era's spirit and its tensions. For the freeload, tell us what are your favorite protest anthems.

Wynton Kelly Trio and Wes Montgomery - 'Smokin' At The Half Note'

This historic jazz record pairs the guitar of Wes Montgomery with Miles Davis' rhythm section, featuring Paul Chambers on bass, Jimmy Cobb on drums, and Wynton Kelly on piano.

This is timeless music that has inspired innumerable jazz guitarists and fans of the genre. Pat Metheny has said, "I learned to play listening to Wes Montgomery's Smokin' At The Half Note." In addition, Pat has said that the solo on "If You Could See Me Now" is his favorite of all time.

This classic session was recorded at the New York nightclub, and Rudy Van Gelder's studio. It captures Montgomery at the height of his improvisational powers. Many consider it the best performance on record by one of the most inventive guitarists in jazz history. Highlights include the Miles Davis opener, "No Blues" and the following track, Tadd Dameron's "If You Could See Me Now." And the album's versions of "Unit 7" and "Four On Six" have helped to establish these songs as jazz standards. The freeload is the Verve Deluxe Master Edition, from 2005.

Tracks 1 through 5, are the original 'Smokin at the Half Note' LP, and sound better on this release than the preceding ones. They were all recorded by Rudy Van Gelder, with the first two cuts at the Half Note and cuts 3 through 5 at Rudy's studio. The bonus tracks 6 through 11 were recorded during the same week-long engagement at the Half Note.

For the freeload, tell us if you are or ever were a cigarette smoker.

Hound Dog Taylor And The House Rockers

 

“When I die they’ll say, ‘He couldn’t play shit, but he sure made it sound good!” — Hound Dog Taylor

Hound Dog Taylor was all about making the blues screech: $50 Japanese guitars with a wicked slide, cheap amps from Sears, an extra guitarist, a raucous drummer, and no bass. It sounds like a recipe for an earache, and to certain tastes, that might be true. But if you like the blues served so raw it’s still bleeding, here’s something you should own.

Hound Dog was heavily influenced by the powerful slide guitar playing of Elmore James, but Hound Dog upped the ante and played his own ragged boogie versions. He played loud, fast, and often very sloppy, Brewer Philips played a distorted "bass" on a 6-string guitar as well as rhythm guitar, (some guitar solos, too) and Ted Harvey provided an often manic backbeat. Together, they kicked out the jams in an unconventional, minimalist way.

Hound Dog Taylor's debut album was the debut album for Alligator Records in 1971. The label was started by his manager and producer Bruce Iglauer as a vehicle to get Hound Dog's sound out to a wider audience. So before I talk about Hound Dog's work here, equal kudos to Bruce Iglauer for helping the Dog's music get recorded and released in the first place.

From the first chords, Hound Dog's distinctive six-fingered (he was born with 6 fingers on each hand) slide guitar work pierces with a raw, electrifying tone that commands attention. His ability to weave gritty riffs and solos into a cohesive musical narrative testifies to his considerable talent. What sets the album apart is its intentional lack of finesse. Instead of polished production, the album relies on the sheer power and authenticity of its performances. This is the blues in its purest form, stripped of unnecessary frills and ornamentation, pulsating with the raw, earthy energy of its roots.

The band's interplay is another highlight of the album. Hound Dog and his band demonstrate a remarkable musical unity, their instruments coming together in a harmonic exchange with rhythmic precision. This synergy, paired with their individual talents, makes for an intense listening experience that transports us to the heart of a bustling Chicago blues club. "Hound Dog Taylor And The House Rockers" is a must-listen for any blues fan. It showcases Hound Dog Taylor, one of the genre's most recognizable talents, in full swing, effortlessly combining his musicianship with an unwavering enthusiasm for performance. This album is a testament to the raw, pulsating spirit of Chicago's blues scene during the 1970s.

For the freeload, tell us about ragged and raw music you like.

Stephen Stills - 'Manassas'

 

'Manassas' was released in 1972 on the Atlantic Records label. It's the missing ink between the classic folk/southern rock of the 60s and 70s, and the alt-folk, alt country/Americana of today, including Ryan Adams, Amos Lee, Lucinda, Gillian, Emmylou, Wilco, Calexico, Drive-by Truckers, Connor Oberst, Danny Lanois, Steve Earle, Alabama Shakes, Jayhawks, et. al.

This is a wide-ranging, cross-genre classic; it's got everything terrific that we ever heard from Stephen Stills: his most soulful voice, his guitar playing, his harmonies, his steel guitar, and his slide work.

'Manassas' was released in April 1972, a month before 'Exile on Main St.'. While the Rolling Stones’ love letter to American blues, rock and gospel is deservedly famous, 'Manassas' which operates in much of the same territory, has largely been forgotten.

The album was an immediate success, and peaked at No. 4 on the Billboard album charts at the end of April 1972, weeks after its release, then according to the "Manassas Conspiracy Theory" strangely disappeared from stores. Steven Stills claimed that Atlantic Records co-founder and CEO Ahmet Ertegun purposely suppressed the album because it was picking up serious steam and threatening a Crosby, Stills, Nash & Young reunion, which was a huge moneymaker. At the time, Steven Stills was in the middle of a serious cocaine habit, so I wouldn't be at all surprise if his views were "blow" induced paranoia, but who knows? When money is involved, nothing surprises me.

The players: Stephen Stills - vocals, guitar, bottleneck guitar, piano, organ, electric piano, clavinet, Moog synthesizer. Chris Hillman - vocals, guitar, mandolin Al Perkins - pedal steel guitar, guitar, vocals Paul Harris - organ, piano, electric piano, clavinet Dallas Taylor - drums Calvin "Fuzzy" Samuels - bass Joe Lala - congas, timbales/percussion, vocals Sydney George - harmonica (on "The Raven" and "The Wilderness") Jerry Aiello (on "The Raven" and "The Wilderness") - piano, organ, electric piano, clavinet. Roger Bush - acoustic bass (on "The Raven" and "The Wilderness") Byron Berline - fiddle Uncredited
Jerry Garcia played pedal steel guitar on “So Begins the Task,”
Bill Wyman co-wrote "The Love Gangster" and played bass on the song and on "Rock & Roll Crazies". Bill Wyman enjoyed the experience so much he later said he’d have left the Rolling Stones to join Manassas.

'Manassas' is a stone cold classic, and is most certainly one of the best albums of its era.

The freeload is 24 bit 48 kHz, and sounds really nice.

For the freeload what albums from 1972, do you listen to on a regular basis?

Rest In Peace, Lou Donaldson (1926 - 2024)

 
Lou Donaldson, died on November 9th, he was 98.

Known as "Sweet Poppa Lou", he blended the lyricism of swing-era saxophonist Johnny Hodges with the quick-fingered velocity of Charlie Parker. Lou cut his teeth playing as a sideman to bebop heavyweights like Milt Jackson, Thelonious Monk, and Art Blakey in the 1950s.

Lou recorded 50 albums he recorded between 1952 and 1999, many of them for the iconic Blue Note label, that would bring him greater renown.

Today we are celebrating the life of "Sweet Poppa Lou" with two freeloads.

'The Complete Blue Note Lou Donaldson Sessions 1957-60' is a 6CD set from Mosaic Records, which was released in 2002. The albums included in the box are:

• 'Wailing with Lou'
• 'Swing and Soul'
• 'Lou Takes Off'
• 'Blues Walk'
• 'LD + 3'
• 'The Time Is Right'
• 'Sunny Side Up'
• ' Light-Foot'
• 'Gravy Train'
• 'Midnight Sun'

The majority of this 6CD set covers the type of bebop, that is the core of Donaldson's musical persona. While much of this material has been available previously on CD, and there are a few tracks that could only be found previously on Japanese imports, the audio upgrade is noticeable and typical of Mosaic Records.

The Performers
Along with Lou Donaldson's alto saxophone are (variously):
Donald Byrd, Blue Mitchell, Bill Hardman, on trumpet. Herman Foster, Sonny Clark, Gene Harris, Horace Parlan, on piano. Peck Morrison, Jamil Nasser (George Joyner), Andrew Simpkins, Laymon Jackson, Sam Jones, George Tucker, Ben Tucker, on bass. Curtis Fuller on trombone. Art Taylor, Dave Bailey, Jimmy Wormsworth, Bill Dowdy, Al Harewood, on drums. Ray Barretto, Alec Dorsey on conga.

The set was mastered by Ron McMaster (great name, right?) using 24-bit analog-to-digital resolution.

The cover screams 1967. It was designed and photographed by Reid Miles.  The model is Peggy Moffitt.

'Alligator Bogaloo' was recorded in 1967 on the Blue Note label. This record was a ground-breaking combination of jazz, funk, and blues that would become the most commercially successful record of his career. It has an infectious, danceable sound along with that of other records he made during the same era that would experience a second life on numerous hip-hop albums years later, sampled by Kanye West, De La Soul and many others.

Along with Lou Donaldson's alto saxophone are:

Melvin Lastie on cornet
Lonnie Smith on Hammond organ
George Benson on guitar
Leo Morris (who would become, Idris Muhammad) on drums

The freeload is 24-Bit 176.4kHz vinyl rip of my pristine copy of 'Alligator Bogaloo', re-issue from 2019, and part of the Blue Note 80 Vinyl Reissue Series.

I'm raising a glass (or three) to Lou Donaldson. For both freeloads, tell us about your favorite drink (alcoholic or otherwise)