John Coltrane - 'Live 'Trane Underground'

 

Several posters have asked for this to be reposted, so here it is.

If you are unfamiliar 'Live'Trane Underground', it's 12CD collection of Trane live from 1960 through 1963.  The 1960 gigs are with Miles Davis, and the 1961 gigs have Eric Dolpy guesting with Trane's quartet. 

Most of these recordings have been floating around for years, with varying sound quality.  In 2004 the fan based label "Wrong Note" gathered the best sounding versions they could find, and released this 12CD set, that has very good to excellent audio.  All artwork, liner notes etc. are included in the freeload.

'Live 'Trane Underground' belongs in every Jazz collection, as it, finds Trane pushing the envelope.

So without further ado, here's what we mathematicians refer to as "a shitload" of live Trane.

Enjoy my friends!

Part One
https://workupload.com/file/55e7C9hXkxk

Part Two
https://workupload.com/file/rs8Srcm9wes

Part Three
https://workupload.com/file/rR3zmdAycHN

Carlos Santana - 'Lotus'

 

'Lotus' is a triple-live album by Santana, it was recorded at the Osaka Koseinenkin Hall, in Osaka, Japan on July 3rd and 4th, 1973, during their Caravanserai Tour.  It was originally released for the Japanese domestic market only (or as we collectors them "JDMs"), in 1974.

The original LP release had a lavish sleeve that opened out to cover the average living room floor with a series of increasingly kitsch religious images. 

But there’s nothing kitsch about the high-energy lineup performing extended, improvisational, and at times, spiritual tracks, capturing a 1973 "New Santana Band" at the height of their technical abilities.
 

Along with Carlos' guitar, "The New Santana Band, was:
Doug Ranch on Bass
Richard Kermode and Tom Coster on Keyboards
Michael Shrieve on Drums
Armando Peraza and José "Chepito" Areas
Leon Thomas on Vocals

Carlos was captivated by the early-seventies fusion pioneered by Miles Davis, Chick Corea, Herbie Hancock and many others, he formed his third version of his eponymous band, which to my ears stands out as the best.  This album focuses on lengthy instrumental explorations, meticulously maintained by a phenomenal three-to-four-man percussion section.

While the ubiquitous hits like "Black Magic Woman" and "Oye Como Va" are present, albeit wonderfully handled, they seem almost trivial compared to the driving and exotic sounds that surround them.  Among my personal favorites are "A-1 Funk", "Gypsy Queen", "Samba de Sausalito" and "Incident at Neshabur".  That said, it seems absurd to pinpoint specific tracks as the show is essentially one long and remarkable suite, uninterrupted and unflagging.  

There are guitar quotes from Miles Davis, Igor Stravinsky, Jimi Hendrix, and the Beatles, that add moments of relative levity and serve as a reminder of the band’s diverse inspirations.  

'Lotus' is a stunning album, one of the great live rock albums of all time, and to me, the last great Santana album.

The freeload is a 2016 SACD hybrid on two discs, reissued by the Audio Fidelity label, and has a deep and wide soundstage.

For the freeload, what's your favorite Santana album?

National Downhome Blues Festival Vols. 1 - 4

The 1984 National Downhome Blues Festival was a landmark five-day event held in October 1984, and featured a wide array of traditional blues, Delta and Piedmont blues artists.  It was presented by the Georgia Folklore Society, and coordinated by record producer and music historian George Mitchell and ethnomusicologist David Evans.  The venue for the shows was the Moonshadow Saloon, which gives the performances a nice intimate feel to them.

The festival brought together premier traditional blues artists like Lonnie Pitchford, Jessie Mae Hemphill, Junior Kimbrough, and Sunnyland Slim.  It also featured lesser known (but just as good) Blues artists like Precious Bryant, Thomas Burt, 
John Jackson, Booker T. Laury, Larry Johnson, and Hezekiah & The Houserockers
, whom if you're not familiar with are more than worth hearing.

In 1986 Southland Records label issued these very cool concerts in four volumes.

National Downhome Blues Festival: Volume One

Lonnie Pitchford


—"That Train Coming Around The Bend"

—"My Babe"

—"Mary Had A Little Lamb"

—"One-String Boogie"

—"Walking Blues"

—"Last Fair Deal Going Down"

Precious Bryant

—"Baby, Please Come Home To Me"

—"Ain't That Loving You, Baby?"

—"Black Rat Swing"

—"You Don't Have To Go"

—"Long Distance Call"

—"Precious Bryant Staggering Blues"

National Downhome Blues Festival: Volume Two

Thomas Burt


—"My Hook’s In The Water And My Cork’s On Top
"
—"Hate To See The Evening Sun Go Down
"
—"Ain’t Got No Loving Baby Now
"

Jessie Mae Hemphill


—"Train, Train
"

Junior Kimbrough And The Soul Blues Boys


—"All Night Long"


Sunnyland Slim


—"You Put That Thing On Me
"
—"She’s Got Things Going On
"

Frank Edwards


—"Chicken Raid
"

John Cephas & Phil Wiggins


—"Burning Bridges
"
—"Stagolee"

National Downhome Blues Festival: Volume Three
John Jackson


—"Bad Water Blues
"

—"Rocks And Gravel
"

—"I'm A Bad Man"

Albert Macon And Robert Thomas


—"She Wanna Do The Boogie Woogie"
—"My Baby Don't Wear No Drawers
"

Robert Lockwood Jr.


—"Big Legged Woman"

Snooky Pryor And Homesick James


—"Why You Want To Treat Me Like That?"

—"Boogie Twist
"

Piano Red


—"Right String But The Wrong Yo Yo
"
—"Lowdown Dog"


Eddie Kirkland
I 

—"Got My Eyes On You"

National Downhome Blues Festival: Volume Four
Doctor Ross

—"Chicago Breakdown
"
—"That's All Right, Mama
"
—"Biscuit Baking Woman
"

Booker T. Laury

—"Woman I Love Lives In Memphis, Tennessee
"
—"Disco Strut
"

James "Son" Thomas


—"Roll And Tumble"

Henry Townsend And Vernell Townsend


—"The Tears Come Rolling Down
"

Henry Townsend

—"Standing Looking Out The Window
"

Larry Johnson


—"The Wrong Woman
"

—"Can't You Hear The Angels Singing?
"

Hezekiah & The Houserockers


—"Downhome Blues"

It’s a shame that these releases haven’t garnered the recognition they deserved.  Had they been released on a major label with extensive promotions and advertisements, they would have achieved greater success and reached a wider audience.  These are genuine, real deal Blues recordings that deserve more attention. 

If you're a fan of Delta and Piedmont blues styles, you'll want these four volumes in your collection.

For the freeload, what are some of your favorite independent record labels?

'Cuz Babs Sez, That's Why' Is Two Years Old Today!

The last two years have truly flown by!

To be honest, I didn't think that I'd still be doing this two years latter. 

I'd like to thank all of you for making this such a happy and friendly place!

So tell us, over the past year, what were some of your favorite freeloads? 

Did you get introduced to music, you that was new to you?

I'd love to hear about it!

Larry Coryell and Emily Remler - 'Together'

 

'Together' was recorded in August 1985 at Coast Recorders, San Francisco, and released in October 1985 on the Concord Jazz label.

This album is an outstanding duo performance by two jazz guitar masters, it has a warm, approachable and engaging nature, featuring both electric and acoustic, straight-ahead post-bop jazz, including bossa nova and swing tunes. 

Emily and Larry collaborate exceptionally well, seamlessly picking up where the other leaves off.  There is a lot of Wes Montgomery and Al Martino influence on both players, so it can be difficult to distinguish between their individual contributions as they create a unified sound together.

What makes this recording special is Emily Remler.  Her smoldering bebop lines and quiet comping are a welcome contrast to Larry Coryell's often frenetic playing, and I think she actually brings him down to earth more than once on this recording.  To my ears, the highlight of this recording is Emily's advanced interpretation of Antônio Carlos Jobim's "How Insensitive", which is completely original in concept from start to finish.  It serves as a reminder of what was lost with Emily's untimely death (at the age of 32) in 1990, from a longstanding opioid use disorder.

The song choices here are interesting and the interpretations lead to solid improvisation from start to finish:
1. Arubian Nights
2. Joy Spring
3. III Wind
4. How My Heart Sings
5. Six Beats, Six Strings
6. Gerri's Blues
7. How Insensitive

Larry Coryell plays a Gibson Super 400 electric (circa 1967) and an Ovation Adamas acoustic guitar. 

Emily Remler plays a Borys electric and an Ovation Adamas acoustic guitar. 

The album is widely considered a "must-hear" for fans of jazz guitar, offering a rare glimpse into the unfortunately short, collaborative energy of these two masters.

For the freeload, what have you been listening to lately?

The Emitt Rhodes Recordings [1969-1973]

The first time I heard Emitt Rhodes was in the Spring of 1970, on WMBR FM (The Massachusetts Institute of Technology's student-run college radio station), while sitting in M.I.T.'s cafeteria listening to a small transistor radio.

I don't remember the song that was playing, but I do remember thinking it was decidedly "Beatlesque".  After the song finished, the DJ said, "No, that wasn't Paul McCartney, it was Emitt Rhodes".

Emitt Rhodes was the drummer, principal songwriter and leader of the late 60s California mop-topped group The Merry-Go-Round, whose infectious psych-popsound was influenced by The Beatles and British Invasion.  Their biggest US chart entry was "Live", which was covered by The Bangles on their debut album 'All Over the Place' from 1984.

In 1969, the Merry-Go-Round dissolved before their contract with A&M was up, leaving 19-year-old Emitt to cut a solo album titled 'The American Dream', to fulfill his legal obligations to the label. A&M, however, decided to can the record (it contained some re-worked Merry-Go-Round leftovers) and instead allowed Emitt to cut a brand-new LP. 

What emerged was a highly accomplished self-titled album, released in 1970.  It was recorded in Emmitt’s home studio using a four-track tape machine.  Emmitt wrote all his own material and played all the instruments.  Although it didn’t achieve chart success at the time, it has since stood the test of time and is now considered a true tour de force of melodic, pop music.

Emitt recorded two more very fine albums, 'Mirror' in 1971, and 'Farewell To Paradise' in 1972, as well as the non-album single Tame The Lion.  Sadly, Emitt became disillusioned with the music business after the commercial failure of his music and never recorded again.

'The Emitt Rhodes Recordings [1969-1973]' is a two CD set that features a previously unreleased 'American Dream', his self-titled debut album 'Emitt Rhodes', 'Mirror', and 'Farewell to Paradise' as well as the non-album single "Tame The Lion". This is a great collection of infectious, melodic Beatles-like tunes.

How in the world Emitt, a first class songwriter and artist, was never hugely successful is unbelievable to me.

For the freeload, what are some of your favorite winter Olympic sports?

'Tampa Red (1935-42)'

This album brings back some crazy memories, I can clearly remember buying this album, it was in July 1987 at a record store in Amsterdam. I was attending a symposium on quantitative research, where I delivered a presentation on Itô calculus.  My husband Jerry, tagged along, so that when the symposium concluded, we could stay for an extra few days, and check out Amsterdam together.



On a beautiful sunny Sunday, Jerry and I walked around Amsterdam looking at the architecture, the canals and along the way visited the coffee shops, to check out the various types of weed and hash available.  The quality of the weed in Amsterdam was about the same as it was in New York, but in New York you hardly ever saw much hash, so hash had a novelty value to it.

In one coffee shop, we bought a few grams of amazingly strong Nepalese Temple Ball hash, and the guy behind the counter in a hushed voice asked if we wanted some "philosopher's stones" (it may have had something to do with my dancing bears t-shirt).  He gave us what was deemed two doses, which we ate, and went on our merry way.



"Philosopher's stones" aka "magic truffles" are not truffles (or stones), but rather a mycelium, that grows underground, and are chockful of psilocybin goodness.

The philosopher's stones kicked in, we smoked some temple balls, and stumbled across a record shop.  When we first walked into the tiny, narrow and cramped store, it had that certain smell you only get in used record and book stores (Ooh, that smell!).  The place was filled to the rafters with records, which the psilocybin heightened and distorted.  Just as I started feeling a little claustrophobic and felt like leaving, I heard:


"So now we got something new
it’s a dance anyone can do
grandmama and grandpa too
stop truckin' and Suzi-Q"

Jerry and I looked at each other and in unison, said, "Tamp Red!", and we shuffled around to the beat which caused us to go into hysterics.  The owner of the record store thought it was pretty funny too, and when he stopped laughing, he told us we were listening to a new release from a Dutch label, and showed us the LP's jacket.

'Tampa Red 1935-1942' was released in 1987 on the Old Tramp label, out of The Netherlands (not to be confused with the German label, Tramp Records).

This is a fun collection of blues and hokum (with double entendres out the "wazoo").  Tampa Red, is backed by the usual suspects: Clifford "Snags" Jones, Big Maceo, The Chicago Five, Blind John Davis, Black Bob and others.

The liner notes proclaim: "16 of these titles have never appeared on LP before!", but I was never, and still aren't sure how true, that was.

The physical album itself is quite impressive, with a laminated cover, and high quality vinyl, my guess is, it's 180gm, on virgin vinyl.  Also, all things considered (for recordings made between 1935 and 1942) has excellent sonics.  The freeload is a 24bit/48kHz rip

For the freeload, what are some of your favorite compilation albums by an artist/group, or various artists?

Thelonious Monk - 'Thelonious Alone In San Francisco'

 

 'Thelonious Alone In San Francisco' released in January 1960 on the Riverside Records label.  It was produced by Orrin Keepnews, and engineered by Reice Hamel.  It was recorded at Fugazi Hall in San Francisco on October 21 and 22, 1959, but not in front of an audience.

This was recorded all in first takes (except one track) in two afternoons in San Francisco and features the wonderful sound of Fugazi Hall's grand piano. 

By 1959 Orrin Keepnews and Monk's relationship was starting to become contentious, so it's a surprise that it seems to have gone down so smoothly. Especially considering that Monk left his wife in LA post-surgery and was apparently quite worried.  

On top of this, he was to play with a pickup band at the Blackhawk that week.  So, he couldn't have been in good spirits considering his love of having the exact band he wanted to play with at every show.  

In spite of all his worries, Monk is clearly in good spirits, and is inspired by the recording conditions, of Fugazi Hall's acoustics and grand piano. Years ago, Orrin Keepnews told me, before each afternoon session, to relax Monk, he took him to Italian restaurants in North Beach (Monk loved Italian food).

The material consists of the by now usual formula of Monk you've heard, Monk you haven't, plus some standards, and Monk deconstructs them all and investigates the rhythmic and harmonic possibilities in his usual scientific fashion.

Highlights are undoubtedly "Everything Happens to Me", which echoes Bud Powell's introspective examination of "Willow Weep For Me", with its overtones of desolate isolation; "Remember" which manages to convey the achingly lonely and the joyfully playful all within the space of two minutes and forty-five seconds, and the Monk original "Bluehawk", which has one of his most contrary and eccentric melodies.  

All these elements come together to create a very cool listening experience, like you’re in a room with Monk, deep in thought about his musical ideas and playing some of his favorite tunes. This is Monk’s last great album for Riverside and is definitely one of his best solo piano albums.

The freeload is a 24bit/192kHz reissue from 2021, on Craft Recordings.

For the freeload, what are some of your favorite solo albums?

The Mamas & the Papas - Japanese Box Set

 

The Mamas and the Papas, were a vocal quartet whose intricate harmonies brought them to the forefront of the folk-rock movement of the 1960s.  In sound and look, the Mamas and the Papas typified the groovy optimism of the emerging counterculture hippie movement (John Phillips wrote "San Francisco [Be Sure to Wear Flowers in Your Hair]” for Scott McKenzie).

Members of the group were 
 —John Phillips (1935–2001), who was the primary songwriter and musical architect of the group. 
—"Mama" Cass Elliot (1941–1974), was often cited as the group’s most powerful vocalist. 
—Denny Doherty (1940–2007), sang tenor, his voice anchored many of their biggest hits. 
— Michelle Phillips (born 1944), sang soprano, and is the only surviving member as of 2026. Fun Fact: Michelle had an eight-day marriage to Dennis Hopper (yes, eight days).

All four members were veterans of New York City’s Greenwich Village folk scene (Denny Doherty and "Mama" Cass Elliot performed in the "Mugwumps" with future members of the Lovin’ Spoonful), the Mamas and the Papas moved to Los Angeles in 1965.  At Dunhill Records, with producer Lou Adler, they enjoyed a series of hits with well-written songs, mostly by John Phillips, that proved perfect vehicles for the group’s cascading harmonies, among them "California Dreamin", "Monday, Monday", and "Creeque Alley".  Backing music was provided by The Wrecking Crew.

Despite their harmonious image, The Mamas and the Papas imploded in 1968 due to intense internal conflict, love triangles (Michelle Phillips' affair with Denny Doherty), creative exhaustion, and "Mama" Cass Elliot's desire for a solo career.

They briefly reunited in 1971 to fulfill a contract, and recorded 'People Like Us' before disbanding permanently as members pursued solo paths. 

This box set is a Japanese-import collection of the band's complete studio albums.

1966 - 'If You Can Believe Your Eyes And Ears'

1966 - 'The Mamas & The Papas'

1967 - Deliver

1968 - 'The Papas & The Mamas'

1970 - 'Historic Performances Recorded 
At The Monterey International Pop Festival'

1971 - 'People Like Us'

The albums are limited edition SHM-CD, reissues packaged in mini-LP replica sleeves.  They were 96kHz/24bit flat transferred from analog master tapes and remastered at Universal Music Studios, Tokyo, in 2013.  

These are the best versions available, though I've never been a fan of Lou Adler production style.

In the above photo, The Mamas & the Papas are all clearly high.  So, for the freeload, what substance(s) do you think each of them is high on?

Willie Dixon - 'I Am The Blues'

 

"The blues are the roots and the other musics are the fruits… The blues are the roots of all American music.  As long as American music survives, so will the blues." —Willie Dixon

Willie Dixon knew what the blues were all about, having been incarcerated for minor offenses on two occasions in Mississippi, the first when he was only 12. In his book, 'I Am the Blues' he said:

"That’s when I really learned about the blues. I had heard ’em with the music and took ’em to be an enjoyable thing, but after I heard these guys down there moaning and groaning these really down-to-earth blues, I began to inquire about ’em…. I really began to find out what the blues meant to black people, how it gave them consolation to be able to think these things over and sing them to themselves or let other people know what they had in mind and how they resented various things in life."

On another occasion, he served thirty days at the Harvey Allen County Farm, located near the infamous Parch man Farm prison. During his time there, he witnessed prisoners being mistreated and beaten.  He described the people running the farm as "devoid of mercy, describing them as mean, ignorant, evil, stupid, and crazy."  This was the first time Dixon had ever seen a man beaten to death.  Willie himself was cruelly treated, receiving a blow to the head that left him deaf for approximately four years.

Dixon arrived in Chicago from Mississippi in 1936, and after a boxing career, singing in a gospel group and in a successful trio, he ended up working for Chess Records, producing, arranging, leading the studio band, and playing bass.  His first big break came when Muddy Waters recorded his "Hoochie Coochie Man" in 1954, which became his biggest hit, Willie went on to become Chess’s top song-writer.

Among his hundreds of classic songs: "Hoochie Coochie Man", "I Just Want to Make Love to You",  "Little Red Rooster",  "I’m Ready", "My Babe", "I Can’t Quit You Baby", "You Shook Me", "Evil", "Spoonful", "The Seventh Son", "Wang Dang Doodle" and "You Can’t Judge a Book by the Cover", to name but a few.

Willie Dixon’s legacy extends beyond the blues songs he composed and recorded by artists like Muddy Waters and Howlin' Wolf, and so many others, or the gem of an album which is today's freeload.  It also lies in the way his songs were covered by major rock ’n’ roll artists and influenced their music.

Willie died of heart failure on January 29, 1992, in Burbank, California.

Willie was posthumously inducted into the Rock and Roll Hall of Fame in 1994, by Chuck Berry, who said:
"...he made me what I am, so far as the basics of my music."

In 2007, Willie was honored with a marker on the Mississippi Blues Trail in Vicksburg.

'I Am The Blues' was recorded in 1969 at the Chess Records studio at 2120 South Michigan Avenue and released in 1970 on the Columbia Records label.  It was produced by Abner Spector.

Willie proves himself to be a fine blues vocalist throughout.  He begins with a growling, Howlin’ Wolf-style performance on the first track, "Back Door Man".  He demonstrates excellent control on the slow-paced "I Can’t Quit You Baby"  He adds a playful touch to "The Seventh Son" and gives "The Little Red Rooster" a charming barnyard feel.  You won’t feel like you’re missing out on the original versions of these songs by their famous artists.

'I Am The Blues', is classic Chicago blues, with all the artists at the top of their game, seemingly really enjoying themselves in the recording process.

A few words about the freeload:
This is a 24bit/192kHz rip from the original vinyl (with unusually good sound for a blues recording) album from 1970,  and it's the much sought after "Pitman Pressing" (Columbia – CS 9987).  In 2024, I found a sealed copy at a record store here in Manhattan (I couldn't believe my luck), and has only been played a few times.  

What's so special about a "Pitman Pressing", you ask?  Well, it has that warm "tubey" sound with a huge, realistic and holographic soundstage.  It's so much richer and livelier than all other copies I've had on subsequent vinyl releases, CDs, and even the 2000 Mobile Fidelity Sound Lab's release.  On decent equipment, it sounds like Willie and company are in the room.

For the freeload, what are some of your Willie Dixon penned tunes?

Art Blakey & The New Jazz Messengers – 'Buttercorn Lady'

 

'Buttercorn Lady' is a rare and, for some reason, overlooked album in the Art Blakey cannon.

By the mid-1960s, after Wayne Shorter departed as his musical director, Art Blakey was in the process of rebuilding his band.  For the past decade, he had successfully led The Jazz Messengers, utilizing the talents of young and promising musicians to explore new territories within the hard bop and post-bop subgenres.  He had played a pivotal role in the debut of notable artists such as trumpeters Lee Morgan and Freddie Hubbard, saxophonist Wayne Shorter, and pianists Cedar Walton and Bobby Timmons.  However, as is common among young musicians, they progressed in their careers.  Art was more than happy in helping provide a platform for this new generation, but at the same time, he had to constantly keep his ear to the ground for fresh talent.

In late 1965, the drummer found what he was searching for.  First, he brought in trumpeter Chuck Mangione, a 25-year-old musician from Rochester, New York.  Then, Art stumbled upon an enigmatic piano player who was still discovering his musical voice.  His name?  Keith Jarrett.  After incorporating Mangione and Jarrett into the band, Blakey embarked on a tour, heading west.  During this tour, Frank Mitchell joined on tenor sax, and Reggie Johnson joined the band on bass.

On New Year's Day, 1966, the re-energized "New" Jazz Messengers visited Hermosa Beach, California to play and record at The Lighthouse.  The result was today's freeload: 'Buttercorn Lady

The sound of this band is notably different from the trademark sound of the Jazz Messengers from the late 1950s.  It feels like a refreshing revival of the music, as well as a subtle response to the general changes in popular music at the time, without compromising on quality.

To my ears, the standout on 'Buttercorn Lady' is not Chuck Mangione or Keith Jarrett, but tenor saxophonist Frank Mitchell.  His stint with Art, which began in 1964 when he was just 19, catapulted him to fame.  Tragically, he was murdered in 1971 while at the height of his popularity, having led a memorial concert for John Coltrane.  His body was found in the East River, but no motive or suspects were ever identified.  Frank’s playing exudes a certain prowess reminiscent of Hank Mobley, with a touch of Coltrane’s influence.

'Buttercorn Lady' is one of the tightest Jazz Messengers albums, and, breaking out of the by then formulaic sound of the old band, it is also a very refreshing one.  

This album has long been out of print (but recently reissued as a digital download), this is an essential, much recommended, and slightly different Art Blakey album.

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