Tuesday, February 4, 2025

Rolling Stones - 'Get Yer Ya-Ya's Out!' (40th Anniversary Deluxe Edition)



"Paint it black….paint in black, you devil!"

'Get Yer Ya-Ya's Out! 40th Anniversary Deluxe Edition', from 2009 is a 3CD set plus a DVD (the freeload will be just the CDs), and a very nice 58 page book (included in the freeload). 

So what's so special about the 40th Anniversary Deluxe Edition, you ask?
Well, CD1 is the original album, which sonically, has never sounded better.


CD2 is unreleased Rolling Stones tracks, that have been bootlegged ad nauseam, but once again, sonically have never sounded better.
1. Prodigal Son
(with Keef's out of tune guitar. Why they didn't overdub the guitar on this is a mystery.   Oh wait, I know, Keef didn't have the "chops" in 2009, he had in 1970.)
2. You Gotta Move
3.Under My Thumb
4. I’m Free
5. (I Can’t Get No) Satisfaction





Then there's CD3, which is where some real magic happens, where B.B. King, and Ike and Tina Turner strut their (non overdubbed) stuff.

B.B. King’s performance showcases his unparalleled rocking power, never compromising his status as “The King of the Blues.” The show begins with a high-energy, fast-paced rendition of “Every Day I Have the Blues,” followed by a more traditional performance of “How Blue Can You Get.” The guitar solos in this rendition are particularly impressive, paying homage to his beloved instrument, Lucille.

King’s set continues with “That’s Wrong Little Mama,” a smooth and groovy shuffle, a soulful rendition of “Why I Sing the Blues,” and concludes with a heartfelt and authentic blues piece, “Please Accept My Love.” His address to the crowd is sure to convert even the youngest and most uninitiated rock n rollers into hardcore blues enthusiasts.

Not to be outdone, Ike and Tina Turner take the stage for a short but electrifying set of cover tunes from the late 1960s.  As suburban white audiences began to recognize the true essence of R&B, following the legendary Stax Records performers like Otis Redding, who were revered by the Stones themselves. Sly and the Family Stone and Ike and Tina had carved out their own dedicated fan base.

In a matter of moments, they rock out with high energy and funky showcases of "Sweet Soul Music", "Son of a Preacher Man", "Proud Mary", "I’ve Been Loving You Too Long",  "Come Together" and “Land of 1000 Dances.” Tina’s undeniable ability to captivate the crowd and dominate the stage is evident throughout these performances.

As a point of reference, "Come Together" was still a hit on the pop charts when the Beatles’ Abbey Road was released in late September, just a few weeks before this legendary New York concert series.  Given that B.B. King and Ike and Tina served as opening acts for the Stones, they set an exceptionally high bar that the Stones had to surpass with their own performances. As they warmed up their audiences with two of the most seasoned and accomplished live acts in the entertainment industry, the Stones had to (and did) deliver a show that would leave a lasting impression.


For the freeload, caption the below picture.


Sunday, February 2, 2025

George Benson - 'Good King Bad'

 



George Benson, in the minds of many people, has become an embodiment of the overly smooth R&B-soul-jazz music that often blended seamlessly into smooth jazz.  While his guitar skills are undeniable, most jazz enthusiasts desired him to revisit his early soul-jazz collaborations with Jack McDuff or at least his initial CTI records. These recordings, despite their smooth arrangements and overall aesthetic, often featured spontaneous improvisation and energy from the band. 



'Good King Bad' was released in 1976, on the CTI label.  George is a t
echnically brilliant player with a great melodic imagination, on this record he surrounded himself with a small army of studio musicians and smothered much of the material in major key, uncomplicated string arrangements.  The good news is that alongside the smooth jazz there is a fair amount of jazz-funk as well, in a way that lives up to George's considerable prowess with the guitar.  The album is very much of its time, with somewhat of a stereotypical CTI production, but the playing is outstanding.

About that small army: the musicians here are no slouches. There’s David Sanborn, Michael and Randy Brecker, and James Brown stalwart Fred Wesley, for starters, as well as Joe Farrell, Roland Hanna, Ronnie Foster, Eric Gale, and Steve Gadd, along with a bunch of other horn and string players. But there’s not a "band" to speak of, as each of the tracks features a different line-up. 

The title track "Theme from Good King Bad" is not a soundtrack, just the opening number. Written by arranger David Matthews (no not that Dave Matthews), the uncomplicated pop number has not an ounce of swing in the chart, just straight ahead seventies jazz rock with horns and Eric Gale’s insistent "chukka-chukka" on the rhythm guitar.  It earned George a Grammy Award for Best R&B Instrumental Performance.  

While
"Theme From Good King Bad" is great, to my ears,"One Rock Don't Make No Boulder" is better, and George really delivers a killer performance with Siberian Workout. 
The album also has a very nice arraignment of Vince Guaraldi's "Cast Your Fate to the Wind," which is hugely complemented by Joe Farrell's wistful flute. 

Where 'Good King Bad' differs from some of George's earlier instrumental albums is in the way he plays. While his virtuosity shines throughout, his playing is far more controlled and deliberate than on past albums. 

'Good King Bad' is George Benson's last purely funky jazz release, and it was also the last album he made for Creed Taylor's CTI label.

The formula on this album of a solid R&B-style guitarist fueling Benson’s Wes Montgomery-style guitar solos was one that George would go on to use on his first Warner Brothers album, 'Breezin'.  That album was judged by many jazz fans to be a bridge too far, but it earned Benson multiple Grammy Awards, and it cemented his sound going forward.

The freeload, is in 24-bit/176kHz resolution, and it sounds sublime.

For the freeload, tell us about bands/artists you like who have changed their style a few times.




Friday, January 31, 2025

Z. Z. Hill - 'Down Home'


Z.Z. Hill’s influence on Blues fans is so strong that a Texas Rock band even took his moniker and became ZZ Top.  They had a tiny apartment covered in concert posters, and Billy Gibbons noticed that many performers used initials.  He especially liked B.B. King and Z. Z. Hill and thought of combining them into "ZZ King". But he thought it was too similar to the original name. Then he thought, “King is at the top,” and that gave him the idea of naming the band "ZZ Top".

Born in Naples, Texas, in 1935, Z.Z. Hill began his music career by signing with the Gospel group The Spiritual Five.  However, it was his exposure to the sounds of B.B. King, Bobby Bland, and Sam Cooke that truly transformed him into a Soul Blues singer.  His big brother, Matt, played a pivotal role in launching Hill’s Blues career by founding the MH label. Hill’s debut single on MH, the energetic shuffle “You Were Wrong,” made its mark on the Billboard Pop chart in 1964.

Throughout his career, Hill achieved relative success by recording singles for various labels, including the Atlantic, Mankind, Kent, United Artists, and Hill Record labels.  In 1977, he released his most commercially successful hit up to that point with, "Love Is So Good When You’re Stealing It
".


After a period of relative obscurity, Z.Z. found a new home at Malaco Records and joined forces with George Jackson, a renowned songwriter in both R&B and Pop circles. George Jackson had previously gained recognition as a recording artist for Pram and Decca labels in the 1960s.  However, it was his songwriting that catapulted him to fame, with hits like "Too Weak To Fight" (Clarence Carter), "A Man And A Half" (Wilson Pickett), "One Bad Apple" (The Osmond Brothers), and "Old Time Rock & Roll" (Bob Seger) to his credit.

Released in 1982, ‘Down Home’ was Z.Z.’s second album on the Jackson, Mississippi-based Malaco record label.  ‘Down Home’ spent almost two years on the Billboard Soul album chart, an unheard-of run for a Soul Blues album.

The track "Down Home Blues" penned by George Jackson was immediately christened a Blues standard.  Z.Z. Hill’s grisly vocals and smooth guitar made the song a Blues favorite.  The song also dominated the charts for over a year, spending months in the R&B Top 10. 
The song also brought the Blues back to the African American throughout the South in a way that combined nostalgia for the blues of the old days with the enjoyment of a good time party song. "Down Home Blues” has been called the best-known blues song of the 1980s. 

Vocals – Z. Z. Hill 
Keyboards – Carson Whitsett

Guitars – Dino Zimmerman and Leroy Emmanuel

Bass – Ray Griffin

Drums – James Robertson
Horns – The Muscle Shoals Horns: Harrison Calloway (trumpet), Harvey Thompson (saxophone, flute), Charles Rose (trombone), Ronnie Eades (baritone saxophone).

Backing Vocals – Charlotte Chenault, Jewel Bass, Thomasine Anderson
Strings – Jackson Symphony Orchestra.

Z.Z. Hill died of a heart attack at the apex of his career in 1984, but his song ‘Down Home Blues’ carries on the spirit of this native Texan.

'Down Home' is one of my favorite albums of the 1980s.

For the freeload, what are some of your favorite Blues/Soul/R&B albums of the 1980s?

Wednesday, January 29, 2025

Captain Beefheart & The Magic Band — 'Best Batch Yet' (30th Anniversary Edition)

 


Here's a rally nice "Boot" from the good 'ol Capt'n.

Don Van Vliet a.k.a. Captain Beefheart, was a multifaceted musician and artist. As the frontman of “Captain Beefheart And His Magic Band” or as a solo artist, he blended elements of free jazz, blues, and rock, creating a truly original body of work that has brought him critical acclaim and a loyal following.

Rumfhala Horror Puppet, 1986

After 1982’s 'Ice Cream For Crow' album, he left the music industry to dedicated himself to painting full-time.  As a painter, he achieved significant success, exhibiting his work in galleries across the U.S., the UK, and Europe. 

Throughout his life, he maintained a deep love for wildlife and was a committed conservationist.




Tragically, 
the good 'ol Capt'n passed away in 2010, due to complications from multiple sclerosis.




Captain Beefheart & The Magic Band — 'Best Batch Yet' (30th Anniversary Edition) was recorded at The Country Club in Reseda, California on January 29, 1981. (the last two tunes, are taken from rare singles).

CD 1

01 Hair Pie
02 Nowadays A Woman's Gotta Hit A Man
03 I Wanna Find A Woman That'll Hold My Big Toe 'Til I Have To Go
04 Hot Head
05 Ashtray Heart
06 Dirty Blue Gene
07 The Smithsonian Institute Blues (or The Big Dig)
08 Best Batch Yet
09 Safe As Milk
10 One Red Rose That I Mean
11 China Pig
12 Sue Egypt

CD2

01 Doctor Dark
02 Bat Chain Puller
03 My Human Gets Me Blues
04 Sugar N' Spikes
05 Sheriff Of Hong Kong
06 Kandy Korn
07 Veteran's Day Poppy
08 Big Eyed Beans From Venus


Captain Beefheart - vocals/harmonica/saxophone
Jeff Moris Tepper - guitar
Richard "Midnight Hatsize" Snyder - guitar/bass
Eric Drew Feldman - bass/keyboards
Robert Williams - drums/percussion
Special Guest: Denny Walley - guitar on "China Pig"

This is an excellent quality soundboard recording.  I'm told, this show was recorded for a possible release, and that it may have been filmed.


For the freeload, what was your introduction to Captain Beefheart, and what were your first impressions?

Monday, January 27, 2025

'The Complete Verve Johnny Hodges Small Group Sessions 1956-1961'

 


There was a time when a person could get a job, and stay with the same company for the 30 or 40 years without so much as a care.  The same held true for many musicians who happened to be in the Duke Ellington band.

For Johnny Hodges, the Ellington band provided the alto sax legend’s bread and butter for much of his life.  First, there were the 22 years that he spent with Duke from 1928 to 1950, followed by five years out on his own and then a second stay with Ellington from 1955 to Johnny's death in 1970. 


Johnny was, without doubt, Duke Ellington’s most prominent soloist, and his
far-reaching influence cannot be overstated.


'The Complete Verve Johnny Hodges Small Group Sessions 1956-1961' is a 6CD set that was released in 2001 on the Mosaic Records label, and is a limited edition of just 7,500 copies.  The set has
95 performances, including 30 previously unissued tracks.

On these recordings, Johnny's
soulful, lyrical style is best displayed in the ballads and blues features, though his originals definitely deserve attention, too.  He clearly takes his share of solos, but he generously features his guests and associates from Duke's band.  The sidemen on these recordings are prominent musicians from the era, including: Roy Eldridge, Herb Ellis, Ben Webster, Jimmy Forrest, Les Spann, Clark Terry, Ray Nance, Shorty Baker, Ray Brown, Billy Strayhorn, Harry Carney, Jimmy Hamilton, Jo Jones and Mel Lewis, plus many more.

This set has outstanding sonics with a wide soundstage, that are up to Mosaic's usual fine standards, and serve Johnny's signature sound (the key to his style) well.

For the freeload,
what's your favorite solo album or side project from an artist known mainly as a core member of a band?



Saturday, January 25, 2025

James Brown - 'Newport Jazz Festival, 1969'


The "Jazz Police" had a field day with the 1969 Newport Jazz Festival, which marked George Wein's concession to the burgeoning rock market.  While the usual names like Dave Brubeck, Art Blakey, Lee Morgan, Phil Woods, Charles Mingus, and Anita O'Day were on hand to represent the jazz contingent. A whole host of arena rock bands were booked for the annual summer bash in Rhode Island. 

In its coverage that year, Down Beat Magazine ran the cover line: "Big Crowds, Bad Vibes."  In n his report on the festival, respected jazz writer Ira Gitler referred to the whole affair as "The Newport Jive Festival."  As he wrote: "George Wein started out as a jazz person, but now seems to have become a festival producer rather than a jazz producer."  Gitler dismissed acts like Frank Zappa's Mothers of Invention as a,  "a contemporary vaudeville show" and Led Zeppelin as "a lead balloon" as well as John Mayall, Ten Years After, Jethro Tull, Jeff Beck and Sly Stone.  Gitler's colleague Dan Morgenstern also had little use for the rock acts, though he was considerably kinder to James Brown.  As he wrote: "This was the most professional presentation of the festival, running smoothly from start to finish."

In 1969, "The James Brown Show", was a complete package, with opening act The Dee Felice piano trio (James produced their 1969 album, 'In Heat'), and James close friend, comedian Nipsey Russell warming up the crowd.


I've always loved James' "cape routine".  James falls to his knees in mock exhaustion before being covered with a cape and slowly led off-stage by Bobby Byrd, only to throw off the cape and dash back to the microphone to deliver another round of bone-chilling screams. This bit is repeated a few times before James finally relents and shuffles into the wings like a championship boxer after a particularly trying fight.


Though both Down Beat and Rolling Stone proclaimed Wein's rock experiment at the 1969 Newport Jazz Festival a "disaster," James Brown's appearance there was an unequivocal triumph.

The James Brown Band in 1969 was:
Maceo Parker on tenor sax and alto sax
"Pee Wee" Ellis on tenor sax and alto sax
Fred Wesley on trombone
St. Clair Pinckney on baritone sax
Richard "Kush" Griffith on trumpet
Joe Davis on trumpet
Jimmy Nolen on guitar
Alphonso "Country" Kellum on guitar
Bobby Byrd on organ and the onstage announcer
Charles Sherrell on bass
Clyde Stubblefield on drums


For the freeload, who are some of your favorite
performers who put on an energetic show?



Thursday, January 23, 2025

Rembering Garth Hudson

 


Garth shed his mortal coil this past Tuesday, he was 87.

Over the years, I have seen The Band countless times.  In 1984, I saw the post Robbie Roberson lineup, here in Manhattan at the sorely missed Lone Star Cafe (left).  After their late set, I had the honor and privilege of speaking with Garth and Richard Manuel, both of whom were warm and charming gentlemen.   Richard was a goofy (in a good way), fun-loving man, who cracked very smart and very funny jokes, many of them at his own expense.  Garth on the other hand was a quiet and gentle soul.  He was obviously introverted, but opened up, when I broached the subject of playing the keyboards and saxophone. Turned out, he was a big fan of Charlie Parker and also Johnny Hodges.  For an hour or so we traded stories, rumors, and myths about Bird, while my husband Jerry got ripped with Richard on Grand Marnier.


Today's freeload is a 7CD set from Japan. They are limited edition remastered SHM-CDs with bonus tracks.


Music From Big Pink
With bonus tracks:
Yazoo Street Scandal (Outtake
Tears Of Rage (Alternate Take)
Katie's Been Gone (Outtake)
If I Lose (Outtake)
Long Distance Operator (Outtake)
Lonesome Suzie (Alternate Take)
Orange Juice Blue (Blues For Breakfast) (Outtake / Demo)
Key To The Highway (Outtake)
Ferdinand The Imposter (Outtake / Demo)



With bonus tracks:
Get Up Jake (Outtake / Stereo Mix)
Rag Mama Rag (Alternate Vocal Take / Rough Mix)
The Night They Drove Old Dixie Down (Alternate Mix)
Up On Cripple Creek (Alternate Take)
Whispering Pines (Alternate Take)
Jemima Surrender (Alternate Take)
King Harvest (Has Surely Come) (Alternate Performance)



With bonus tracks:
Daniel And The Sacred Harp (Alternate Take)
Time To Kill (Alternate Mix)
The W.S. Walcott Medicine Show (Alternate Mix)
Radio Commercial



With bonus tracks:
Endless Highway (Early Studio Take)
When I Paint My Masterpiece (Alternate Take)
Bessie Smith (Outtake)
Don't Do It (Outtake / Studio Version)
Radio Commercial



With bonus tracks:
Didn't It Rain (Outtake)
Crying Heart Blues (Outtake)
Shakin' (Outtake)
What Am I Living For (Outtake)
Going Back To Memphis (Outtake)
Endless Highway (Studio Version)



With bonus tracks:
Twilight (Early Alternate Version)
Christmas Must Be Tonight (Alternate Version)



With bonus tracks:
Twilight (Single Version)
Georgia On My Mind (Alternate Take)

For the freeload, answer the following two questions:
1. What's your favorite Band album(s)?
2. What are some of your favorite Band songs?

Wednesday, January 22, 2025

Art Pepper - 'Unreleased Art, Vol.11: Atlanta'

 


Laurie Pepper, who was the manager, accountant, booking agent, factotum, and wife of the late saxophonist Art Pepper, has been releasing concert albums from tapes of her husband under the appropriately named label "Widow's Taste".

Today's freeload, 'Unreleased Art, Vol.11: Atlanta' comes from a tour in May 1980, when Art and his quartet visited Atlanta.  The group consists of long time collaborators, pianist Milcho Leviev, bassist Bob Magnusson, and drummer, Carl Burnett.  Art loved playing with this grouping, as they were all fully locked in with his repertoire, and for their ability to improvise on the spot. 


Laurie dedicated the album to Micho Leviev, who sadly, the jazz world lost in October 2019, and this 2 CD set helps document his brilliant work, as well as his ability to inspire and sometimes infuriate Art, who thought he sometimes overplayed.  One thing that was certain, is that Milcho kept Art on his toes.

Laurie has included more onstage song intros, and banter from Art, than on any other previous "Unreleased Art" release. 
Art addresses what had been noticed by his audiences at the time and has become glaringly obvious to his fans decades later; he rarely, if ever, plays other artist's work.
"A lot of people have asked me...how come I play so much of my own tunes? And I just tell them that the only way to present a person is, really is to have them write their own music and play their own music."
This certainly was to the benefit of those of us who sat in the smoke-filled jazz clubs he headlined during the late seventies and early eighties, as it allowed Art to delve deeper into his own catalog of work on a nightly basis.


There's lots to like here, with gorgeous readings of "Blues for Blanche", "The Trip" and "Landscape".  But the two standout tracks are "Song For Richard" and a rare performance of "Patricia".  "Song For Richard" which receives a treatment here unlike any it has previously, with a surprising and pleasantly unconventional avant-garde introduction and a structure that is far from predictable.  Then there's the sublime "Patricia", which Art wrote daughter in the mid 50s, and largely did not return to playing this tender tune to near the end of his life (perhaps this was due to the emotions it brought up?).  For thirteen minutes, Art's saxophone speaks to us, sharing his personal anguish of conceiving a daughter whose love and respect would elude the troubled artist permanently.  Art, as always, plays with his heart on his sleeve.

As you will hear, a good time was had by all, which was certainly always the case when Art Pepper was inspired and accompanied by a group fully in sync with his musical vision.  Add one more to the list of superb late period recordings of the iconic Art Pepper…

Laurie documented the May 1980 Atlanta gig on a Sony TCD 5 recorder, using a high end Sony condenser mic.  The recording quality is remarkably decent, and the remastering by Wayne Peet certainly helps the acoustic quality.

For the freeload, tell us what is your favorite piece of Fine Art and Artist (and by fine art, I mean:
sculpture, painting, photography, drawing etc.)?




Monday, January 20, 2025

Steely Dan - 'The Royal Scam'


 

Done up in blueprint blue

The other morning, I awoke from a very pleasant dream in which the "soundtrack" was the song "Sign In Stranger".  For the rest of the morning, the song was stuck in my head.  As many of you already know, the only way I can exorcise an earworm is to smoke some flower, in this case a very nice sativa strain: Cinderella Jack (at 32% THC, not for neophytes), and play the song several times. Works every single time.  Is Paul Griffin's piano playing on "Stranger" sublime, or what?



It's been my observation, that by and large people either love or hate Steely Dan.  Myself, I've always found their albums to be very entertaining.  The musicianship is impeccable, as is the production, and the absolutely flawless sonics.  Walter Becker and Donald Fagen didn’t just polish their albums; they would spend something like 4,000 hours buffing, burnishing, lacquering, and airbrushing them until they were as perfect as one of David Bowie’s coifs.  Steely Dan albums have the high gloss of a Lamborghini that just rolled off the assembly line.  If you bought high-end audio equipment from the 1970s onward, chances are the sales person wanted to demo the equipment with a Steely Dan or Donald Fagen solo recording.

Steely Dan’s songs are adventures in their own fictional world.  Who else in rock music has assembled a more vivid cast of protagonists, whom are rogues, heroes, creeps, LSD chemists, child molesters, coke dealers, schmucks, lovers, dreamers and cold-blooded operators, or injected their characters with so much humanity? 

Pulling from history, lived experience, pulp fiction, the lore of the counterculture, and their own darkly comic imaginations, Donald Fagen and Walter Becker created people with complicated pasts.  Scars they don’t talk about, delusions, desires, and memories they just can’t forget.


 'The Royal Scam' released in May 1976 has all of the above in spades.  Many people refer to this album as Steely Dan's "guitar album", thanks to
the tasty playing of Larry Carlton, Denny Dias, Dean Parks and Elliott Randall.  The rest of the players are cream of the crop studio musicians, including Paul Griffin, Chuck Rainey, Bernard Purdie, Victor Feldman, Jim Horn, and John Klemmer.

The freeload is a very nice Japanese 2018 limited edition reissue (MQA-CD and UHQCD).  It was DSD flat transferred from US original analogue master tapes by Eli Brown at Universal Music Studios, LA, in 2018, and edited in DSD by Manabu Matsumura at Universal Music Studios, Tokyo, in 2018.

For the freeload, post some of your favorite Steely Dan Lyrics.

Sunday, January 19, 2025

Rest In Peace Jennifer