Album Details

Features Two Albums Originally Released in 1960 on the Vanguard Label. ... Read more

Reviews (1)

some of the best of Odetta, from the "old days"
I have both original recordings, and love them. Odetta has a voice and style that has always impressed and moved me. She sings these songs with great respect for the music. Odetta is one of the true icons of folk and blues. When you listen to these songs, you will understand. Any one interested in the origins of folk, folk - rock, or any other folk hybred needs to have this collection. Buy one for a back up. My son's taste in music ussualy leans toword heavy metal, rap, and hip hop. However, when has listened to some of my Odetta and other folk greats, the recordings disappear to his house. ... Read more

Reviews (4)

wow
"One o' Clock" jump is a historical moment, Here you have Count Basie, Lester Young, Roy Eldridge, and Illionois Jaqucet blowing the place up. You can here people cheering them on in the croud and in the band, and you can tell this was a night to remember. For me the real reason to aquire this gem if for the Lester Young. He is incredible on this recording, a masterpiece

Where's the rest, Verve?
So, where is the complete version of this concert? In verve's vault, waiting another 5- 10 years, so they can sell it to you again. They missed a big chance od finnaly releasing this historic concert the way it should be, in a 2 cd edition, 24 bit remastered.Check out the Duke ay Newport release and compare it with this. The music itself is 4 stars at least, Lester was not in his prime anymore, and you can hear it, but Joe Williams is just amazing.

This CD belongs in every home, the first CD I ever bought
This is a great wild and swinging performance, both the "reunion" sides and the straight band stuff.

In the late 1940s and early 1950s Lester Young toured and performed with the Basie New Testament band quite often.In fact, at times he would simply show up for a rehearsal or stage performance unannounced and just blow. Basie always kept the door open for him and his chair in the section was his whenever he showed up whatever other combos Prez had.

However, even though THE PRESIDENT was in rough shape that weekend (he wasn't dying that happened 3 years later), there are no later day recordings of Prez with the band that capture the swing that the reunion sides do here.

I think it had to do with having Joe Jones and Mr. Rushing present.A lot of his Basie band mates from the 1930s used to say that the big diffeence in Lester Young's 1950s performances was that he really needed a swing rhythm section, despite the excellence of Roy Haynes and other bop influenced young drummers Prez employed in his own combos.Papa Jo, Jo Jones the great drummer of the Basie band, is reunited with Freddie Green and Count Basie, with only Walter Page the original bassist in the 1930s All American Rhythm section being missing.

One of the great things here is hearing Jimmie Rushing--who was a bit more of a stranger to Basie in these years than Prez--swinging the band. The New Testament band reacts to his singing by swinging back at him like they would any other master soloist. You can also pick up on some of the other cuts where Jimmie isn't singing, where his hand clapping and shouting is adding to the fury of the bands swing.If you are lucky enough to be familiar with air checks of the 1930s and early 1940s live performances by Basie, you can hear Jimmie doing the same stuff then.By the way, despite his size, Rushing was renowned as a dancer. One imagines that if Jimmy just wiggled his nose to the music it would have swung a whole lot.

Even if you are so culturally deprived as not to be a Jimmie Rushing fan, you will be after you hear his sides on this CD. Despite a less than adequate microphone or recording level when he sings, you can hear him and the band thundering back and forth with each other swinging.

Illinois Jacquet and Roy Eldrige also shine on this record, on the killer rendition of One O'clock Jump.They were both at the height of their powers here and really burnt it up. Both of them are the real stars of the One O'clock Jump.

Don't forget the Count Basie Orchestra here.I have three other recordings of Bleep Blop Blues (the first with the nonette and two studio recordings). The live jumping version on this CD is the best one I have ever heard. As much as I love the other cuts on the CD, I find myself putting that on repeat and repeat and repeat. Joe Williams does show you why he is the righteous successor to Mr. Rushing, (although Joe Williams always saw himself as more of a disciple of Joe Turner than of Jimmie Rushing). I also love the interaction between the New Testament Band and some of the swing veterans as their riffs rise behind the veterans, especially on One O'clock Jump. Any idea that Basie's new band was not the leading swing organization of its time is quickly dispelled by what the band does here.

And John Hammond LOL: Oh well, at least his introductions aren't faked like he did on the Vanguard recordings of the Spirituals to Swing concerts. His introduction of the Basie New Testament band is interesting in giving you a picture of how many members of the New Testament band came out of the old swing bands even preswing organizations like Noble Sissle's outfit.His patronizing tone really takes you back to what Jazz musicians and African American artists in general had to put up from supposedly liberal (NAACP board member was Hammond) whites just to perform.

This is a one in a million special CD.This was the first CD I ever bought. It belongs in every home!

Send for it yesterday!
The word `Newport' conjuresmagical associations for jazz fans. Duke Ellington referred to his engagement at the Festival there in 1956 as his `second coming' when his career was re-ignited on the back of Paul Gonsalves' saxophone solo during `Diminuendo and Crescendo in Blue'; one of the best films about jazz ever made-`Jazz On A Summer's Day' - was recorded at the Festival in 1958 and, of course, the place was the notional backdrop to the film `High Society.' (I don't know if those scenes between Sinatra and the luminous Grace Kelly in the `old town' were actually filmed on Rhode Island but their magic is redolent of something out of Hitchcock's `Vertigo').

Add to this list of treasures the recording of the Basie band's set at Newport, 7 July, 1957. Basie had long been a sort of Wizard of Oz figure, blowing up a whirlwind which lifted his band from the dustbowl of Kansas in the 1930s and deposited it, first, on the national and then, ultimately, the international stage. The edition of the Basie band which played Newport that summer's night was the famed `New Testament' band. This would have been an extraordinary night in any event but, consider, that for this concert that former alumni drummer Jo Jones, blues singer Jimmy Rushing and tenor player Lester Young were re-united there for this gig only and you have the sound of an irresistible force meeting an immoveable object!

Digitally transferred in 24-bit as all recordings are in this Verve Master series, the sound here is superb. True, there are some problems with Rushing being off-mike on one number but this only contributes to the `live-as-recorded' ambience. So frenetic is the general atmosphere, I'm only surprised no-one ended up going home in an ambience!

Listening to this recording forty-three years later, I'm only struck, once again, by the surprise that the world ever thought to move on from this. For sound and power, sheer vitality,theBasie crew could teach rock bands a thing or two. How did we ever go from this, within a few years, to `Basie's Beatle Bag'? As Ebenzer Scrooge was wont to remark, `I'll retire to Bedlam'!

It is entirely appropriate that the concert should be introduced by John Hammond, the man who discovered the Basie band almost by accident, his attention taken by a remote broadcast he heard of the band on his car radio. Truth to tell, though, he makes a bit of a hash of things. He forgets musicians names, fails to recognise the players in his long-winded introduction where any excitement is in danger of dissipating before the band ever blows a note and he gets the running order wrong, building up Rushing's introduction when, in fact, it is a ballad number by Lester!

The `Old' and `New' Testament members sit very well together,thecontributions of the thirties players grouped together into a set within a set. Lester's blowing on `Polka Dots and Moonbeams' (one of the ballads he favoured so much in his late period) is, of course, sublime. (I still find it strange to hear Lester in stereo or to see a colour photograph of him - there are several superb photographs within the accompanying booklet - since he is so associated forever with Billie Holiday and the monochrome thirties) and a souped-up version of `Lester Leaps In' is a stand-out.

A further collection of numbers, augmenting this compact disc release from, I assume, the same performance but hitherto only issued elsewhere, feature the band's then present singer Joe Williams. Joe Williams is one of the few singers, I suppose, who is capable of getting away with following Jimmy Rushing. It is Mr Five-by-Five who steals the show for me, however - `Boogie Woogie (I May Be Wrong)', `Evenin' ' and, of course, `Sent For You Yesterday.'Good advice for buying this CD. You can't buy it soon enough. Send for it yesterday! ... Read more

Reviews (1)

A Look Back At The Beginnings Of The Blues
Honeyboy's finest work and his honest and touching storytelling make this a Cd any blues fan should own. From beginning to end the music seems to take you back to the '30s. Anyone who enjoys pre war blues or is a Robert Johnson fan will get chills listening to this CD. ... Read more

Reviews (1)

AWESOME AND FUNKY!!!!
If it is true that the measure of a man is who his friends are, then it should be true that the measure of a musician is who he plays with. That puts Merle at the top of the heap. This disc was recorded mainly in the early 90's with a whole new set of friends, but what a set of friends! His guests include: John Popper, Steve Kimock, Michael Warren, Murga Booker, Dr. John, Michael Hinton, Vince Littleton, Maria Muldaur, David Grisman, Trey Anastasio, and last but certainly not least Jerome Garcia. They do everything from Randy Newman, Willie Dixon, Garcia/Hunter, and Allen Toussaint to George Gershwin, and they do it all so well! I was a little skeptical myself. I loved Merle's 70's stuff with Garcia but was a little unsure what he would sound like over 20 years later with all new people. I wasn't disappointed and promise you won't be either. It's all here: blues, rock, funk, jazz, 'Nawlins creole, bluegrass, new age, and it's all done exactly like you would expect it to be. AWESOME AND FUNKY !!!! ... Read more

Reviews (5)

Outstanding cd!
I was skeptical when I read about this being the best live blues cd recorded in the last 25 years. If it's not the best, its certainly in the top 10. John Mooney's work on this cd is the funkiest slide blues that I have ever heard. His version of Junco Partner is OUTSTANDING. If you like funky blues with a ton of energy - get it!

one of my absolute all time favorite records
this CD used to be import only, but now you can buy it here. i once had the good fortune to meet John Mooney and recited his catalog to him and begged for more. He modestly told me "oh, there's this live thing they did in Germany". I spent untold bucks tracking this down until i called the Crosscut label in Germany- i bought 5 copies at $25 each PLUS shipping from Germany,to give to my closest friends and they still thank me to this day. you'll never find this one in "the bin" it's just too rockin'. if you've ever seen John live then just buy it right now.

jazzfest@eachyear.com
DUH! It is, after all, the Mooney man... have you been to a show

One of New Orleans best kept secrets
Now that you are aware that it exists, you must buy this CD. Even if you've never heard of the guy and somehow stumbled across this review, you owe it to yourself. John Mooney is best experienced live, and this disc is the best approximation to a live gig possible. The combination of delta slide guitar and syncopated second-line New Orleans rythms that Mooney pulls off is complex, unique and astounding... gutsy, funky, driving, and soulful. As strong and identifiable a slide guitar player as Duane Allman and Lowell George, Mooney's mentor was Son House and it's clear that he learned from the best. However, he's a true innovator taking the blues new directions. His gruff vocals are somewhat similar to John Hiatt. When I saw him blow the roof off of a club in New Orleans a few months ago, I felt like I was seeing Stevie Ray Vaughn in Austin in 1981, when no one but the locals knew who he was but they KNEW what he was capable of... get this disc and you'll be in the know as well. Funky, gritty takes on classics like Junco Partner and Shortnin' Bread, more traditional delta blues like the outstanding Robert Johnson covers and a great version of Muddy Waters' Standin' 'Round Cryin', and a few great originals like the title tune. Greasy, sweaty and grimy like the blues was meant to be, with a virtuoso's ability yet a confident restraint... always soulful, never showy.

Where'd this guy learn to play like that?
This is a superb live album by an amazing guitarist. John Mooney's other albums are outstanding, too, but none of them feature the sizzling guitar licks which I've seen him rip out in live performances. This one does! Mooney is phenomenal from beginning to end--his singing ain't bad, either. Give it a shot! ... Read more

Amazon.com

When folk revivalists all of a sudden became fascinated with country-blues performers of the early 20th century, no one had to go into the sticks to find Reverend Gary Davis. Though he'd stopped recording, Davis was an active street singer and preacher in Harlem throughout the 1940s. In the 1950s, folklorists, fans, and followers began to seek him out to hear him play, record him, and learn from him. Stefan Grossman, now a respected guitarist in his own right, was one of his longtime students, and he's compiled this wonderful three-disc box set, complete with detailed song notes and an essay that explores Davis's pre-New York days. Disc 1 features rare recordings made by Columbia University student John Gibbons in 1958 and 1959, and it focuses mostly on Davis's instrumental prowess: a thoroughly matchless fingerpicking guitar style that fused bits of jazz, blues, and ragtime into a highly personal technique. In addition to the many instrumentals on the first disc, there are some of Davis's most spellbinding vocal performances, especially "Crucifixion" (which blends singing and preaching) and "Don't Know Where to Go." Disc 2 includes home recordings from the mid-1960s, while the final disc of live recordings shows off his stage charisma and command. Demons and Angels clearly displays the breadth of Reverend Gary Davis's talent and material--from pop songs to "holy blues" and age-old folk--and is quite a welcome boon to his devoted fans and anyone else looking to discover one of the genre's inimitable talents. Beyond that, it will have aspiring (and even accomplished) acoustic guitarists staying up half the night trying to figure out exactly how the good Reverend played what he played. --Marc Greilsamer ... Read more

Reviews (7)

Unexpected,terrific music.Too marvelous for words!!!
Blind Gary Davis,best known as Reverend Gary Davis,since he bacame a preacher,1933,may be the most terrific,outstanding guitar player of the blues and gospel history with Blind Blake.His ragtime style,combined with this particular South Carolina touch,makes him one of the most gifted and impressive musicians of all times.Born in Laurens County,South Carolina,April 30,1896,he lived enough to be rediscovered in the early sixties,while he was a street singer in Harlem;he lived until 1972,and died May 5,one week after his 76th birthday,on his way to a concert date.THis three CD set,full of treasures,is issued by Stefan Grossman,who was a pupil of the Reverend.These are unissued recordings: CD 1 was recorded at the Columbia University,1958-1959;CD 2 was recorded at home,1964-1966;and CD 3 comes from concert dates,1962-1966.Of course,it includes some amazing music;Gary Davis was really alone in his field,that way of playing and singing sacred songs with this Carolina touch;his incredible,extremely difficult picking style (surely the most difficult one with Blind Blake's) ,with many ragtime touches,is a real delight.And I don't speak of the guitar he's playing;I just hope I'll have the opportunity to play such an instrument once in my life.
Gary Davis stopped playing blues in the fourties,and it's a great chance to hear him play it here.BUt if you buy this set,please start listening to "sporting life blues",(no,it's not Brownie McGhee's,even if the melody and chords are close to it),this is an amazing guitar solo which will drive you directly into Gary Davis' music.And Lord,what a sound!!!I won't try to tell you about all the songs,there are too many,and they're all amazing;the only regret I have,like another reviewer said,is that Gary Davis' masterpiece,"death don't have no mercy",doesn't figure here.Too bad.But there are other masterpieces: "God's gonna separate",for example;or many others.Nothing here has to be rejected.This here is an absolute concentrate of talent.Gary Davis is one of my favorite musicians for twenty years,one of my favorite guitar players,of course,and one of the most magnificent voices I've ever heard also.I think this 3 CD set is the first opus to buy,if you really wish to be introduced to the Reverend's music.Every minute of music played or sung by Gary Davis is one of the most essential ones of all times,so don't miss this magnificent set,full of things that have never been heard,full of noise and fury.Some of the most important music of the 20th century is here.The booklet is a fine one,and there are many lyrics transcribed.Sorry,you won't find the tablatures.So,try to find the Reverend's chords;good luck,sincerely.

Must Have For Fan's And Students Of Reverend Gary Davis
As a former student of Brother Davis($5 a guitar lesson), I was thrilled to hear fresh material after all these years. Even the old familiar tunes have yet new variations. I can't wait to check some of them out on the guitar. This three CD set is really a fantastic addition to my Reverend Gary Davis collection. I wonder what else Stephan Grossman(Demons Producer) is sitting on???...Joel

5 Stars For The Music.....3 Stars For The Compilation
The music of Gary Davis deserves this major collection release. But how can 3 CDs not include his classic Death Don't Have No Mercy?

No Energy Crisis Here
I can't believe this guy became governor of California! Amazing!

A lot of great surprises, but some dissapointments, too
This is probably the most comprehensive Davis compilation that will be relased any time soon & there is a lot of great music on it. I love listening to the newly released recordings of Crucifixion, I am the Light of This World, Slippin Til My Gal Comes in Partner, Devil's Dream, Mountain Jack Blues, and many others on this set. However, inferior performances of Buck Dance and Soldier's Drill open the first CD in the set, which got me to wondering if all three were going to be full of stuff that Davis apparently tossed off. Thankfully, that's not the case & much of the music meets the standards of Davis' best recordings from the late 1950s and early 60s. I wish Stefan Grossman had included the entire Children of Zion live recording here rather than just slightly over half of it (especially since that older Kicking Mule release has much better versions of Buck Dance and Soldier's Drill). I wonder if contractual problems prevented this. I was dissapointed in the box set's packaging and essays. The large fonts used on the box look amateurish, and it's not necessary to have the superlative "ultimate" printed twice on the front. The main essay tells us quite a bit about Davis' early and middle years, but the writing style is poor, which made it difficult for me to stay interested. Grossman's notes have some typos and inacuracies, and although the "endnotes," per se, lead one to some interesting music sources in print and on the web, they have little or nothing to do with Gary Davis. Grossman also provides too little information about the performances (e.g., who are the singers and banjoist accompanying Davis on Soon My Work Will all be Done, and where/when was each performance?). On the plus side, the photos are very nice - I got a kick out of the picture of Davis pinching a young girl in a bathing suit. Davis fans will want this set, despite its flaws. I'll be listening to it (although selectively) from now on. ... Read more

Reviews (3)

FINALLY.....
IVE BEEN HUNTING FOR THIS ALBUM SINCE MINE GOT STOLEN IN''89''.. ITS ONE OF THE BEST IVE EVER HEARD ESPECIALLY SHADOWW MAN..

A Blast From The Past
Dont let anyone tell you that omar&the howlers are Creedence clones From the the moment the blast of omars voice comes growling out of your speakers complete with feedback you have a rare talent out of the same town as Bo Diddley and lately out of the home of rocking blues Austin Texas Crank up the barbecue ,grab a beer and invite a few friends round and set the neighbourhood alight rocking with a slab of pure swamp blues If your foot fails to tap to the beat, ring your local doctor as you must be dead. So in brief ,if swirling organs and chugging guitars combined with a voice out of the deepest part of the gravel pit are your prescription for a tonic for the drabness of life so take this with the greatest urgency

blast from the past
You could call me a completist as I have everything ever released by omar and the howlers From the first bars the swamp oozes out of the stereo speakers complete with feedback . many have compared omar with creedence but get real,he has continued and grown,they were at the end heading in a heavier track They must feed singers a diet of pure gravel with a dose of passion ,I am not a 50's style rock fan but this blast from 1987 has its roots in little richard and buddy holly. It is still timeless music that the toes tap to ... Read more

Reviews (4)

John Hammond - Live
A few years after this CD was released, I was lucky enough to see John Hammond live from a second-row seat at a small theater outside of Chicago. That performance included many of the songs included on this CD, and this recording is faithful to what John delivers live: pure, raw, honest blues that, once heard, will inspire you to see him live. Once you see him live, the experience will stay with you for a lifetime.
All Hammond needs to mesmerize an audience is a guitar, a harmonica and his voice. For proof, listen to his incredible version of "One Kind Favor," which is my personal favorite on this release.

This is another cd that needed so much stars!
Fantastic,from the begining until the end...!!This cd will be ever under rated with only five stars.It's a superb album,what clarity,what emotional moments,and...what repertoire...Willie Dixon;Charlie Patton;Robert Johnson;Sleepy John Estes....Really
a primorous work!Those people who were at the theater that night, are rare lucky people.No more coments....only adrenaline
and i agree with the others reviewers...All of the bluesfans needs this album like few others.This is really BLUES,a MUST HAVE!! blues album!!! OHH!! GREAT!

The ultimate solo acoustic blues experience.
This recording is a one night sample of the hudreds of nights each year for the past 30 years plus that John Hammond pours his heart and soul into his vision of keeping pre-war blues alive. His renditions of songs that are 60 to 70 years old make them fresh and vibrant, full of raw emotion and to this author are the epitome of "Blues Power".

If you are new to John Hammond, don't be fooled by what you hear in this collection...there are not three or four musicians here, it is John-solo. He alternates between six-string, twelve-string, and throws in some searing slide on National steel guitars all the while blowing harp, stomping his foot, and singing like it will be his last chance ever to perform the music he adores.

If you are looking for the best live recording of country blues, get this. If you have ever had the chance to see John Hammond live, get this. If you ever do have a chance to see him live, do not miss it. It will be an experience a blues fan will never forget.

Guitarists Worldwide...Just Own This!
What a sad day when a CD of this caliber is over 46,000 on the Amazon sales list.

And how sad it is that I've spent most of the night already writing reviews for another website that I cannot give it the credit it is lengthily due.

Let me say this:

If you own any Leo Kottke, Robert Johnson, John Fahey etc. etc. and you don't own this... shame, shame, shame!This recording is one of the greatest LIVE fingerstyle acoustic blues CD's EVER recorded. Simple as that.

Buy it and tell me what you thought, Thank me later!

Peace. ... Read more

Reviews (5)

A gem!
A great, great record! For all of us who never had the chance to hear Magic Sam live this is the closest thing to a cure. Great club/on-stage atmosphere. The dialogue between Sam and the customers is worth the price of admission. The real deal: rough, raw, hot, and a lot of fun!

Electrifying performances, horrible sound quality
I'm not kidding, this is not for audiophiles. Considering that these performanced were taped in the 60s using ordinary tape recorders it doesn't excactly come as a surprise, but, really, the sound is awful.

The music is superb, though. Screaming lead guitar and vocals to rival Elmore James (well, almost), and powerful live renditions of some of the best songs in Sam Maghett's repertoire.
He does a riveting version of Fats Domino's "Every Night About This Time", an intense "I Just Got To Know", and a rocking "I'm Tore Down", and he plays some white-hot guitar on the instrumental "Mole's Blues".

The Ann Arbor cuts include a funky take on Freddie King's "San-Ho-Say", the slow blues "Strange Thing Happening" and "All Of Your Love", and Magic Sam's scorching take on Robert Johnson's "Sweet Home Chicago".
His guitar playing on this album has to be heard to believed, and I'm not easily impressed...I have too many blues records for that.

If only he had been recorded using some decent equipment. A "real" live album by Magic Sam would undoubtedly have been one of the all-time great blues records, but he never was, so this is all we have.

Still, Magic Sam Maghett plays some fabulous blues guitar on these cuts, even better than his studio waxings, and his vocals are sublime.
Okay, so the sound may be terrible, but get it anyway. It's all worth it to hear these incredible live performances.

Wolf in sheeps clothing...
I mean come on! Magic Sam has really lost it.The entire CD is billed as believable and exciting while it's nothing but a shell of a lost blues man. His music is delirious,lazy and unsatisfying. Glad I'm not faking anymore. I've moved on to Gary L. and the like for freshness and variety. Magic Sam is the same old tune over and over and it only plays in ONE ROOM.to just have to look at himself age in the mirror must be quite a task these days considering the amount of effort he must put in everyday. Well, even our old friend Chester and his dog couldn't save him from his impending destruction. The magic is gone and the real Sam is nothing special at all. I guess he'll just do another CD in another town where the disguise is still selling.

best chicago blues live ever recorded.
magic sam's best live album. the best chicago blues album of all time. together with live woodstock of jimi hendrix, this cd must be added to your collection.

A must if you like Magic Sam
In the summer of 1969 I had the pleasure of attending the Ann Arbor Blues Festival. It was my privilege to be exposed for the first time in my young life to some of the biggest names in blues. The most memorable moment, however, was a performance by Magic Sam, a relative unknown from the more obscure (in the blues world) west side of Chicago. Sam, backed by bassist Bruce Barlow (later of Commander Cody and his Lost Planet Airmen fame) and drummer Sam Lay, who was recruited in the wings just before the set, Magic Sam delivered the tastiest, most high-energy blues licks that I had ever heard. In particular, I Feel So Good (I Wanna Boogie) and Sweet Home Chicago had the crowd, who had formed to see James Cotton perform in the next set, going absolutely nuts. His finale of Looking Good ended with chants of "Sam, Sam, Sam" that went on for what seemed like forever while the roadies attempted to set up for James Cotton. The promoters were forced to allow an encore which was another instance of Looking Good. The crowd was left with the feeling of having witnessed something significant, the birth of a new giant in the blues world.

Sadly, that following winter, Samuel Maghett died at the age of 32.

I have told that story a hundred times and you can imagine my joy to find that there was finally a released recording of that performance. It's crude, and the lead-in stuff from Chicago in the earlier is much less interesting. Still the cuts from Ann Arbor underscore the power of the performance, something you won't find in Sam's studio work. Buy this CD and play cuts 13, 15, 16 and 17 loud. Then play them again. And again. ... Read more

Reviews (4)

Buy this CD now!
The title says it all. If you want to purchase an incredible album, get this NOW. Every track is five star, all the traditional Junior hits. I guarantee that on "The Train," which is track five, you will hit the repeat button a few times. Enjoy!

A fine documentation of Junior Wells live
Admittedly, this may not be of the same caliber as Junior Wells albums like "Hoodoo Man Blues" or "Calling All Blues." Nonetheless, this album is more than deserving of its five star rating because it is simply a joy to listen to.

Performing at Buddy Guy's famous "Legend's" club, Junior Wells comes alive on stage in a way rarely captured in the studio. Wells seems to be inspired by the presence and he demonstrates his enthusiam for his fans with some excellent audience interaction as well as a level of passion which vastly exceeds that demonstrated on his recent studio albums. The songs here, though a bit on the funky side, are all highly enjoyable. "Broke and Hungry" and "Messin'with the Kid" kick the set off in funky style before Junior gets down to business with a fine version of "Hoodoo Man" and a haunting rendition of "Sweet Sixteen." One of the highlights is Junior's take on the Sonny Boy Williamson classic, "Help Me." With only the organ backing him, Junior brings an eerie ambience to the song not soon forgotten.

The harp is here, though like a lot of later day Wells material, it seems to take the back seat to his vocals a little too often. In good form, Wells is capable playing on the level of Little Walter, so it's a shame to hear his harp so often regulated to the background. Still, when he does pick it up, Wells reminds us that he is still one of the undisputed masters of the craft with very well played solos.

For any fan of Junior Wells, or blues, this is a highly reccomended album. The energy and passion Junior brings to the stage make this a must have live blues set.

Help me...
This is a great CD by one of the great bluesman. My highlight of the CD is "Help Me", which is absolutely phenomenal. If you own some of his other CDs you probably have a rendition of this Sonny Boy Williamson classic. The version on this CD is unique and not to be missed....no electric guitar, but what sounds like a Hammond Organ...just fantastic.

The other songs....Got My Mojo Working, etc...all excellent. His voice is expressive, the harmonica mic'd, amp'd, and reverbed into that Chicago blues, and the band is tight and acoustic...like trumpets, saxes, bass.

Really very good...whether this is your first Junior Wells CDs or your 10th CD.

Junior at his best! Tight back up band. He blows you away!
Was at the recording of this album. If you consider Juniors priorities, first an entertainer, second a singer, and third a harp player, than you'll realize this is junior at his prime. Rumor has it that Junior was aware of his illness at this time, and it appears that he is going out with a bang. from the openning tracks to the final note this album cranks. It will live in your C.D. player. This album is currently in my top ten of blues picks. ... Read more

Amazon.com

Usually, there's nothing quite so boring as a really flashy guitar solo. To hear some kid--who spent all his time in his bedroom practicing scales when he should have been out meeting girls--race across the fretboard can make anyone's eyes glaze over. A few guitarists, however, can play at top speeds and still maintain a groove and still find something to say about life's frustrations. Danny Gatton was one such guitarist. Bobby Radcliff is another. And Radcliff's 1997 album, Live at the Rynborn, showcases one jaw-dropping solo after another. Radcliff is usually pigeonholed as a blues artist, but he owes just as much to the '60s soul and funk of James Brown and P-Funk as he does to the Chicago blues of Magic Sam and Buddy Guy. Because he plays with a trio, Radcliff has to handle both the lead and rhythm duties himself, and he marries the slashing lead lines of Guy with the choppy syncopation of Brown's Jimmy Nolen.

The set features Radcliff's regular road trio ripping through one original and nine standards. The leader invents so many variations on Bill Doggett's "Honky Tonk" and a Kool and the Gang medley that the original themes are barely recognizable amid the guitarist's colliding chords and gear-shifting rhythms. D.C. DJ Steve Hoffman wrote the liner notes. --Geoffrey Himes ... Read more

Reviews (3)

Please Have Mercy
One day I will see Bobby Radcliff live , but until I do , Live At Rynborn will most certainly do. Like it says in the liner notes , this man is INTENSE , he plays the guitar as much as attacks it.
Improvisation on Honky Tonk is a nice start. You hear this song and you know this guy can play. Nice speed and touch , could be two guitars playing , but no its just Bobby.Please Have Mercy is slash and burn guitar at its finest, Bobby sings with the kind of passion the song title implies.Tramp is a Lowell Fulson song that showcases Bobby's skills.Early In the Morning is a classic ,the understated guitar runs slowly build to a manic pace, WOW its an amazing display.He quickly jumps into his own song The Introject an instrumental with an apt title (look it up ).Been Around the World features more stinging guitar work and fervent vocals. I'm not into Kool and the Gang but Bobby can make a Kool and the Gang medley sound Kool. Ten Years Ago is a monster. Perhaps a tribute to Buddy Guy , all I know is its an amazing rip roaring jam that rates with Stevie Ray Vaughan's Texas Flood and Frank Marino Live doing King Bee as the most amazing guitar work I've ever heard. I'm usually too blown away by Ten Years Ago to listen to the closer so I'll make no comment. Live At Rynborn is a must buy for any one who likes the blues played with intensity , skill and passion.You will be blown away, I guarantee it.

Live Bobby is the Best Bobby!
I have been a fan of Bobbys for a long time and while I've been a fan of his albums, seeing him in a club is where it's at. This album does him justice. "Live at the Rynborn" is by far his best to date and that's saying a boat load! Great stuff all around!

An excellent blues masterpiece.
I was at The Rynborn when Radcliff recorded this album. It was the best blues show that I have ever been to and the album captures the entire atmosphere of the small town club. The combination of Radcliff's amazing guitar solo's and his top of the line vocals make this album a must for any blues fan. The album truly makes you feel like your Live at The Rynborn. ... Read more

Reviews (1)

Bernard Allison is great!
This Bernard Allison CD, along with his others, is just outstanding. What a fabulous musician Bernard Allison is! If you love great blues and if you love great music, you will love this extraordinary artist. He is the son of the late, great Luther Allison who died too young. Luther Allison and Bernard Allison make music that will give you pleasure and joy and delight and awe.
People who actually love great music need to put their money and purchases where they belong and let the really talented artists receive the praise and rewards they deserve. As I write this today, I have just read of performers like Eminem and others of that ilk whose CDs sell astronomically and who get so much media attention.
Come on, music lovers. Put your money where the good music is. You can start with Bernard Allison and Luther Allison. ... Read more

Reviews (5)

Blues at its best
This is the best live blues album -- and one of the best blues albums -- you will ever hear. (Note its recording history in the book "Deep Blues.") Raw, uninhibited, a glimpse of Son Seals as he sounds in a crowded club. Seals picks up where Muddy left off in Chicago, without any of the post-modern bull. Back in the day I had friends who ran a record shop. Each time they put this one on the turntable they would sell out the stock.

one of the all time great live blues albums
Son Seals is really one of the titans of the current blues scene who should be spoken of in the same conversation as BB King, Buddy Guy, and Ronnie Earl. Of the many albums I have, this is one of the best, Son with his own band burning it up in a club full of real blues lovers. Although the set here features several covers (Son is one of the great composers, as you'll learn on subsequent albums), they are delivered in quite personal, intense renditions (esp. Litle Walter's "Last Night") that show that Son picked up the best from watching the legends who used to play his father's Arkansas club in the 1950's. This is one of the gems on the Alligator label, so by all means buy it along with the others he has in the catalog. His vocals have grit, and his guitar is like a nasty fusion of BB, Albert (King), and Hubert Sumlin. And see Son when he plays near you.

BAD AS HE WANT'S TO BE!!!
blues as it was meant to be; live!!! blistering riffs, sax, bass, drums and rough vocals that give you the feeling that he know's what he is talking about!!!

REAL Chicago-style club Blues! Bartender, another Old Style
I give this CD 4 stars instead of 5 only because I like Seals' Spontaneous Combustion a bit better, and, for me, this genre is epitomized by Luther Allison. Son Seals, however, runs a close second for me ... a real, working bluesman ... a practitioner of true art. This album truly captures the feel of a live club performance. If you've never heard the blues played Chicago style, in an intimate, smoky club, this CD and Seals' Spontaneous Combustion capture the feel as well as anything I've heard. The vocals are, of course, soulful, and the guitar work superb. This man *lives* his music, and it shows.

Absolutely ESSENTIAL live blues
Can you say INTENSE? Probably the most accurate title for a recording ever. It captures Son at the peak of his power. The guitar bites and claws, the vocals, gruff and in your face, are sung with a conviction rarely, if ever, matched in the blues genre. The rest of the band is tight and in the groove.The emotion jumps at you from the speakers. A huge plus is this recording is made the way a live blues record should be made. The mix isn't perfect, the mistakes and feedback are left in, the crowd noise is left in. It IS however, the closest thing to being in a smoky, crowded blues club that you will find on CD. A must buy!!! ... Read more

Reviews (1)

Play it Loud !!!!!
From the opening line of Track 1:
"Well,my home is in the delta",you'll be spellbound by the
power of this CD !.

Music's raw - guitar,bass and drums and gutsy vocals.

Covering Blues standards and 2 originals,this album will appeal
to blues and metal guitar fans.

Power of the music matches those blues standards by Led Zepplin
like : "You Shook Me", "I Can't Quit You Baby", "Black Country Woman" (LZ original).

This music needs to be played LOUD and it feels as though Jay
is right in front of you with thumping bass drum kicking you
in the face.

Tracks 1 to 5 are super charged - need to be listened to be
understood or believed.

Track 6 - solo guitar work.

Track 7 - bass drum kick not prominent as in Tracks 1-5.

For raw power,this beats SRV,Hendrix,Malmsteen - so you'ld
better be ready for what's coming your way.

Jay Gordon understands dynamics well - his guitar licks
come in at the right time,pickin at times and loud and raw
at others,all well and timely paced... ... Read more

Amazon.com

Kindred spirits from different countries, Canada's Rick Danko, Norway'sJonas Fjeld, and America's Eric Andersen connect across all sorts of borders onthese 1991 recordings. The reedy-voiced Andersen shares Scandinavian roots withFjeld (introduced as "a Norwegian national treasure") and New York andBob Dylan connectionswith former Band memberDanko, and all three steep their material in the American mythos. This two-discset pairs a reissue of the troubadour trio's studio debut (an award winner inNorway) with the first issue of a live recording from a 1991 Norwegian festival.On the studio sessions, the harmonies are richer than some of the song craft,with Danko's vocals at their soulful best on "Driftin' Away" and Andersen's"Blue River." The live performance elicits an enthusiastic reception from thefestival fans, with each of the three artists showcased solo before joiningforces. Listening to Andersen's revival of "Hey Babe, Have You Been Cheatin'"conjures 1960s-era Greenwich Village, where he was one of the first to survivethe "new Dylan" tag. This package serves as a memorial to Danko, who died in1999. --Don McLeese ... Read more

Reviews (2)

A Great Trio - CSN could learn a lesson here
Taking the last spot in the lineup, nonetheless, Eric Anderson is the architect and musical center for what was one of the truly great trios in modern song in the 90's. This team came about as a result of Eric's move to Norway. He has released several stellar solo recordings based in Norway that are well worth seeking out, and in the course of this endeavour, he began working with Jonas Fjeld. I'm not sure how Rick Danko and the two of them hooked up, but their debut concert in Norway is presented here as a bonus secxond disc to a marvellous recapitulation of their studio work.

This trio is the perfect antedote to the birdchirpy, often off key (especially in concert) harmonics of CSN. What you have are 3 men who can find the notes, expand upon them, provoke interesting twists on the harmonies, and introduce their personal idiosyncrasies in a magnificent tapestry. Pull Crosby out of the other trio, and you have a sheer mess.

The studio songs are extremely well executed, beautifully orchestrated. In concert, Danko flubs a bit of "It makes no difference" but flubs with enormous passion. It is an arresting example of how getting it wrong gets it totally right. Fjeld is the surprise in both the studio and in concert. He is both American raconteur and Scandanavian mystic. His tones are all Norse inflected, and his baritone delivery has a worn in quality that makes him seem part of your interior's history. That brings us to Anderson, perhaps the most underappreciated writer ever to have emerged from the same scene that spit out Dylan and Baez and Paxton and loads of other very essential writers. He writes from the heart, and his songs can leave you devastated, exhilarated, reflective, and so much more. He is a brilliant musician. Well, they all are, and the backup bands in both contexts are superlative.

Go out on a limb, here, if you are unfamiliar with these men. This was a great band that you should listen to, and with Danko's unfortunate passing, a final testament to one of Canada's greatest musicians, one of popular song's greatest interpreters.

Nice old-fashioned roots music
An expanded, 2-CD reissue of an unusual and unlikely collaboration between former Band member Rick Danko, Scandinavian roots rocker Jonas Fjeld and Greenwich Village singer-songwriter Eric Andersen. This is a pleasantly diverse outing, ranging from quieter, folkie numbers to electric jam-band tunes. The new version also includes a second disc of live concert recordings that may include a few pleasant surprises. Accomplished, confident rootsy material by an interesting trio of hippie-era old-timers. ... Read more

Reviews (1)

Classic!
"Live at The Mint" smokes with some great renditions of "Cross Cut Saw" and "Dust My Broom", plus some great originals like the instrumental "Hard Candy" and my favorite song on this disc "Bad Bad Pain", a guest appearance by his father on his song "Well Well Well" is a delight but the 18 min version of "Hoochie Coochie Man" just pulls out all the stops as Duwayne really shines and shows total command of his instrument and of the audience. Now I know why the North Mississippi Allstars keep putting this guy on stage every chance they get. This CD may be hard to find, but if you can get a hold of a copy then you got a real rock n' roll/blues classic on your hands!

Reviewed by The Bandit
www.banditbluesradio.com ... Read more

Album Description

Four 2004 W.C. Handy nominations! -Blues Album of the Year -Comeback Blues Album of the Year -Soul/Blues Female Artist of the Year -Soul/Blues Album of the Year ... Read more

Reviews (3)

thrilling, bluesy and moody
You only have to listen once to this album...... the introduction and then you will get lost in the moods of the artist. Her voice is going dwon from your ears to your tooths. Fantastic voice. A CD for your car, your room, your holiday.

Bettye Has Never Let Her Listeners Down
There are few words to define Bettye's recent musical accomplishments. Her great performances in the past speak for themselves. Her soulful offerings of today prove the most valuable things in life improve with time.

Rarely, we have the opportunity to enjoy the "Real Thing", on recordings as well as live performances. Bettye LaVette is the "Real Thing"!!

'Let Me Down Easy' is a wonderful Concert. All the songs are great. ("Damn Yours Eyes" and "My Man" ARE REAL KNOCKOUTS)

If possible, it is a must to see her perform 'live'. If not, her recordings will demonstrate the tireless energy she puts in every song. Truly, soulful and refreshing.

The Great Bettye LaVette "Live"!
Bettye LaVette had to be all smiles after she read the reviews for the recent release of her "lost album", THE CHILD OF THE '70S which she recorded in Muscles Schoals for Atlantic Records. It was picked up by a European record company called Arts and Soul and released to ranting raves reviews. The CD is now called SOUVENIRS.

Now, Bettye LaVette, one of the great soul, blues, r & b singers ever, has a new CD, recorded "live" in Holland in 1999. This after her astonishing performance at New York's Columbia University where she garnered standing ovations and new admirers.

This CD captures some of the excitement of a singer who loves to sing and is determinded to give her audience what it came for...a great show.

There is no holding back with LaVette. When she hits the stage, she give 110%! That's why they love her throughout Europe and pack the clubs and blues festivals to see her perform. She opens with her first hit record, "My Man". It's faster here than on the original, but it's still hot and Bettye tells the truth as only she can. This song was also covered by Tina Turner when she was with Ike and by Ann Peebles when she was on HI Records. The song was so hot, it became a staple with practically every female r & b singer at the time, just like Wilson Pickett's "Midnight Hour" which was picked up by soul singing men and rock groups world-wide.

Bettye's version of Etta James' "Damn Your Eyes" is a highlight of the set. An original, Bettye doesn't copy Etta's version, but gives it new life and a fresh and exciting interpretation.

LaVette's renowned "Let Me Down Easy" always brings down the house. The original recording is now considered a classic, but the other covers of the song don't match Bettye's original. In concert, LaVette has given the song "wings" and she soars like a Phoenix leaving her listeners exhilerated. One of my favorites is "Almost", an early hit for LaVette. It's an easy-going swinger which wowed the audience at Columbia with Bettye adding a few choice dance steps.

With all of the non-singing that is dominating the airwaves lately, it's a pleasure to hear a singer that can still make you sit up and listen. LaVette's voice is unique in that she dosen't imitate anyone and gives everything she sings, guts and soul. If she feels like shouting, she'll shout, if she feels tender she can break your heart with a whisper...and if she get's "happy" she might do a little screamin' for ya. But, one thing, she does all of this with CLASS.

To me, she is among my favorites like Aretha Franklin, Patti LaBelle, Etta James, Ann Peebles, Shirley Brown and Loleatta Holloway.

And, if you ever get a chance to see Bettye in person. Do. ... Read more

Album Description

A night of hard driving passionate blues delivered by Madison Slim, formerly with Jimmy Rogers, one of the great harmonica players of his generation.Recorded live at Blues On Grand in Des Moines,Iowa in March 2002.The band drove 5 1/2 hours through a blizzard expecting an empty room.Instead 282 crazy blues fans were waiting to party and the band did'nt disappoint them. ... Read more

Reviews (1)

You won't be disappointed!
I own all of the Rev's CD's but this one is SUPERB because of the live mix.Once you hear it, you can't get it out of your mind.

If you get to see this band live - - - don't miss them! ... Read more