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PassedOutGuy

By PassedOutGuy
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bradm
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Herbie Hancock - Sextant   Hancock’s Mwandishi Band to Reunite for One Night, Will appear at Friday’s “A Great Night in Harlem”   Aloha, Brad

Esau.
Esau.

Another Dylan/OCMS tune. Awesome.     https://www.youtube.com/watch?v=FOfjdX5s-DM

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Kanada Kev Newbie

Kanada Kev

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The Allman Brothers Band – Live at the Atlanta International Pop Festival: July 3 & 5, 1970

For the first time anywhere — officially or not — two (mostly) complete performances by the Allman Brothers at the Atlanta International Pop Festival over the Fourth of July weekend (they were the bookends of the fest) in 1970 have been issued with stellar sound, complete annotation and cool liner notes. The festival took place while the Allmans were in the process of recording their second album, Idlewild South, when they appeared on July 3 as the hometown openers of the entire festival and proceeded to blow the minds of over 100,000 people — for their last set on July 5 at 3:50 a.m. they performed in front of as many as 500,000. Musically, other than a somewhat stiff version of “Statesboro Blues,†the July 3 set is magical. There is a stunning version of “Dreams†lasting almost ten minutes with beautiful Hammond/guitar interplay between Gregg and Dickey. Long and ferocious versions of “Whipping Post†and “Mountain Jam†are here, but the track on the July 3 set is Berry Oakley’s feral vocal read of Willie Dixon’s “Hoochie Coochie Man.††A short (5:49) version of this song, it has a rock & roll immediacy that is strained out of the longer versions to gain the improvisational edge. Disc one also restores Gregg Allman’s “Every Hungry Woman,†to its rightful place — previously only having been available on an anthology. Harp player Thom Doucette, no stranger to ABB fans, is here aplenty, adding his righteous, stinging harp lines to many tracks on both nights. The way Gregg’s organ playing is recorded here offers a new view of just how integral an anchor he was for both guitarists to play off. He is a monster musician and, even at this early date, was showing off his improvisational and rhythmic skills.

Disc two is graced by the original live mixes of “Statesboro Blues†and “Whipping Post†that were released on First Great Rock Festivals of the Seventies and these are stunning for their intensity and focus, as well as clarity. “Don’t Keep Me Wonderin’†is as tough a set opener as there is with the ringing slide guitars attacking one another and going for broke to kick things off. The long versions of “Stormy Monday†and “‘Liz Reed†are among the most intimate and groundbreaking the band ever recorded, while “Whipping Post†transmutes itself into a jazz tune for a few minutes and changes everything. The nearly half-hour “Mountain Jam†is deepened here by the addition of a third guitarist: Johnny Winter sits in with the ABB and Doucette for the definitive version of this classic — you can forget the one on Eat a Peach after this. While it won’t replace Live at the Fillmore East as the greatest live record ever made, this is an essential purchase for ABB fans, one that gives us the treat of a dignified rendering of a very important and defining moment in the band’s early career. It also provides an excellent, even mind-blowing introduction to a band that was at the peak of its power. - Thom Jurek

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Tracklist

DISC 1: (July 3, 1970)

01. Introduction

02. Statesboro Blues

03. Trouble No More

04. Don’t Keep Me Wonderin’

05. Dreams

06. Every Hungry Woman

07. Hoochie Coochie Man

08. In Memory Of Elizabeth Reed

09. Whipping Post

10. Mountain Jam Pt.I

11. Rain Delay

12. Mountain Jam Pt.II

DISC 2: (July 5, 1970)

01. Introduction

02. Don’t Keep Me Wonderin’

03. Statesboro Blues

04. In Memory Of Elizabeth Reed

05. Stormy Monday

06. Whipping Post

07. Mountain Jam

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Kanada Kev

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holy shit ... i've listened to this album 3x today and LOVE it. They are touring together doing a bunch of festy dates around this summer.

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Del McCoury Band and the Preservation Hall Jazz Band – American Legacies

American Legacies sounds exactly like you’d expect a joint album from Del McCoury Band and Preservation Hall Jazz Band to sound. It’s a riverboat full of rhythmically intoxicating Dixieland, blues, bluegrass, jazz and gospel that draws heavily on standards. The project began as a multi-guest collaboration, but profound chemistry between the McCoury clan and the Jazz Band quickly changed the schedule. The traditional, rollicking sound of Preservation Hall is intact throughout, and the album was recorded at the band’s west coast headquarters, but there’s no hiding Del’s mark on the record. The result is an engrossing musical document that brings together two of the most revered entities in American musical history in order to acknowledge two of America’s most important musical styles.

Many of the songs are standards performed in exquisitely familiar ways, like the endearing gospel number “I’ll Fly Away,†the ageless NOLA favorite “Milenberg Joys,†and the country nugget “You Don’t Have to Be a Baby to Cry.†Hank Williams’ rambunctious “Jambalaya,†one of the world’s most perfect tunes, sounds nothing short of iconic here with the entire group cutting loose. The 13 musicians that comprise the ensemble appear together in groups as small as six, as a selected sextet does during “A Good Gal Is Hard to Find.†But most of the album is performed with at least 8 players on any given track, often featuring multiple instances of the same instrument. This overwhelming melodic sophistication gives the whole affair a celebratory feel, especially on upbeat tracks like “The Band’s In Town,†a Jazz Band original that sees all 13 players combine dizzying NOLA street music with mountainous banjo and mandolin runs. The McCoury-penned instrumental “Banjo Frisco†is another original standout, nothing less than a touchstone track for the “hillbilly jazz†nation.

American Legacies also teems with amazing vocal work, whether its McCoury’s arresting call, Charlie Gabriel’s Satchmo-style singing, or Clint Maedgen’s impassioned soul sound. The whole thing is Americana nirvana, and while there’s no denying the authenticity and historical significance of the recording, any listener’s enjoyment of American Legacies is going to hinge on their tolerance for the style. Obviously, bluegrass and New Orleans music fans will swoon, and those with even the faintest sense of history will be as affected by the joining of the two musical forces as they are by the resulting sounds.- Bryan Rodgers

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Tracklist

1. The Band’s In Town

2. One Has My Name

3. Shoeshine Blues

4. Banjo Frisco

5. A Good Gal

6. Jambalaya

7. I’ll Fly Away

8. You Don’t Have To Be A Baby To Cry

9. The Sugar Blues

10. Mullensburg Joys

11. 50/50 Chance

12. One More Fore I Die

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Kanada Kev Newbie

Kanada Kev

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While waiting for the killer new Booker T. album with the Roots to come out, you GOTTA check out his album from two years ago. Backed by NEIL YOUNG and THE DRIVE-BY TRUCKERS!!!! Kililer.

http://bit.ly/mw2XeL

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Booker T. – Potato Hole

Everybody has heard Booker T. & the MGs’ loping, twisting instrumental hit “Green Onions,†even if they don’t know it by name. According to Rob Bowman’s exhaustive Stax history Soulsville U.S.A., the group’s original bass player Lewie Steinberg came up with the song’s title: “To him,†guitarist Steve Cropper says, “[onions] were funky because they were stinky.†That’s a useful criterion of funkiness, defining it as a know-it-when-you-smell-it quality. Potatoes aren’t especially stinky in that regard; they won’t make you cry and don’t caramelize especially well, but Booker T. Jones’ new solo album, Potato Hole, is nevertheless pungently funky, though iin a different odiferous way than his early work with the MGs.

During Stax’s heyday in the 1960s, Booker T. & the MGs (with Donald “Duck†Dunn eventually replacing Steinberg) served as the label’s house band, backing the likes of Otis Redding, Sam & Dave, Albert King and Eddie Floyd. The group was supernaturally tight, moving as a single entity rather than four unique musicians. When the band split and Stax’s fortunes went south, Booker T. released a string of solo albums and as a producer lent a streamlined precision to albums by Willie Nelson, Bill Withers, Levon Helm and Neil Young. (We’ll overlook Bruce Willis’ Return of Bruno.)

For his first solo album in 20 years, Booker T. has corralled Young and the Drive-By Truckers to back him on the all-instrumental tracks, so you know it’s going to be loose, loud, raw and crunchy. Young fits nicely amidst the Truckers (he recorded his parts separately, after Booker T. and the Truckers laid the foundation), transforming Patterson Hood and Mike Cooley’s two-guitar assault into a three-guitar scribble contest—apparently, that’s how many excellent guitar players it takes to equal one Cropper. The MGs were exacting, but the Truckers are a larger vehicle altogether, looming and formidable if not especially agile, and they give Potato Hole the casual, off-the-cuff vibe of a spirited jam session. The three guitarists show off on “Warped Sister,†sending riffs skyward like campfire sparks, and they blaze through the title track and “Native New Yorker†with giddy energy. They lurch and lumber through Tom Waits’ “Get Behind the Mule,†percolate persuasively on “She Breaks†and turn gentle on “Nan,†a valentine to Booker T.’s wife.

Booker T. is more a frontman than a bandleader here, which makes Potato Hole sound less like a solo album and more like a band project. Shonna Tucker’s nimble bass puts some spring into the songs, and drummer Brad Morgan—an unsung time-keeper and rhythm master—keeps everyone in check with his trusty cowbell. The legend may be outnumbered, but he’s never outgunned. He bends notes fluidly on “Warped Sister,†wrist-flicks licks on the sunny “Reunion Time†and ruminates tenderly on the Truckers’ “Space City.†And he gets more texture and character—real, expressive, excitable personality—out of his Hammond-B3 than eight seasons of American Idol contestants combined.

Neither a lyricist nor a singer, Booker T. still has a way with an evocative title. Opener “Pound It Out†does just that, as if banging out sheet metal. “Warped Sister†sounds truly warped, and in this funky context, “She Breaks†doesn’t suggest damage so much as it implies dancing. And then there’s “Hey Ya†which isn’t Booker T.’s composition—though it may as well be now. He and the band distill the OutKast staple to its most basic stuttering melody, fill it with some warm organ chords, unfurl a killer guitar riff and have a blast. Stinky? Maybe. Funky? Hell yeah. - Stephen M. Deusner

mp3@320

Tracklist

All tracks written by Booker T. Jones except as noted.

1. “Pound It Out†– 4:18

2. “She Breaks†– 4:22

3. “Hey Ya†(André 3000)- 3:53

4. “Native New Yorker†– 3:47

5. “Nan†– 2:08

6. “Warped Sister†– 4:47

7. “Get Behind the Mule†(Tom Waits, Kathleen Brennan) – 4:10

8. “Reunion Time†– 3:49

9. “Potato Hole†– 6:50

10. “Space City†(Mike Cooley, Drive-By Truckers) – 5:38

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Booker T. Jones – The Road from Memphis

After a bit of a bluesy rock diversion with 2009’s “Potato Hole,’’ the new record from Booker T. Jones takes him closer to home, in spite of its title. Jones is playing with a different cast this time; he’s swapped out the Drive-by Truckers for the Roots, along with Detroit psych-funk legend Dennis Coffey on guitar and Orgone percussionist Stewart Killen. And while their touches are felt, for the most part, the music hews close to the Hammond-infused, MG’s Stax sound that made him famous. That’s a good thing, as the stutter-funk of “Walking Papers,’’ covers of Gnarls Barkley’s “Crazy,’’ and Lauryn Hill’s “Everything Is Everything,’’ the driving, joyous sound of “The Hive,’’ and the perfectly titled “The Vamp’’ show. There are a few (vocal) wrinkles: Booker T. takes an infrequent turn at the microphone to sing about his Memphis on the smoldering “Down in Memphis,’’ Sharon Jones and the National’s Matt Berninger take up the same theme on “Representing Memphis,’’ and Lou Reed paints a counterpart picture on “The Bronx.’’ But overall, this is a satisfying return to Booker T.’s classic instrumental soul and funk.- Stuart Monro

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Tracklist

1. Walking Papers

2. Crazy

3. Progress (Featuring Yim Yames)

4. The Hive

5. Down In Memphis (Featuring Booker T on vocals)

6. Everything Is Everything

7. Rent Party

8. Representing Memphis (Featuring Matt Berninger & Sharon Jones)

9. The Vamp

10. Harlem House

11. The Bronx (Featuring Lou Reed)

http://bit.ly/kspzTL

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