Harmonica Henry & The Blues Rockers - Harp Rumble 1999
Blues
"One of Sweden´'s finest outfits and veterans of 20 years work turn in a credible homage to Little Walter and the Chicago sound. Still detect an accent, though." — Blues Access # 42,summer 2001
"Jan "Harmonica Henry" Sjöström may be one of the best Chicago style harmonica player in the world. He gives an accurate sound on both diatonic and chromatic harp, nice vibrato and all the necessary techniques, along with authority in playing and a very good taste. Each and every note is talking. Just listen to his lovely, hair rising interpretation of Little Walters classical tune "Sad Hour", or the fat chromatic octavo playing in "Yeah, Yeah Baby"… Highly recommended to all harmonica freaks and electric blues lovers."
By Richard Gjems.
**
JAN "Harmonica Henry" SJÖSTRÖM, "Little" HANK JANSSON and STEFAN "Big Tex" SUNDLÖF have during the last two decades acquired a well established position on the Scandinavian bluesscene mainly trough their many years in the CHICAGO EXPRESS, characterised as a band of world class.Mika Savinainen is the bassplayer on this CD. But the story of the BLUES ROCKERS started a bit earlier.
Already in 1975 Sjöström and Jansson formed the group. Sjöström has with his powerful and deep harmonica, joined the high ranks of international harp players. He has been the driving force for the Swedish blues since the seventies. The press has called the band one of Scandinavias foremost bluesbands.
By Ed Ivey.
**
Jan Sjöström- Vocal & Harmonica
Hans Jansson- Guitar
Lars Näsman- Acoustic Bass
Ola Ragnar- Drums
**
01. Nobody But You
02. Barefoot Rock
03. Please Don´t Go
04. Baby,You Better
05. Goin´Away Baby
06. This Old Life
07. Yeah,Yeah Baby
08. You Don´t Love Me
09. Sad Hours
10. Hate To See You Go
11. No Lie
12. Evans Shuffle
13. You´re Sweet
**
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Saturday, January 2, 2010
Julian “Cannonball” ADDERLEY - Know What I Mean? 1961
Julian “Cannonball” ADDERLEY - Know What I Mean? 1961
1987 Issue OJCCD-105-2 (RLP-9433)
Recorded at Bell Sound Studios, New York, New York on January 27, February 21 and March 13, 1961
Jazz
Possibly the best of Julian "Cannonball" Adderley's many releases, 1961's KNOW WHAT I MEAN? finds the alto saxophonist in a different setting. Usually found fronting hard-bop combos featuring his brother Nat on cornet, Adderley is here accompanied by pianist Bill Evans, bassist Percy Heath, and Modern Jazz Quartet drummer Connie Kay. In these more placid surroundings, Adderley showcases an entirely different side to his playing.
Accompanied by Evans' impressionistic, watery piano and Kay's low-key drums, Adderley's lines are lighter and more peaceful than his usual bluesy tone. The opening "Waltz for Debby" and the moody "Who Cares" could pass for outtakes from Miles Davis' KIND OF BLUE, a record on which both Adderley and Evans had played. KNOW WHAT I MEAN? is something of an anomaly for Adderley, but it's a delightful one. This is an under-appreciated masterwork of modern jazz. The CD includes two alternate takes.(04,10)
**
Julian “Cannonball” Adderley- Alto Sax
Bill Evans- Piano
Percy Heath- Bass
Connie Kay- Drumm
**
01. Waltz For Debby (5:12)
02.Goodbye (Gordon Jenkins) (6:15)
03. Who Cares? (Take 5) (George & Ira Gershwin) (5:57)
04. Who Cares? (Take 4) (George & Ira Gershwin) (5:55)
05. Venice (John Lewis) (2:55)
06. Toy (Clifford Jordan) (5:08)
07. Elsa (Earl Zindars)(5:52)
08. Nancy (With the Laughing Face)(Van Heusen-silvers) (4:07)
09. Know What I Mean? (Re-Take 7)(Bill Evans) (4:54)
10. Know What I Mean? (Take 12)(Bill Evans) (7:01)
**
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1987 Issue OJCCD-105-2 (RLP-9433)
Recorded at Bell Sound Studios, New York, New York on January 27, February 21 and March 13, 1961
Jazz
Possibly the best of Julian "Cannonball" Adderley's many releases, 1961's KNOW WHAT I MEAN? finds the alto saxophonist in a different setting. Usually found fronting hard-bop combos featuring his brother Nat on cornet, Adderley is here accompanied by pianist Bill Evans, bassist Percy Heath, and Modern Jazz Quartet drummer Connie Kay. In these more placid surroundings, Adderley showcases an entirely different side to his playing.
Accompanied by Evans' impressionistic, watery piano and Kay's low-key drums, Adderley's lines are lighter and more peaceful than his usual bluesy tone. The opening "Waltz for Debby" and the moody "Who Cares" could pass for outtakes from Miles Davis' KIND OF BLUE, a record on which both Adderley and Evans had played. KNOW WHAT I MEAN? is something of an anomaly for Adderley, but it's a delightful one. This is an under-appreciated masterwork of modern jazz. The CD includes two alternate takes.(04,10)
**
Julian “Cannonball” Adderley- Alto Sax
Bill Evans- Piano
Percy Heath- Bass
Connie Kay- Drumm
**
01. Waltz For Debby (5:12)
02.Goodbye (Gordon Jenkins) (6:15)
03. Who Cares? (Take 5) (George & Ira Gershwin) (5:57)
04. Who Cares? (Take 4) (George & Ira Gershwin) (5:55)
05. Venice (John Lewis) (2:55)
06. Toy (Clifford Jordan) (5:08)
07. Elsa (Earl Zindars)(5:52)
08. Nancy (With the Laughing Face)(Van Heusen-silvers) (4:07)
09. Know What I Mean? (Re-Take 7)(Bill Evans) (4:54)
10. Know What I Mean? (Take 12)(Bill Evans) (7:01)
**
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Billy COBHAM, Colin TOWNS & HR-BigBand - Meeting of the Spirits, A Celebration of the Mahavishnu Orchestra
Billy COBHAM, Colin TOWNS & HR-BigBand - Meeting of the Spirits, A Celebration of the Mahavishnu Orchestra
Jazz
Mahavishnu's guitarist, John McLaughlin, never expected to hear his compositions played by a big band. The music on this CD, he says, is a revelation to him. Meeting Of The Spirits successfully presents Mahavishnu music in a way you'll never have experienced it before.
**
There's been a rush of Mahavishnu Orchestra related projects during the last two years. First there was Mahavishnu keyboardist Jan Hammer playing Mahavishnu music with guitarist Jeff Beck in Europe. Then there was the Jeff Richman-produced tribute album, Visions Of An Inner Mounting Apocalypse. There is the ongoing success of the Mahavishnu Project band and its VishnuFest. And just this month, Hammer shows up on the new album from drummer Billy Cobham.
There's plenty more too. The recent release of the wonderful A Meeting Of Spirits album from the brilliant keyboardist Gary Husband. A cover of the Mahavishnu classic, "Thousand Island Park," from keyboard wizard Mitchel Forman on his new Perspectives disc. And just a few weeks ago, the pairing of Cobham and Mahavishnu violinist Jerry Goodman, who had not played together in over thirty years, for a performance of Mahavishnu music with the hr-Bigband at the Berlin Jazz Festival. Up next will be a DVD of a performance from the second version of the Mahavishnu Orchestra at the Montreux Jazz Festival in 1974.
We've been lucky so far. Those who have chosen to interpret this engaging, but very challenging, music have produced work worthy of Mahavishnu's legacy. This new disc from Germany's hr-Bigband (a performance broadcast live on German radio earlier this year) is no exception. The hr-Bigband's manager, Olaf Stotzler, had been looking for someone who would take the music and crash through barriers with it—and in English arranger/composer Colin Towns he found him.
Initial exposure to the Mahavishnu Orchestra could sometimes be overwhelming. The original band's complex time signatures, most evident in Cobham's masterful drumming, could be confusing to musicians and audiences alike. But if you stuck with them, you'd likely find yourself locked into the groove. Towns and the hr-Bigband have taken this dimension even further. There are main themes being performed while sub-themes and sub-sub-themes are being played simultaneously. At first it's almost too much—until you remember the spirit of the original band. To take this music out, you need to take it out. Only then do you find yourself immersed in the arrangements and lost in lofty thought.
Cobham revisits his past with fervor. His drumming remains a dominant, driving force. Time has passed and he takes more reflective solos, but his support playing is still powerful and compelling. The band itself is full of accomplished musicians who seem to understand the nuance—even if it is bombastic—of the music. Martin Scales' guitar captures the essence of the original sounds without attempting to mimic them. The horns and keyboards provide their version of swing for music in which sometimes the swing is implied. It's a full-bodied sound with all the power you'd expect from a big band. Yet the players are at home too in quiet sections of great beauty. To be able to carry off that latter aspect of the Mahavishnu music, as required by Towns' arrangements, is key to any successful interpretation of these tunes.
The way the album has been edited creates what could be considered one long composition, seamlessly formed of movements from the first and second Mahavishnus. This imbues a sense of building tension which is released on the final cut, “Meeting Of The Spirits,” and through the joyous yelps of an appreciative crowd, whose enthusiasm throughout is part of the listening experience. ”
**
Billy Cobham- (Drums)
Colin Towns- (Arranger and Director)
Bigband:
Heinz Dieter Sauerborn- (Alto Sax, Flute)
Oliver Leicht- (Alto Sax, Soprano Sax, Flute)
Harry Petersen- (Tenor Sax, Clarinet, Flute)
Johannes Enders- (Tenor Sax, Soprano Sax, Flute)
Rainer Heute- (Baritone Sax, Bass Clarinet)
Tobias Weidinger- (Trumpet, Flugelhorn)
Martin Auer- (Trumpet, Flugelhorn)
Thomas Vogel- (Trumpet, Flugelhorn)
Axel Schlosser- (Trumpet, Flugelhorn)
Gunter Bollmann- (Trombone)
Peter Feil- (Trombone)
Christian Jaksjo- (Trombone)
Manfred Honetschlager- (Bass Trombone)
Martin Scales- (Guitar)
Peter Reiter- (Piano, Fender Rhodes, Keyboards)
Thomas Heidepriem- (Electric Bass)
**
01. Hope 1:55
02. Birds Of Fire 6:23
03. Miles Beyond 4:40
04. Resolution 4:19
05. Cosmic Strut 3:42
06. Dawn 9:08
07. Eternity's Breath (Parts 1 & 2) 6:41
08. Sanctuary 9:54
09. Celestial Terrestrial Commuters 3:18
10. You Know, You Know 5:20
11. One Word 11:47
12. Meeting Of The Spirits 6:59
**
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Jazz
Mahavishnu's guitarist, John McLaughlin, never expected to hear his compositions played by a big band. The music on this CD, he says, is a revelation to him. Meeting Of The Spirits successfully presents Mahavishnu music in a way you'll never have experienced it before.
**
There's been a rush of Mahavishnu Orchestra related projects during the last two years. First there was Mahavishnu keyboardist Jan Hammer playing Mahavishnu music with guitarist Jeff Beck in Europe. Then there was the Jeff Richman-produced tribute album, Visions Of An Inner Mounting Apocalypse. There is the ongoing success of the Mahavishnu Project band and its VishnuFest. And just this month, Hammer shows up on the new album from drummer Billy Cobham.
There's plenty more too. The recent release of the wonderful A Meeting Of Spirits album from the brilliant keyboardist Gary Husband. A cover of the Mahavishnu classic, "Thousand Island Park," from keyboard wizard Mitchel Forman on his new Perspectives disc. And just a few weeks ago, the pairing of Cobham and Mahavishnu violinist Jerry Goodman, who had not played together in over thirty years, for a performance of Mahavishnu music with the hr-Bigband at the Berlin Jazz Festival. Up next will be a DVD of a performance from the second version of the Mahavishnu Orchestra at the Montreux Jazz Festival in 1974.
We've been lucky so far. Those who have chosen to interpret this engaging, but very challenging, music have produced work worthy of Mahavishnu's legacy. This new disc from Germany's hr-Bigband (a performance broadcast live on German radio earlier this year) is no exception. The hr-Bigband's manager, Olaf Stotzler, had been looking for someone who would take the music and crash through barriers with it—and in English arranger/composer Colin Towns he found him.
Initial exposure to the Mahavishnu Orchestra could sometimes be overwhelming. The original band's complex time signatures, most evident in Cobham's masterful drumming, could be confusing to musicians and audiences alike. But if you stuck with them, you'd likely find yourself locked into the groove. Towns and the hr-Bigband have taken this dimension even further. There are main themes being performed while sub-themes and sub-sub-themes are being played simultaneously. At first it's almost too much—until you remember the spirit of the original band. To take this music out, you need to take it out. Only then do you find yourself immersed in the arrangements and lost in lofty thought.
Cobham revisits his past with fervor. His drumming remains a dominant, driving force. Time has passed and he takes more reflective solos, but his support playing is still powerful and compelling. The band itself is full of accomplished musicians who seem to understand the nuance—even if it is bombastic—of the music. Martin Scales' guitar captures the essence of the original sounds without attempting to mimic them. The horns and keyboards provide their version of swing for music in which sometimes the swing is implied. It's a full-bodied sound with all the power you'd expect from a big band. Yet the players are at home too in quiet sections of great beauty. To be able to carry off that latter aspect of the Mahavishnu music, as required by Towns' arrangements, is key to any successful interpretation of these tunes.
The way the album has been edited creates what could be considered one long composition, seamlessly formed of movements from the first and second Mahavishnus. This imbues a sense of building tension which is released on the final cut, “Meeting Of The Spirits,” and through the joyous yelps of an appreciative crowd, whose enthusiasm throughout is part of the listening experience. ”
**
Billy Cobham- (Drums)
Colin Towns- (Arranger and Director)
Bigband:
Heinz Dieter Sauerborn- (Alto Sax, Flute)
Oliver Leicht- (Alto Sax, Soprano Sax, Flute)
Harry Petersen- (Tenor Sax, Clarinet, Flute)
Johannes Enders- (Tenor Sax, Soprano Sax, Flute)
Rainer Heute- (Baritone Sax, Bass Clarinet)
Tobias Weidinger- (Trumpet, Flugelhorn)
Martin Auer- (Trumpet, Flugelhorn)
Thomas Vogel- (Trumpet, Flugelhorn)
Axel Schlosser- (Trumpet, Flugelhorn)
Gunter Bollmann- (Trombone)
Peter Feil- (Trombone)
Christian Jaksjo- (Trombone)
Manfred Honetschlager- (Bass Trombone)
Martin Scales- (Guitar)
Peter Reiter- (Piano, Fender Rhodes, Keyboards)
Thomas Heidepriem- (Electric Bass)
**
01. Hope 1:55
02. Birds Of Fire 6:23
03. Miles Beyond 4:40
04. Resolution 4:19
05. Cosmic Strut 3:42
06. Dawn 9:08
07. Eternity's Breath (Parts 1 & 2) 6:41
08. Sanctuary 9:54
09. Celestial Terrestrial Commuters 3:18
10. You Know, You Know 5:20
11. One Word 11:47
12. Meeting Of The Spirits 6:59
**
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Sergio MENDES & Brasil ’66 - Equinox 1967
Sergio MENDES & Brasil ’66 - Equinox 1967
A&M SP 4122
Jazz
Equinox continues the scrumptiously winning sound that Sergio Mendes cooked up in the mid-'60s, this time a bit more fleshed out with John Pisano's guitar, a slightly thicker texture, and even an imitation sitar (this was, after all, 1967). Again, the mix of American pop tunes old and new and Brazilian standards and sleepers is impeccable (although it didn't yield any substantial hits), and the treatments are smooth, swinging, and very much to the point. While Mendes reaps a predictable harvest from Antonio Carlos Jobim -- he was one of the first to discover and record "Triste" and "Wave" -- he also likes to explore the work of other outstanding Brazilian writers like Jorge Ben, Joao Gilberto, and especially Edu Lobo (whose "For Me," with its bright flashes of combo organ, is one of the album's highlights). Lani Hall's star was just rising at this time, and it is her cool, clear voice that haunts the memory most often. Like its predecessor, Equinox is exceedingly brief in duration, yet not a motion is wasted.
By Richard S. Ginell, All Music Guide.
**
Sergio Mendes- Piano, Vocals, Arranger
Lani Hall- Vocals
Janis Hansen- Vocals
John Pisano- Guitar
Bob Matthews- Bass, Vocals
José Soares- Percussion, Vocals
João Palma- Drums
**
A1 Constant Rain (Chove Chuva) 3:20
A2 Cinnamon and Clove 2:27
A3 Watch What Happens 2:50
A4 For Me 3:25
A5 Bim-Bom 1:58
B1 Night & Day 3:10
B2 Triste 2:11
B3 Gente 1:56
B4 Wave 2:20
B5 So Danco Samba (Jazz 'n Samba) 1:58
**
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A&M SP 4122
Jazz
Equinox continues the scrumptiously winning sound that Sergio Mendes cooked up in the mid-'60s, this time a bit more fleshed out with John Pisano's guitar, a slightly thicker texture, and even an imitation sitar (this was, after all, 1967). Again, the mix of American pop tunes old and new and Brazilian standards and sleepers is impeccable (although it didn't yield any substantial hits), and the treatments are smooth, swinging, and very much to the point. While Mendes reaps a predictable harvest from Antonio Carlos Jobim -- he was one of the first to discover and record "Triste" and "Wave" -- he also likes to explore the work of other outstanding Brazilian writers like Jorge Ben, Joao Gilberto, and especially Edu Lobo (whose "For Me," with its bright flashes of combo organ, is one of the album's highlights). Lani Hall's star was just rising at this time, and it is her cool, clear voice that haunts the memory most often. Like its predecessor, Equinox is exceedingly brief in duration, yet not a motion is wasted.
By Richard S. Ginell, All Music Guide.
**
Sergio Mendes- Piano, Vocals, Arranger
Lani Hall- Vocals
Janis Hansen- Vocals
John Pisano- Guitar
Bob Matthews- Bass, Vocals
José Soares- Percussion, Vocals
João Palma- Drums
**
A1 Constant Rain (Chove Chuva) 3:20
A2 Cinnamon and Clove 2:27
A3 Watch What Happens 2:50
A4 For Me 3:25
A5 Bim-Bom 1:58
B1 Night & Day 3:10
B2 Triste 2:11
B3 Gente 1:56
B4 Wave 2:20
B5 So Danco Samba (Jazz 'n Samba) 1:58
**
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Friday, January 1, 2010
Yusef LATEEF - A flat, G flat and C 1966
Yusef LATEEF - A flat, G flat and C 1966
Jazz
Yusef Lateef (heard on tenor, alto, flute, oboe and the mysterious-sounding theremin) is in explorative and consistently colorful form on this out-of-print LP, one of many Impulse sessions that are long overdue to be reissued on CD. With the assistance of pianist Hugh Lawson, bassist Reggie Workman and drummer Roy Brooks, Lateef performs ten songs (eight are his originals) that are all at least in abstract form related to the blues. Well worth several listens.
By Scott Yanow, All Music Guide.
**
Hugh Lawson- Piano
Roy Brooks- Drums
Reggie Workman- Bass
Yusef Lateef- Saxophone [Tenor, Alto], Flute, Oboe, Theremin
**
A1. Warm Hearted Blues
A2. Nile Valley Blues
A3. Robbie
A4. Psyche Rose
A5. Chuen Blues
B1. Feather Comfort
B2. Blind Willie
B3. Feelin' Alright
B4. Sound Wave
B5. Kyoto Blues
**
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Jazz
Yusef Lateef (heard on tenor, alto, flute, oboe and the mysterious-sounding theremin) is in explorative and consistently colorful form on this out-of-print LP, one of many Impulse sessions that are long overdue to be reissued on CD. With the assistance of pianist Hugh Lawson, bassist Reggie Workman and drummer Roy Brooks, Lateef performs ten songs (eight are his originals) that are all at least in abstract form related to the blues. Well worth several listens.
By Scott Yanow, All Music Guide.
**
Hugh Lawson- Piano
Roy Brooks- Drums
Reggie Workman- Bass
Yusef Lateef- Saxophone [Tenor, Alto], Flute, Oboe, Theremin
**
A1. Warm Hearted Blues
A2. Nile Valley Blues
A3. Robbie
A4. Psyche Rose
A5. Chuen Blues
B1. Feather Comfort
B2. Blind Willie
B3. Feelin' Alright
B4. Sound Wave
B5. Kyoto Blues
**
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Flávio GUIMARÃES - On The Loose 1998
Flávio GUIMARÃES - On The Loose 1998
Blues
Flávio Guimarães is a harmonica player, singer and blues pioneer in Brazil.
He is the founding member of the most important blues band in Brazil: Blues Etilicos.
He opened shows for B. B. King and Robert Cray and played with blues legends like Buddy Guy and Taj Mahal. He has played more than 2000 shows across Brazil, Argentina, the United States, and Europe.
**
01. Keep it yourself
02. Berimbau não é gaita
03. You was young
04. Checkin' on my baby
05. On the loose
06. Baby what you want me to do
07. Boogie pro Rafa
08. Jam for Big Walter
09. Blowin' the family's jewels
10. Rock with me
11. Tributo a William Clarke
**
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Blues
Flávio Guimarães is a harmonica player, singer and blues pioneer in Brazil.
He is the founding member of the most important blues band in Brazil: Blues Etilicos.
He opened shows for B. B. King and Robert Cray and played with blues legends like Buddy Guy and Taj Mahal. He has played more than 2000 shows across Brazil, Argentina, the United States, and Europe.
**
01. Keep it yourself
02. Berimbau não é gaita
03. You was young
04. Checkin' on my baby
05. On the loose
06. Baby what you want me to do
07. Boogie pro Rafa
08. Jam for Big Walter
09. Blowin' the family's jewels
10. Rock with me
11. Tributo a William Clarke
**
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Canned HEAT - Canned Heat In Concert (King Biscuit Flower Hour) 1995
Canned HEAT - Canned Heat In Concert (King Biscuit Flower Hour) 1995
1995 Issue 8005.2
Blues
From the archives of the King Biscuit Flower Hour syndicated radio concert series comes one of the only, if not the only, professionally recorded live disc to feature this particular reincarnation of the 1960s blues and boogie band Canned Heat. They took part in both the Monterey International Pop Music Festival (June 1967) as well as the Woodstock Music & Arts Fair (August 1969), yet failed to garner the commercial success worthy of their considerable instrumental prowess. In fact, the set captured here is taken from the Heat's appearance at a Woodstock reunion show held September 7, 1979, in Brookhaven, NY. This lineup incorporates Larry Taylor (bass/vocals), Bob "The Bear" Hite (harmonica/vocals), and Adolfo "Fito" de la Parra (drums), as well as more recent personnel Mike "Hollywood Fats" Mann (guitar) and Jay Spell (piano). In addition to the anticipated readings of their best-known works "On the Road Again" and "Going Up the Country," there are more than competent cover versions of William Harris' "Bullfrog Blues" -- dating back to their debut, Canned Heat (1967) -- as well as Amos Milburn's R&B Creole anthem "Chicken Shack Boogie." Another highlight is the ten-plus minute title track to Canned Heat's concurrent effort, Human Condition (1978), their last with Hite, who passed in 1981 of a heart seizure. The performance concludes with a thoroughly involved "Shake 'n Boogie," which harks back to the type of white-hot playing that the original combo became known for. The contents have also been issued as Greatest Hits Live and the DVD audio 5.1 DTS Surround Sound From the Front Row Live, both released in 2003.
By Lindsay Planer, All Music Guide.
**
In September of 1979, Canned Heat was invited to the celebration of the 10th anniversary of the Woodstock Festival at Brookhaven, Long Island, New York, where this live recording was made.
In the true Canned Heat tradition, it was a great party. The line-up then was a very strong musical force with three original members Bob Hite, Fito de la Parra and Larry Taylor plus two outstanding musicians Mike "Hollywood Fats" Mann on lead guitar and blind piano player Jay Spell, who also sings "On the Road Again" and "Going Up the Country" on this recording.
Disco music was at its height and Canned Heat was having a rough time maintaining popularity in spite of the good music we were making. Not withstanding this trend, a lot of hard core boogie and blues fans got together and enjoyed themselves boogieing with the Heat.
During these times the Dan Akroyd and John Belushi movie "The Blues Brothers" had just been released, making the blues scene suddenly fashionable. The Bear and Hollywood Fats - both tremendous eaters- while downing their second hamburger, stoned in a greasy joint, started calling themselves "The Burger Brothers".
On this historical show Bob "The Bear" shines not only as a great blues singer, but also as a performer creating an environment for fun and a "Get Down And Boogie" attitude with his comments along with the other guys in the band making a party out of the show.
This is the only live recording in existence to feature Canned Heat with "Hollywood Fats" and Bob Hite together. "The Bear" was to die a broken and disappointed man heavily involved in drugs and alcohol only two years after this performance. Shortly after, "Hollywood Fats" suffered the same fate. The loss of these two great talents will be deeply missed by all of us.
Under my leadership, Canned heat continues to record and perform worldwide to this day. For fans and musicologists interested in the history of the band, I am currently working on the book "Living the Blues", the story of Canned Heat, which will be hopefully published in 1995. Enjoy this live performance of Canned Heat, and as "The Bear" always said: "Don't forget to boogie."
**
Bob Hite- Harmonica,Vocals
Adolfo de la Parra- Drums
Jay Spell- Vocals,Piano
Antonio de la Barreda- Bass
Larry Taylor- Vocals
Hollywood Fats- Guitar
**
01. Intro 1:06
02. On the Road Again 4:29
03. Bullfrog Blues 3:28
04. Chicken Shack 4:46
05. Stand Up for What You Are 3:51
06. Goin' Up the Country 4:22
07. Don't Know Where She Went (She Split) 5:26
08. Human Condition 11:52
09. Shake 'n Boogie 7:38
**
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1995 Issue 8005.2
Blues
From the archives of the King Biscuit Flower Hour syndicated radio concert series comes one of the only, if not the only, professionally recorded live disc to feature this particular reincarnation of the 1960s blues and boogie band Canned Heat. They took part in both the Monterey International Pop Music Festival (June 1967) as well as the Woodstock Music & Arts Fair (August 1969), yet failed to garner the commercial success worthy of their considerable instrumental prowess. In fact, the set captured here is taken from the Heat's appearance at a Woodstock reunion show held September 7, 1979, in Brookhaven, NY. This lineup incorporates Larry Taylor (bass/vocals), Bob "The Bear" Hite (harmonica/vocals), and Adolfo "Fito" de la Parra (drums), as well as more recent personnel Mike "Hollywood Fats" Mann (guitar) and Jay Spell (piano). In addition to the anticipated readings of their best-known works "On the Road Again" and "Going Up the Country," there are more than competent cover versions of William Harris' "Bullfrog Blues" -- dating back to their debut, Canned Heat (1967) -- as well as Amos Milburn's R&B Creole anthem "Chicken Shack Boogie." Another highlight is the ten-plus minute title track to Canned Heat's concurrent effort, Human Condition (1978), their last with Hite, who passed in 1981 of a heart seizure. The performance concludes with a thoroughly involved "Shake 'n Boogie," which harks back to the type of white-hot playing that the original combo became known for. The contents have also been issued as Greatest Hits Live and the DVD audio 5.1 DTS Surround Sound From the Front Row Live, both released in 2003.
By Lindsay Planer, All Music Guide.
**
In September of 1979, Canned Heat was invited to the celebration of the 10th anniversary of the Woodstock Festival at Brookhaven, Long Island, New York, where this live recording was made.
In the true Canned Heat tradition, it was a great party. The line-up then was a very strong musical force with three original members Bob Hite, Fito de la Parra and Larry Taylor plus two outstanding musicians Mike "Hollywood Fats" Mann on lead guitar and blind piano player Jay Spell, who also sings "On the Road Again" and "Going Up the Country" on this recording.
Disco music was at its height and Canned Heat was having a rough time maintaining popularity in spite of the good music we were making. Not withstanding this trend, a lot of hard core boogie and blues fans got together and enjoyed themselves boogieing with the Heat.
During these times the Dan Akroyd and John Belushi movie "The Blues Brothers" had just been released, making the blues scene suddenly fashionable. The Bear and Hollywood Fats - both tremendous eaters- while downing their second hamburger, stoned in a greasy joint, started calling themselves "The Burger Brothers".
On this historical show Bob "The Bear" shines not only as a great blues singer, but also as a performer creating an environment for fun and a "Get Down And Boogie" attitude with his comments along with the other guys in the band making a party out of the show.
This is the only live recording in existence to feature Canned Heat with "Hollywood Fats" and Bob Hite together. "The Bear" was to die a broken and disappointed man heavily involved in drugs and alcohol only two years after this performance. Shortly after, "Hollywood Fats" suffered the same fate. The loss of these two great talents will be deeply missed by all of us.
Under my leadership, Canned heat continues to record and perform worldwide to this day. For fans and musicologists interested in the history of the band, I am currently working on the book "Living the Blues", the story of Canned Heat, which will be hopefully published in 1995. Enjoy this live performance of Canned Heat, and as "The Bear" always said: "Don't forget to boogie."
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Bob Hite- Harmonica,Vocals
Adolfo de la Parra- Drums
Jay Spell- Vocals,Piano
Antonio de la Barreda- Bass
Larry Taylor- Vocals
Hollywood Fats- Guitar
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01. Intro 1:06
02. On the Road Again 4:29
03. Bullfrog Blues 3:28
04. Chicken Shack 4:46
05. Stand Up for What You Are 3:51
06. Goin' Up the Country 4:22
07. Don't Know Where She Went (She Split) 5:26
08. Human Condition 11:52
09. Shake 'n Boogie 7:38
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