1 comments about One Eye Open: Live at Rosa's Lounge, Chicago.

1. A must-have for blues lovers. It is a true to the 50's performance by one of the best Chicago blues bands performing in Chicago today. This CD was recorded and filmed (see DVD on their www.mississippiheat.net site) at Rosa's Lounge in July 2006. Pierre is in rare form with mind-blowing support and solos. Pierre is a creative and versatile performer and sonwriter. Inetta is simply the best blues diva in Chicago; her voice is voice deep and evocative. Lurrie Bell and Max Valdeneu are on guitars and they collaborrate to create the best blues can offer today. Chris Hambone Cameron on organ is fantastic in support and on solos.
   A truly outstanding CD and DVD.
   Was number 4 on the Living Blues radio charts.
   Mississippi Heat: One Eye Open - Live at Rosa's Lounge Chicago

2 comments about Live At Joe's.

1. Even the most traditional blues fans like to have a little fun now and then. Wallace Coleman delivers the fun. It is rare when an artist succeeds in connecting today with the past - heritage with evolution - in a genre. Wallace Coleman does just that. Whether it's serious back room, smoky bar, down home, goose pimple raising pure blues as in "Lonesome Room Blues", or light hearted fun with a blues flair original as in "Big Dog Blues", Wallace delivers the goods. A purist's dream live half-track recording captures the spirit of a very special band. A must have if you love the blues!



2. Wallace Coleman was part of Robert Lockwood Jr.'s band through the sixties and until recently where his Little Walter inspired harp was a delight to those who caught him with Lockwood. There is nothing fancy about the music here as Coleman displays his stylistic indebtedness to Walter on a very nice programme of mostly classic blues including "Juke" "One More Chance With you," and "Tell me Mama" as well as songs associated with Jimmy Rogers "You're the One" and "My Last Wheel," and Muddy Waters "Young Fashioned Ways." Throw in a few originals including the slow "Hard Life" with some nice chromatic harp playing and the jazzy "Love Spell." and one gets a nicely sung and played set of performances that are centered on Coleman's very likeable, unforced vocals and fluid harp playing. The band provides a steady, swinging foundation. The guitarists get their solo spots but their playing does not intrude when Coleman is in the fore. Nothing startingly original here perhaps, but Coleman and band do a solid job in evoking the classic Chicago blues sound which certainly appeals to these ears and I know other ears as well.

3 comments about Paris 1972.

1. The sound is good. It's not the best live Muddy, but you probably already have Live at Newport and Muddy "Mississippi" Waters Live. Muddy is in good form, and Clouds In My Heart is a great and rare song. Fun versions of Blow Wind Blow and Honey Bee. If you are into Muddy, you won't regret this one. Pine Top Perkins on piano. George "Mojo" Buford on harmonica.



2. There is a lot of live Muddy Waters available (which is a good thing), and almost all of it is very good. Some of it is even great, and this one is somewhere in between.
   Well, no, that's not quite fair...this is great music, it's just not the best available live Muddy (that would be "Mojo - The Live Collection" and the sublime "Chicago 1979", and of course "Muddy Waters At Newport 1960"). But even second-rate live Muddy blows most other artists' best efforts out of the water, and this is only second-rate because we have the Newport album to compare it to.
   
   Muddy Waters and his band are somewhat more subdued here than on most of his live releases, which may not be to everybody's liking, and the otherwise excellent Pinetop Perkins is perhaps not quite as inspired as on most other live discs (although he does shine on a handful of tracks). But there is a lot of great stuff here nonetheless, including the rarely heard "Lovin' Man", a fine, slow "County Jail" with some good slide playing, and tough renditions of "Honey Bee", "Blow Wind Blow", and "Walking Thru The Park".
   
   The mixing is strange at times - odd fader moves key up the wrong instruments - and literally everything is played in the same key (and it's not even E, it's G natural). But the band is too good for little things like that to ruin the show - George "Mojo" Buford plays meaty harmonica fills, and drummer Willie Smith and second guitarist Louis Myers are excellent. Too bad that Myers' solo on "Blow Wind Blow" is partly drowned out when the mixer decides to key in Muddy Waters' rhythm guitar instead.
   But the fidelity is really good, and the music is rock-solid, even if the key never varies. We've heard "Got My Mojo Working" and "Hoochie Coochie Man" live about a hundred times before, but there are also some relatively rare performances here, like the full-band treaments of "Walkin' Blues" and "Rollin' 'N' Tumblin'", and a seven-minute "Clouds In My Heart".
   
   Not the place to start your Muddy Waters-collection, perhaps, but certainly a stop that you should make along the way. Great music superbly played by one of the best blues bands of all time.
   4 1/2 stars.



3. His previous experiance in Europe alowed Muddy Waters to see that he needed to tone down the volume on his amp. Europe wasn't crazy about his loud slide leads. So, in this concert, Muddy and his band sound almost like a jazz band. These are some awesome songs. Most songs last over five minutes -- packed full of slide and harmonica. This is one of the greatest albums ever. Muddy's old harmonica player took to the guitar in this concert. His mojo was workin' that night. Muddy plays most of his usual solos, and re-creates such songs as Honey Bee, and Hoochie Coochie Man. I love this album.

3 comments about The 'Spoon Concerts.

1. Actually, I own the Italian edition of the CD, which starts with Monterey set (last 5 numbers of this CD) instead of the Reinessance club (LA) set (everything else).
   
   The great, flexible and very suggestive vocal of Jimmy Witherspoon (Spoon) is in the all-stars jazz company in both sets; the mighty tenor of Ben Webster and sensitive but explosive drumming of Mel Lewis connect the sessions (both concerts were held in 1959). On the Reneissance club set The Spoon is joined by a great youngster Gerry Mulligan, who has once again proved how capable he was of working with older musicians, Jimmy Rowles on piano and Leroy Vinegar on bass and it's quite obvious that both the singer and the players now how to merge jazz and blues.
   
   However, it is the Monterey set I really dig; with Coleman Hawkins (ts), Roy Eldridge /tp) Woody Herman (cl) and Earl "Fatha" Hines (p) (in addition to the already mentioned) cook up a storm, with some really hot solos, great accompanyiment and some explosive riffs and climaxes...
   
   The choice of material is brilliant (mostly standards); if you're new to blues or jazz, you should check out this album....



2. The CD now comes in a different cover than the one depicted here but the music inside is the same. Jimmy Witherspoon is a great singer. The music is from two different concerts and they are both well recorded. The all star back up bands are perfectly suited for his jazzy blues vocals. You can tell he was having a great time. The liner notes even mentions that this was the first time his mother attended one of his concerts. I really enjoy this CD.



3. I went on a 6 month trip with only a few tapes to listen to and this was one of them. And man did I listen! I probably played this album 100 times, and never got sick of it. This album is one of, if not the best fusions of blues and jazz that I've heard. If you're at all interested, then buy this one. It moves from slow to fast seamlessly and old Jimmy's even got a song dedicated to his mother in the audience. Its a good 'un.

5 comments about Sol Power.

1. This live acoustic performance has an intimate feel. It was recorded in 1997 at Railroad Blues, a beer and wine/music venue in Alpine, West Texas, out near the middle of nowhere on the way to Big Bend National Park.
   
   Price was one of the leading ladies of Austin music when she made this album. (She recently moved to San Diego.) She was voted Best Female vocalist and packed them in at the Continental Club each week. She put in her time in Nashville, but she found Austin more friendly for musicians, and it allowed her to be eclectic in her style, ranging from folk to rock to straight country to jazz pop. She hasn't tried to break through to the highest levels of national stardom, preferring to keep her sanity and spend time with her daughter. That's probably all for the best as far as her music goes, as she can do it as she pleases.
   
   Price has a fine voice, clear with a touch of country nasality and twang, breathy when quiet. She can put a little guttural gravel into it too. Though there are four musicians on the stage for this performance, it's not your ordinary band. Price sings and the other three all play acoustic guitars, with one switching to fiddle for about half the songs. Sometimes there's something like a bass line (more like a baritone line, since there's no bass guitar), sometimes just a lot of rhythm and picking, sometimes with a slide and some twang. Sometimes they add vocal harmonies. It all makes for a folkier sound than Price's studio albums. Since this is a live recording, not everything is perfect, but everyone seems to be having fun. The sound quality is generally very good, everything clear.
   
   The songs are varied, mostly countryish in some way or other, with a fine blues and an especially fun soul funk (guess which one). Seven of the thirteen songs (the first and last cuts are sounds of a train and the town of Alpine) are by Nashville songwriter Gwil Owen, a favorite writer for Price. His "Burnin' Down" has particularly stuck with me. Three songs are by Nashviller Herb McCullough and associates. All good songs.
   
   The backing musicians are, or were, also stars on the Austin music scene, and were longtime players with Price. Champ Hood, the one who doubles on fiddle, was a founding member of cult favorite Uncle Walt's Band, with Walter Hyatt and David Ball ("Thinkin' Problem"). He played with folks like Lyle Lovett, Jimmie Dale Gilmour, Jerry Jeff Walker, and Kelly Willis, in addition to his own weekly solo shows. He died in 2001, age 49.
   
   "Scrappy" Jud Newcomb was the guitarist for the Austin band Loose Diamonds, currently playing with ex-Faces rocker Ian McLagan (who relocated to Austin several years ago). He plays with a variety of Austin musicians and does his own solo work as well.
   
   Rick "Casper" Rawls was once a sound tech and rigger for touring rock bands including Styx, Heart and Supertramp. When the latter's Roger Hodgson heard him play guitar, he made him quit to take up his own career as a musician. He's played for over twenty years with the southwestern rock band the LeRoi Brothers, toured with Kelly Willis, and has played with many Austin and other musicians, in addition to his solo work.
   
   Rawls is the only one of the four on this CD who's actually from Texas, but all have soaked up and added to the Texas music scene, giving the CD a definite Texas flavor.
   
   So, good singer, good songs, good players, good venue, good recording: all adds up to a good time.
   
   If there are no music samples on this page, you can find them here.



2. the album is great...when I paid for the 2 day shipping I expected to receive the CD in 3 days, not 2 weeks...I paid for 2 day shipping from outpost.com, and got the item the next day, now that's how to run a business, not like amazon apparently does



3. I first became aware of Toni Price through a piece I heard on NPR on my way to work (side note: Thank God for NPR! Death to Clear Channel!). I was immediately attracted to her lean, soulful voice. It has that sophisticated West Texas thing going, where a voice can express space and freedom without descending into a twang. Later, I checked the sound bites from this page, and hesitated before buying the album. I'm very glad I went forward with the purchase. You need to relax and listen through the whole thing to really get it. The best thing I can say about this album is that it has resided almost full time in the CD player of my car since I got it. The second best is that not only do *I* love it, but so do my three kids (they are preteens, and NOT always receptive to anything as subtle as this music!). Try it. You'll like it.



4. This is a tremendous live album (and, if you write to Toni, you can order the 4 song video shot at the club where the album was recorded). Not only is Toni in fine voice, but her awesome band of Champ, Scrappy Judd, and Casper fit every song perfectly. There are songs that will make you laugh and dance and make love and there are songs that will bend your heart back into place. One song, "What's It Take?" is so soulful and candid that you know Buddy Holly wishes he'd done it. Get this cd and tell AUSTIN CITY LIMITS to get Toni and her band a full hour.



5. The first I ever heard of Toni Price was track 4, Like the Sun on a local radio station. That one cut made me want to buy the cd. On my first listen I was just luke warm with the exception of track 5, Freeway, which really got my attention. But after I gave it another listen, the spell was cast! This is such a great album. There are one or two that I like less than the others but it's still worth five stars. I liked the album more each time I played it for the first 10 or 15 times, and now it is like an old friend. Please come to Omaha, Toni!

5 comments about All by Hisself: Live at the Lonestar.

1. I bought this CD, despite the excellent comments of other reviewers on the sound quality, because I wanted the most recent album I could find. On "Dr. John Plays Mac Rebennack," my only other album, Dr. John plays the piano. Here, half the time or more, he is singing. You like that or you don't. To me, it's the equivalent of a talented musician who decides to spend his creative energy taking up juggling.



2. Wasnt aware of this CD - saw it on the J.Booker page...havent rated it either as I havent listened to it yet, (it wont even let me pick no stars -doh! amazon) but regarding others comments - from the samples provided (very handy) it sounds like he is playing on an older electric piano, not acoustic, and agree it sounds badly balanced/recorded..I like to hear what he is playing for transcription purposes. Some of the older Booker recordings are bad but the playing is on an acoustic and comes across clear.
   And for posterity let them be issued - warts and all.

   to conclude - I will get it; Im a fan and I play.




3. Dr. John's solo album at the Lonestar is an example of a piano player standing out there alone on his talent. In this age of studio electronic enhancements this is very refreshing! This is a great way to hear his abilities as a performer. He makes the most of an otherwise terrible piano. After a few minutes the piano quality (or lack of) won't bother you because the level of his abilites shines through anyway. The song selection is OUTSTANDING!!! The performance is more "spirited" than his studio album "Dr. John plays Mac Rebennack".



4. The great Mac Rebennack, aka, Dr. John goes it alone, all by hisself on this one, and the results are pure as the sweet smell of New Orleans' magnolias. If you're a Dr. John fan, this is an absolute must have. All his hits are here, as well as a host of Big Easy standards. But not only that, there's an excellent bonus DVD on which the good Doctor recounts New Orleans music history.



5. It pains me to write this because I love this guy, but if you own 'Dr. John plays Mac Rebennack' I believe you're going to ask yourself why would anyone believe I would want to listen to this master play solo blues piano on anything other the best acoustic piano they could find for him at the time.

   Compared to the other CD mentioned, this one makes one think of DJ putting on a concert in the KMart keyboard section. Thank god the DVD includes DJ on an true acoustic.

No comments about Live Top.

2 comments about Live at Sir George Williams University.

1. Dave Van Ronk is unique and part of an era when music had a social conscience. I had the privilege of hearing him in the village. If you don't understand his music you don't have any reference for Dylan and many others. There was a time when music defined who we where and Dave Von Ronk along with others helped us to define who we where. Cocaine his definitive statement is without doubt his greatness. For those of you from this era, turn up the volume and revel in a unique and sophisticated voice of the era of Dylan, Odetta, Peter, Paul and Mary, Barry McGuire and so many other who's voices and lyrics made a difference in who we are. Before we were on the "Eve of Destruction". Where have all the voices gone, long time passing???? Is it only the Dixie Chicks taking the long way to truth these days??? Put this music in your heart and soul!



2. This performance really takes you back. It sounds like you took your own little tape recorder with you that night and captured all the sounds in the theater. The sound on this recording is primitive, but actually quite adequate. There is Dave's gravelly voice, and then the enthusiastic cheering of the crowd. Put it in the stereo and turn up the volume and you can picture being there.

   Dave has made a good selection of material, and he even includes some W. C. Fields impressions. I think the songs have aged very well; although they are from an earlier era, they still sound good.

   This is a good show. It is only 46 minutes, which is the part I most regret, but a good 46 minutes. Any fan of folk music will want to have this CD, and the price is right.

5 comments about Live at the Old Waldorf.

1. this album is a necessary but depressing addition for bloomfield fans, it is jam sessions taken from 1974 to just shortly before his death. the timeline shows bloomfields decline as we get closer to the end. in his last couple of years insomnia and a lack of confidence in his own talent showed a steep and depressing decline, the slide playing is laughable and he is much of the time out of control with his normal leads.three stars for an important piece of history and some good music but overall a drag.



2. Michael Bloomfield was a notoriously spotty performer. I saw him on number of occasions. Fortunately, I saw some great performances. After 1973, he was a hit or miss player for me. This collection goes south quickly after the opening cut, "Sweet Little Angel" and even having said that, one has to wade through Roger "Jelly Roll" Troy's overblown vocals to enjoy Michael's great playing. Troy was never my favorite. I have given this two stars because I am a huge Bloomfield fan but I can't recommend this CD. You are better off with Bloomfield's "Don't Say I Ain't Your Man" or even better with Nick Gravenites' "My Labors & More".



3. As someone else wrote: Bloomfield's slide playing SUCKS... but if you can ignore it, the rest of the album is well done.



4. As a live album, and a guitar album, and as a band album, this album is absolutely awful. Bloomfield only plays slide guitar except on about one track, and his slide playing here is just awful. There a a couple of good moments when he doesn't play slide, but they aren't THAT good. ABSOLUTELY NOTHING HAPPENS ON THIS ALBUM, from anybody, though Nick Gravenites throws in a couple of songwriting gems, and, unfortunately, for as bad as Bloomfield's playing is on this album, this is definitely Bloomfield up front and center stage all the way from the start. If you want to hear Bloomfield playing great slide, buy the first Butterfield album, where he cooks like a demon on fire. If you want to hear Bloomfield playing his greatest guitar, buy Super Session, A Long Time Comin' (Bloomfield's guitar on Going Down Slow is worth getting the extra tracks), and East-West. This album is nowhere near as as good as the liner notes make it out to be. It was a waste of tape. Bloomfield's mind was clearly on something else besides his guitar playing.



5. As a avid Bloomfield fan I had hesitated getting this CD based on various reviews. However I just picked it up. Much better than people have said. If Mike's playing on My Labors and More is a 5 (or higher?) and Super Session is also a 5, then this is a 4.

   He really cooks on My Labors and Super Session; here he is very good. Surprises for me were The Sky is Cryin' and many others. The songs are good even if Mike's licks are not god like; only above us mortals.

   Recommend it after you have listen to My Labors, Super Sessions, and the Butterfiled albums. It won't disappoint you.

No comments about Rare Chicago Blues.