2 comments about Live.

1. the king is old and tired. when i saw b.b.king live in concert a couple of years ago for the last time (i had seen him several times since the early nineties) in my hometown mantova (italy), i went home very disappointed, because i witnessed more at a conversation with the audience, instead of a blues concert. b.b. apologied for being more than eighty, but really the concert was a very sad one. well, this cd is more or less like that concert. the songs are the same, played mostly by the band. the king plays a little, sings a little more and talks most of all. unfortunately, i bought the dvd, too. if you want to understand what b.b.king has been, buy the records published before the year 2000. much better is, for example, the live at BBC cd.



2. This CD is B.B. Kings most recent live recorded performance. It was recorded at B.B's Memphis and Nashville clubs. At eighty-one years old Mr. King is a musical marvel. He doesn't miss a beat and seamlessly integrates his music, his band, and his amazing voice. And by virtue of this stalwart fusion, he literally holds the enthusiastic live crowd in the palm of his hand. The selections on this CD combine songs from both sides of B.B.'s menu of blues. The tunes range from soothing mellow blues to rocking blues. Just when you think B.B. can only relax you, a rumbling blue thunder that starts deep inside his chest culminates in a growling rocking blues eruption. There are also some nice horn solos by his band and B.B. shows he can still bend those strings the way electric blues strings were meant to be bent. I saw B.B. interviewed on CNN last night (2/18/08) and the reporter asked him; out of all his songs in his long career which song did he feel he was most identified with? B.B. said: "I'll tell you a secret, just between you and me, if you don't tell anyone. (Remember this is on national TV.) It's "THE THRILL IS GONE". But the secret is that I play it different every time I play it!"
   
   Included on this release along with "THE THRILL IS GONE" are other old favorites such as "WHEN LOVE COMES TO TOWN" with B.B. sharing with the audience some inside info about the creation of that song. He also records "YOU ARE MY SUNSHINE" and "WHEN THE SAINTS GO MARCHING IN" for the first time ever. I recommend this CD to people of all age groups and all types of music lovers. B.B.'s talent and performance on this CD bridges all generations and genres. I truly believe Mr. King has found the "BLUES-FOUNTAIN-OF-YOUTH" and when the last song on the CD "WHEN THE SAINTS GO MARCHING IN" plays you're ready to jump in line and follow his parade wherever it may lead!

5 comments about Burnin' Down the House: Live at the House of Blues.

1. RECORDED AT L.A.'S HOUSE OF BLUES IN 2001, THIS IS A GREAT LIVE ETTA JAMES CD. SHE IS AT THE TOP OF HER GAME ON THIS ONE, AND WHEN SHE'S ON, NOBODY CAN TOUCH HER. HER BACKUP BAND, "THE ROOTS BAND", KICKS SOME SERIOUS YOU KNOW WHAT AS WELL, AND FEATURES A VERY, VERY FAT HORN SECTION. ETTA JAMES' SINGING REALLY TURNED BACK THE CLOCK ON THIS RECORDING. I LOVE THE SECOND CUT, "I JUST WANT TO MAKE LOVE TO YOU" WHICH THEN SEGUES INTO "BORN TO BE WILD" (THE OLD STEPPENWOLF SONG). HER VERSION OF "ALL THE WAY DOWN" ON THIS CD HAS A "CURTIS MAYFIELD-SUPERFLY" KIND OF A SOUND TO IT, VERY FUNKY. AND HER RENDITION OF "AT LAST" COULD VERY EASILY BECOME MY ALLTIME FAVORITE SLOW DANCING SONG OF ALL TIME. "YOUR GOOD THING IS ABOUT TO END" IS A GREAT TORCH SONG BY ISAAC HAYES AND DAVID PORTER (THE DEFINITIVE VERSION OF THIS SONG IS SUNG BY O.V. WRIGHT). THE ETTA JAMES CD "LIVE IN SAN FRANCISCO" IS ANOTHER ONE WORTH PICKING UP AS WELL.



2. Etta James Rocks on this cd! The Roots Band are in great shape and Etta's powerful voice is in great form for this 2001 concert, this is a Blues\R&B\Soul jam session! This is what a like about this Live cd is that Etta gets right to the songs not alot of talking between songs, this is another Live gem from Etta, add this to your collection.



3. She does what she says on this CD- burn down the house. You would never know this is a woman in her sixties here. Her vocals are strong and they are front and center and she's got good backup here. Fans of Etta James will love this and it will earn her many new fans if they are exposed to this.



4. Since my youth I have had an ear for roots music, whether I was conscious of that fact or not. The original of that interest first centered on the blues, then early rock and roll and later, with the folk revival of the early 1960's, folk music. I have often wondered about the source of this interest. I am, and have always been a city boy, and an Eastern city boy at that. Nevertheless, over time I have come to appreciate many more forms of roots music than in my youth. The subject of the following review is an example.
   
   In my youth I gave Etta James' music short shrift because, to be honest, I did not like the so-called 'bubble gum' music genre that I believed she represented. In retrospect I do not think I was wrong to reject her early offerings, having replayed her early work recently. What got me interested in Etta was hearing her do The Jealous Kind and I'd Rather Be Blind at the Newport Folk Festival years ago. These songs reflect a more bluesy, gospelly tradition that my tastes can appreciate. The selections here are exactly in that same vain, especially Tell Mama and Sugar on the Floor. These are tastefully done and reflect both her powerful voice and range of interests. You may not like all the selections but there are more than enough to keep you interested. Rock on.



5. Etta James style has evolved greatly over the decades-----it is merely a matter of personal preference as to which period of her career is her best-----i love her recent work equally as much as her earliest work--she is an artist who continually grows,stretches,& shares her immense talents & life experience w/ her audience. In her most recent years her style has expanded towards jazz---(although she mixes many styles now)--& this recorded live performance is STUNNING!!!!!This performance leans heavily towards "jazzy blues"--I reccomend it highly,JUST BEAUTIFUL. It is as real as it gets---i love this cd,TY ETTA,from the bottom of my heart!

5 comments about Resurrection of the Bayou Maharajah.

1. One of the best musicians under the radar screen of popular recognition you'll ever find; James Booker is the kind of pianist that someone in the know will say "You have to hear this guy play!" And you do. Hearing him the first time is a revelation. Each additional listen adds to the enjoyment of his own eclectic funky New Orleans boogie-woogie blues style, playing like he means it, jumping from one song to the next without breaking pace, only to dissolve into a heart breaking ballad then right back into beakneck speed.
   
   You have to hear this guy play!



2. This is a live club recording of the great James Booker.
   The first thing to say about this is that the sound quality is varied and its not a top notch Piano either. These recordings weren't supposed to come out at all.
   Booker is erratic, and evidence of this can be found in "All By Myself" which they have had to edit because he probably stopped mid song, being distracted by something or someone. That said "All By Myself" is my favourite track, its a barnstorming performance capturing everything thats great about James Booker.
   If you have any interest in New Orleans Piano players, this CD and its sister (Spiders...) are essential purchases. This is what Booker was like when he was just left to play on his own without the constraints of a Band. Nearly all of it is worth having, and quite a lot of it is utterly brilliant.



3. James Booker is like a centaurian trickster part man part piano. He "plucks" out otherwordly bass notes and conjures up odd meters out of that beat up upright. Don't let some of the non-sensical words fool you. "Papa Was A Rascal" and the all too short "Lawdy Miss Clawdy" are part of some ritual for the initiated only. You know from the first chord of "Slow Down Baby" this is something special. You ain't never heard piano like that or a voice like that. This is sacred jonko music from some shaman. and he's letting you in on it all. Go for the ride 'cause smoke is rising on the bayou and this...is New Orleans.



4. At the outset let me say that I am a great fan of James Booker and wish he had left more recorded material for us to enjoy. It is therefore really disappointing when the talent is overshadowed by the poor quality piano Booker was given for this (and other) series. They must have thought he was a honky tonk player. The left hand of the piano is almost non existent. Just compare the sound here with that on the 'New Orleans Piano Wizard: Live!' Tracks such as Minute Waltz and Gitanarias which showcase his chops and classical background sound amateurish. That he can make a bad piano sound as good as he does is a reflection of the man's genius.



5. I first got turned on to the genuis of the mighty James Booker by a rehearsal tape with which he played with the Jerry garcia Band (1-7-76). Since then I've intended to make a Booker purchase but unfortunatly he's not the easiest performer to find in the cd bins.
   
   Well I finally found one and boy what a find! Words cannot even begin to express the joy I get from listening to James. Genius is all that comes to mind. Definatly one of the all time greats of any genre. If you've never heard him or heard very little this cd will make you a fan for sure. Music of the gods!

5 comments about Tap the Red Cane Whirlwind.

1. I have been a fan of Kelly Joe Phelps ever since I first heard the Windows Media Samples of his music here on Amazon, over 5 years ago. I have all but two of his albums and I've seen him live twice. He is definitely my favorite artist. Every album of his is phenomenal but I have to say this is probably his best. I'm no music expert, but I know talent and originality and Kelly Joe is the best!



2. kelly joe phelps is an extraordinaryly talented guitar picker who also happens to possess a wonderful resonant voice. you won't hear many live recordings as moving as this one. all on the long side, the songs range from six and a half minutes to almost ten minutes each; as mr phelps makes effective use of space and silence around his playing to work brilliant song sculputures out from these compositions. quiet and intense, this is blues and folk music that enthralls. if you have yet to discover kelly joe phelps, this is the place and time. don't miss him.



3. I've seen Kelly Joe Phelps many times live, going back to when he first started out in his native Portland. I think he is one of the most original and interesting musicians/guitarists around, and his recordings don't really do his talent justice - until now. He takes a revolutionary approach to traditional fingerstyle country blues, which you really hear in his live shows. His live playing has alot in common with jazz improvisation, albeit within a country blues framework. Indeed, some live songs are almost unrecognizeable from the recorded version - sometimes you have to wait to catch a snippet of lyric just to get your bearings. The fact that he does this using fingerstyle technique and many different alternate tunings make it all the more unbelievable.
   
   I have to say I'm really tired of people yelling 'slide, slide' throughout the show - I can't imagine how annoyed he is with it. His interests and technique have moved on since Lead Me On, which was about 15 years ago. Perhaps he said it best at a live show in 2003: 'You don't need a slide, you need a musician.'



4. I bought this cd to learn the potential of slide guitar, figuring that a live album would best capture it. So you can understand my disappointment when I patiently listened to the first song, assuming that he'd pick up his slide later. But he doesn't.
   
   I'm unfairly writing this after listening to two songs on the album, and I'm sure it'll still be worth the purchase, but make no mistake...
   
   Kelly doesn't play slide on this recording.



5. I had the privilege of taking in a live performance by Mr. Phelps in Fall River MA this past weekend, and all I can say is that it was mesmerizing. This live CD does an excellent job of capturing his utterly unique take on the acoustic blues. It's a must have for any serious blues afficionado. However, you MUST see this man live - I promise you will not regret it.

5 comments about Otis Rush - Live at Montreux 1986.

1. Otis Rush is one of the best Bluesman of all times. He is a great singer, guitarist and composer, on the same level as the late Magic Sam and the current leaders of the Chicago Blues, Buddy Guy and the really magic Magic Slim, all of them creators of the sound known as West Side. I find this live record a jewel with only one defect, which is its sound. The bass guitar practically is nonexistent, particularly in some themes as for example the one that opens the LP, "Tops", or the one that closes the record, the brilliant Memphis Slim's "Every day I have the Blues". Nonetheless it is an extraordinary record, one of the best live records I have heard. Otis' way of playing and singing is absolutely superb and all the musicians do a great job, with powerful contributions by an inspired Eric Clapton, aka Slow Hand, in four themes, in the last of which coinciding with another top figure as Luther Allison, a great admirer of Otis Rush. The record contains several extraordinary original themes as well as versions. I want to highlight the intensity of the version of the classic Albert King's "Croscut Saw", and one of his great compositions, "All your love (I miss loving)". I'm also partial to "Double trouble", a great Blues with that Otis' feeling, and the blues which closes the record, Memphis Slim's "Every day I have the Blues", with Clapton, Allison and Rush showing their mastery, even though towards the end of the theme the sound loses some clarity. Highly recommended for all the blues and guitar lovers. I give it 5 stars in spite of this somewhat flawed sound and long live to Otis Rush.



2. I was blown away and at the same time disappointed in this cd. The music and performances are stellar. This is superb blues, my foot never stopped tapping. The problem is and I agree with the reviewer Somebody, the sound is not excellent by any means. I have an expensive stereo sytem and it reveals the recording as very sub par. Bass lacks and the guitars are not all that clear. Albert King and SRV In Session is a notable example of a great recording. If this cd sounded as good it would be tough to beat.



3. This is a "new" release, 20 years after the actual performance. I suppose one of life's unknown questions, along with what went on in Area 51, is why is Otis Rush's "Live At the Wise Fools Pub" (See Shaq's previous review!) recorded 30 years ago, louder and clearer than this one! Oh well! Back to the musical review. Part of my reason for rating this a 4 star as compared to "Wise Fools Pub" 5 rating, is due to the clarity and sound volume. Other than that, this is still worth purchasing. Starting with the 6th song Eric Clapton, joins Otis on stage, and that was probably the last time; Clapton ever did anything positive in the electric blues arena. His guitar playing does pick things up a bit. To me, the pinnacle, of the CD, emotionally, as well as physically, is on the last song #9, when Luther Allison, comes on stage, and gives a speech to the audience, stating (What Shaq already knew.) for the record, that Otis Rush was his idol! The fact that, that declaration of thanks and admiration, was recorded for posterity, to me was a singular point in time, emotionally. How many times in everyone's life, does just praise, come when it's too late? When the person deserving the recognition is gone! I'm happy, for Otis, and Luther, that it was stated for the record, with witnesses, for time, in- memoriam!



4. This is the Otis Rush CD to get. It has great songs, and captures him live very well. The guests actually play with Otis and don't just hang out and have fun. He has a great version of Crosscut Saw. If you don't have any Otis, or much live blues this is a great place to start.



5. that takes this record to places it never would have reached otherwise. Otis Rush is a major force compositionally and stylistically in contemporary electric blues, and he has the voice of genuine authority when he sings. What you get on the first five cuts are a sampling of just how strong those talents are. When Clapton comes on to join him, Rush pulls out of Clapton some of the very best work Eric has committed to recording ever. For my ears, it would be until THE CONCERT FOR GEORGE and the Robert Johnson discs that Clapton would be this incendiary again. And that's odd about Clapton: on his own, he is not his best advocate. Put him in a context like this, where he is working within the blues, and he is a very different beast altogether. Clapton tears up his counterattacks to Rush and they clearly are intensely focused on wringing everything out of each song.
   That alone would be enough for any record to aspire to, but wait. Luther Allison arrives for the closer, at first without a guitar, and whips not just the audience, but Rush and Clapton into a frenzy. Strapping on his Strat, Allison takes this recording to heights clearly unaniticipated by everyone else in the room. It is a performance for the ages. But Luther was always like that. For my money, there was and remains no finer or more exciting guitarist in any discipline of music. So, as stunning as the first 8 tracks are, number 9 blows them all away.
   
   And the best part is, the DVD is even better!

5 comments about New Orleans Piano Wizard: Live!.

1. This is just flat-out great music. Booker's best recordings are live, so don't opt for the studio. I think the thing that makes this album great, apart from Booker's virtuoso piano playing and deeply soulful and engaging voice, is the audience. Unfortunately, the vast majority of live Booker recordings sound as if they were performed in front of quite small, and at times seemingly disinterested, crowds. In this European recoding the crowd is attentive and appreciative. I find that Booker fed off that and really belted into these particular tracks. Let Them Talk is a virtual tour-de-force of soul music; vocal expression with a rolling, dynamic piano paving the way. This would probably classify as Booker's best recorded performance. A must have for lovers of fine music. Five Stars.



2. James Booker was a prodigy. Being a New Orleans native I've had the good fortune to see and hear most, if not all of the great N.O. piano players live. Not to take anything away from Dr. John (Mac Rebbenack), Proffesor Longhair, Huey Smith, Harry Connick Jr, or Allen Toussaint, because everyone one of the aforementioned names either were, or for the ones still living, great in their own right, but Booker was the KING...Harry Connick Jr's dad, when he was the D.A. in New Orleans, would get Booker out of jail so he could give young Harry piano lessons, and to this day I think Harry Connick Jr will agree with my assessment that James Carrol Booker was the greatest ...Buy any James Booker CD and you won't be disappointed.



3. i scored this record from the buck bin yesterday. the owner of the shop looked at it like maybe it shouldn't have been in there but sold it to me anyhow. he said i should run home quick and listen to it because james booker is a revelation. right he was - when side one finished i didn't even flip over the record, i just plopped the needle right back at the beginning.
   
   it may just be solo piano and a little singing but the sound is big, beautiful, complex, soulful. one of those rare records that make me kick myself over all the years i spent not listening to it.



4. If you love New Orleans jazz, esp. piano songs, you'll love this album. I end up listening to this album almost every day at work -- it's inspirational in the best sense of the word. I bought this CD because I love Prof. Longhair and Dr. John and was looking for new influences; read the above amazon reviews and decided to give it a shot. You should too. James Booker's voice and piano will shake your soul and make you love humanity. It's a feel-good CD, a really-feel-good CD.



5. One of my favorite recordings. Booker is an outstanding pianist and his singing is both touching and powerful. He thrilled me as he obviously also did the audience present during the recording of this album. I have probably listened more often to this album, than any other in my collection.

5 comments about Live '92/'93.

1. It's amazing some of the idiots that bring down a solid release with one star reviews. The sound quality and performances on this disc are fine.
   R.I.P. brother.



2. If you are one of "Shaq's, The King Of The World Blues Reviewer's" loyal fans, you of course know that Albert Collins is one of my six favorite electric blues guitarists! Once again, a great blues performance, is hampered by faulty recording quality. The power and verve, that a true blues fan, knows is Albert Collins, is simply thwarted by the lack of loud, clear, sound. As usual, I was in a blues funk, due to the lack of any new quality electric blues on the market, so in February 2007, I took a chance, knowing the odds about buying an older (? Jeez! 1992 & 1993 ain't that old!) blues CD. What a disappointment! If you at least want some historical data in this review, here it is. The first part of the live recordings, were in 92 at Montreux, Switzerland, before Albert knew he was dying. The 2nd half of these live recordings, were in 93 in Illinois, when Albert knew he was dying, which he did in November of that year. Despite, being on deaths "door steps", Albert still played with enthusiasm, and his unmatched humorous look at life. If you're a blues collector, that might be enough to warrant your purchase. If you want Albert at his best, (I'm not talking about his health, I'm talking about recording quality!) this CD isn't for you!



3. I am a big fan of Albert's guitar playing and I bought this CD hoping that his last material before his death would be good to have and listen to. I am not disappointed with Albert's playing but the recording quality is woeful and it is not worth paying the money for unless you have to have all Albert's recordings, his other live material is much better. Sorry but it's simply not up to scratch for a 1990's recording



4. This is one of my favorite recordings from one of my favorite guitarists. If you want to play in Texas, you have to play music that people can dance to. Cowboys, oil workers, black folks and Mexican Americans all love to dance in Texas and expect to hear dancin' music when they go out to clubs. This influence is heard in most of the works of Mr. Collins, a Texas native, and especially in this CD.



5. These performances were recorded shortly before Collins' death in late 1993, but rather than sounding tired, they offer proof that the "Master of the Telecaster" remained a commanding stage presence until the end.

   Albert Collins' highly original, percussive guitar playing is still sharp, and his vocals are strong and soulful. He is backed by an excellent band which includes two sax players and a trumpet, and they offer solid backing and the occational soul-revue riff without overwhelming the 60-year old guitarist.

   Collins and his band swing on the superb "If You Love Me Like You Say" and the funky "Iceman", and they groove on the eight-minute blues workout "Put The Shoe On The Other Foot".
   Other highlights include the rocking "Travelin' South" and the sweaty soul of "Talkin' Woman". And listen to Albert Collins' solo on "Iceman", and his take on T-Bone Walker's classic "T-Bone Shuffle"...Collins played without a pick, and often used a capo high up on the neck of his slightly metallic sounding Telecaster, plucking tinkling, piercingly clear notes from the strings (this was the technique which gave his playing its "icy" tone).

   This is a strong collection of some of Collins' best and most accessible latter-day material. It is a great place to start if you're new to the music of Albert Collins, and a must-have if you're a fan.
   Definitely recommended.

5 comments about Live.

1. Amazon had both CD's I was looking for. I was looking for them new or used and found both of them in excellent condition used!
   
   They play perfectly-no skips or scratches.



2. One of the reviewers described Delbert's music as country/r&b/blues or something to that effect. True, but when I describe him to someone who is not familiar with him I call it "roadhouse blues" and that seems to connect. I first saw Delbert in a bar in Fort Worth, TX in about 1980. One of the other reviewers complains that he is re-covering a lot of the same material. That is true-having said that, this is the best band I have ever heard him play with and the best recording and the best live performance. The entire band is great and Rob McNelly, the guitarist, is a stellar player. I asked Rob how he got the great sound on this album and he told me that he played a custom made Strat through a Vox AC-30 that was provided to him since they couldn't take all their equipment on the European tour. During the sound check he walked around the amp until he found the spot that coupled to the amp and made sure he stood there for the solos. Rob's solo CD's are worth checking out as well. This CD is fun, has tons of soul and is one I keep coming back to. Delbert's getting old (me, too) and I am glad he got this one in the can.



3. This is a great addition to anyone's music collection. I have seen Delbert many times and he only improves with age. His voice has so much soul and rhythm it is unbelievable. He is Blues to the bone. This is a must have for any Delbert Fan!!!!!!!!!!



4. If you only want to buy two Delbert CDs; then this has to be one and Room To Breathe should be the other one. If you are disappointed in either of these offerings then you have no soul!



5. For some, the claim to fame of venerable Texas rocker Delbert McClinton is that he gave harmonica tips to a young John Lennon - who put the advice to good use on early Beatles' hits such as Love Me Do and I Should Have Known Better. To others, that is a mere footnote in a recording career that stretches back to 1960 and, on the strength of his vigorous performance here, shows no sign of fatigue. McClinton, who just turned 63, is one of those Texas musicians whose brew of country, blues, rock and soul defies categorisation (Doug Sahm and Roy Head are others, consider too Barbara Lynn, and the Vaughan brothers deserve mention). This double album documents a single 2003 performance at Norway's Bergen Blues Festival. Originally intended only as a radio broadcast, it is a high-energy career review. McClinton and his six-piece band (rhythm section and two horns) mix newer songs with long-in-repertoire nuggets such as B-Movie Boxcar Blues, Giving It Up for Your Love and Otis Redding's I've Got Dreams to Remember (19 songs in all). This set drips honky tonk sweat. (This review appeared in The Age newspaper, Melbounre, Australia.)

5 comments about The Essential Odetta.

1. Heard an excerpt of Odetta's singing on NPR and got so excited I bought two CDs. Unfortunately there was nothing on the label to warn me that "the Essential Odetta by Odetta" was a recording of a live concert. There is nothing more annoying on a CD than to have to listen to enthusiastic and long-lasting applause after each piece. It disturbs my enjoyment and does not make me feel that I'm at a concert. It only makes me feel that I was taken in by a low-budget recording of a live performance instead of a work performed in a studio with care for the listening audience.



2. One star off for poor mastering.
   
   It is not an exageration for me to tell you that this is one of my all-time favorite albums - or more properly, Live at Carnegie Hall is (which is mostly found on this one, along with Live at Town Hall). When I first heard this on LP, I couldn't stop listening to it. It's something everyone should hear in their lifetimes. It makes the case for why Odetta has been recognized by the Library of Congress as a Living Legend. Just listen to the sound clips for a taste of how great it is.
   
   However - I had the vinyl version. It sounds better than this. The problem with this CD is that it is in desperate need of remastering. The sound levels are so low that the dolby noise reduction used cuts into the instruments. Trying to adjust between the soft and loud parts is tricky, and you have to be careful not to blow your eardrums out if you're wearing headphones. Those of you who had CB radios and know what "squelch" is - this quickie mastering job suffers from that phenomenon. At the time (1990) a lot of record companies were coming out with poor mastering jobs, many of which have been revisited and corrected. Unfortunately that has not happened yet with this classic album.
   
   If anyone at Vanguard is listening - PLEASE REMASTER THIS ALBUM! It should be regarded as a national treasure and it deserves better treatment. I will gladly buy it again. And by the way, I notice you lopped off a few tracks from the original albums - well you have 17 free minutes with which to add back some of those tracks! Please do so, it will be greatly appreciated.



3. I have been listening to and occasionally attending concerts by Odetta for over forty years and she still brings that big strong voice to her work as she did when I first heard her. A big strong strumming guitar adds to the pleasure. She is the consummate female interpreter of the old ballads that denoted the struggle of blacks and other at work and play in slavery times and later in wage slavery times. Religious sentiments about a better life in the hereafter because this life so is hell are also interwoven into some these ballads. It is hard today to get the full impact of that genre but I have noticed that audiences still response to her gentle prodding to sing along. If you have one Odetta album to get this is the one. Some children-oriented ballads, also sing-along-able add to the flavor of this album. Standouts here are If I Had A Hammer and Long Chains On.



4. Odetta's passion brings home the burden of the slave and the sharecropper. Haunting! Sound quality could be improved.



5. "The Essential Odetta", consisting of 20 live songs, was recorded and released in the early sixties as two separate albums capturing performances at Carnegie Hall and Town Hall. The full 20 songs showcase her extraordinary singing capabilities, interpreting folk and blues numbers. It is one of the two best compilations of her work, the other one being "Best of the Vanguard Years".
   
   Since her debut in 1954, Odetta served as an inspiration to folk artists such as Bob Dylan and Joan Baez, who picked up steam in the mid-to-late sixties. It was, as a matter of fact, thanks to the Martin Scorcese documentary about Dylan, "No Direction Home", that I first heard of her, and I am glad I did. This is one fine artist that deserves to be discovered by the new generations.

4 comments about Ray Charles at Newport.

1. I was 12 or so when I first heard this "album". It was my introduction to Ray Charles. I had never heard anyone Wail like he did, and the version of In a little Spanish Town and his incomparable "I got a woman", along with a number of other top flight covers and other original stuff just knocked me out. I lost the album so several years ago I looked for it online and to my chagrin it was out of distribution. I was delighted when Atlantic decided to re-release it as part of their 50th anniversary.My liking of the album has not dimmed at age 61.



2. I absolutely love jazz, and the only non-jazz music I listen to (often) is Ray Charles. I may only have a best of, this, "The Genius of Ray Charles", and "The Great Ray Charles", but this is probably my favourite one of them all. This cd has a lot jazz tracks, and even features Ray Charles playing alto on a couple of tracks! I love this cd for the jazz tracks but most of all for his signature vocals on Right Time, I Got a Woman, Talkin' 'Bout You, and last but not least Fool For You. The tracks are well organized so you get a mix of both, neither jazz nor vocal tracks are concentrated in one area, which means it's a great listen all the way through. In short, I really enjoy this cd, and recommend it to jazz fans and Ray Charles fans alike.



3. This blew my mind in '58 and it does so again now--and maybe more. This disc contains great jazz instrumentals such as Blues Waltz and In a Little Spanish Town, yet its greatest cuts (and all are great) demonstrate Ray's soul. Check out A Fool For You, for instance. The Right Time's "La Do Day" background singing is cool. My favorite since '58 has been "Talking Bout You." Play it over and over and try to sit still. It brings tears to my eyes. In my view, this is Ray's best record.



4. If one is interested in the early Ray Charles jazz years this is a wonderful example. The album abounds with demonstrations of his virtuosity on piano, and that of other musicians in his large band. Check out Blues Waltz!! A good listen! We won't see his like again.