Wicked Grin
Average Customer Review:
Audio CD (13 March, 2001)
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Editorial Review

Wicked Grin is wicked indeed, just as sharp and clear and perceptive as you'd expect of an album of Tom Waits songs performed by veteran bluesman John Hammond. That basically sums up what Wicked Grin is all about; only one song on the album, the traditional "I Know I've Been Changed," wasn't written by Waits. This gorgeous recording should appeal to fans of both artists: Waits's songwriting is as incisive as ever, and Hammond explores each song to its fullest potential as he makes it his own. Waits produced the album as well. Between them, the two musicians achieve a kind of synthesis that makes for a damn fine collection. The first few songs kick things off nicely, evoking urban images, specifically of New York City, that stick in the mind like a tune running through your head that won't leave. Then there's "Shore Leave," with a sort of dark harmonic drone behind everything that makes the whole song downright spooky; the bittersweet "Fannin Street," which almost sounds like one of Johnny Cash's sweeter songs; and the Spanish-inflected "Jockey Full of Bourbon," which is capable of raising goose bumps. The format of this collaboration is perhaps a bit unusual--though there's a long history in the blues of artists covering other artists' work, it's usually done after the artist being covered is safely dead and can't object--but it works so well that it makes an excellent argument for continuing the practice, even if it's doubtful that most such pairings could be as successful as this one. This may well be one of the best releases of 2001. --Genevieve Williams ... Read more

Reviews (39)

WHAT IF BARRY MANILOW SANG TOM WAITS?
Okay, Tom is one of those artists who's music transfers well to almost anyone's interpretation. They are just damn good songs, and it's hard to mess up a good song. But listening to this music is like hearing Tom Waits emasculated, or maybe a Stepford Tom Waits. Hammond's voice and delivery doesn't even approach the pathos or spirit of Tom's. Sure it has a nice "Blues groove", but the spirit of Waits is lost in this recording. If Tom's music is smoked brandy,this music is a blended daiquiri with a paper umbrella. Holly Cole, who is, sometimes, so upbeat I want to slap her, gives a much more sensitive, gritty, and moving performance of Waits' songs than this Julie-Andrews-Guy. If you want mediocrity, buy this cd. If you want artistry, pass it by.

Essential postmodern blues--
Since the day this disc came into my life, it's consistently been one of my faves for those "what's it all mean" kinda moods. There is true wisdom in Tom Waits's wordplay, and true power in the thumping, thudding skronk that backs it up. It's heavier than rock and deep as Dylan. I can picture John sitting in a half-lit bar somewhere in the middle of a crowded city on a rainy night, howling these offbeat blues poems to an audience of a dedicated few hipsters. I could only hope I'd be worthy enough to get a seat in there.

Tom cat yowling in the nicotine dark.....
If you're familiar with both John Hammond and Tom Waits, you've probably guessed (correctly) that this album was not going to contain the average coverage of Waits' song catalogue. It's the bizarro bluesy side of Tommy the Cat that gets covered here, as opposed to Waits the jazzbo or Waits the down-and-out saloon crooner. Hammond and band give a earthy kick to such Waits growlers as "2:19," "Get Behind The Mule" and "Buzz Fledderjohn." With Waits himself in the producer's chair (and adding guitar and, on one track, a harmony vocal), Hammond makes these sound as earthy as Howlin' Wolf (city) or Charley Patton (country), and gets you as psyched about his interpretations as, hopefully, you'd get about Wait's own versions. The only less-than-stellar track is "Shore Leave," which doesn't cut it put side-by-side with Waits' version on his album, SWORDFISHTROMBONES. But that's a minor gripe with the rest of the album to consider. I hope Hammond will think about a sequel to this album, as there's lots of Waits in them thar hills just waiting for the right kind of venue. This album is a good start ... Read more

Asin: B000059T5O
Subjects:  1. Blues    2. Contemporary Blues    3. Pop   

Big Mama's Door
Average Customer Review:
Audio CD (23 April, 1996)
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Reviews (4)

What it is to play the blues
I don't know much about this guy, except that he's young, is rumored to have been in the coastguard at one point in his life, was involved in the PBS blues TV series somehow, and I believe owned some kind of music shop at one point or another where he sold guitars.Actually that's a lot of info.But it's not the kind of thing I'd expect when I put this record on.What I hear is the voice of a bluesman in his 40s or 50s, possibly older, recording in the 1950s or 60s, who has lived life to the fullest.That is the amazing thing about this record- a *debut* no less- that this young or young-ish guy was able to channel the feel of the blues traditions into the modern day and thoroughly convince me that he must be the ghost of some legendary bluesman of the past coming back to haunt my stereo.

There's not anything close to a weak track here.My favorite, one of my favorites of all-time, is "Things About Coming My Way."It's funny and true, hopeful yet not naive, remorseful but not bitter, simple and straightforward.But as I said, everything here is top-drawer material.There are definitely more famous blues discs out there, but as far as I am concerned, not many better ones at all.Buy it and let it teach you what the blues are meant to be.

True American Music
Alvin Youngblood Hart is a man who has soaked up the essence of American Folk Music in its variety of forms.He has recorded its essence and recreated it for modern ears in Big Mama's Door. Although primarily drawing from the Mississippi Delta, country & western, Appalachian and modern psychedelic influences can be heard.

Hart is a gifted song writer, who has a feel for both lyrics and melody. I am particularly fond of the title song and Joe Friday.

Both his voice and guitar playing are pleasant to listen to. While the CD is excellent, Hart is also a dynamic performer and can best be appreciated live.

Phenomenal Blues Tradition
I haven't even heard the cd version, only the cassette, once.It immediately struck a nerve as something I'd long been searching for, a modern blues album that you could mistake for one from the twenties orthirties.Hart's virtuoisity recalls that of Son House or Robert Johnson. What really impressed me was the recording style.Recorded raw on 2 tracksinstead of polishing the sound with lots of layering.Add it to yourcollection now! ... Read more

Asin: B000002BJA
Sales Rank: 19638
Subjects:  1. Blues    2. Contemporary Blues    3. Country Blues    4. Folk & Traditional    5. Modern Acoustic Blues    6. Pop   

Postcards of the Hanging - Grateful Dead Perform the Songs of Bob Dylan
Average Customer Review:
Audio CD (19 March, 2002)
list price: $17.98
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Editorial Review

There are infinite ways to slice-and-dice the Grateful Dead's concert archive--and we'll surely see them all--but an all-Dylan disc is one of the most logical, as Dylan tunes infused Dead setlists for many years. Clearly, Dylan's reliance on blues and folk forms and his exploratory lyrics translated well into the Dead's musical language; in short, Dylan songs are jam-ready. Most of the selections here come from the late 1980s (with Brent Mydland on keyboard) and were played by the band enough times that the compilers had plenty of excellent performances to choose from. Of particular note, however, is a 1973 version of "It Takes a Lot to Laugh," featuring Dickey Betts and Butch Trucks of the Allman Brothers, and a 1987 studio rehearsal of "Man of Peace" with Dylan himself sitting in (the rehearsals were way better than their subsequent shows together--see 1987's disappointing Dylan and the Dead for proof). Though Bob Weir handles lead vocals on most of the tunes, Jerry Garcia was the one who really was able to inhabit these songs and convey their deeper, subtle emotions, even when just his guitar was doing the talking. Not coincidentally, the most stirring cuts--"She Belongs to Me," "It Takes a Lot to Laugh," "It's All Over Now, Baby Blue"--feature Garcia's passionate lead vocals. Overall, Postcards documents a fruitful partnership between two rock icons, a partnership that was often much better off when the songwriter wasn't actually around to join in. --Marc Greilsamer ... Read more

Reviews (31)

great concept, terrible execution
Maybe its because I saw them play an incredible Tom Thumb and Desolation Row on consecutive nights in '92, but many of the songs on here are just bad.Phil has never been a great vocalist, that's just part of his appeal.But listening to him on this is painful.Bobby omits an entire verse and screws up the Ezra Pound/TS Elliot line in Desolation Row.The bonus disc Quinn just stinks."It Takes a Train", "Queen Jane" and "She Belongs" are the only decent tracks.I find it hard to believe that David Gans couldn't come up with better takes of these songs.I was so excited to see the track list- then I sat down and listened to it.Anyone who says this is "The Best Ever!" can't possibly have listened to many Dead shows.I'll stick to my boot tapes, thank you.

THE DYLAN ALBUM YOU SHOULD OWN
Back in the late 1960's or early 1970's, this would have been huge.Millions of baby boomers were quoting Bob Dylan as if he were Holy Writ and there was considerable mysticism surrounding the Grateful Dead.This album would have been one of the best selling albums for years if indeed it had been released.The trouble is that Dylan's stock in the rock world has fallen precipitously since his "born-again" days in the early 1980's.Although I don't share it, enthusiasm for the Dead has not abated and in fact has grown.Still, the reverence for Dylan has almost completely dissipated and the post-boomer denizens will tell you without a hint of embarrassment that when it comes to old Bob they just don't get it and just don't care they don't get it.

So here we are.What can be said for this album?First thing I must say is that it is better than you would think.For someone who actually grew up listening to Dylan, I found that album very entertaining.Sure, it's the Dead and musically the CD displays the typical Grateful Dead minimalist approach.But with the classic Dylan material it actually works.Dylan in his own recordings usually troubles himself with only a few takes on each song and moves on.What he felt like doing that day is what you get.This has frequently resulted in Dylan presenting his own material in a less than attractive light.The Dead in adapting Dylan actually appear to have given some thought to what would be the best way for them to do the music.Other artists have had a propensity to throw everything but the kitchen sink into the production of their versions of Dylan.The Dead by contrast present Dylan in an understated manner that serves the material well.

Anyone can quibble over the Dead's choices from the Dylan catalogue but I think their selection certainly is respectable.While I would have like to see what they would have done with "Like A Rolling Stone" or "From A Buick 6" (just to name two); you have to admire the Dead for picking "All Along The Watchtower", "Desolation Row" and "Queen Jane Approximately".

This CD also comes with a bonus CD which contains the above mentioned "Queen Jane" and "Quinn The Eskimo".I especially enjoy this last cut.Even after all these years since I first heard Manfred Mann put it out as a single, I can't get over the exotic combination of dark foreboding apocalyptic warning and the goofy suggestion of Quinn the prophet from the north..

This is a wonderful CD that should be easily worth anyone's time to at least give a listen.I always thought the Dead were unusually good when they did other people's material and that is especially true here.Ironically, it just may be that if you are to own just one Dylan album this could well be the one.

A Great Document, Though Not The Best
Released as one of a series of CDs dedicated to the "Songs of Bob Dylan" (See another in this series under The Byrds), this CD offers wonderful interpretations by a band that was one of Dylan's greatest interpreters. Both Jerry and Bobby have time and again dug into the Dylan treasure chest for material that they molded into their own seemingly without effort. Why only three stars, then? Well, there are just too many tracks from the Brent-tinkling-on-the-DX7-synth era for my taste. I've seen and heard the Dead play Dylan from the Keith-and-Donna incarnation, through the Brent years, to Dylan and the Dead (at JFK Stadium in Philly no less), and even the Vince and whoever else joined him on keys last lineup. So ... I wish this particular collection would or could have dug out performances from a deeper vault. Finally, check out the Jerry Garcia-Merle Saunders "Live at the Keystone" CD's for some excellent Dylan interpretations. Happy trails! ... Read more

Asin: B00006314F
Subjects:  1. Album Rock    2. Country-Rock    3. Folk-Rock    4. Jam Bands    5. Pop    6. Rock   

Thunder Chicken
Average Customer Review:
Audio CD (01 January, 2000)
list price: $15.98 -- our price: $14.99
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Features

• Enhanced

Reviews (4)

Just as good as it is Live!
The CD was as good as when I heard PaPa live. Great music, can't beat that old bayou/blues sound.

Great New Orleans Roots Rock
Truth to tell, I'd never heard of these guys before getting a mailing from Fog City Records.I'd liked other Fog City releases enough to give PapaMali a listen.It's a keeper fo' sure.

Most New Orleans groups will giveprops to the elders, & Papa Mali is no exception.Great, funky coversof Clifton Chenier ("Bon Ton Roulet"), Dr. John ("Walk OnGilded Splinters") & The Wild Magnolias ("Fire Water"). The originals are up to the challenge as well.Perfect accompaniment forthat Mardi Gras mood.

Great New Orleans Roots Rock
Truth to tell, I'd never heard of these guys before getting a mailing fromFog City Records.I'd liked other Fog City releases enough to give PapaMali a listen.It's a keeper, fo' sure.

Most New Orleans groups willgive props to the elders, & Papa Mali is no exception.Great, funkycovers of Clifton Chenier's Bon Ton Roulet, Dr. John's Walk On GildedSplinters & The Wild Magnolias' Fire Water.The originals are up tothe challenge as well.Perfect accompaniment for that Mardi Gras mood. ... Read more

Asin: B00002R16U
Sales Rank: 7843
Subjects:  1. Deep Funk    2. Electric Blues    3. New Orleans R&B    4. Pop    5. R&B    6. Rock    7. Rock & Roll    8. Slide Guitar Blues    9. Soul-Blues   

Songs from the Analog Playground
Average Customer Review:
Audio CD (25 September, 2001)
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Editorial Review

Charlie Hunter always put his emphasis on the groove, using his eight-string guitar to create an uncanny blend of bright leads, bass lines, and chord riffs that can simulate classic funk organ. For Songs from the Analog Playground, he's added a series of guest vocalists to the mix, touching on pop sensibilities with an eclectic mix of originals and cover tunes. Norah Jones is the big news, bringing a breathy intimacy and soulful depths to Bryan Ferry's "More Than This" and Nick Drake's "Day Is Done," making them very much her own in the process. Theryl de Clouet, from the funk band Galactic, is a gritty, forceful presence on Earth, Wind & Fire's "Mighty Mighty" and the classic blues of Willie Dixon's "Spoonful," while Mos Def raps on "Street Sounds" and takes his own stab at R&B singing on "Creole." Kurt Elling's loose treatments of "Desert Way" and the Afro-Cuban suffused "Close Your Eyes" invoke traditional jazz singing. Tying it all together--vocals and instrumentals alike--are Hunter and his working quartet, stripping soul jazz down to its essentials, then rebuilding it in their own image, with frequent Latin and Caribbean touches expanded on by drummer Stephen Chopek and percussionist Chris Lovejoy. Hunter and tenor saxophonist John Ellis shine on jams like "Rhythm Music Rides Again" and "Run for It," alternately digging into the beat or floating atop. --Stuart Broomer ... Read more

Reviews (15)

Analog Playground
Songs from the Analog Playground is one of the better modern jazz albums I've heard.

It features a few solid guest vocalists along with some great playing by Charlie Hunter and his band.Each of the guest vocalists bring a uniqueness with them and they make their song special.

The vocalists help keep the album from getting too repetitive and boring.Norah Jones, Kurt Elling, Mos Def and the lead vocalist from the band Galactic do about two songs each.There are also some straight-ahead instrumentals.

The entire cd is filled with very good music.It's very laidback, jazzy and grooving.

I would recommend this Cd, even to people who are on the fringe of being jazzheads because it has that universal musical appeal.Good stuff!

Get this only if you're a hippie
I got this after hearing that Charlie Hunter was "the future" of jazz. Well, this comment is totally off the mark. Hunter isn't the future of anything, he's nothing but yet another hippie jammer straight off the current bandwagon. Really quite bad.

a great choice
A definite choice for any jazz and funk fan.it is a perfect balance of rythms, jazz, funk, vocals, and soft sounds.Sweet enough for any woman, tough enough for any guy.If you like Hunter, buy the CD ... Read more

Asin: B00005NU6A
Subjects:  1. Jazz    2. Pop   

Blue Country Heart
Average Customer Review:
Audio CD (11 June, 2002)
list price: $18.98 -- our price: $18.98
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Editorial Review

Singer and guitarist extraordinaire Jorma Kaukonen was a devoted aficionado of early-20th-century rural music long before he cofounded Jefferson Airplane in 1965 and Hot Tuna some years later. On his new solo album, Kaukonen has found an imaginative setting to remind listeners how a fusion of styles and influences from both black and white musicians defined American country music in its formative decades. Included here are gems, both familiar and obscure, by the likes of Jimmie Rodgers, the Delmore Brothers, Jimmie Davis, Cliff Carlisle, and other country musicians who were clearly inspired by their blues cousins. Backed by the Nashville All-Stars, a supersonic string band comprising bluegrass masters Sam Bush (mandolin), Jerry Douglas (Dobro), Béla Fleck (banjo), and Byron House (stand-up bass), all playing on vintage 1920s and '30s acoustic instruments, Kaukonen revives and vividly reinterprets these blues-drenched country classics for a new generation of listeners. --Bob Allen ... Read more

Reviews (27)

Flying A DifferentKind of Airplane
Though the title of this CD gives a hint of what is to come, I had no idea what to expect when I bought it. When I first popped it into my CD player the music sounded so okie that I laughed aloud. This is Jorma Kaukonen? And unless you have followed all of the ins and outs of his career, you might have the same reaction.
I won't go into his musical past because if you are reading this, you are likely already familiar with him and his music. What you may not know of is his obvious fondness for bluegrass style music. If you are expecting guitar heroics, you won't find them here. If you are expecting a hard-driving rock recording, you won't find it here. But if you have any fondness in your heart for traditional American musical styles, this is a record for you! With Blue Country Heart, Jorma Kaukonen brings the listener forty-five minutes of fine toe-tappin', corn huskin', hoedown music.
My favorites here are Blue Railroad Train, Just Because (which features some magnificent banjo picking by Bela Fleck), Red River Blues, Bread Line Blues, Tom Cat Blues, Big River Blues, and Prohibition Blues. The listener will find that Kaukonen's voice is perfectly suited to this type of music and his musicians are first-rate.
I read a number of the reviews of this CD. A couple musical chauvinists complained of lack of authenticity. Do they really think that only people of a certain race can bring authenticity to the blues, that only hillbillies have bluegrass in their hearts? If they love the music of the original artist that much, they should be proud that Kaukonen is bringing that music to a new generation. If no one covered old songs, then memories of the great old songwriters would die with them and their contemporaries. I care less about authenticity than I do skill of interpretation, and on Blue Country Heart Kaukonen and company show great skill and feeling.
Yeah, I could listen to Jimmie Rodgers, with whom I am familiar, if I just had to be strictly authentic in my musical tastes. But until I heard this record, I never heard of the Delmore Brothers or some of the other writers. Now that I have, I am more likely to seek out the originals.
I think the record company missed an opportunity here to introduce Jorma Kaukonen to a new audience. With the current popularity of musicians like Allison Krause, and the attention to bluegrass generated by the popularity of the film "Wherefore Art Thou Brother?" this CD could have become a major seller. Kaukonen himself could promote the album by touring with Krause.
Jefferson Airplane/Starship/Hot Tuna fans might be surprised to find Jorma Kaukonen flying a different kind of airplane, but country music fans might find themselves wondering why they had never heard of someone as good as Kaukonen is before. They certainly would be surprised to know where he came from after hearing this.
I hope he does another like this soon. Four stars only because forty-five minutes is just not long enough.

Finger-pickin' Good!
After hearing Hot Tuna live recently I had to check this CD out. Like Jerry Garcia, Jorma began to study and play acoustic folk music back in the 60's. Those who enjoy late 60's Grateful Dead or Jerry's work with mandolin-bluegrass master David Grisman may find similar pleasures await them here.

Some will complain about Jack Cassidy's absence, but Jorma compensates by assembling a cast of distinguished members of the modern bluegrass movement, many of whom have worked with Grisman at one time or another. The songs on this recording may be more about blues than bluegrass, but these musicians have authority that spans all kinds of rural american music.

Jorma's warm grainy voice is in fine form and lends these songs his distinctive edge. If you like music that sounds like a bunch of hillbilly hippies pickin' away crazy on the back porch, this CD is worth your money.

Something special, no pretensions
Anyone familiar with Jorma Kaukonen will know that he has been playing this type of music off and on -- mostly on -- for many many years. Here he not only gets to display his own virtuosity, but he can do so in a way that is true to the music, something that wasn't always the case when he played in rock-oriented bands. Blessedly teamed with stellar bluegrass musicians, the band comes off as sharp and confident in this first-class recording. The sound comes through clear and pure, but not "produced", all the while maintaining an aura of witnessing a bunch of friends sitting on the porch, jamming on a Sunday afternoon. This recording is the closest thing I've heard to date that captures the essence of old-time musicians and musicianship back before music became an industry and a commodity.

PS: I see a previous post that disparages this recording based on the color of the artist's skin. I'm not sure of his motive, but the inference is that this record should be dismissed based on a belief that only one race 'owns' or can 'legitimatly' play the blues. The blues may have started in the Mississippi Delta, but it borrowed freely and cross-fertilized from all popular music at the time. Whether the idea for the blues originated from specific conditions by a specific group is irrelevent -- the blues represents the blending of creative forces throughout the country. Just as the blues have evolved past its roots as field chants, it has become first an American institution, and now an international one. Any musician can tell you that where ever he goes on this planet, if the people have heard about America, they want to hear him play the blues.

... Read more

Asin: B0000658AR
Subjects:  1. Acoustic Blues    2. Blues-Rock    3. Country-Rock    4. Neo-Traditional Folk    5. Pop    6. Rock   

Don't Give Up on Me
Average Customer Review:
Audio CD (23 July, 2002)
list price: $13.98 -- our price: $13.98
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Editorial Review

Of all the great male '60s soul singers--a short list that includes Sam Cooke, Otis Redding, and James Brown--only Solomon Burke still actively records. More amazing, he's produced his best full-length album with Don't Give Up on Me. It's easy to give some credit to the album's star songwriters, who include Burke fans Tom Waits, Elvis Costello, Van Morrison, Brian Wilson, and Bob Dylan. But really it's the quality of the songs and Burke himself, one of the most versatile and charismatic singers around, that make this album so special.

The 11 songs range from the lazy, seductive plea of the title track and the gravelly gospel of "Diamond in Your Mind" to the country-soul of "Other Side of the Coin" and the civil-rights-era urgency of "None of Us Are Free." Joe Henry's production is suitably subdued, and the instrumentation--generally guitar, bass, drums, organ, and piano--is sympathetic throughout. And if you doubt that Burke is the real star in a room crowded with those folks, consider this: the two slightest tracks here were written by Wilson and Costello, while one of the best, the album-closing "Sit This One Out," was written by someone named Pick Purnell. A great album not fixed in the past or fully of this decade, Don't Give Up is a crowning achievement of an R&B pioneer who has returned to reclaim his self-bestowed title from the '60s: "The King of Rock and Soul."--Keith Moerer ... Read more

Reviews (42)

Gritty and organic soul
Great album from an old soul master.

Those looking for a spit shine, stay away! Overall has a "lanois" quality to it, understated instrumentation, lots of emotion, grit and smoke! Rudy Copeland's organ work is breathtaking at times.

My track picks (the ones that hit the ipod):
Don't give up on me
Fast Train
Soul Searching
Only a dream
None of us are free
Sit this one out

All beautiful songs by sincere musicians
This cd has two "sunny" sides.
- All the material is performed with an uncommon soulfull sincerity.
- The songs are in fact beautifully produced with very gifted musicians.
There are no drawbacks with this cd. Just press "play" and "repeat".
I saw Solomon Burke live at the North Sea Jazz Festival. It was an impressive first encounter with this remarkable man.
I recommend the DVD of his concert at the NSJ festival to everyone.

none of us are free!
THIS CD IS GREAT IF YOU HAVEN'T PURCHASED IT SHAME ON YOU THIS IS BY FAR HIS BEST WORK YET.MR. BURKE DID RECEIVE A GRAMMY FOR THIS PROJECT WHICH IS A LONGTIME COMING TO HIM! ... Read more

Asin: B000068CTE
Subjects:  1. Adult Alternative Pop/Rock    2. Deep Soul    3. Pop    4. R&B    5. Soul   

Medicated Magic
Average Customer Review:
Audio CD (23 April, 2002)
list price: $18.98
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Editorial Review

Since their birth in 1977, the pioneering Dirty Dozen Brass Band has extended the New Orleans Second Line tradition into rock, R&B, funk, and hip-hop. Led by trumpeter-vocalist Gregory Davis, the nonet is joined by several cutting-edge guest artists. Dr. John lends his Crescent City piano chords and deep-south vocals on "Everything I Do Gon' Be Funky" and the festive "Big Chief." The gravel-voiced John Bell, of Georgia-based jam band Widespread Panic, chimes in on the hip-shaking "Walk on Gilded Splinters." Robert Randolph's ghostly steel pedal guitar casts its spell on Aaron Neville's "Tell It Like It Is," and the young diva Norah Jones's tender Texas twang graces the ballad "Ruler of My Heart." DJ Logic's turntable scratches provide the gumbo on the autobiographical "We Got Robbed," and the Mississippi-born blues bard Olu Dara adds his Delta-derived voice to "Junko Partner." Throughout the CD, the DDBB brings Big Easy grooves into the 21st century.--Eugene Holley Jr. ... Read more

Reviews (7)

Never fail to please....
Once again the mighty horn totin' denizens of the Crescent City bring forth another fine effort.Beyond their always soulful playing, their "back to basics" recording and their clever and idiomatic arrangements, this outing pairs the Band with several distinguished guest artists.Particular stand-outs include Norah Jones, D.J. Logic and the always welcome voice of Dr. John.The cut with Olu Dara (Junko Partner), has a "big four" beat that is so relaxed it sounds like it happened yesterday and of course, the Band rolls right along in the pocket.This really is a great listen....keep up the great work fellas....

Funked Up
On the occasion of their 25th Anniversary, this New Orleans institution has released an absotively bonaroo CD, if you know what wemean (or if we do). Although the personnel have changed a wee bit over the years, this largely in tact band of premier musicians continues t provide some of the most buoyant, joyous,dynamic music to be found anywhere. Includedhere are classic-sounding originals written bymembers of the band and just plain classics ofsuch Nawlins legends as Allen Toussaint, TheMeters, Professor Longhair, Dr. John, and Aaron Neville and Irma Thomas. Produced by Craig Street, whosename seems to pop up on a significant numberof our favorite albums, this CD employs aneclectic and imaginative assemblage of guestartists. Included are Dr. John himself, roots/jazzvocalist Olu Dara, turntablist DJ Logic, theincredible Robert Randolph who coaxes the most distinctive and unusual sounds out of apedal steel guitar, and, just when we werebeginning to go through a Norah jones, sheprovides a fix with a stunning rendition of a Nawlins standard. If there is a more thoroughly funked-up album out there right now, we'd liketo know about it.

from Happeningsville
This is great second line music with the sizzlin' shufflin'
parade beats and the funk.Lots of staples from the Nola songbook.Solowise, the baritone sax is the
hottest. If you have a friend who plays baritone sax, don't wait, get this already.

Get on the good foot and party to this side! ... Read more

Asin: B0000640MF
Subjects:  1. Funk    2. Jazz    3. New Orleans Brass Bands    4. New Orleans Jazz    5. Pop   

Soul Station
Average Customer Review:
Audio CD (23 March, 1999)
list price: $11.98 -- our price: $10.99
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Editorial Review

This 1960 session broke the usual Blue Note quintet mold, with Mobley's tenor saxophone featured with just a rhythm section, one that happened to be the best of the era. Pianist Wynton Kelly and bassist Paul Chambers were working regularly with Mobley in Miles Davis's band, while the explosive drummer Art Blakey had worked with him in the original, cooperative form of the Jazz Messengers, and the familiarity shows. Blue Note had a reputation for producing "meat 'n' potatoes" jazz, and no musician would better fit the description than Mobley, who went about the task of making music with a workmanlike focus and a consistency that didn't attract nearly the attention it deserved. Mobley was one of the most talented saxophonists of his generation, a superbly lyrical artist who blended an inventive tunefulness with taut rhythmic attentiveness. The flowing blues of the title track is a particularly fine example of his art. And to say this session is exemplary would be an understatement. --Stuart Broomer ... Read more

Features

• Original recording remastered

Reviews (26)

Mobley's Saxophone Colussus and Giant Steps
The 5 star reviews really say it all about this all time jazz classic which my personal favorite of all the Blue Note recordings made in those golden watershed years of 1955 to 1967.

JAZZ MAN
If you really like the old style jazz sakophonist, this is the one. Hank Mobley does it. The entire CD is great. It's upbeat and lively. You have to hear it to love it.

satisfied

Hank Mobley, Soul Station
The king of cool, Hank Mobley made numerous albums for Blue Note in the 60's, but the public keeps demanding this one as his best.

Hank is in one of my favorite jazz settings, the tenor, piano, bass, drums setup which can be so tasteful. Here, he is met with the underrated Wynton Kelly, the bassist that everyone wanted on their records, Paul Chambers, and the explosive drummer from Pittsburg, who usually recorded solo albums, Art Blakey.

Irving Berlin's Remember gets the start of the album. It is such a warm melody and the boys do it good here. Up next is the up-beat, This I Dig Of You. This tune starts the four Mobley original's in a row. Mobley was such an underrated song writer. As much as people want to call him an underrated saxophonist, I just can't give in to that. Sure he wasn't hailed as big as Coltrane, Sonny Rollins, Dexter Gordon, and Wayne Shorter, but he got his place in jazz. I haven't met a real jazz fan who does not know Hank Mobley, nor contribute him with what he deserves; a fine tenor sax player in the hard bop genre. He was an underrated song writer though.

Dig Dis, Split Feelin's, and Soul Station finish out his originals. Wynton Kelly is a very tasteful piano player, as demonstrated on all six songs. The album closes with If I Should Lose You, which is an excellent standard; Mobley covered it well.

If you are looking for your introduction to Hank Mobley, this is the place to start. This album is the epitome of Hank's tenor playing, and hard bop jazz. All the musicians here were at the top of their game, and the final outcome was tremendous.

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Asin: B00000I8UI
Subjects:  1. Jazz    2. Pop