This is a wonderful CD. Great musicianship, instrumentation, beat. Combo of blues, rock, rock and roll. Can listen to the songs over and over again. Makes you want to get up and dance or at least sway to the beat…
From vast boombox symphonies to chamber music and song cycles, Phil Kline's (b. 1953) work has been hailed for its originality, beauty, subversive subtext, and wit. ...In terms of its harmonic make-up this album begins in a traditional enough format, but once the inaugural choral sequence is dispensed with, the uncompromising strings of 'Offertorium' bring a very contemporary sense of uncertainty, as the piece swells with strange and ambiguous drama. Towards the end of the mass the choir lose their grip on language altogether, groaning their way through 'Dark Was The Night' , as all the while jagged strings stab and slash around in the background. Powerful stuff.
Bluesbreakers with Eric Clapton was Eric Clapton's first fully realized album as a blues guitarist – more than that, it was a seminal blues album of the 1960s, perhaps the best British blues album ever cut, and the best LP ever recorded by John Mayall's Bluesbreakers…
Don't Turn Me From Your Door comprises a set of 1953 sessions that were originally released in 1963 and later in 1972, under the title Detroit Special. Despite its twisted historical background, this is fine, first-rate Hooker. A few tracks feature the support of guitarist/vocalist Eddie Kirkland, a few others, an unnamed bassist, but this is pretty much pure John Lee Hooker – just him and a guitar, running through a set of spare, haunting blues that include such tracks as "Blue Monday" and "Stuttering Blues." There are none of his best-known tracks on the album, but it's one of his most consistent original records.
This set was also issued as two separate LPs under John Surman’s name, Vogue VJD 505/1 and VJD 505/2. Rare bit of free jazz by this trio of British players from the early 70′s. The music is very intense, without any of the noodling that sometimes ruins Brit sessions from the time. Surman plays baritone, soprano, and bass clarinet, and he really blows like mad in some passages. The sound quality of this album is stunning! In the autumn of 1969, John Surman decided to make a break and joined forces with Barre Phillips and Stu Martin, to form a group they called The Trio. Phillips had a varied background, having worked as a sideman with Archie Shepp, Jimmy Giuffre and George Russell, as well as performing solo in Leonard Bernstein and the New York Philharmonic.
Essential: a masterpiece of progressive folk music
Renbourn's last solo album for the next six years overlaps with his Pentangle work, featuring Terry Cox playing hand drums and glockenspiel, with future John Renbourn band member Tony Roberts and violinist Dave Swarbrick.
It's hard to believe by listening to the sort of watered-down pap that Eric Clapton has cranked out the past few years, but at one time the big King of all Guitar Gods played with great style, passion and ingenuity. Look no further than Blues Breakers with Eric Clapton to find documentation of the artist's early six-string prowess. Reverend Keith A. Gordon, About.com: Blues
Eddy Clearwater is equally talented as a bluish singer and as an improvising guitarist. On Reservation Blues, he ranges from Chicago blues to rock & roll, throwing in a couple instrumentals too. His repertoire includes both socially relevant lyrics and good-time music, featuring some of the latter when the former gets a bit too somber. Although there are some solid solos from his supporting players (including three guitar spots for Duke Robillard, two fine solos from tenor saxophonist Dennis Taylor, and a guest appearance by Carey Bell on harmonica during "Find Yourself"), Clearwater is the main star throughout. Fortunately, he is heard in prime form, whether happily jamming "I Wouldn't Lay My Guitar Down" and "Blues Cruise" or singing in a more serious mood on "Winds of Change" and "Everything to Gain." A gem.
Blues at Carnegie Hall is a live album by American jazz group the Modern Jazz Quartet featuring performances recorded at Carnegie Hall in 1966 at a benefit concert presented by The Manhattan School of Music and released on the Atlantic label.