Blues guitarist and singer Stevie Ray Vaughan impressed millions of fans and aspiring musicians with his genuine soul and fiery technique. Cut short by a blanket of fog in the wee hours of the morning after an August 1990 concert, his career had put him in touch with blues artists and rock stars from around the world. That final encore jam in East Troy, Wisconsin, featuring Vaughan with his brother Jimmie and friends Eric Clapton, Buddy Guy and Robert Cray, was but one reminder of how dedicated he was to the blues and its people. The helicopter crash killed Vaughan and the other passengers on that fateful flight, but his music lives on. This compilation, which includes six tracks that have never been issued before, pairs Vaughan with some of the stars that he'd worked with during his all-too-brief career.
Every track is a gem. Vaughan's vocals and guitar weave through each selection with a natural blues intuition. This "common language enabled him to converse musically with a wide array of artists, entertainers and performers. His guitar colors David Bowie's hot rock interpretation of "Let's Dance with skyscraper-leaping flames. "Pipeline features Vaughan in an instrumental duet with original surf guitar veteran Dick Dale. Bonnie Raitt adds a pure guitar tone to "Texas Flood, Lou Ann Barton sings "You Can Have My Husband with an Old School authority, and Jimmie Vaughan joins his brother on "Change It, from a Saturday Night Live television performance.
Albert's Shuffle features Vaughan with Albert Collins in a thrilling guitar conversation. Lonnie Mack's "Oreo Cookie Blues pairs two exciting blues guitarists in a celebration of good music. Jeff Beck's guitar defines "Goin' Down with a like-minded duet, while Bill Carter's "Na-na-Ne-Na-Nay moves into the country with Vaughan's boy-next-door vocal. New Orleans boogie takes over as Vaughan joins pianist/vocalist Katie Webster for "On the Run. Saxophonist A.C. Reed pairs with Vaughan for a rollicking instrumental on "Miami Strut. Johnny Copeland delivers a true-blue message on "Don't Stop by the Creek, Son, which features strong performances from two guitars, vocal, piano, and more. Marcia Ball's interpretation of "Soulful Dress belies the Texas roots that built both her career and Vaughan's. A summit meeting of Albert King, B.B. King, Paul Butterfield and "rising star Stevie Ray Vaughan opens the album with a blast of the blues on "The Sky is Crying.
This is not Stevie Ray Vaughan's best work. Solos, Sessions & Encores does, however, show the versatility in his blues endeavors and the natural manner in which he partnered with others. His dreams were fulfilled during his all-too-brief career; the music lives on forever.
Track Listing: The Sky is Crying; Soulful Dress; Dont Stop by the Creek, Son; Miami Strut; Na-na-Ne-Na-Nay; Goin Down; Oreo Cookie Blues; On the Run; Alberts Shuffle; Change It; You Can Have My Husband; Texas Flood; Pipeline; Lets Dance.
Personnel: Stevie Ray Vaughan: guitar, vocals; Albert King: guitar, vocals; Johnny Copeland: guitar, vocals; Jeff Beck: guitar, vocals; B.B. King: guitar; Bill Carter: guitar; Lonnie Mack: guitar; Albert Collins: guitar; Jimmie Vaughan: guitar; Bonnie Raitt: guitar; Dick Dale: guitar; Paul Butterfield: harmonica; A.C. Reed: tenor saxophone; Katie Webster: piano, vocals; Marcia Ball: vocals; Lou Ann Barton: vocals; David Bowie: vocals; others..
I was first exposed to jazz circa 1973, when I met a fellow who ran Kappy's Record Store over near 10th Ave., on 42nd St. in NYC. We really clicked and when I told him I played piano and went to Music & Art HS, and had just started at City College of NY as a music major, he asked if I liked jazz...I said yes but I didn't know much about it, but that I did have sheet music for many popular 1920's through 1940's tunes by noted composers (Porter; Gershwins; Irving Berlin; Rodgers & Hammerstein/Hart; Jerome Kern; Lerner & Loewe; etc.) that my mother had sung beautifully starting in the 1940's including tons of famous show tunes, and I played many of those songs already
I was first exposed to jazz circa 1973, when I met a fellow who ran Kappy's Record Store over near 10th Ave., on 42nd St. in NYC. We really clicked and when I told him I played piano and went to Music & Art HS, and had just started at City College of NY as a music major, he asked if I liked jazz...I said yes but I didn't know much about it, but that I did have sheet music for many popular 1920's through 1940's tunes by noted composers (Porter; Gershwins; Irving Berlin; Rodgers & Hammerstein/Hart; Jerome Kern; Lerner & Loewe; etc.) that my mother had sung beautifully starting in the 1940's including tons of famous show tunes, and I played many of those songs already. SOOOO... he started me off LP's by Oscar Peterson, Art Tatum, Bud Powell, Errol Garner, Bill Evans, Monty Alexander, Charlie Byrd, and Dave Brubeck... does it get any better than that? ...No, it doesn't. I was hooked!!
I met and had a master class with the late music giant John Lewis, leader of the Modern Jazz Quartet! This was at CCNY in 1977. I was blessed! It was an incredible class... how could it have been anything else?!?!
The first jazz record I bought was...I bought numerous records from my friend at the record store, as mentioned above. He introduced me to nothing but music giants/legends! I think The Dave Brubeck Quartet, Greatest Hits, was actually the first one.
My advice to new listeners... study first--understand the rudiments--solfeggio, keys, scales, and basic chords. Read a book or take a class that includes the study of chord progressions, especially in jazz. It should ideally be a piano class so you can play multiple notes together. Have a good EAR or else it's not really worth it in my view...to become a musician, a good EAR for music is about as fundamental as breathing! Learn to read chord charts--i.e., lead sheets - wherein you play various voicings of the chords--major, minor, dominant 7th (alterations of these, you can learn over time - the basic chords are most important for starters), plus the melody, on the piano or keyboard. If you have to read the exact notes, then it's not the same as actually internalizing it & getting it all into your head. If you can do this, I think you're ready not only for listening to jazz, but understanding many concepts of it! Of course...anyone can listen to jazz... but I think it's so good to also have a grasp of it.