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Jorma Kaukonen: Live At The Bottom Line
by Doug Collette
Live at the Bottom Line represents a significant turning point in the history of guitarist, composer and vocalist Jorma Kaukonen. Occurring roughly a year after the release of his solo album, Blue Country Heart (Columbia Records, 2002), the concerts marked the advent of a new career phase for the co-founder of Hot Tuna, including regular touring ...
Albert King: Born Under A Bad Sign (SACD)
by Doug Collette
Originally released in the psychedelicized year of 1967, the altogether earthy blues recording that is Albert King's Born Under A Bad Sign may have gone over the heads of those succumbing to flower power during the Summer of Love. Nevertheless, it made an impression on those who were learning to dote on the genre, many of ...
Damon Smith, Peter Kowald, Joëlle Léandre & Bertram Turetzky: Bass Duos 2000-2007
by Jeff Schwartz
One function of recordings is to document a performer's development. Damon Smith's Bass Duos 2000-2007 not only captures his artistic and technical evolution, his choice of duet partners represents the expanded options for the bass in creative music since the 1960s. Two of the three discs in this set were previously released, but ...
Stephen Stills: Live At Berkeley 1971
by Doug Collette
Given the length and breadth of Stephen Stills' discography--as a solo artist, leader of the Manassas band, and in various collaborations--it's altogether surprising he hasn't done more archival work. But Live At Berkeley 1971 rectifies the neglect, at least to some degree, and might augur well for future releases. This sixty-six minutes (on CD ...
Blood Sweat & Tears: What The Hell Happened to Blood Sweat & Tears?
by Doug Collette
The title of this release might rightfully be applied at various junctures of Blood Sweat & Tears' career, but for the purposes of this project, it's particularly apropos to the group's State Department-sponsored tour of 1970 behind the Iron Curtain. Innuendo about this band's hip cachet or lack thereof arising from this jaunt--the main premise of ...
Club d'Elf: As Above - Live At The Lizard Lounge
by Doug Collette
The music of Club d'Elf's debut album, As Above, speaks volumes in terms of the group's mystical and stylistic roots. In fact, it is perfectly reflective of the actual ancient quote from which the title is taken; 'As above, so below...' suggests how the rhythm motifs are as fully and completely developed as the melodic themes. ...
Bob Weir: Ace - 50th Anniversary Deluxe Edition (2CD)
by Doug Collette
Befitting its heady milestone date, the title of Bob Weir's initial solo album, Ace, carries multiple meanings. First of all, it was the Grateful Dead guitarist, vocalist & songwriter's nickname at the time of its gestation and completion (his bawdy persona as such mirrored in the ultra-suave pose on the inside photo as well as the ...
Dose Hermanos: Persistence of Memory
by Doug Collette
Consisting of two formidable contributors to the expansive oeuvre of the Grateful Dead, keyboardist/multi-instrumentalists Tom Constanten and Bob Bralove, Dose Hermanos explore areas of ambiance hardly unfamiliar to the iconic San Francisco band. Both men performed with the Dead, albeit at markedly different eras of the band's existence (Constanten as keyboard player from 1968 to 1970, ...
Miles Davis: The Bootleg Series Vol. 7 That's What Happened 1982-1985
by Ian Patterson
Eventually the steam roller that is the Miles Davis Bootleg Series was going to trundle into the trumpeter's 1980s comeback era. The preceding six volumes in this series have all been uniformly excellent--essential listening for the Davis completist. Volume 7, however, does not reach those heights. It is an uneven bag, much like Davis's 1980s output ...
Douwe Eisenga: The Border
by James Fleming
The brass section on The Border's opening track, “At The Coast," tolls like a foghorn through its two-note riff, pauses, then returns, pierced this time by a synthesizer's shimmering. Douwe Eisenga's piano does not make an appearance until the second track, “Encounter." He rolls through an arpeggio, changing just one note every bar to transform the ...
