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Jazz Blues Club » Music » Blues
1960-1961: Etta James - Just Wanna Make Love to You Music » Blues » Rhythm-n-Blues

1960-1961: Etta James - Just Wanna Make Love to You
Artist: Etta James
Album: Just Wanna Make Love to You
Years: 1960-1961, release: 1996
Label: Spa
Quality: Bitrate:my cd >mp3-320
Total Time:00:45:15
Total Size:108 mb (with full scans)

Unlike many other artists of her genre, Etta James has lived her music, making her an expert on the Blues. Although she is best known for being one of the finest Blues belters around, she has also recorded incredible R&B, Jazz and Pop tunes that make grown men weep. There's plenty more after this to discover, but this is absolutely where you start. Etta is betta so you betta get some Etta!
1956: Hen Gates And His Gaters - Rock And Roll Music » Blues » Piano blues & booqie » Boogie-Woogie
1956: Hen Gates And His Gaters - Rock And Roll
Artist: Hen Gates aka Freddie Mitchell
Album: Rock And Roll
Label: Plymouth (Catalog#: P-12-144)
Released: 1956
Format: FLAC, LP-Rip
Time: 31:30
Size: 206MB

Two year ago I stumbled on this obscure album at Boogie Woody's site. After downloading and listening to it a few times I was convinced that some of the tunes sounded very much like early Eddie Lockjaw Davis. Intrigued I delved deeper into the comments to find that the pseudonym Hen Gates was actually Freddie Mitchell and that this budget label amassed a number of tracks from his Derby releases. Anyway as an avid Lockjaw fan I was glad to have acquired this rarity; however the rip was in a sorry state, so Ive done my best to re-encode and share here. The album is full of dynamic energy with some marvellous honky tonk / plinkity plonk piano, guitar passages and shrieking-shronking sax. The sound quality is variable, but still very entertaining, Enjoy!
2014: Lucky Peterson - The Son Of A Bluesman Music » Blues » Modern electric blues
2014: Lucky Peterson - The Son Of A Bluesman
Artists: Lucky Peterson
Album: The Son Of A Bluesman
Label: Jazz Village
Year: 2014
Format, bitrate: mp3@320kbps
Time: 56:56
Size: 128 Mb
AMG Rating: 2014: Lucky Peterson - The Son Of A Bluesman

Lucky Peterson's father was blues guitarist and singer James Peterson, a well-known regional musician who also owned the Governor's Inn, a premier blues nightclub in Buffalo, New York, which means Peterson grew up around his father's friends, who just happened to be touring and recording musicians like Jimmy Reed, Muddy Waters, and Bill Doggett, and he learned from all of them. He became fascinated with the Hammond B-3 organ as a young child, and by the time he was five, he'd proved to be a prodigy on it. Mentored by another of his father's friends, the great songwriter, bassist, arranger, and producer Willie Dixon, Peterson was still only five when he scored an R&B hit with the Dixon-produced "1-2-3-4," the novelty of it all landing him appearances on The Tonight Show, The Ed Sullivan Show, and others, and his debut album appeared in 1969. But Peterson had an exploratory nature, and while he could have had quite a career as a keyboard player, he picked up the guitar at the age of eight, and by the time he was a teen, he had developed an emotionally searing guitar style. He could have relaunched his career then, but instead he attended the Buffalo Academy of Performing Arts, and went out on the road as part of the touring bands of Etta James and Otis Rush, spent three years as Little Milton's keyboardist, another three years in Bobby "Blue" Bland's band, and backed jazz stars like Hank Crawford and Abbey Lincoln. He learned blues, jazz, soul, R&B, funk,
and gospel, and by the time he made his re-debut as a bandleader with the Bob Greenlee-produced Lucky Strikes! in 1989, Peterson was a triple-threat multi-instrumentalist who managed to fuse R&B, jazz, gospel, funk, and rock with the blues. All of this leads up to this very personal and semi-autobiographical set, and his 18th album as a bandleader. The Son of a Bluesman, aside from being another fine set of Peterson's joyous fusion blues, is also the first of his albums that he has produced himself, and it has a warm, career-summing kind of feel to it. The title track, "The Son of a Bluesman," and the two different versions of the gospel-themed "I'm Still Here," give this album a personal and retrospective feel, as does the striking, and even silly "Joy," a straight-up family home recording featuring a rap interlude. But perhaps the best and most poignant track on an album full of standouts is the lovely instrumental "Nana Jarnell," dedicated to both Peterson's mother and his wife's mother, musician, singer, and songwriter Tamara Stovall-Peterson. Peterson's guitar lead on the track is a marvel of crying, elegantly balanced phrasing, almost horn-like or vocal-like, and it speaks and sings like the marvel it is. This is perhaps Peterson's most well-rounded and personal album yet, and it coheres in a wonderful arc, capturing the blues as an ever-flowing, joyous, and ultimately uplifting thing.
~ Steve Leggett, All Music Guide.
1947-1953: Rose Murphy - The Chee-Chee Girl Traditional Jazz, Vocal Jazz, Rhythm-n-Blues
1947-1953: Rose Murphy - The Chee-Chee Girl
Artist: Rose Murphy
Album: The Chee-Chee Girl
Label: Living Era CD AJA-5486
Year: 1947-1953 ; release:2005
Format, bitrate: Mp3, 320 kBit/s
Time: 77:04
Size: 105.3MB

American jazz and blues singer and pianist, born 28 April 1913 in Xenia, Ohio, USA, died 16 November 1989 in New York City, USA.

Rose Murphy has a unique place in music history. She became famous as "the Chee Chee Girl" because she sang "chee chee" in her high-pitched voice somewhere during nearly every number. She was an excellent pianist, although best known for her eccentric singing. She was unknown until "I Can't Give You Anything But Love" became her trademark song in the mid-'40s. Her singing was always bubbly and her style included cutesy percussion sounds, giggling, and squeals.

To some she was cute, to others she could sound annoying after a few minutes. Murphy appeared regularly on the radio in the mid-'40s. Among her more popular recordings (made for Majestic, Victor, and MCA) were "When I Grow Too Old to Dream," "Girls Were Made to Take Care of Boys," "Me and My Shadow," "Busy Line," "A Little Bird Told Me," and "Button Up Your Overcoat." She recorded relatively little after 1950 other than an album apiece for Verve (mid-'50s), United Artists (1962), and Black & Blue (1980). By the 1960s, Rose Murphy was largely forgotten in the United States, although Ella Fitzgerald always did an imitation of her on her version of "I Can't Give You Anything But Love." However, "the Chee Chee Girl" retained her popularity in Europe and worked regularly overseas during her last three decades.
2012: The MacKenzie Blues Band - Back Road Revelation Music » Blues » Modern electric blues » Blues-Rock
2012: The MacKenzie Blues Band - Back Road Revelation
Artist: The MacKenzie Blues Band
Album: Back Road Revelation Debut Album
Label: Oh!-Town Records (Canada)
Year: June 9, 2012
Format: MP3, CBR 320kbps
Time: 43:37
Size: 99,48 mb

In one year, the MacKenzie Blues Band has set a wrecking ball upon Grey-Bruce and Simcoe Counties with their driving, high energy live shows and are poised to get the attention of the Canadian blues scene. Mastered at the famous Abbey Road Studios, their debut offering, Back Road Revelation Is a songwriting journey into the lives and characters, (some fictional and some very real), encountered at a small magical backwoods roadhouse.
The track list, creates an intrigue that is uncommon on a debut release. The relatable songs are about redemption of the human condition and dealing with painful issues. You get the idea that the sky is falling, but somehow there is a silver lining and a path to better times. This album is a seismic juxtaposition of tragedy and hope, with a little bit of fun and flirting along the way.
Back Road Revelation does not follow the typical 12 bar formula, as it explores all byways leading to the heart of the blues. Drawing on the electrical traditions of Buddy Guy, Jimmy Page, and to some extent texas blues greats like SRV and ZZ top in the guitar end, melded with face punching melodic vocals delivered over the 3.5 octave range of singer Tara MacKenzie. It is glued together with the snappy, funky pulsing groove of Dawson and Weir.
Musically, the band explores the flavors of southern gospel, electric rock blues, shuffle and soulful bluesy ballads. Im Gone, covers the gut wrenching revelation that a 20 year marriage is over, with no last hurrah. On Dont Let the Devil Get on Your Train Dawson shines with his seething, rumbling bass line. In contrast, Treat Me Like Im Trouble is a sassy flirty song with the right amount of grinding harmonica,along with tasty organ underlay. It has lyrical innuendo, pop and sizzle. The only cover song on the album is Heavy Love made famous by Buddy Guy, was chosen for its groove, lyrical content and swagger.
In scope, palette, and composition, "Back Road Revelation" is an exciting and solid debut from this band that is on a mission to become a household name in the blues community and this is that first step, on a journey of a thousand miles.

~ Album Notes From
2006: Flavio Guimaraes & Prado Blues Band Music » Blues » Modern electric blues
2006: Flavio Guimaraes & Prado Blues Band
Artist: Flavio Guimaraes and Prado Blues Band
Album: Flavio Guimaraes and Prado Blues Band
Label: Chico Blues Records (Brasil)
Year: 2006
Format: MP3, VBR - V0 ~240kbps
Time: 01:03:19
Size: 107.22 MB

Flávio Guimarães (born November 10, 1963) is a Brazilian composer, harmonica player and singer. Considered a blues pioneer in Brazil, he founded the band Blues Etílicos in 1986, which is considered the most successful Brazilian blues group. He has also played with many famous artists along his career, such as Alceu Valença, Ed Motta, Luiz Melodia, Paulo Moura, Zeca Baleiro, Buddy Guy, Charlie Musselwhite, Sugar Blue e Taj Mahal ~ From Wikipedia, the free encyclopedia
1975, 1989, 1991: R.L.Burnside - The King Of Hill Country Blues: Rollin' & Tumblin Music » Blues » Modern electric blues

1975, 1989, 1991: R.L.Burnside - The King Of Hill Country Blues: Rollin' & Tumblin
Artist: R.L.Burnside
Album: The King Of Hill Country Blues: Rollin' & Tumblin
Label: Wolf 120.921CD
Year: 1975, 1989, 1991; Release: 2010
Format, bitrate: mp3@320kbps
Time: 66:20
Size: 159 MB

R.L. Burnside, along with Junior Kimbrough, became the public face of the so-called North Mississippi hill country style of modal blues in the 1980s with several solid albums on the Fat Possum label, and while he tried on different hats during his run (even tracking a fine album backed by indie rocker Jon Spencer and his band), the blues he made essentially stayed in the same pocket, honed from years of playing weekend house parties and juke joints. His droning style, the style that all of the North Mississippi players used, was equal parts John Lee Hooker and Fred McDowell, designed to keep the beat steady for dancing and allowing minimal but effective interplay between voice and guitar, and it was as old as those hills themselves, somehow sounding both ancient and oddly contemporary all at once. This set, drawn from intimate recordings done in 1975, 1989, and 1991, features Burnside playing mostly solo -- both acoustic and electric -- in living rooms, on porches, and in jukes, and it provides a nicely sequenced portrait of this intriguing musician working away from a studio setting, not that what he did in the studios differed one degree from what he did outside of them. Highlights include two takes of Long Haired Doney, three of the signature Poor Black Mattie (both acoustic and electric), an endearing and intimate version of Goin Down South, and a solid take on Hooker's Boogie Chillen that shows how large a role Hooker played in the creation of the hill country sound and style. ~ Steve Leggett, All Music Guide
Thanks To The Original Uploader!!!
1991: Various Artists - Slidin' (A Collection of The Blues Slide Guitar) Music » Blues » Slide guitar
1991: Various Artists - Slidin' (A Collection of The Blues Slide Guitar)
Artist: Elmore James/Hound Dog Taylor/Earl Hooker/John Littlejohn
Album: Slidin' (A Collection of The Blues Slide Guitar)
Label: Charly/Chess
Year: 1953-1960; Release:1991
Format,bitrate: Mp3, 320 kBit/s
Time: 66:12
Size: 158.25 MB

Great collection of classic blues by four great slide guitarists from the Chess Label. If slide guitar is something you enjoy listening to, than this is for you. Featuring Blues legends Elmore James, Hound Dog Taylor, Earl Hooker & John Littlejohn. This Blues CD contains 21 tracks.
2014: Bill Labounty - Into Something Blue Music » Blues » Rhythm-n-Blues
2014: Bill Labounty - Into Something Blue
Artist:Bill Labounty
Album:Into Something Blue
Label: Bill Labounty Productions
Year: 2014
Format, bitrate: Mp3, 320 kBit/s
Time: 42:06 Min
Size: 85 mb

Thanks to all who've joined me on my musical journey over the years. Your presence at my shows and purchases of my albums has given me the drive and inspiration to continue singing my songs and creating the music I love.

I'm very excited to bring you this new album. I've recorded in a rawer, bluesier, more R&B vein than usual, & I've included not only my new compositions but some of my very favorite songs by Ray Charles, The Drifters, and even Bob Dylan.

My friend Larry Carlton has contributed lavishly to this project with some of the most soulful guitar I've ever heard. Along with Mark Douthit, Tom Hemby and many more of my favorite sought-after players and musicians.

I hope you'll enjoy "Into Something Blue". If you've followed my music at all, I think you'll be pleasantly surprised.
Yours from the heart
2009: Dean Grech - Look Out! Cool, Fusion, Modern Jazz, Rhythm-n-Blues
2009: Dean Grech - Look Out!
Artist: Dean Grech
Album: Look Out
Label: CD Baby / Dean Grech
Year: 2009
Format, bitrate: Mp3, 320 kBit/s
Time: 56:53
Size: 126,3 MB

A wonderful fusion of modern and cool jazz with a pinch of R&B, Look Out is an eloquent and lyrical album featuring Dean Grech's melodic guitar, smooth vocals and timeless compositions. He is accompanied by some of our modern day greats: Saxophonists Eric Marienthal (Chick Corea's Electric Band) & Scott Martin (Poncho Sanchez), Rick Shaw (bassist with Johnny Mathis), Steve Distanislao (drummer with Pink Floyd's David Gilmore), Hans Zermuehlen (keys) and Andrew Carney (trumpet). Dean's guitar playing is reminiscent of Wes Montgomery, Jim Hall and Johnny Smith, blended with the more modern sounds of Peter White and Norman Brown. Vocally, he has captured the essence of Kenny Rankin with a taste of Michael Buble and the soulfulness of Bill Withers, while retaining an original sound. Look Out was mixed by Francis Buckley (Grammy Award Winner-Quincy Jones's "Q's Jook Joint ").

Dean has played guitar from the age of eight. He studied classical guitar with world-renowned guitarist, Rey Dellatorre and went on to study jazz at the Berklee School of Music. Grech has written, recorded, toured, and performed with some of the best in the pop and jazz world such as Sting, Eric Marienthal, John Pettitucci, Russ Ferrante, Scott Martin, Tim Heintz, Tom Kubis, Abe Most, A Flock Of Seagulls, Klique, Bobby Kimble, Shae Chambers, Mirror Garden, Jeff Coffey, Idol Cure and Matthew West to name a few.

Dean Grech was also Musical Director for the Radio Disney 2000 World Tour band, backing Hollywood Records artists Youngstown, Nobody's Angel, BB Mac and Sister to Sister with guest hosts Mark and Zippy (Radio Disney DJs). This led to appearances on Soap Talk with Lisa Rinna and Latin T.V. Ventaneando.
1999: Duke Robillard & Herb Ellis - Conversations In Swing Guitar Music » Blues
1999: Duke Robillard & Herb Ellis - Conversations In Swing Guitar
Artist: Duke Robillard & Herb Ellis
Album: Conversations In Swing Guitar
Label: Stony Plain
Year: October 26, 1999
Format, bitrate: Mp3, 320 Kbps
Time: 48:18
Size: 108.78 MB
AMG Rating: 1999: Duke Robillard & Herb Ellis - Conversations In Swing Guitar

This is a not very challenging, but thoroughly charming, summit meeting between a blues guitar master and a jazz guitar legend. Taking four classic swing tunes ("Just Squeeze Me," "Avalon," "Stuffy," and, inevitably, "Flyin' Home"), two Robillard originals, and a jointly composed slow blues, and helped out by bassist Marty Ballou and drummer Marty Richards, Duke Robillard and Herb Ellis deliver a 48-minute swing guitar master class, Conversations in Swing Guitar. Ellis comes from jazz and Robillard from the blues, so their approaches are just distinct enough to keep things interesting; although both play with a clean, fat jazz tone and no one ever really hauls off and shreds, Robillard tends towards bent notes and funky chordal things while Ellis thinks a bit more in terms of long lines and florid ornamentation. Every so often you might find yourself wishing that the edges were just a bit rougher, but both of these guys are clearly having a great old time, and you will too.
~ Rick Anderson, All Music Guide
2014: Incognito - Amplified Soul Acid Jazz, Rhythm-n-Blues, Jazz-Blues, Soul
2014: Incognito - Amplified Soul
Artist: Incognito
Album: Amplified Soul
Label: Shanachie
Year: 2014
Time: 69:45
Size: 153 MB

In 2013, Jean-Paul "Bluey" Maunick stepped out with his first solo album, Leap of Faith -- a stylistically varied set on which he performed the lead vocals -- but he quickly went to work on fresh material with the group he has led for over four decades. Leap of Faith evidently didn't drain his creativity, as Amplified Soul is another double-length Incognito album, 70 minutes in duration. Though it doesn't feature Maysa Leak or any collaborator on the level of Transatlantic R.P.M. contributors Chaka Khan, Leon Ware, and Al McKay, it certainly isn't short on powerful and uplifting lead vocal turns. Maunick works with some names familiar to Incognito fans and continues to keep it fresh with new voices. Most notably, there's the underexposed Deborah Bond on "I See the Sun," a gorgeously rolling number near the end that could just as easily follow the album's introduction. Melonie Crosdale leads "Rapture," another beaming, kicked-back groove that stands with the group's best work. They take it back a little farther than their typical mid-'70s to early-'80s well of inspiration for the strutting "Hats (Makes Me Wanna Holler)," one of their funkier straight-R&B songs. At this point, even the most casual listener knowledgeable about the group's inspirations won't be surprised that a piece titled "Wind Sorceress" resembles Mizells-era Donald Byrd. And yet, despite the obvious likeness, it's fully enjoyable, filled with little details that make it more than a mere tribute. As usual, Maunick either wrote or co-wrote all the original material, and there's a cover -- a festive version of Atlantic Starr's 1985 single "Silver Shadow,"fronted by Vanessa Haynes.
~ Andy Kellman, All Music Guide
1958-1959: Ray Charles - Live Music » Blues » Rhythm-n-Blues
1958-1959: Ray Charles - Live
Artist: Ray Charles
Album: Live
Year: 1958/59
Label: Atlantic (1989)
Quality: FLAC
Size: 432,4 MB (covers)
Total time: 71:20
AMG Rating: 1958-1959: Ray Charles - Live
REPOST with new links

A repackaging of Ray Charles In Newport and Ray Charles In Person presents concerts from 1958 and 1959 that found Charles in peak form, performing some of his best-known R&B hits.
~ William Ruhlmann, All Music Guide
1973: Various Artists - The Blues..."A Real Summit Meeting" Music » Blues
1973: Various Artists - The Blues..."A Real Summit Meeting"
Artist: Various Artists
Album: The Blues..."A Real Summit Meeting"
Label: Mobile Fidelity Sound Lab
Year: 1973; Release:1994
Genre: Modern Electric Blues, Early R&B, Jump Blues
Format, bitrate: MP3 @320
Size:216 MB (Artwork scans included.)

Recorded live at Newport on June 29, 1973, this two-CD set brings together performances by both big names - B.B. King, Muddy Waters - and lesser knowns (Lloyd Glenn, who serves up honky tonk piano like "Pine Tops Boogie Woogie"). Everyone gets about twelve minutes to do their thing, except for Arthur "Big Boy" Crudup and King, who are limited to one song each ("That's Alright Now Mama" and "Outside Help" respectively). The surprise star is Eddie "Cleanhead" Vinson, who captivates the house with tongue-in-cheek verbal boasts ("They Call Me Mr. Cleanhead") and athletic alto sax solos ("Kidney Stew"). Also captured at her best is Big Mama Thornton, who delivers crusty but vulnerable readings of the old standby "Little Red Rooster" and her signature song, "Ball And Chain." None of the performers are young, but it's not strictly a nostalgia set; Gatemouth Brown's "Please Mr. Nixon" demonstrates that the performers are grounded not just in the timeless, but in the here and now (more precisely, the there and then). The band is terrific: Jay McShann adds classy piano backing, while wildman violinist Claude Williams takes some jawdropping extended solos ("Smooth Sailing"). You could certainly argue that this set reaches too hard for variety at the expense of coherence (Crudup's unaccompanied country blues segue into Glenn's super-cool piano stylings), but there's not much else to quibble with: it showcases an impressive array of talents playing their favorite material, with no condescension or pretension. ~ Wilson & Alroy's Record Reviews,

Besides the legendary B.B. King and Muddy Waters, a live Newport audience in New York hears some lesser lights such as Eddie "Cleanhead" Vinson. Of historical interest, Big Mama Thornton, Arthur "Big Boy" Crudup, and Jay McShann offer renditions of their own songs that were covered for a much larger audience by Janis Joplin, Elvis Presley, and others. An unexpected delight is the electrified violin played by Clarence "Gatemouth" Brown, who backs other performers here as well as taking the lead on two tunes. ~ Mark Allan, All Music Guide
1990: Drink Small - The Blues Doctor Music » Blues
1990: Drink Small - The Blues Doctor
Artist: Drink Small
Album: The Blues Doctor
Label: Ichiban ICH 1062
Year: 1990
Format, bitrate: Mp3, 320 kBit/s
Time: 40:15
Size: 89 MB
AMG rating: 1990: Drink Small - The Blues Doctor

1990: Drink Small - The Blues Doctor

Drink's own special blend of Delta, Chicago, and Carolina blues, it includes some band stuff, some solo stuff. Particularly wonderful is Drink's rich, gospel-influenced bass voice. A truly unique artist sharing his unique point of view, Drink includes a couple of saucy items ("Tittie Man" and "Baby, Leave Your Panties Home") along with covers of "Little Red Rooster" and "Stormy Monday Blues."
~ Niles J. Frantz, All Music Guide
2003: Bettye Lavette - A Woman Like Me Blues, Blues woman, Rhythm-n-Blues, Soul
2003: Bettye Lavette - A Woman Like Me
Artist: Bettye LaVette
Album: A Woman Like Me
Label: Blues Express
Year: ; Release: 2003
Format: FLAC
Time: 58:44
Size: 379.81 MB
AMG rating: 2003: Bettye Lavette - A Woman Like Me

"I can feel the pain, Lord, it's raining in my heart," Bettye LaVette howls on "The Forecast," and it sounds like it. On this stunning comeback -- her first American release in over 20 years -- the feisty soul singer rips through an hour of music with the pent-up hunger of a caged tiger at feeding time. Helped immeasurably by producer/songwriter Dennis Walker, best known for his breakout work with Robert Cray, LaVette moans, screams, shouts, pleads, and growls her way through a dozen tracks that'll leave even the most jaded R&B fan begging for more. One of the casualties of music biz politics, LaVette has a style that has only sharpened with age. In her mid-fifties at the time of this recording, the singer has a husky voice that tears at the edges, adding deeper emotion. Although the production leans toward the slick side, it leaves room for the singer to dominate each track. Walker, who wrote or co-wrote nine of these tunes, provides heart-tugging yet defiant material perfect for LaVette's take-no-prisoners approach. The singer plays the part of the scorned, aggressive woman, left behind but strong enough to know she's better off without that no-good scoundrel. Song tiles such as "Salt in My Wounds," "Serves Him Right," and "It Ain't Worth It After a While" tell the story without having to hear a lyric. LaVette squeezes every ounce of emotion from this material, lashing into it with a barely contained explosive delight. Like a stage actress, she builds up the tension gradually until igniting in a shower of yelps and repeated phrases similar to Otis Redding at his most impassioned. This is a powerful album -- moving, intense, and honest -- from an artist desperately making up for lost time. It's a success for everyone involved, and deserves to put Bettye LaVette back on American stages where she belongs.
~ Hal Horowitz, All Music Guide
1981: Jimmy Witherspoon - Big Blues Music » Blues » Jazz-Blues
1981: Jimmy Witherspoon - Big Blues
Artist: Jimmy Witherspoon
Album: Big Blues
Label: JSP CD285
Year: 1981; release : 1997
Format, bitrate: FLAC / Mp3, 320 kBit/s
Time: 60:56
Size: 410 Mb / 163 Mb (

A CD reissue of a 1981 double LP, Big Blues is a sprawling piece of modernized electric jump blues that honestly never quite catches fire despite the best efforts of Jimmy Witherspoon and his guest star, tenor saxophonist Hal "Cornbread" Singer. Both Witherspoon and Singer play and sing with soulful grit and a relaxed ease, but the band backing them never quite comes together. One issue is that there's no bass player on the album, just keyboardist Mike Carr working a set of bass pedals with his feet à la Ray Manzarek of the Doors; this leaves drummer Harold Smith out in the cold, unable to work up the kind of in-the-pocket groove this kind of slow-cooking blues needs to get over. The overextended song lengths are no help either; one-third of these 12 songs break the seven-minute barrier, with "Whiskey Drinkin' Woman" and "Lotus Blossom" weighing in at a staggering eight and a half minutes each. Although both Witherspoon and Singer get in a few good solos, the length is simply not justified by the mostly lackadaisical performances.
~ Stewart Mason, All Music Guide
1960: The Abyssinian Baptist Gospel Choir - Shakin' The Rafters Music » Blues » Gospel
1960: The Abyssinian Baptist Gospel Choir - Shakin' The Rafters
Artist: The Abyssinian Baptist Gospel Choir
Album: Shakin' The Rafters
Label: Columbia K 47335 [Previously released as CS 8348]
Year: 1960; Release: 1991
Format, bitrate: mp3@320kbps
Time: 1:05:50
Size: 174 (
AMG Rating: 1960: The Abyssinian Baptist Gospel Choir - Shakin' The Rafters

1960: The Abyssinian Baptist Gospel Choir - Shakin' The Rafters
A massive 120-voice group led by one of gospel's greatest creative figures, and featuring some of Bradford's greatest songs ("I Want to Ride That Train to Glory," "Said I Wasn't Gonna Tell Nobody," "He Stays in My Room," "The Lord Will Make a Way [Somehow]"), plus a fabulous "The Lord's Prayer." Extensive annotation by Leonard Goines. Produced by John Hammond but that meant he left Bradford alone to get the sounds down his way. And it worked, big time.
~ Dave Marsh, All Music Guide
1957: Jimmy Witherspoon with Jay McShann And His Band - Goin' To Kansas City Blues Music » Blues » Jazz-Blues
1957: Jimmy Witherspoon  with Jay McShann And His Band - Goin' To Kansas City Blues

Artist: Jimmy Witherspoon
Album: With Jay McShann And His Band - Goin' To Kansas City Blues
Label: Mosaic Singles MCD1011
Year: 1957; release : 2007
Format, FLAC / Mp3 @ 320 kbps
Time: 45:04
Size: 287 Mb / 111 Mb (with scans)

A reunion of sorts with McShann, with whom Witherspoon had sung for four years in the late '40s. A relaxed, swinging set that bisects jazz and blues, it holds no great surprises, but 'Spoon fans will find this an enjoyable and accomplished record. About half of the material was penned by McShann or Witherspoon, including "Blue Monday Blues" (Witherspoon's adaptation of "Kansas City Blues") and a remake of "Confessin' the Blues."
~ Richie Unterberger, All Music Guide
1961: Willis Jackson - In My Solitude Music » Blues » Jazz-Blues
1961: Willis Jackson - In My Solitude
Artist: Willis Jackson
Album: In My Solitude
Label: Prestige/Moodsville Records (Catalog#: MV 17)
Format: FLAC, LP-Rip
Year: 1961
Size: 215MB
Time: 35:23

One of the rarest Willis Jackson albums of the 60s - recorded for the smaller Moodsville subsidiary of Prestige, and done in a dreamy late nite mode that's quite different from some of Jackson's other sets! The group is a quartet with Richard Wyands on piano - offering a starker, darker backing than Willis received on his organ-based albums for Prestige - a sound that allows Jackson to open up in these mellow and introspective solos, blown out of sadness into the darkness - with a tone and sound that seems to know no bottom. The set is recorded with a nice use of echo that seems to enforce this quality and titles include "It Never Entered My Mind", "Home", "They Didn't Believe Me", "Estrellita", and "In My Solitude". Dusty Groove Inc.
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