Southern Jazz Music

Aretha's blues is not that depressed sad blues...
It's just jazzy, a bit moody, nice blues that goes well with a bottle of wine.

i am very sorry but the cd music never arrived to my address in lima, peru.
please help me to know what happen with the shipped.
best regards
alberto balducci
lima. peru.

In my humble opinion, there is no other woman on earth who can sing the blues or R&B like Aretha Franklin. The whole CD is fantastic but I would buy it even just for her rendition of "Every Day I Sing The Blues".

I'm amazed how anyone can trash this one, but hey it's a free country. This is a classic album in my opinion. Of course, I'm a fan of Dinah Washington, Sinatra, Nancy Wilson, the early Della Reese et al, not a major fan of the "queen of soul" that Aretha become.
So if you like bluesy ballads sung with force and vibrance(not screeching) you should add this to your collection. Each cut is a gem. To correct an earlier post, the song that she's covering of
Sinatra song, "Without the One You Love." When she sings, "those picnics at the beach"" is actually called "Only the Lonely", written by Sammy Cahn & Jimmy Van Heusen, rarely covered by anyone else..

Granted there are some terrific songs here. But the sound quality is atrocious. There are many other, newer Columbia Records compilations out there with most all these same songs on them. Case in point - the songs taken from "YEAH! ARETHA LIVE WITH HER QUARTET" ( Muddy Water, Trouble in Mind, Without the One You Love ) all have audience chatter and applause on them. We now know that these tracks were not recorded live, that this audience noise was dubbed in to give the album a intimate "supper club" type feel. It doesn't serve the songs well, and they just don't sound that good compared to the newer remastered versions widely available elsewhere. Also, the versions of Today I Sing the Blues and Evil Gal Blues are abominations. The original backing tracks were overdubbed after Aretha left Columbia Records with organs and vocals not found on the original versions. Again, I stress, these songs are great . Aretha Franklin began her professional recording career cutting lots of fabulous and funky Jazz and Blues sides, many of which are showcased here. But do yourself a favour, if you want to hear them, and buy The Queen in Waiting, or Jazz to Soul, or the Early Years. You'll thank me.

Aretha's blues is not that depressed sad blues...
It's just jazzy, a bit moody, nice blues that goes well with a bottle of wine.

i am very sorry but the cd music never arrived to my address in lima, peru.
please help me to know what happen with the shipped.
best regards
alberto balducci
lima. peru.

In my humble opinion, there is no other woman on earth who can sing the blues or R&B like Aretha Franklin. The whole CD is fantastic but I would buy it even just for her rendition of "Every Day I Sing The Blues".

I'm amazed how anyone can trash this one, but hey it's a free country. This is a classic album in my opinion. Of course, I'm a fan of Dinah Washington, Sinatra, Nancy Wilson, the early Della Reese et al, not a major fan of the "queen of soul" that Aretha become.
So if you like bluesy ballads sung with force and vibrance(not screeching) you should add this to your collection. Each cut is a gem. To correct an earlier post, the song that she's covering of
Sinatra song, "Without the One You Love." When she sings, "those picnics at the beach"" is actually called "Only the Lonely", written by Sammy Cahn & Jimmy Van Heusen, rarely covered by anyone else..

Granted there are some terrific songs here. But the sound quality is atrocious. There are many other, newer Columbia Records compilations out there with most all these same songs on them. Case in point - the songs taken from "YEAH! ARETHA LIVE WITH HER QUARTET" ( Muddy Water, Trouble in Mind, Without the One You Love ) all have audience chatter and applause on them. We now know that these tracks were not recorded live, that this audience noise was dubbed in to give the album a intimate "supper club" type feel. It doesn't serve the songs well, and they just don't sound that good compared to the newer remastered versions widely available elsewhere. Also, the versions of Today I Sing the Blues and Evil Gal Blues are abominations. The original backing tracks were overdubbed after Aretha left Columbia Records with organs and vocals not found on the original versions. Again, I stress, these songs are great . Aretha Franklin began her professional recording career cutting lots of fabulous and funky Jazz and Blues sides, many of which are showcased here. But do yourself a favour, if you want to hear them, and buy The Queen in Waiting, or Jazz to Soul, or the Early Years. You'll thank me.

Aretha's blues is not that depressed sad blues...
It's just jazzy, a bit moody, nice blues that goes well with a bottle of wine.

i am very sorry but the cd music never arrived to my address in lima, peru.
please help me to know what happen with the shipped.
best regards
alberto balducci
lima. peru.

In my humble opinion, there is no other woman on earth who can sing the blues or R&B like Aretha Franklin. The whole CD is fantastic but I would buy it even just for her rendition of "Every Day I Sing The Blues".

I'm amazed how anyone can trash this one, but hey it's a free country. This is a classic album in my opinion. Of course, I'm a fan of Dinah Washington, Sinatra, Nancy Wilson, the early Della Reese et al, not a major fan of the "queen of soul" that Aretha become.
So if you like bluesy ballads sung with force and vibrance(not screeching) you should add this to your collection. Each cut is a gem. To correct an earlier post, the song that she's covering of
Sinatra song, "Without the One You Love." When she sings, "those picnics at the beach"" is actually called "Only the Lonely", written by Sammy Cahn & Jimmy Van Heusen, rarely covered by anyone else..

Granted there are some terrific songs here. But the sound quality is atrocious. There are many other, newer Columbia Records compilations out there with most all these same songs on them. Case in point - the songs taken from "YEAH! ARETHA LIVE WITH HER QUARTET" ( Muddy Water, Trouble in Mind, Without the One You Love ) all have audience chatter and applause on them. We now know that these tracks were not recorded live, that this audience noise was dubbed in to give the album a intimate "supper club" type feel. It doesn't serve the songs well, and they just don't sound that good compared to the newer remastered versions widely available elsewhere. Also, the versions of Today I Sing the Blues and Evil Gal Blues are abominations. The original backing tracks were overdubbed after Aretha left Columbia Records with organs and vocals not found on the original versions. Again, I stress, these songs are great . Aretha Franklin began her professional recording career cutting lots of fabulous and funky Jazz and Blues sides, many of which are showcased here. But do yourself a favour, if you want to hear them, and buy The Queen in Waiting, or Jazz to Soul, or the Early Years. You'll thank me.

Every once in a while a magical moment is captured to be shared with everyone. This performance was one such occasion. I will not wax balefully about how good Duane Allman was because it wasn't just his show. The whole band was in the groove and this recording is a testimony to hard work and dedication to one's Craft.

What distinguished this band from others is that they ventured into a kind of Jazz/Rock fusion with "In Memory Of Elizabeth Read" at a time when Fusion was just beginning to get notice. It showed how truly talented the whole band was to be able to do this wonderful piece of music so well composed, and showed that instrumental music when done right is every bit as captivating as standard song forms.

Yes, the slide work Duane does here is on a par with pretty much nobody else because he was so good at it. Greg really shows his vocal and playing chops here, too. Great voicings. Dickey and the rest hold down their roles with consumate excellence in every song, whether soloing or comping behind whoever was soloing.

This is by far one of the best live recordings and we must be thankful to Bill Graham for having the insight to install the equivalent of a 16 track studio in the Fillmores East & West so these one of a kind performances could be captured. So a tip o' the hat to Bill Graham is needed here, too. Because without his foresight and decidedly progressive vision, we would have none of this to enjoy today.

Just an unbelievable album for a couple of reasons. First of all, I think we can't lose track of the fact that 7-8 years earlier, DJ's in New York (not a small market) like Peter Tripp (guy went down with payola) and Murray the K were playing Freddy Cannon and Franki Valli. There was no southern rock 'n roll. There was barely rock 'n roll. So here we go with tremendous lyrics. Tremendous acoustics. Gritty vocals. And they're doing this in the face of "I want to hold your hand" and "Time is on my side."

I don't mean to denigrate the UK guys but wow, can you listen TODAY to "Statesboro Blues" and not still hyperventilate? How about "Whipping Post?"

Duane and Gregg were the real deal. And the second reason is that while Duane is missed the band, like all great bands, kept on moving. Dickie Betts was pretty good. Well OK, except for that Cher bit. What was that all about?

5 stars. Larry Scantlebury

Words fail me,. . . almost. This is one of the ballsiest, bluseiest, rockingest albums ever. Duane Allman was a guitar GOD. At this point in his life Gregg Allman was the grittiest white blues singer I had ever heard. These tracks are pure gold and this maybe the BEST live album ever!
Every cut is good but Stateboro Blues still blows me away and I had never heard anything like Whipping Post before or still to this day. This was the band at it's best and sadly it never came close again.

This is what all bands desire..... A live performance where it all comes together,each player is at their best at the same time.Amazing to listen to. If you like southern rockin blues give this a listen to.Duane Allman plays a great slide guitar and dicky betts ripps through soaring instramental leads with the best of them.Berry Oakley is a bassist to be reconded with back then.Two drummers/percussionist - Butch trucks and Jai Johanny Johanson are incredable together.They blend drum beats and drum fills so well together few drummers can do that.And Last but not least Gregg Allman. He fills the void with thundering keyboard endings and tastful instramental solo's when he's not adding vocals with his soulful style of singing the blues.this is worth listening to by all means. Any way this is one of my favorites,maybe it will be yours too.
.

Every once in a while a magical moment is captured to be shared with everyone. This performance was one such occasion. I will not wax balefully about how good Duane Allman was because it wasn't just his show. The whole band was in the groove and this recording is a testimony to hard work and dedication to one's Craft.

What distinguished this band from others is that they ventured into a kind of Jazz/Rock fusion with "In Memory Of Elizabeth Read" at a time when Fusion was just beginning to get notice. It showed how truly talented the whole band was to be able to do this wonderful piece of music so well composed, and showed that instrumental music when done right is every bit as captivating as standard song forms.

Yes, the slide work Duane does here is on a par with pretty much nobody else because he was so good at it. Greg really shows his vocal and playing chops here, too. Great voicings. Dickey and the rest hold down their roles with consumate excellence in every song, whether soloing or comping behind whoever was soloing.

This is by far one of the best live recordings and we must be thankful to Bill Graham for having the insight to install the equivalent of a 16 track studio in the Fillmores East & West so these one of a kind performances could be captured. So a tip o' the hat to Bill Graham is needed here, too. Because without his foresight and decidedly progressive vision, we would have none of this to enjoy today.

Just an unbelievable album for a couple of reasons. First of all, I think we can't lose track of the fact that 7-8 years earlier, DJ's in New York (not a small market) like Peter Tripp (guy went down with payola) and Murray the K were playing Freddy Cannon and Franki Valli. There was no southern rock 'n roll. There was barely rock 'n roll. So here we go with tremendous lyrics. Tremendous acoustics. Gritty vocals. And they're doing this in the face of "I want to hold your hand" and "Time is on my side."

I don't mean to denigrate the UK guys but wow, can you listen TODAY to "Statesboro Blues" and not still hyperventilate? How about "Whipping Post?"

Duane and Gregg were the real deal. And the second reason is that while Duane is missed the band, like all great bands, kept on moving. Dickie Betts was pretty good. Well OK, except for that Cher bit. What was that all about?

5 stars. Larry Scantlebury

Words fail me,. . . almost. This is one of the ballsiest, bluseiest, rockingest albums ever. Duane Allman was a guitar GOD. At this point in his life Gregg Allman was the grittiest white blues singer I had ever heard. These tracks are pure gold and this maybe the BEST live album ever!
Every cut is good but Stateboro Blues still blows me away and I had never heard anything like Whipping Post before or still to this day. This was the band at it's best and sadly it never came close again.

This is what all bands desire..... A live performance where it all comes together,each player is at their best at the same time.Amazing to listen to. If you like southern rockin blues give this a listen to.Duane Allman plays a great slide guitar and dicky betts ripps through soaring instramental leads with the best of them.Berry Oakley is a bassist to be reconded with back then.Two drummers/percussionist - Butch trucks and Jai Johanny Johanson are incredable together.They blend drum beats and drum fills so well together few drummers can do that.And Last but not least Gregg Allman. He fills the void with thundering keyboard endings and tastful instramental solo's when he's not adding vocals with his soulful style of singing the blues.this is worth listening to by all means. Any way this is one of my favorites,maybe it will be yours too.
.

I was listening to these guys when Dwayne was alive and playing. It is by far the BEST PURE music I've ever heard the Bros. play. BUY IT!

I was introduce to the Allman Brothers at an early age, as my parents are hippies. I'm not, though, however, I was lucky to have them as a musical influence on me. This album tops them all in my book. No group will ever be able to compose something like this ever again, and I think its this fact that is leads some people to not like it. The Allman Brothers really set the bar in the early 70's for future bands. They still tour today, but without Berry, Dickie, and most of all the greatest guitarist that ever lived, Duane Allman. Few bands pursue this form of music because no one will ever top the Allman Brothers. I believe people are just jealous and this causes them to not like the Allman Brothers. I don't really blame them. I play slide guitar and I know I'll never come close to playing like Duane, but every time I turn this album on my ears have orgasms. This was the first album my parents gave me, and I plan on giving it to my children as soon as they can comprehend what music is. If you're thinking about buying it, you shouldn't think twice, just do it. You'll thank me later, and probably see me or my parents at the next Allman Brothers concert. Peace.

I remember the original vinyl album coming out in 1971. I listened to it many times and enjoyed the long versions of several songs including Whipping Post.
The CD came out and several songs were missing and I was disappointed.
Now we have a more complete ( if not complete version ) of the entire concert.
The duel guitars of Duanne Allman and Dicky Betts actually playing lead harmonies was something I dont remember hearing before this came out.
On the liner notes is says the Allman Brothers closed the Fillmore East, what a way to close it out.
If you want to listen to the Allman Brothers you need to get this expanded version, the abbreviated version is good but its like taking a shower with your clothes on, it just dont get it.
This is the finest hour of the Allman Brothers, unfortunatley just before Duannes' untimely death. Duanne is at his very best and plays possibly the best slide guitar I have ever heard, except for possibly Derek Trucks, who ironically is with the Allman Brothers currently. This is a classic to say the least.......................

This is the original recording from the LP years ago Remastered. The other versions available are chopped up and not complete. I owned the LP version as a kid and this is the one to buy with all the expanded jams that go on upwards of a half hour.[..]

This is the one with Statesboro Blues. Recorded live over several nights at New York's Fillmore East in March 1971, this is the album that provided the Allman Brothers their first big break. It captures the original six-piece band firing on all cylinders in their natural environment, the concert stage. The Brothers could record three to five-minute studio songs fairly well, but this album catches the Brothers at their improvisational best. The original release contained only seven songs, but two of those songs stretched out over nineteen minutes [You Don't Love Me, Whipping Post], a third song goes thirteen minutes [In Memory of Elizabeth Reed], and there's one eight-minute slow blues tune from T-Bone Walker [Stormy Monday]. There was so much material recorded during these shows, some of the songs had to be held over for the next ABB album, Eat a Peach. Those songs included the Muddy Waters tune Trouble No More, the epic thirty-three minute Mountain Jam, and the Sonny Boy Williamson song that got me hooked on the Allman Brothers in the first place, One Way Out. The live songs from Eat a Peach have since been included on the deluxe version of Fillmore East. This gives the listener the full audio experience of what an Allman Brothers concert was like in the early 1970s. You don't get to see the light show or the "twirlers" in the audience, but you don't get the "contact high" from all the secondhand marijuana smoke either. This album is simply the Allman Brothers Band at its very best.

Every once in a while a magical moment is captured to be shared with everyone. This performance was one such occasion. I will not wax balefully about how good Duane Allman was because it wasn't just his show. The whole band was in the groove and this recording is a testimony to hard work and dedication to one's Craft.

What distinguished this band from others is that they ventured into a kind of Jazz/Rock fusion with "In Memory Of Elizabeth Read" at a time when Fusion was just beginning to get notice. It showed how truly talented the whole band was to be able to do this wonderful piece of music so well composed, and showed that instrumental music when done right is every bit as captivating as standard song forms.

Yes, the slide work Duane does here is on a par with pretty much nobody else because he was so good at it. Greg really shows his vocal and playing chops here, too. Great voicings. Dickey and the rest hold down their roles with consumate excellence in every song, whether soloing or comping behind whoever was soloing.

This is by far one of the best live recordings and we must be thankful to Bill Graham for having the insight to install the equivalent of a 16 track studio in the Fillmores East & West so these one of a kind performances could be captured. So a tip o' the hat to Bill Graham is needed here, too. Because without his foresight and decidedly progressive vision, we would have none of this to enjoy today.

Just an unbelievable album for a couple of reasons. First of all, I think we can't lose track of the fact that 7-8 years earlier, DJ's in New York (not a small market) like Peter Tripp (guy went down with payola) and Murray the K were playing Freddy Cannon and Franki Valli. There was no southern rock 'n roll. There was barely rock 'n roll. So here we go with tremendous lyrics. Tremendous acoustics. Gritty vocals. And they're doing this in the face of "I want to hold your hand" and "Time is on my side."

I don't mean to denigrate the UK guys but wow, can you listen TODAY to "Statesboro Blues" and not still hyperventilate? How about "Whipping Post?"

Duane and Gregg were the real deal. And the second reason is that while Duane is missed the band, like all great bands, kept on moving. Dickie Betts was pretty good. Well OK, except for that Cher bit. What was that all about?

5 stars. Larry Scantlebury

Words fail me,. . . almost. This is one of the ballsiest, bluseiest, rockingest albums ever. Duane Allman was a guitar GOD. At this point in his life Gregg Allman was the grittiest white blues singer I had ever heard. These tracks are pure gold and this maybe the BEST live album ever!
Every cut is good but Stateboro Blues still blows me away and I had never heard anything like Whipping Post before or still to this day. This was the band at it's best and sadly it never came close again.

This is what all bands desire..... A live performance where it all comes together,each player is at their best at the same time.Amazing to listen to. If you like southern rockin blues give this a listen to.Duane Allman plays a great slide guitar and dicky betts ripps through soaring instramental leads with the best of them.Berry Oakley is a bassist to be reconded with back then.Two drummers/percussionist - Butch trucks and Jai Johanny Johanson are incredable together.They blend drum beats and drum fills so well together few drummers can do that.And Last but not least Gregg Allman. He fills the void with thundering keyboard endings and tastful instramental solo's when he's not adding vocals with his soulful style of singing the blues.this is worth listening to by all means. Any way this is one of my favorites,maybe it will be yours too.
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