Southern Jazz Music

I own many of Marsalis' discs and this one is my fave. It is near perfect if not perfect. "The Burglar" is unbelievable - check it. The beginning and continuing background rythym is superb and matchless. This disc bangs booty.

Wynton Marsalis's "Soul Gestures in Southern Blue" series has been seen as the dark horse of his discography, and to this day, I'll never understand why.

"Uptown Ruler" opens with a majestic procession that leads into the title track, an odd-metered blues, which is perhaps the high point of the album. The album then sinks into the smoldering world of bluesy ballads before finally building to a climax with "Down Home With Homey". Be sure to check out everyone's solo on this track.

The final song is a grand restatement of the opening theme, this time with all horns proudly playing. You will not be disappointed by this CD, although his quintet on this album does have a distinctly different sound from most of his other groups.

I own many of Marsalis' discs and this one is my fave. It is near perfect if not perfect. "The Burglar" is unbelievable - check it. The beginning and continuing background rythym is superb and matchless. This disc bangs booty.

Wynton Marsalis's "Soul Gestures in Southern Blue" series has been seen as the dark horse of his discography, and to this day, I'll never understand why.

"Uptown Ruler" opens with a majestic procession that leads into the title track, an odd-metered blues, which is perhaps the high point of the album. The album then sinks into the smoldering world of bluesy ballads before finally building to a climax with "Down Home With Homey". Be sure to check out everyone's solo on this track.

The final song is a grand restatement of the opening theme, this time with all horns proudly playing. You will not be disappointed by this CD, although his quintet on this album does have a distinctly different sound from most of his other groups.

She insinuates. Very vulnerable singer who has keyboard chops. Demands repeat and more repeat. Peggy Lee loved her, and so do I.

When I bought this, my first Jeri Southern album, I wasn't sure what to expect and started to play it as background music. By less than half way through, I had given up what I was doing to give Jeri my full attention, already knowing that I was listening to a very special singer. Now I have studied several of her CD's and I rate Jeri as the finest torch singer I have ever heard (and I've heard a few great ones).

Unlike Peggy Lee and others to whom she is often compared, Jeri could not do the uptempo stuff and did not try, but that's fine by me. Jeri made up for that by recording the best version of any love song she chose to record. Just listen to Jeri's versions of When I fall in love, I remember you and Smoke gets in your eyes, all on this collection. I have heard many excellent versions of these songs, including those by some of my favorite singers of Jeri's generation (such as Doris Day, Margaret Whiting and Jo Stafford, all of whom I have spent many happy hours listening to), but to my ears Jeri was the best of the lot when it came to this type of song.

So what made Jeri so special? The answer was simple - it was her warm, intimate style. On these recordings, Jeri sang and played the piano with the very minimum support from other musicians, so allowing her small but lovely, romantic voice to grab the listener's attention. For those candle-lit dinners, there is no finer music than that made by Jeri.

Later in her career, record companies added a bit more musical backing (thankfully not too much), thinking this would improve her music. It didn't - her early music on Decca (from which this CD is compiled) is the best, although her later Capitol recordings are well worth a listen, once you've sampled her Decca music.

Jeri Southern's era, the 40's and 50's, is not usually to my tase. I have few fond memories of the fifties. But once I discovered this album on Rhapsody, I couldn't get her voice out of my head. She has a sophisticated technique, a wonderful jazz voice and sings with absolute sincerity--the art that conceals art. The prior reviews on Amazon say it all. Get this CD!

When first I was introduced to the voice of Jeri Southern she had long since retired; and that introduction came via an album produced by Rod McKuen in the mid-1970s, a reissue of some Decca recordings called You Better Go Now. That led to seeking her original albums in old Record shops. It was something akin to an archeological excavation, coming upon some of those tattered albums with marvellous period covers. Scratchy, occasionally warped, but it mattered not a bit: Jeri Southern had become something of a cult just then. That smoky voice( reminiscent of Nat Cole, it seemed then) was utterly captivating.

To be perfectly honest, it never occured to me that Jeri Southern's music would find a new audience on Compact Disc, nor indeed that any recording company would bother with a singer so apparently obscure. So it was a most pleasant surprise to discover this compilation of the Decca Years. It was produced by Kathryn King, who is Jeri Southern's daughter and who contributed to the liner notes with a fascinating memoir of her mother. Essays by Orrin Keepnews and Gene Lees enrich one's understanding of this distinctive singer.
The songs are indeed the best of the best, so if there is just one Jeri Southern album to take to that desert island, this is it.

This is one of the few items that my family doesn't mind when I play it in the car. (My taste seems to be too old for them. My mother has even ask for a copy.)
Jeri is one of the best kept secrets in music of the twentieth century. Am I overrating her? No. She is magnificent. Listen to her version of "When I Fall in Love", and you'll see the hidden talent that I am talking about. She has a soft vulnerable voice, that is completely hers. She also wonderfully defies this image with "An Occassional Man." As well, she is a fine songwriter "I Don't Know Where to Turn", seems like it was written by a professional. Overall 5 out of 5.

I first heard View from a Southern Porch on XM Radio. I immediately went online to Amazon to see if I could find the CD. I ordered it, and it is my favorite CD. I listen to it at least twice a day.
I had not heard of the composer and pianist before. Now I would like to have all of his CD's and cannot find them. He can play a piano with so much feeling and he is an expert at the keyboard.
I would recommend this CD to anyone who loves music whether it be country, jazz, bluegrass, classical, etc..It's great....

I heard the intro bit on Amazon. Turns out, the entire album is excellent.

John Jarvis returns as the primary artist for the first time since 1993, a return I personally welcome. To clarify two things at the start, this is the same John Jarvis who recorded So Fa So Good, Something Constructive, etc. in the late 80's and early 90s. I mention that only because this CD states John Barlow Jarvis. Secondly, this is a different type recording from those first two I mentioned a moment ago. I hold those two, Whatever Works, and really all of his earlier works in high esteem. Does that mean this CD is bad? Definitely not, I would just warn those looking for and expecting another Something Constructive this is not one. While "SC" and his earliest works primarily featured John on either solo piano, smooth synthesizer, or a combo of the two, this is primarily John on the piano with some fellow Nashville musicians very ably supporting him. More similar therefore to Pure Contours and Balancing Act than his previous three prior to that, the result is a varied work that is highly polished, professionally done, and a joy to listen to. If you read inside the insert, you will see the actual recording time was only three days. Don't let that fool you, those were apparently three very productive days. John's piano stands out as always, but you will hear mandolins, violins, etc. as the back up rather than electronic keyboards. The styles run from country, bluegrass, blues, New Orleans blues/jazz and beyond. John has never been one to just stick to one style and why should he when can play anything? Similar to his previous releases, there is only one song with vocals, where Mike Henderson makes a guest appearance. With a CD like this with so many different styles, there is always the risk there will be a track or two that is not suited to one's personal taste. But, overall this is a very nice CD that I would encourage you to purchase if are a fan of John's. I doubt you will be disappointed overall. I certainly wasn't. I would note too, that while I gave it four stars instead of 5, I would have given it 4.5 if that were an option. This is a better CD than a 4 star rating.

As a long time fan of John Jarvis and owning all of his releases, I've been waiting for a new one, and it's finally here. This album does not disappoint. It is a wonderful blend of all musical genres and eras, and the unmistakable signature sounds from his other CDs warm my heart. I LOVE this collection, and if you're at all concerned because of it's mix of styles, put your mind to rest. Don't hesitate to buy this...you'll love it, if you like his other work.

(Please take a few moments and read my following review as to why I gave this item so low a rating...)

There is so much to love about Wattstax, from the music, the reasons surrounding the event itself, and most of all the Stax sound - pure soul, pure R&B, pure Memphis.

Wattstax is as important an American musical event as Woodstock, and to be honest, looking at both with an unbiased eye (and ear) had a much deeper meaning to it.

Soul and R&B music from the 70's was never been fully recognized for what it was - as just as important as jazz, or blues, or even American classical. This concert, put together as a form of not only musical protest of sorts remembering the Watts riots a few years earlier, but to showcase the sound that was pulsing through the streets of the inner cities nationwide at the time and show Black unity.

When it was released as a film almost a year later, the concert was chopped and edited down from the incredible almost 10-hour affair to an hour and a half for the screen, which is understandable as it not only got the message out further but still showed the power of soul music.

At the same time of the film's release, two two-record sets titled "Wattstax: The Living Word parts 1 & 2" were released, giving the public almost four hours of the concert. A single album of the film was also put out titled "Wattstax: Highlights from the Soundtrack", further boiling it down to two sides reaching just under an hour, and it probably sold well too.

Now here comes the hard part -

As time passed, the music was occasionally re-released in subsequent forms; it got more confusing to understand why.

No fewer than 10 different releases of the Wattstax concert have been produced, with most of them "Made in America" with horribly abbreviated versions of the original songs themselves and a couple of CD imports containing more music than all of the other American versions combined (although not in sequential order), but is still a find and highly prized among collectors...

Now here it is 2007, almost thirty-five years have gone by and the owners of the Stax label have re-released the "Wattstax 3CD Deluxe Edition Remastered Box Set", containing extra tracks never before heard, all remastered, and the sound is so crisp and the music so rich it will make you cry.

HOWEVER...

Wattstax was a legendary all-day concert containing some of the best live soul music ever recorded. It was almost 10 hours long (and you must keep in mind that almost every album included Richard Pryor joking and speaking from the heart, that in my opinion, horribly dates the time and distracts from the essence of the event - sure there's a place for it, but it stops me dead in my tracks when I'm listening to it in the car, etc.).

But WHY WHY WHY are we being only given a cup of water when many of us want to not only drink from but very plainly jump into the well???

Concord Records, who acquired the rights for the entire Stax masters after purchasing Fantasy Records (the label who screwed over Creedence Clearwater Revival for all of those years) are trying to do some good by releasing this, and I understand that to release the ENTIRE CONCERT would be an expensive package for some, but for those same fans, we have wondered for many decades what it would sound like.

If you look at the track list, it is repetitive, as it has been released on other smaller editions, and this is the "Deluxe Edition?"

Isaac Hayes' hour-long closing set has actually been released separately on CD, but I'm assuming the producers of this decided only one song was good enough to satisfy anyone who didn't know that not only did he close out the concert with a 5-minute entrance even BEFORE he began singing, but sang more songs than anyone there, and all we get is a highly edited 4-minute snippet of his live version of "The Theme from Shaft"???

Well, well, well... shame on them.

Now, as for the music - if anything, Concord Records did put splice together an impressive package of sound:

The first disc includes many of the lesser known stars of Stax and that wonderful southern soul sound, from the gospel of Deborah Manning & Little Sonny to the amazing voices of Lee Sain, Louise McCord & Lee Bell.

The second disc includes many of the songs you probably have heard from the album and previous CD (import) versions you might have bought, such as The Bar-Kays and The Emotions, but now with the inclusion of David Porter's set, including the blistering "Introduction," this will blow your speakers out and stand your hair on end!

The third disc is where the meat of the disc really lies, though, from the opening track of Little Milton's "Open The Door To Your Heart", Mel and Tim's Motown tribute of sorts "Backfield In Motion", a double shot of two of the greatest bluesmen who ever played it, Johnnie Taylor and Albert King, to the double shotgun blast of both daughter Carla and father Rufus Thomas, and as you may have seen from the film, when Rufus proudly struts onto the stage in his hot pink shorts/vest/jacket/cape ensemble with white go-go boots, announces "Ain't am clean?!?" and shouts to the band if they're ready, worthy of James Brown, you know "The Breakdown, Part 1" and "Do The Funky Chicken" is coming! The Soul Children give us their best Sam and Dave and then Isaac Hayes comes on very quickly, sings for three minutes... and that's it?

The wind always goes out of my sails when this happens.

Now if you purchase this, please remember, if you were to piece together the previous 4 or 5 CD releases (both the American versions, the imports AND the Isaac Hayes live CD), you could probably form together at least almost five to six solid hours of music before you buy this alone.

However, the quality of sound presented here is top notch.

It's too bad the setup is awful.

Why give us Isaac Hayes songs previously, and then take it away?

Why give out more Albert King previously, and then omit them?

"If Loving You Is Wrong, I Don't Want to be Right", by Luther Ingram - GONE... WHY?

In conclusion:

As for THE MUSIC - I'm giving it 5 stars, regardless of the label's repetitive song track lists over many years - there's no fighting the clean sheer sound of the power behind Stax presented here (some for the first time), and you can feel it down to the soul!

As for THE PACKAGING - I'm giving the total lack of choice 2 stars - sadly, this "Special Edition" is still incomplete, and lacks ALL of the artists at the concert, but if Concord wants any more of MY money, they'd better step it up a notch and put together an ULTIMATE 9-disc version that includes EVERY SINGLE PERFORMANCE, from start to finish.

Woodstock has bootleg CDs with expanded versions of songs not heard on many of their official CDs, and a recent 4-disc set came out that includes many unheard performances is available as well.

Well, there are no bootlegs of Wattstax, just the imports. Concord Records is playing this one VERY close to the vest by "allowing" us to spend a lot of money on some music some of us already have, and leaving out some music some of us already have as well.

Maybe more will come out, who knows. Maybe for a 50-year Special Expanded Special 4-disc Special Edition?

Wattstax to me is more important than Woodstock from a personal and cultural point of view, and even though many of the Stax stars presented here never reached the commercial heights benefiting from the exposure of Woodstock to the mainstream public such as Jimi Hendrix, Sly and The Family Stone or Santana, people need to know that this concert existed (in a more totally complete form) so it can also be appreciated for future generations, not just in pieces.

For one hot day in Los Angeles in 1972, Black Power was that - a force to be reckoned with, but done peacefully through song, and it was a beautiful thing to see and hear.

There is a PBS show showing a lot of footage from the concert and an accompanying DVD for sale showing the music not given out here.

Before you buy this CD, though, rent (or buy) the movie, listen to the music, and see what you're missing.

Thanks for reading, and power to the people!

5 stars because I can't give 6. I already have most of this but just to get david Porter's 'I Can't See You When I Want To' is worth buying this disc.

This album is unbelievable and the epitome of a one-of-a-kind/no other like it listening experience...

I remember coming across the original WATTSAX album back in the 80's when I was a 70's soul collector in HS... and for the next several years it became staple listening via the tape copies I'd carry around visa vis my Sony Walkmans... Needless to say, the discovery of a second volume of the "mythical" concert blew me away, and I liked it just as much if not more... I loved the album not only because of all the great music... but the way it really took you back to a lost world... at a time when people were celebrating a very vibrant musical and artistic culture. Not to over romantisize... the community had been through a lot of pain, and were healing and rebuilding from the Watts riots... Rather than focusing, however, on what had been "burnt down", the concert was a celebration of what was being built up... and wow... imagine what it must have been like to be at that cocnert... - - As for the film... you know something: I never even DREAMED of being able to see it, because I assumed it was probably one of those lost things... Needless to say, when it came out almost 20 years later after I heard the album the first time, I was definitely THRILLED... (especially after people taunted me of having supposedly seen it on PBS... "Yeah really, anybody got a copy?" I'd ask...) Wishful thinking...

O.K. now... look at this: Now only is a three box set out... but tracks that never made the original album, and with the sound cleaned up. - - As Jesse Jackson points out the concert had everything... Gospel, Funk, Blues, Soul, R&B... Listening to the tracks I never heard before is definitely a thrill, though in retrospect I can tell why some were left off the original album... a lot of the performances were POWERFULLY GREAT... but some of the smaller groups sounded like some of the other groups... so the big groups had to take priority.

In conclusion - - Just as WOODSTOCK was the big "party like its the end of the world" goodbye to the 60's, WATTSTAX was also somewhat of a final goodbye too, as even that empire would crumble shortly after... Also gone is much of the culture and spirit of the era... The only catch is, I think this was actually filmed and recorded WAY BETTER than WOODSTOCK, and far from being lost in time, its a gift passed through time...

Regarding my favorite tracks... Back in the day I leaned towards RUFUS THOMAS and the DRAMATICS (omitted)... as well as the EMOTIONS unbelievably riveting performance... but I'm also majorly digging the newly added stuff... in particular Louis McCord's "Do Your Thing'ish" Better Get a Move On... as well as Lee Sain's THEM HOT PANTS.

Of course, STAX in the '60s were the epitome of classic soul... however, this record as well as the (hard to find) SON OF STAX compilation is a great reminder that the label definitely didn't fall short when it came to funk as well...

For the complete story read "Soulsville U.S.A.: The Story Of Stax Records" by Rob Bowman.

O.K. the big question: When's some more SHACK going to get unearthed?

How can a expanded deluxe version drop songs that were on earlier versions? The last time Wattstax was released the 2 CD set included:

Staple SIngers - Oh La De Da
Eddie Floyd - Lay Your Loving On Me
Albert King - I'll Play The Blues For You
Albert King - Angel Of Mercy
Issac Haynes - Ain't No Sunshine

Is a 4 CD set coming?

I want EVERYTHING! Don't tell me that the masters were lost between releases. And I doubt that the artists pulled their tracks as they included others. Anyone know what is going on here?