| | O Blues, Where Art Thou? CD
Legendary producer Bob Shad formed his own label, Sittin' In With, in 1948, and recorded a number of blues and R&B artists through the 1950s, several of which are included in this collection. These were essentially modern field recordings, tracked on a Magnecord tape machine, and the sound is generally pretty good, if a bit rough in places, all of which is made up for by the high level of immediacy and intimacy on display here. While the title recalls the Coen Brothers film O Brother, Where Art Thou?, these are mostly electric recordings, and represent an era at least a couple of decades down the road from the time period covered in the film. Listeners expecting rural acoustic blues may be disappointed, but the charm of these recordings is everywhere evident. Highlights include the bouncy "Junco Partner" by Wayne James, and an ominous version of "Bad Boy" by John Lee Hooker. ~ Steve Leggett
Brownie Mcghee,John Lee Hooker Smokey Hogg,James Wayne,Ray Ch
Audio Remasterer: Steve Hoffman.
Liner Note Author: Bob Shad.Mojo (Publisher) (p.119) - 4 stars out of 5 - "Ear-worthy blues cuts mainly recorded by Bob Shad for his 'Sittin' In With' label..." O Blues, Where Art Thou? Music O Blues, Where Art Thou? Songs O Blues, Where Art Thou? Review
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Here is yet another chapter in Thirsty Ear's provocative and consistently excellent Blue Series. Equilibrium is a more complex extension of Shipp's last album for the label, the stunning Nu Bop. Here, employing the talents of bassist William Parker, drummer Gerald Cleaver, vibraphonist Khan Jamal, and electronics and programming whiz FLAM, Shipp moves to extend the reach of all of his previous musical excursions by putting them all to work on a single recording. And before anyone jumps to think "mess," don't. You'd be wrong. There are nine cuts, beginning with the stellar, pointillistic title track. The ensemble creates a series of contrapuntal exercises based around an engaged series of encounters between Shipp and Jamal. Shipp's ringing right hand strikes angular phrases, yet refrains from using force. Because of the textural element present in Jamal's ornate yet dynamically restrained playing, the two instruments create a weave that is knotted by the rhythm section. "Vamp to Vibe" is just that, though it's created around a series of off-minor themes, Cleaver's drums propelling the movement of the entire piece as he double-times the band. Jamal takes the first solo, creating a staircase scalar attack from the middle of the minor progression and arcing it upward before descending into the hushed maelstrom at the middle of the track. "Nebula Theory" is virtually a chamber piece, colored extensively by Parker's wondrous use of the bow on elongated lines. "World of Blue Glass" is among the most melodically ...
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