JJ Cale - In Session At Paradise Studio DVD

In Session At Paradise Studio songs NATURALLY has stood up over the years as a perfect debut. When released in 1971, it introduced J.J. Cale's rootsy, laid back grooves to excellent effect, and in the decades since, this album and its follow-up, REALLY, have remained classics of mellow '70s country-rock. Riding on the success and easy blues feel of Eric Clapton's cover of Cale's "After Midnight," NATURALLY goes even deeper into roots music, concocting a mixture of country, blues, and boogie that is full of downhome goodness while it drips with cool. Cale's version of "After Midnight" is here, as is his loping "Call Me the Breeze" (later covered by Lynyrd Skynyrd), and the minimal blues "Crazy Mama" (a radio hit for Cale). The music is deceptively tricky--the surface textures pull you in like a porch swing, but the interlocking rhythmic base is full of subtle tugs and pulls that are far from standard-issue slow boogie. A sterling cast of players backs Cale, adding warm tones and light, in-the-cut rhythms. NATURALLY is a perfect introduction to the work of this influential cult figure. Personnel: J.J. Cale (vocals, guitar, piano, drums); J.J. Cale; Dianne Davidson (vocals, background vocals); Chuck Browning (guitar, drums); Buddy Spicher (violin, fiddle); Buddy Spiker (fiddle); Ed Colis, Ed Colis (harmonica); Norman Ray (saxophone); Bob Wilson, Bob Wilson (piano); Tim Drummond (bass instrument, drums); Norbert Putnam, Carl Radle (bass instrument); Chuck Browning (drums); Diane Davidson (background vocals); Mac Gayden (guitar, slide guitar); Weldon Myrick (steel guitar); Walter Haynes (dobro); Shorty Lavender (violin, fiddle); David Briggs (piano, organ, keyboards); Jerry Whitehurst (piano, keyboards); Karl Himmel (drums). Recording information: Bradley's Barn, Mt. Juliet, TN (09/29/1970-06/09/1971); Moss Rose Studio, Nashville, TN (09/29/1970-06/09/1971).

In Session At Paradise Studio CD music J.J. Cale is perhaps best known for penning hits for Eric Clapton, including "Cocaine" and "Midnight Hour," yet he's also an accomplished and extremely talented songwriter and guitarist. While no one ever declared, "Cale is God," Clapton clearly has always thought highly of him, and in 2006, the Clapton/Cale mutual admiration society finally made its way into the studio. The result is 14 songs' worth of the relaxed blues hybrid that Cale built his career around and that earned Clapton the nickname '"Slowhand." The duo produced all the tracks and wrote the majority of them, with some help from guests such as Taj Mahal, Derek Trucks, the late Billy Preston, and John Mayer, who wrote the song "Hard to Thrill" for the album. THE ROAD TO ESCONDIDO is a mellow musical good time between friends, and for fans of the two musicians, it's a front-row seat to a rare and scintillating collaboration. Recording information: 08/2005. Photographers: Jim Karstein; Christine Lakeland; Nigel Carroll; David McClister; Nathan East. Personnel: J.J. Cale (vocals, guitar, keyboards); J.J. Cale; Christine Lakeland (acoustic guitar, background vocals); Dennis "Cannonball" Caplinger (fiddle); Taj Mahal (harmonica); Steve Jordan , Steven "Steven J." Jordan, Abraham Laboriel, Sr. (drums); Eric Clapton (vocals, guitar); Derek Trucks, Doyle Bramhall II, John Mayer , Albert Lee (guitar); Dennis Caplinger (fiddle); Marty Grebb, Steve Madaio, Jerry Peterson, Bruce Fowler (horns); Walt Richmond (piano, Fender Rhodes piano, Wurlitzer organ); Billy Preston (Fender Rhodes piano, Wurlitzer organ); James Cruce, Jim Karstein (drums, percussion); Simon Climie (percussion, programming); David Teegarden (percussion); Abe Laboriel, Jr., Pino Palladino, Gary Gilmore. Audio Mixers: Alan Douglas; Mick Guzauski.

In Session At Paradise Studio buy CD music Revelator is the debut studio album from the 11-piece Tedeschi-Trucks Band, who already have a reputation as a wildly exciting live jam group. That said, the record that Susan Tedeschi and husband Derek Trucks have recorded proves something beyond their well-founded reputation as a live unit: that they can write, perform, and produce great songs that capture the authentic, emotional fire and original arrangements that so many modern blues and roots recordings lack. The duo forged their two individual solo bands (Trucks remains with the Allman Brothers Band) and added some other players. Oteil and Kofi Burbridge and Mike Mattison, as well as drummers Tyler Greenwell and J.J. Johnson are on board, as well as backing vocalists and a horn section. Produced by Trucks and Jim Scott, these 12 songs seamlessly meld blues, rock, Southern soul, gospel, and funk traditions into a heady, seductive, spine-slipping stew. The record also showcases Tedeschi as one of the finest vocal stylists in roots music, and Trucks, has become the only true heir of Duane Allman's bell-like slide guitar tone, his taste and restraint. More than this, Revelator offers proof that this pair and their bandmates are serious songwriters as well as players--anyone remember the original Little Feat? It's like that, but with a woman up front. While the single, "Midnight in Harlem," highlights the softer,side of the band with Tedeschi's soulful croon and Trucks' swooning slide, it's the harder numbers that fill out the story. The sexy opener "Come See About Me," the bluesy, gospelized "Don't Let Me Slide" (one of two cuts written by Trucks and Tedeschi with Jayhawk Gary Louris), the second-line funk-blues of "Bound for Glory" with its punchy horns; all of these offer evidence of the real depth that this band abundantly possesses. There's the skittering, slow-tempo guitar and B-3 soul-blues of "Simple Things," and the New Orleans-style horns introducing "Until You Remember," which can distract the listener for a moment from experiencing these songs for what they are-- until Tedeschi opens her mouth and lets the lyrics come up from her belly and drip from her lips and Trucks matches her emotion in his solo-- love songs; the likes of which we haven't heard since Delaney & Bonnie. The Eastern modal tinge in Trucks' playing and tablas dustinguishes "These Walls," tempered by the quiet conviction in the grain of Tedeschi's vocal would have made for a better single. The nasty, funky, Hendrixian droning blues of "Learn How to Love" is textured by Kofi's funky clavinet and Wurlitzer. Speaking of funk, Tedeschi takes her own smoking guitar break in "Love Has Something Else to Say," a slamming, break-ridden funk tune that quakes. It combines hard Southern Stax-styled rhythm, soul, blues, and nasty-ass rock. Revelator is a roots record that sets a modern standard even as it draws its inspiration from the past. It's got everything a listener could want: grit, groove, raw, spiritual emotion, and expert-level musical truth. ~ Thom Jurek Recording information: Plyrz Studios; Rong-Tai Studio; Studio P, Sausalito, CA; Swamp Raga Studios, Jacksonville, FL. Photographers: James Minchin; Jessica Shouse. Personnel: J.J. Johnson (drums). Audio Mixer: Jim Scott .

In Session At Paradise Studio album for sale ROLL ON is a perfectly apt title for a J.J. Cale album. Since the release of 1971's NATURALLY, the Oklahoma-based guitarist and songwriter has happily stuck to his own unique, low-key style. Released shortly after his 70th birthday, ROLL ON continues the easy-going lope of Cale's career, as if the five years since his last album (not counting the 2006 collaboration with longtime acolyte Eric Clapton, THE ROAD TO ESCONDIDO) had never passed. The album features one further collaboration with Clapton in the title track, but the rest of the album features Cale's laconic vocals and gracefully minimalist guitar style in its purest form. Photographer: Jane Richey. Personnel: Don White , Eric Clapton (guitar); Christine Lakeland, Steve Ripley (acoustic guitar); Shelby Eicher (mandolin); John "Juke" Logan, Jimmy Markham (harmonica); Glen Dee, Walt Richmond (piano); Rocky Frisco (keyboards); Jim Keltner, Jim Karstein, David Teegarden (drums). Recording information: Britannia Studio; Natura Digital Studio, Tulsa, OK.

In Session At Paradise Studio CD music After his stunning debut, NATURALLY, in 1971, J.J. Cale returned the next year with this follow-up. REALLY is every bit as impressive as its predecessor, and occasionally swings so slowly that its grooves barely hang together. But to call J.J. Cale simply laid back is to miss the point--the breadth and variety in Cale's world is mysterious, riveting and soulful. The first three tracks move from the radio-friendly "Lies" to the masterfully spare "Everything Will Be Alright" to the relatively rollicking "I'll Kiss the World Goodbye." The album was recorded in Nashville (primarily at Bradley's Barn) as well as in Muscle Shoals, Alabama (at the famed Muscle Shoals Sound Studio). A cast of stellar musicians familiar to those sites (including Roger Hawkins, Barry Becket, David Hood, Charlie McCoy, Norbert Putnam, Vasser Clements, and others) never overshadows the well-defined sound of Cale's songs and singing. This is a perfect introduction to J.J. Cale. Cale's sophomore album from 1971 was a logical successor to his outstanding debut. Cale's laid back style was widely appreciated, as evidenced by the radio success of "Lies". This album was recorded in Nashville and at the famed Muscle Shoals Studios in Alabama. Backing musicians include Roger Hawkins, Barry Beckett, David Hood, Charlie McCoy, Norbert Putnam (who would later produce Dan Fogelberg), Vasser Clements and more. Composer: J.J. Cale. Personnel: J.J. Cale (vocals, guitar); Norman Ray (bass voice, baritone saxophone); Mac Gayden (guitar, slide guitar); Bill Boatman, Jimmy Capps, Jimmy Johnson (guitar); Josh Graves (dobro); Vassar Clements (violin, fiddle); Charlie McCoy (harmonica); Don Sheffield, Bob Phillips (trumpet); Bill Humble (trombone); Bob Holmes (horns); David Briggs , Bobby Woods (piano); Barry Beckett (electric piano); Kossie Gardner (organ); Farrell Morris (drums, congas, percussion); George Soulé, Jim Karstein, Kenny Buttrey, Roger Hawkins (drums); Robert Tarrant (congas). Recording information: Muscle Shoals Sound Studio, Muscle Shoals, AL (04/04/1972-07/29/1972); Quadraphonic Studio, Nashville, TN (04/04/1972-07/29/1972); Quinvy Studio, Muscle Shoa (04/04/1972-07/29/1972). Arrangers: Bob Holmes; Bob Holmes. Personnel: J.J. Cale (vocals, guitar); Joann Sweeney (vocals); Bill Boatman, Mac Gayden, Jimmy Capps, Jimmy Johnson (guitar); Josh Graves (dobro); Vasser Clements (fiddle); Charlie McCoy (harmonica); Norm Ray (baritone saxophone); Don Sheffield, Bob Phillips (trumpet); Bill Humble (trombone); Bobby Woods, David Briggs (piano); Barry Becket (electric piano); Kossie Gardner (organ); Joe Zinkan, David Hood, Gary Gilmore, Norbert Putnam, Bob Ray (bass); Farrell Morris (drums, percussion); Jimmy Karstien, Roger Hawkins, Kenneth Buttrey, George Soule (drums); Robert "Tarp" Tarrant (congas). Engineers include: Gene Eichelberger, David Johnson, Joe Mills.

In Session At Paradise Studio buy CD music The image on the cover of J.J. Cale's fifth album is apt. It's the numeral five as it appears on paper currency; apt for an album that proves that Cale is indeed money in the bank. The album builds a slow but steady momentum with each song, as sturdy supporting grooves abound. Several songs feature Cale by himself or in the company of one other player or singer, and the cast of musicians expertly carry out his visions throughout. Though the album mines a familiar bluesy and rootsy territory, Cale gives it all his own signature stamp. Cale extends 5 beyond a back-porch, small-combo affair by utilizing strings on two tracks, "Sensitive Kind" and "Mona." The lushness that the strings provide adds a luxuriousness to his version of the blues, in much the same manner as B.B. King and Ray Charles. Unavailable in the U.S.! Originally released in 1979, 5 was, as you would guess, the fifth album from the American Blues rocker. While Cale remains the ultimate laid-back Blues artist, he still manages to conjure up the spirit of Country, Soul and subdued Funk in each of the tracks on 5, making this album one of the best loved in his catalog. 12 tracks including 'I'll Make Love To You Anytime', 'Sensitive Kind' and 'Let's Go TO Tahiti'. Spectrum. Personnel: J.J. Cale (vocals, guitar, piano, bass guitar, drums); Christine Lakeland (vocals, guitar, piano, organ, keyboards, percussion, background vocals); Sherry Porter (vocals, background vocals); Bill Boazman (guitar); Bill Boatman (electric guitar); Bill Lenner, William Kenner, Bill Kenner (mandolin); Sheldon Kurland, Cam Mullins, Roy Christensen, Carl Gorodetzky, Marvin Chantry (strings); Don Sheffield, George Tidwell (trumpet, horns); Dennis Good (trombone, horns); Terry Williams (horns); David Briggs (piano, keyboards); Larry Bell (electric piano, keyboards); Farrell Morris (vibraphone, drums, background vocals); Nick Rather, Billy Cox, Carl Radle (bass guitar); Jim Karstein (drums, congas); Kenny Buttrey, Karl Himmel, Buddy Harmon (drums). Audio Mixers: J.J. Cale; Rick Horton; Ronnie Light. Recording information: Columbia Studios, Nashville, TN; Crazy Mamas Studio, Nashville, TN; Lakehouse Voices, Nashville, TN; Woodland. Arranger: Cam Mullins. Personnel: J.J. Cale (vocals, guitar, bass); Bill Boatman (electric guitar, fiddle); Christine Lakeland (guitar, organ, background vocals); Bill Kenner (mandolin); Shelly Kurland, Carl Gorodetzy, Roy Christensen, Marv Chantry (strings); George Tidwell, Don Sheffield, Dennis Goode, Terry Wiliams (horns); David Briggs (piano); Larry Bell (electric piano); Farrell Morris (vibraphone); Billy Cox, Carl Radle, Nick Rather (bass); Karl Himmell, Buddy Harmon, Jimmy Karstein (drums); Jimmy Karstein (congas); Sherry Porter (background vocals). Engineers include: Ron Reynolds, Rick Horton, Les Ladd.