One of the loosest, most relaxed albums ever from flute man Sam Most – cut with a cool quartet that also features Bob Dorough on piano, Bill Crow on bass, and Joe Morello on drums! The inventive touches of all the rhythm players are really felt strongly – creating these modern moments that really have Sam stretching out on his instrument, and moving it way past any cliches of a few years before. Most handles flute on almost all the tracks, but also throws in some great clarinet as well – with archly-crafted solos that really swing, but with kind of an arch modernist tone – in the manner of some of Jimmy Giuffre's best rhythm-bound work of the 50s. Titles include "Obvious Conclusion", "Stella By Starlight", "Two For Three", and "House Of Bread Blues".
A compelling Bethlehem set from reedman Sam Most – a date that's possibly his most sophisticated session for the label, thanks to arrangements from producer Teddy Charles! Charles sets up Most in a "with strings" format here – but one that's a bit more laidback than usual – as the tunes are somewhat long for the setting, and often feature Sam's solos snaking out wonderfully on flute, tenor, and a bit of clarinet. Jimmy Raney plays a bit of guitar on the record, but the main charm comes from the interplay between Most's reeds and the strings – which really comes off with a dark sort of sound overall, one that clearly marks Charles' presence on the record. Titles include "Lover Man", "When Your Lover Has Gone", "Alone Together", "Softly As In A Morning Sunrise", and "You Stepped Out Of A Dream".
Sam Most in two wonderful settings – a large group on half the record, then a smaller combo with David Schildkraut on tenor, Bob Dorough on piano, and Tommy Potter on bass! Sam plays clarinet throughout, but uses some of the phrasing he'd be more likely to employ with a saxophone – a practice that makes the album a great showcase for Most's really unique talents on his instrument. And although the title might make you think the whole thing's a bop rehash record, the arrangements are pretty darn inventive – and really help bring new life into tunes that include "Serpent's Tooth", "Celia", "Bluebird", "Strictly Confidential", and "In Walked Bud" – especially from Sam's solos, and the trumpet work of Doug Mettome.
Sam Dees is well known in the soul music fraternity, in fact to many he is an icon of deep soul. whilst his composer credits are well documented, there has never been an abundance of Sam Dees recorded material. So in unearthing 10 tracks never before released by the man, this CD must bring joy to the souls of all who love the very unique vocalising and musically / lyrically soul drenched tunes he creates. Only 500 pressed, very rare & hard to find gem.
The Avant Garde was a coffeehouse in Milwaukee, Wisconsin that played host to a variety of rock, blues, and folk performers in the '60s, and Windy City guitar wizard Magic Sam (aka Sam Maghett) rolled in to play a few sets in June 1968. A local kid with an interest in recording named Jim Charne showed up with a reel-to-reel machine and a couple of microphones, and he captured Magic Sam's show on tape; 45 years later, those tapes have finally been made public on the album Live at the Avant Garde, and given the relatively small amount of material that's surfaced on the late blues legend (who succumbed to a heart attack when he was just 32), this set is a very welcome find. Live at the Avant Garde has a decidedly different feel than Magic Sam Live, which preserved radio broadcasts from 1963 and 1964 and a 1969 appearance at the Ann Arbor Blues Festival; while those recordings blazed with intensity, this captures Magic Sam and his band in more laid-back form, playing a small, booze-free venue rather than a rowdy bar or a festival audience in the thousands.