Janis backed by one of the greatest symphonies ever assembled (the 50's/60's Chicago Symphony under the baton of the micromanaging Fritz Reiner) put together in short a legendary and frenzied performance of the Rachmaninov Concerto No. 1. I wish I could stop there, but unfortunately this recording was coupled with a stale performance of the No. 3.
The songs in the collection were recorded between 1969 and 2014, including the band's entire performance at the Isle of Wight Festival in 1970. The DVD features a concert that was originally broadcast on the German music television show Rockpalast (a WDR production) in 1977.
First off, Kenny Wayne Shepherd was 33 years old at the release of this album, so he’s not a kid playing hot guitar anymore, he’s a grown man doing it. And he does play a hot lead guitar – that, in a nutshell, is what he does. But over the years he’s also learned that the blues isn’t just about blazing lead licks, it’s also about letting the song say its say – and on Live! In Chicago he does that. This is a concert full of songs and not just a bunch of guitar leads broken up by someone singing for a bit. Shepherd is also fully aware of the history of the blues and he honors some of his heroes here by playing with blues legends like Hubert Sumlin, Willie “Big Eyes” Smith, Bryan Lee and Buddy Flett and he doesn’t step all over them with his guitar playing – he supports them. The concert grew out of the tour Shepherd put together in support of 10 Days Out: Blues from the Backroads project, a DVD/CD documentary that featured Shepherd traveling around the country on a ten day trip interviewing and playing with icons from the blues world, including the surviving members of Muddy Waters' and Howlin' Wolf's bands, making this show, recorded at the House of Blues in Chicago, a kind of culmination.
By the time of 1971's Tightly Knit, the group had settled into a very comfortable groove and suddenly didn't seem to be trying so hard, instead letting the music speak for itself. This newfound confidence was also mirrored in the fact that eight of the ten tunes aboard were group-penned originals. While they showed some versatility on tunes like "Little Link" and "Shoot Her If She Runs" (both exhibiting a strong country rock flavor), they still managed to sound like no one else but the Climax Blues Band on such familiar warhorses as "Spoonful" and Robert Johnson's "Come on in My Kitchen." Peter Haycock's lead guitar reached scorching levels on the almost-ten-minute-long "St. Michael's Blues"; "Who Killed McSwiggin" explored the Bo Diddley beat for all its worth, and the closing "That's All" took the pan-flute New Orleans groove into folk-singalong territory, making a top-notch finish for the group's most varied outing.
Special priced-down reissue available only for a limited period of time until December 21, 2015. Comes with liner notes. This stunning live set has been hailed by many as one of the finest moments of Miles' mid 60s career – music played with a frenetic energy that even blows away the famous studio sessions of the time! The group here is a landmark lineup – young modernists Wayne Shorter on tenor, Herbie Hancock on piano, and Tony Williams on drums – all reaching out to really increase their craft, and work through new ideas alongside Miles' trumpet.
People call Chicago The Home Of The Blues. It may not be where the blues came from but it s where the blues came to live. It’s the place where Muddy Waters, Howlin’ Wolf and Jimmy Reed laid down the songs that inspired the Rolling Stones and the Yardbirds. The blues was the bedrock on which Jimmy Page created Led Zeppelin, the band that helped to change pop music forever. Chicago was the mecca for Buddy Guy, Otis Rush, Magic Sam, Elmore James and a host of others who arrived in the city to make their fortune. The process had begun decades earlier, when record companies first came to town.
This double album presents, for the first time on recording, a Chicago concert and broadcast recorded in 1986, when Horowitz was 83. The music that exists from the last few years of Horowitz's life has a marvelous rarefied quality, and this live recording – marred by heavy early-season coughing about which Horowitz complains in one of the two included radio interviews, but enhanced by the immediacy of the live situation – is no exception. Horowitz was never the most purely muscular pianist out there (although he could make octaves ring when he had to), and not the most intellectual. But he was perhaps the most perfectionistic of the great pianists, taking stretches of several years off to rebuild his technique and his musical understanding when he felt his playing was not up to snuff.