130-track CD/DVD set comprising of 11 CD albums each with it's own distinct musical style which showcases his passion for the guitar, plus a DVD for the 'Stony Road' album. Having created the cover of Stony Road and interpreted the cover of The Blue Juke Box the close relationship between Chris Rea's music and his painting was defined. This relationship was clearly leading in one direction, a ground-breaking idea to link the two driving forces in his life. The idea of Blue Guitars was born. Eleven albums from Chris Rea in one book pack, 130 brand new Chris Rea songs inspired by the blues ranging globally across all his own interpretations of this musical form, songs that Chris believes are some of his best to date.
If you thought that Chris Rea's reasonably priced 11 CD boxset called Blue Guitars, featuring over 130 songs, was a bit too much to take in at one time, then this two CD distillation might be more your style. Here, the best 22 tracks from the box are compiled on two CDs for your sampling pleasure. Includes 'Where the Blues Come From', 'The Soul of My Father's Shadow', 'Lucky Day', 'Who Killed Love' and more.
Given his place in the pantheon of American rock music, Gregg Allman's solo career away from the Allman Brothers Band has been generally disappointing. Perhaps that's why it took nearly a decade between his previous album, 1997's Searching for Simplicity (its title alone indicates his frustrations) and 1988's over-produced yet underwhelming Just Before the Bullets Fly. A whopping 14 years later, Allman joins forces with roots producer to the stars T-Bone Burnett, hoping that some of the latter's mojo can rub off on a singer who is one of the great white soul and blues vocalists in rock music.
This four-disc, 100-track box set differs from most blues compendiums on a number of fronts. For openers, it focuses on the first 20 years of blues recordings, from 1924's "Barrelhouse Blues" by Ed Andrews to 1946's "Rhythm Mama" by Johnny Temple. Second, even though there are entries from artists like Blind Blake, Mississippi John Hurt, Son House, Skip James, Big Joe Williams, Bukka White, and Lonnie Johnson, the box is not overloaded with big-name artists. Instead, the set leans toward more obscure names, like …
A great lost chapter in the career of organist Lonnie Smith — a session recorded in the 80s, but done with the simple straightforward soul jazz groove of earlier sides on Muse and Prestige ! Lonnie's working here in a loose and free trio format — with Melvin Sparks on guitar and the great Alvin Queen on drums — rolling out over longish tracks in an open-ended style that almost recalls more of the feel of Don Patterson's great organ trio sides than it does the heavier funk of Smith's early years. The recording quality is great — very faithful to the best tones of the Hammond.
In 1959, John Lee Hooker signed a one-off deal with the Riverside label to record an acoustic session of the country blues. It was a key change from his earlier recordings, most of which had featured Hooker on an electric guitar with his trademark reverb and stomping foot. Folk purists of the day were delighted with COUNTRY BLUES, believing Hooker had returned to his roots, leaving the "glitzy commercialism" of R&B behind. But some Hooker fans considered COUNTRY BLUES a "betrayal" of his true sound. The truth is probably somewhere in-between. Remember, John Lee Hooker is always John Lee Hooker, regardless of the format. If you like Hooker, or acoustic blues, buy this album. It is an intimate session featuring standards like "How Long", "Bottle Up and Go", as well as Hooker's first recorded take on "Tupelo", one of his all-time classics.
Some of Kenny Burrell's best early work ! The album catches Kenny in the perfect Blue Note jam session mode of the late 50s — one used also with Jimmy Smith, and which features a number of the label's star players hitting hard with the main soloist. Players on the two volume set include Duke Jordan or Bobby Timmons piano, Junior Cook and Tina Brooks tenor, Louis Smith trumpet, and Art Blakey on Drums. The cuts have a very open-ended blowing session feel, and Kenny comes through surprisingly well, really picking up steam on a way you don't always hear in more restrained recordings.
Beginning to build a repertoire of songs that you can play comfortably is the first important step in getting started in the Country Blues. But once you've got that repertoire-building process started, it can be enormously helpful to become acquainted with the Blues in a more general, less song-specific way, learning the various stylistic pathways that enable experienced blues players who have never met or played together before to sit down and make music together. When you see that happen, it seems like magic, but it's really just a matter of their knowing and understanding the language of the blues.