"Cooltide" by JOHN MARTYN – September 1991 UK LP and CD on Permanent Records with Guests Jessica King, Foster Paterson and Spencer Cozens and more (January 2007 UK One World Records ‘Expanded Edition’ CD Reissue with Four Bonus Tracks – Dallas Simpson Remaster) - A Review by Mark Barry...

"...Jack The Lad..."

"Cooltide" was John Martyn's 2nd album for Permanent Records and was issued to a largely indifferent public on 9 September 1991 on PERM LP 4 and PERM CD 4 (recorded May, June and July of that year in Glasgow).

A crew of quality players, like keyboardists Foster Paterson and Spencer Cozens, Bassists Alan Thompson and Dave Ball with Saxophonist Andy Sheppard helped give the album a seriously updated and polished sound – even if the original hard copy releases weren’t exactly an audiophile wet dream (this 2007 Expanded CD reissue and remaster is a big improvement). John Martyn played guitar throughout, penned all the tunes and of course sang all lead vocals.

Musically its long, funky and often Rock-Soulful tracks were mature and I loved it from the moment I heard "Hole In The Rain" and the hypnotically magical "Jack The Lad". But "Cooltide" was unfortunately also typical of so many Martyn LPs in the 80's and 90's - superb in places and dull-as-dishwater in others. But my God, when he was good, he was untouchable. And of course, he had that voice - sexy and soothing at one and the same time - a wonder in itself. Here are the cool details...

UK released 1 January 2007 - "Cooltide" by JOHN MARTYN on One World Records OW129CD (Barcode 0604388691326) adds on four bonus tracks to the original 9 and plays out as follows (52:34 minutes):

1. Hole In The Rain [Side 1]

2. Annie Says

3. Jack The Lad

4. Number Nine

5. The Cure

6. Same Difference [Side 2]

7. Father Time

8. Call Me

9. Cooltide

BONUS TRACKS:

10. Jack The Lad (Remix)

11. Jack Sez

12. Jack The Lad (Live 1991, Previously Unreleased)

13. Hole in The Rain (Live 1991, Previously Unreleased)

First up amongst the Bonus Tracks are the two exclusive mixes that came on the April 1992 CD single in the UK for "Jack The Lad" - an extremely hard to find item nowadays (they are Track 10 and 11 on this CD). And finally, two previously unreleased live tracks from the tour of 1991. As luck would have it, they're kicking live versions of the best songs on the album, "Hole In The Rain" and "Jack The Lad". While "Jack The Lad" is good - "Hole In The Rain" is fantastic. It uses a slightly different and yet better synth fill as he sings - and there's a superb guitar solo in it too.These tracks alone make this variant of "Cooltide" an absolute must for Martyn fans. His live albums are often peppered with brilliance like this and this version is right up there (check out his superb re-working of 1975's "Sunday's Child" on the live album "Philanthropy" from 1983).

With regard to the album itself, longtime Martyn fan, associate and keeper of the JM flame JOHN HILLARBY provides the liner notes - but the best news is the Audio upgrade. The original CD - even though it was 1991 - was always underwhelming - especially on tracks like the lovely "Call Me" and "The Cure" and of course the gorgeous "Jack The Lad". Well this DALLAS SIMPSON remaster is about twice as good - not overbearing - but now imbibing muscle into the music – an oomph that it always needed.

JESSICA KING provides the backing vocals on the Side 2 opener "Same Difference" and the near twelve and a half minute title track that finishes the album is lifted up too. In fact it's a treat to finally hear this great little release be given the sonic upgrade it's always deserved - a job well done.

"Cooltide" is a John Martyn album you need to rediscover - check out "Jack The Lad" on iTunes - you'll be hooked.

PS: One World Records is the label imprint by VOICEPRINT of the UK dedicated to John Martyn's work. It features remastered reissues of his albums along with newly discovered titles from the archives. Titles so far include:

1.  "The Apprentice" from 1990, his 1st album in the UK on Permanent Records, it's original 11 CD tracks have had 5 Live Bonus Tracks Added (2007 release) (see REVIEW)

2.  "Couldn't Love You More" from 1992, an album of 15 excellent re-recordings of his Island Label stuff, now remastered with two bonus tracks added (2007 release) (see REVIEW)

3.  "No Little Boy" from 1993, an album of 14 re-recordings covering his career from 1970 up to 1991, now remastered with 2 bonus tracks (2008 release)

4.  "One World Records Sampler CD", 14 Tracks, 1 of which is an exclusive live version of  “Amsterdam” recorded in Oxford, October 1982 (available online only)  (2008 release)

5.  "Live", a new set with 20 tracks across 2CDs (2008 release)

"Live At The Apollo Volume II" by JAMES BROWN and HIS FAMOUS FLAMES featuring Marva Whitney, Bobby Byrd, Pee Wee Ellis and more June 2001 Polydor 2CD 'Deluxe Edition' Expanded Reissue - Kevin Reeves Remaster) - A Review by Mark Barry...

This Review and over 184 More Are Available In My

SOUNDS GOOD Music Books Series - An Amazon E-Book

SOUL GALORE! 
 

60ts Soul, R'n'B, Mod, Northern Soul, New Breed and More
Exceptional CD Reissues and Remasters  

Also Includes Harmony Soul, Rare Groove and Funk...
Just Click Below To Purchase for £6.95 (December 2021 Update)
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"...Get The Feeling...HUH!"

Mr. Dynamite returned to his natural stomping ground for live opus numero duo - 24 August 1968's double-album on King Records 1022 - "Live At The Apollo Volume II". 

But what puts this very cool 2CD Deluxe Edition reissue into the must-own territory (especially for JB fans and lovers of primo 60ts Soul) is the 'extras' and the stunning remaster re-construction of the tapes courtesy of one of Universal’s Tape Supremo engineers - Kevin Reeves. Details of the reissue first...

UK released 26 June 2001 - "Live At The Apollo Volume II" by JAMES BROWN and HIS FAMOUS FLAMES on Polydor 549 884-2 (Barcode 731454988421) is an Expanded 2CD Deluxe Edition of the 24 August 1968 2LP classic on King Records 1022 (USA) and Polydor Records 583 729/30 (UK) in Stereo. The DE Version plays out as follows…

Disc 1 (42:10 minutes):

1. Introduction To The James Brown Show (MC Frankie Crocker)

2. Think (Vocal Duet with Marva Whitney)

3. I Wanna Be Around

4 James Brown (Thanks)

5. That's Life

6. Kansas City

7. Sweet Soul Music (Bobby Byrd)

8. It's A Man's Man's Man's World (19:05 minutes)

This performance incorporates elements of:

 (a) Lost Someone (b) When A Man Loves A Woman

9. Caravan (James Brown Band featuring The J.B. Dancers)

INTERMISSION

Disc 2 (50:51 minutes):

1. Introduction To 'Startime' (MC Frankie Crocker with Sad Sam)

2. Money Won't Change You/Out Of Sight

3. Bring It Up

4. Try Me

5. Let Yourself Go

6. There Was A Time

7. I Feel All Right

8. Cold Sweat

9. Prisoner Of Love

10. My Girl (Instrumental Interlude)

11. Maybe The Last Time

12. I Got You (I Feel Good)

13. Please, Please, Please

14. Bring It Up (Finale)

The Original 2LP running order was…

Side 1:

1. Think

2. I Wanna Be Around

3. That's Life

4. Kansas City

Side 2:

1. Let Yourself Go

2. There Was A Time

3. I Feel All Right

4. Cold Sweat

Side 3:

1. It May Be The Last Time

2. I Got You (I Feel Good)

3. Prisoner Of Love

4. Try Me

5. Bring It Up

Side 4:

1. It's A Man's Man's Man's World

2. Medley

3. Please, Please, Please

As you can see from the two track-lists, the original 2LP set had omissions and edits galore most of which have been returned into this 2CD DE Full Monty running order. A word about that – the original was a lickety-splitly tight as a sumo wrestler's jocks four-sided sucker and the sprawling 2CD set actually isn't – a case of less was indeed more in the first place. You can of course just edit out what you don't want. But right from the off though, it has to be said that some of the inclusions are good – but some aren’t and it's easy to see why show filler like "Caravan" was left off the final vinyl product.

Very much on the upside however is the fab Audio - which for 60ts live tapes is incredibly good. The separation and sheer live-cooking vibe inside say "It's A Man's Man's Man's World" is fantastic. You can hear how tight they were – the sympatico between Brown and his players as he teases and raps with the audience in sexy innuendo is amazing and it's an expert ear indeed that can spot-the-join.

Once the outer DE plastic slipcase is off, the four-way foldout flaps of the DE show James in his late 60ts prime while the 28-page HARRY WEINGER and ALAN LEEDS compiled booklet is the usual class act from him. There are trade adverts from the period, band and tour member lists and colour photos of Godfather Of Soul doing his hysterical Please, Please, Please thing – cape and all. Leeds went on to compile and co-ordinate the stunning 2CD sets "The Singles" from Volume 1 to 11 (I've reviewed from 6 to 11). The Famous Flames band has Bobby Byrd, Bobby Bennett, Alfred "Pee Wee" Ellis giving it some Saxophone righteousness, while Waymon Reed, Joe Dupars and Levi Rasbury back them up with even tighter Trombones (they're pictured on Pages 3 and 27). To the music…

Here’s a list of the new stuff: Disc One gives us a short 32-second MC introduction by Frankie Crocker as the show begins and Bobby Byrd's 2:38 minute between sets straddler "Sweet Soul Music" - a wicked uptempo cover of Arthur Conley's then new 1967 hit on Atlantic Records. That newbie comes in as JB ends a fabulous kicking version of Lieber and Stoller’s Little Willie Littlefield R&B classic “Kansas City”. Portions are inserted into "It's A Man's Man's Man's World" turning it into a 19-minute stop-start monster (do you know what I’m talking about – yeah!). Within that showstopper you get portions of “Lost Someone” and the Percy Sledge gem “When A Man Loves A Woman”. A final insert on Disc One includes the Duke Ellington song “Caravan” which accompanies the JB Dancers – an awful instrumental in my opinion and one where the tightest band in the world seem to be all at sea with its Jazz syncopations. It’s not something I ever want to hear again and it kind of sours the final moments of CD1 for me (the covers of I Wanna Be Around most famously associated with Tony Bennett and the smooch standard That’s Life also felt out of place to me too).

Disc Two offers us another Startime intro from MC Frankie Croker but this time with Sad Sam (34 seconds), followed by a 42-second snippet of “Money Won’t Change You/Out Of Sight”. CD2 flips the Side 3 running order of “Try Me” and “Bring It Up” and it works – the get-in-the-groove hit-it Funk of “Bring It Up” first, followed by the smooch of “Try Me” instead (the saxophone break features Eldee Williams and St. Clair Pinckney). This cleverly sets up the guitar-flicking huh-huh funkiness of “Let Yourself Go”.

Both “There Was A Time” (8:55 minutes) and “I Feel All Right” (8:52 minutes) are now extended versions on here that segue seamlessly into each other and the wall-to-wall sweat of the band in a mash potatoes groove on the first is astonishing while the second track elicits the joy of the crowd in a hey-hey call and response – it really cooks (Jimmy “Chank” Nolen and Alfonzo “Country” Starks on Guitars). Brown even puts in a brief drum solo and bit of organ work after the end of “I Feel All Right”. As drummer Clyde Stubblefield goes into their latest hit “Cold Sweat” – there is no doubt that this is magic.

Brown then slows it all down and adds strings to the croon of “Prisoner Of Love” – a surprisingly touching shuffle – looking for someone to share with. There is a brief instrumental interlude with 20 seconds of the Motown smash “My Girl” which then slides into a very cool groove with “Maybe The Last Time” – the crowd joining in the oh-I chants.

The hardest workingman in show business proved it all night between the 16th and 25th of June 1967 at The Apollo Theatre in Harlem, NYC – and despite the ever so slight oddness of CD1 – CD2 is a stone to the bone monster. It only remains for any of us to say, hit it bobby and take us to the bridge…

"Full Bloom" by JACKIE ROSS (1998 UK Universal/Chess UMD 'Legendary Masters Series' CD Compilation of Remasters) - A Review by Mark Barry...

"...Haste Makes Waste..."

Europe/UK released 1998 - "Full Bloom" by JACKIE ROSS on Universal/Chess UMD 80560 (Barcode 602438056026) is part of The Legendary Master Series of Chess CD Reissues and offers the Stereo Version of the 12-Track 1964 LP "Full Bloom" and a further five bonus tracks - two Chess single A-sides and three previously unreleased 1965 Chess outtakes. It breaks down as follows (50:33 minutes):

1. Selfish One [Side 1]

2. Everything But Love

3. Wasting Time

4. I Had A Talk With My Man

5. Be Sure You Know

6. Summertime

7. I've Got The Skill [Side 2]

8. Change Your Ways

9. Don't Take My Love

10. Haste Makes Waste

11. (I Wanna Hear It) From You

12. Misty

Tracks 1 to 12 are her debut album "Full Bloom" – released June 1964 in the USA on Chess LP-1489 (Mono) and Chess LPS-1489 (Stereo).

BONUS TRACKS:

13. Take Me For A While (July 1965 US 7" single Chess 1938, A)

14. We Can Do It (August 1965 US 7" single Chess 1940, A)

15. It's Going All The Way – Previously Unreleased 1965 Outtake

16. I Dig His Style – Previously Unreleased 1965 Outtake

17. Trust In Me – Previously Unreleased 1965 Outtake

Part of the Legendary Master Series (32-Bit Digital Remasters), the Triple Card gatefold offers a small 8-page inlay that reproduces the sleeves notes from the original "Full Bloom" LP by LOUISE D. STONE - a Jazz Columnist with Chicago Daily Defender. And while this American reissue was done by Richard Ganter – there is no mention of a Transfer or Remaster engineer - though I suspect it is either Kevin Reeves or Erick Labson – both ways the Audio is fabulous.

This 1998 Chess CD is cheap and always has been – about say a fiver - a good disc audio-wise. But its very much been outdone and superseded by the Ace/Kent-Soul issue of December 2012 called "Jerk & Twine: The Complete Chess Recordings" – a UK 24-Track CD compilation Remaster that includes all 17 of the above (including the three outtakes) and offers more Chess singles and two new previously unreleased Chess cuts from 1965 called "Stick To One" and "My Square". It also boasts a proper booklet and real liner notes care of Mick Patrick and Malcolm Baumgar (Catalogue No. Ace/Kent-Soul CDKEND 385 – Barcode 029667238526). If you've the cash it's about a tenner or often less and I'd plumb for that instead. 

Either way, you're on a musical winner with this criminally forgotten 60ts Soul LP and the lovely vocals of Jackie Ross...

Anna - A Review of the 2019 Luc Besson Film on BLU RAY starring Sasha Luss, Cillian Murphy, Helen Mirren, Luke Evans and Lera Abova...

"...Pawn Takes Queen..."

"Anna" is a stiletto of a movie – long-legged, elegant and you definitely don’t want to mess with that girl's pointy ending.

French filmmaker and Director LUC BESSON has been here before with "Angel-A" (2005) and "The Extraordinary Adventures of Adele Blonc-Sec" (2010) – two cracking little films that bristle with his style, clever story lines and a flawed but ultimately beautiful and brave female lead (see reviews). Theorists, plagiarists and in fact anyone with an '...ist' in their bonnet will go on about yet another Atomic Blonde type movie - leggy girly with guns and lipstick and bruises and nude scenes (the staple for such films) engages in protracted battle sequences with dodgy unaccountable State forces and so on to a gore-fest finale – and deep down I'd concede they probably have a point. There have also been rumours flying around about on set shenanigans while "Anna" was being made which has meant it may have slipped through the nets in this horribly woke world we're presently in.

But I think Besson is different. I get the impression that he likes women, adores them even. And I'd say that it makes a genuine difference here. When most of the other films depicting such characters have the feel of a user, Besson actual likes his creations and his female leads may start out sappy or even ordinary but they never end up that way. The actresses are given real meat to work with. They are always strong, do their own thing on their own terms and men - though they might like them to be nice or even half-decent and humane on occasion - had better keep their hearts, underpants and wits about them.

What also makes "Anna" work and so entertaining is the superb quad of leads: for the ladies there's the ludicrously beautiful Cillian Murphy and his f-yeah eyes (an absolute crush for many of my lady friends) playing CIA maverick Lenny Miller - a suit who is a lot smarter than the by-the-book company man he first appears to be. On the other side of his morally murky world are the ruthless yet possibly might–have-a heart duo of Helen Mirren and Luke Evans who recruit the young street junkie Anna into the Russian Secret Service. Mirren eats this stuff up – her old, smoke and be-damned Olga is stony faced and precise. Olga has only survived in this vicious man's world by being equally quick with a Bowie knife, Bear Trap or a poison ink-nib. Moreover, Olga will not let her bright new recruit Anna lapse for even a second into mistakes that will get her killed - whilst at the same time having to appear to tow the line for corrupt males officials who give her orders to eliminate supposed enemies of the state and not ask too many questions about the validity of such appraisals.

And then there's the Russian model Sasha Luss playing the lead role of Anna – the kind of sleek trophy totty that adorns the arms of drug dealers by swimming pools or Bond villains in biotechnology labs or the love interest in Kingsmen movies who carry a machine-gun umbrella in London's Saville Row. Only this time in real life our Sasha has actually trained in ballet and that elegance of movement shows in every scene. Sasha Russ is genetically gorgeous for sure - but Besson also knows that she has to be riveting in the role and at the same time exude a tremble of fragility and humanity – and Russ achieves all of it. This is an actress you want to watch. Plus our Sash gets to have fun in and out of expensive dresses, popping off baddies with silencers, skewering bodyguards in fancy restaurants with steak knives or a broken dinner plate, fighting Soviet soldiers in sewers, binning wigs – the usual slow Tuesday stuff for an International espionage agent.

So, beautiful but drifting Anna Poliatova realizes she has a chance to escape a world of user boyfriends and bedsit dime-bag deprivation if she goes with her new handler Alex Tchenkov (a superb Luke Wilson) and commits to years of espionage training. This will eventually turn her into a sort of bloodier version of Killing Eve machine Villanelle – same great outfits but without the jokey psycho streak. On graduation, promises are made of five years service and Anna soon adopts a cover in a Parisienne apartment with the gorgeous Lera Abova playing Maude, Anna's lesbian lover who is in love with Anna but also oblivious to where or what Anna is as she disappears for days on end for business trips. 

But soon Anna begins to realize that she may have traded one life of servitude to drugs for another serving the equally treacherous State and that there is always one more job, one more misery, one more heartless using of her skills that will never end. So as a child prodigy Chess Player, she begins to plot out minnow-moves that none of the bigger fish will see coming. Or will they? Is Olga always one step ahead of her and everybody in fact or is she a Ruskie patriot through and through to the point where Anna is just collateral damage?

If this all sounds a bit complicated for a Spy Action Thriller then actually it is. Besson frames his spiky tale in a series of flashbacks and flash forwards and replays where you begin to realize and see what is really going on. It's a clever and thrilling way to keep the story and action moving. The set pieces/fight sequences are suitably brill and cool and have of course silly body counts that no one seems to notice as they chow down on their oysters and linguini. Then as Anna begins to outplay or even break the hearts of her American and Russian men – you're more and more invested – rooting for her to win...or not...

In March 2020, the BLU RAY is clocking in at about £10 new, but will undoubtedly fall in price as these sort of titles always do, and the picture quality on it is spot-on.

I know many have been derisory about "Anna" - but damn I enjoyed it a bunch even if it isn't quite "Leon" or "Lucy". Top cast, clever story, great set pieces and Daddy's smart girl gets to play Chess too. 

 "Anna" can have my spy bra strap any day of the week...

JAMES MOODY - "Return From Overbrook" featuring the "Flute N' The Blues" and "Last Train From Overbrook" US MONO Albums from 1956 and 1958 originally on Argo Records (March 1996 USA MCA/Chess/GRP CD Reissue - 2LPs onto 1CD - Erick Labson Remasters) - A Review by Mark Barry...

"…Good News…I'm Back…"

This 20-Track March 1996 US CD "Return To Overbrook" on MCA/Chess/GRP GRD-810 (Barcode 011105081023) features two 1950s albums in their entirety by Saxophonist JAMES MOODY - both originally issued n Mono on Leonard and Phil Chess' Jazz label offshoot Argo Records. It breaks down as follows (63:54 minutes):

1. Last Train From Overbrook

2. Don’t Worry 'Bout Me

3. Why Don't You

4. I’m Free a.k.a. What's New?

5. Tico-Tico

6. There She Goes

7. All The Things You Are

8. Brother Yusef

9. Yvonne

10. The Moody One

Tracks 1 to 10 are "Last Train From Overbrook", a 1958 USA-Only LP on Argo 637 [Mono]

11. Flute 'N The Blues

12. Birdland Story

13. It Could Happen To You

14. I Cover The Waterfront

15. Body And Soul

16. Breaking The Rules

17. Parker's Mood

18. Easy Living

19. Boo's Tune

20. Richard's Blues

Tracks 11 to 20 are "Flute N' The Blues", a 1956 USA-Only LP on Argo 603 [Mono]

The 1st generation analogue master tapes have been remastered by one of Universal's top engineers ERICK LABSON and the sound quality is superb throughout (Orrin Keepnews Produced the Reissue). The 16-page booklet has a preamble by Dave Usher (Argo and Chess producer) and further liner notes by Bob Blumenthal (a Jazz critic for The Boston Globe) - it also pictures album sleeves and label close-ups and has discography information on the sessions where known.

Moody was primarily an Alto and Tenor Saxophone player, but he also excelled on the flute. His session men included Johnny Coles on Trumpet, William Sheppard on Trombone, Numa "Pee Wee" Moore on Baritone Sax with Jimmy Boyd on Piano, John Lathan on Bass and Clarence Johnston on Drums. The "Last Train From Overbrook" album is entirely instrumental, but three tracks from "Flute 'N The Blues" - "Birdland Story", "Parker's Mood" (lyrics above) and "I Cover The Waterfront" feature Eddie Jefferson on scat vocals.

The title comes from his turbulent stay at the "Overbrook" Mental Institution in New Jersey and the music is imbibed with his journey of redemption from that awful place and mindset.

Georgia-born James Moody played in the USA as late as 2009 and this CD reissue certainly shows why he was still such a draw even in his 80ts. It's now quite a rare disc, but well worth seeking out - especially given the wonderful sound quality…

"The Boss Of The Blues Sings Kansas City Jazz: The Complete Mono And Stereo Recordings Recorded In New York City 1956" by JOE TURNER (February 2020 German Bear Family 2CD Compilation Reissue and Remaster) - A Review by Mark Barry...

"...Rock Me Baby, All Night Long..."

When I first picked up on Atlantic R&B in the mid 70s, I was an Irish teenager living in Dublin embroiled in Rock, Prog, Soul, Funk, Reggae, Punk and New Wave. I knew of some old Blues, Boogie Woogie, Rhythm 'n' Blues and Rock 'n' Roll like everyone else in the schoolyard, but hard copies were so scarce on the LP ground that it only registered as something vaguely interesting in the musical distance.

But when the stunning seven double-albums Box Set "Atlantic Rhythm & Blues 1947-1974" appeared on vinyl in 1985 - everything changed. With an awakened lust for authentic Blues and R&B of the Forties and Fifties, I went into The Clovers, Ruth Brown, La Vern Baker, The Coasters and Clyde McPhatter's Drifters big time and I've been chasing that low down dog ever since. When you dive into that joyous music, you quickly come against one of Atlantic Records' biggest stars of the 50ts day - BIG JOE TURNER. 

His first US Blues Album proper had been a self-titled duet with piano genius Pete Johnson on Emarcy Records in June 1955 and what we're dealing with here is technically his second LP release from June 1956 (his debut for Atlantic after five years of 78s and 45s).

So when I hear that one of the best reissue labels in the world (Bear Family of Germany) is finally going to tackle one of the early Atlantic Records giants - then I'm gonna sit up, get my tights in a tangle and a don that nylon hose baby (it can be a problem at times I know). And true to BF's longstanding rep, their double-CD of Big Joe Turner's landmark second album "The Boss Of The Blues..." is a cockle-doodle-doo rooster-crowing humdinger – especially on the Stereo Audio front. Let's get the technical stuff out of the way first...

German/UK/Europe released 14 February 2020 - "The Boss Of The Blues Sings Kansas City Jazz: The Complete Mono And Stereo Recordings Recorded In New York City 1956" by JOE TURNER on Bear family BCD 17505 (Barcode 5397102175053) is a 2CD 32-Track Compilation of his second studio album from 1956, originally on Atlantic Records. This newly remastered issue features the 10-track US and UK LP in both Mono and Stereo form with 12 Bonus Track Outtakes from the original March 1956 New York Sessions and it breaks down as follows:

CD1 (71:11 minutes):

1. Cherry Red - STEREO [Side 1]

2. Roll 'Em Pete - STEREO

3. I Want A Little Girl - STEREO

4. Low Down Dog - STEREO

5. Wee Baby Blues - STEREO

6. You're Driving Me Crazy - STEREO [Side 2]

7. How Long Blues - STEREO

8. Morning Glories - STEREO

9. St. Louis Blues - STEREO

10. Piney Brown Blues - STEREO

Tracks 1 to 10 are the album "The Boss Of The Blues Sings Kansas City Jazz" - originally issued June 1956 in the USA in MONO only on Atlantic 1234, the STEREO version first appeared January 1958 in the USA as an 'Open Reel Tape' on Atlantic ALC 1901 (this rarity is pictured on Page 8 of the booklet) with the VINYL 'High Fidelity' STEREO LP showing in September 1958 as Atlantic SD 1234. The British LP first appeared February 1957 in MONO-only on London American Recordings LTZ-K 15053 and then June 1959 (over two years later) in STEREO on London SAH-K 6019 (American Series).

11. Pennies From Heaven – STEREO **

A March 1956 "Boss Of The Blues" outtake used to bolster up the track run for the September 1959 original recordings that made up the "Big Joe Rides Again" LP issued in the USA in July 1960 on Atlantic SD 1332.

12. Roll 'Em Pete [Take 4] - MONO **

13. Roll 'Em Pete [Take 5] - MONO **

14. Cherry Red Blues [Take 1] - MONO **

15. Cherry Red Blues [Takes 2 and 3] - MONO **

16. Morning Glories [Takes 1 and 4] - MONO **

17. Low Down Dog [Take 4] - MONO **

** Tracks 11 to 17 are BONUS TRACKS

CD2 (62:47 minutes):

1. Cherry Red - MONO [Side 1]

2. Roll 'Em Pete - MONO

3. I Want A Little Girl - MONO

4. Low Down Dog - MONO

5. Wee Baby Blues - MONO

6. You're Driving Me Crazy - MONO [Side 2]

7. How Long Blues - MONO

8. Morning Glories - MONO

9. St. Louis Blues - MONO

10. Piney Brown Blues - MONO

Tracks 1 to 10 are the album "The Boss Of The Blues Sings Kansas City Jazz" - originally issued September 1956 in the USA in MONO only on Atlantic 1234 (the STEREO version is Tracks 1 to 10 on CD1). The British MONO LP first appeared February 1957 in MONO-only on London American Recordings LTZ-K 15053.

11. Pennies From Heaven - MONO **

A March 1956 "Boss Of The Blues" outtake used to bolster up the track run for the September 1959 original recordings that made up the "Big Joe Rides Again" LP issued in the USA in July 1960 on Atlantic 1332 (Mono).

12. Testing The Blues - MONO **

13. St. Louis Blues [Take 1] - MONO **

14. You're Driving Me Crazy - MONO **

15. I Want A Little Girl [Takes 1 and 3] - MONO **

The album was recorded across two days, 6 and 7 March 1956 at the Carnegie Hall Recoding Company on 57th Street in New York with the following personnel:

BIG JOE TURNER – Vocals

PETE JOHNSON – Piano

FREDDIE GREEN – Guitar

PETE BROWN – Alto Saxophone

FRANK WESS – Tenor Saxophone (Tracks 1, 2, 4, 7 and 10 only)

SELDON POWELL – Tenor Saxophone (Tracks 3, 5, 6, 9 and 11 only)

LAWRENCE BROWN – Trombone

JOE NEWMAN – Trumpet (Tracks 1, 2, 4, 7 and 10 only)

JIMMY NOTTINGHAM – Trumpet (Tracks 3, 5, 6, 9 and 11 only)

WALTER PAGE – Bass

CLIFF LEEMAN - Drums

If I’m completely honest, the three-way foldout card sleeve packaging comes on as a bit of a disappointment. As you can see, the pictures of BJT on the inside flaps aren’t anything like the period memorabilia we’re used to from BF and the bare tightly-fitted CDs inside each flap will cause problems for those wanting to remove them without greasy thumb-prints or scratches. The 24-page booklet stuck inside the centre flap almost caused me to rip the whole damn thing trying to get it out. On the upside COLIN ESCOTT provides the liner notes and Discography at the rear and (as always) offers up his knowledge and affection on the subject matter in an entertaining and enlightening way.

Downsides – although the Side 1 US label for Atlantic SD 1234 is repro’d and there are a couple of photos of our hero (one with Alan Freed and those Mercury Records R&B stars Buddy and Ella Johnson (Page 7) – the 1956 or 1957 LPs actual cover artwork or rear sleeve isn’t here for either the US or UK variants on Atlantic and London Records nor are the subsequent reissues of the album (Discography too). But you do get a genuine oddity and rarity. As you can see from the info I’ve provided above, the STEREO variant first appeared in January 1958 not on an LP but on an 'Open Top Reel' of Tape. I've never seen a picture anywhere of Atlantic Records ALC-1912 and a quick Superhighway trawl tells me that (it looks like) neither has anyone else! While the expensive LP might have set a punter back four or five bucks (a lot back then), the reel-to-reel tape was aimed at Hi-Fi buffs and cost a whopping twelve dollars – so I can't imagine how many of these first issued Blues Album in Stereo things are actually still intact and in existence in 2020.

But all of those minor gripes are wiped away once I clock my enormo-lugs on the AUDIO – Disc Transfers and Mastering care of MARLON KLEIN. The last CD I had of this album was a Japanese 2012 issue that claimed DSD Remastering – and it was/is great. But this Bear Family 2020 offering is another ball game altogether. Hardly surprising that Bear start with the STEREO variant on Disc 1 because its shockingly good – the separation clean and the sound just gorgeous. By the time I was onto "Roll 'Em Pete" or "How Long Blues" or even the cheesy outtake "Pennies From Heaven" – I was blubbing like a Wall Street Banker with a Covid-19 thermometer in his gob.

The other Bonus Outtakes are like eavesdropping on history albeit in a much muddier way – the Audio is compromised - but Takes 4 and 5 of the fabulous horn-bopper "Roll 'Em Pete" even with a distant vocal sound cool to me and I've never heard of "Testing The Blues" over on the MONO CD2. Tasty…

Pete Johnson passed in March 1967 and Big Joe lasted until November 1985 - gigging to the end because he needed to pay the bills (Ahmet Ertegun, the co-founder of Atlantic Records paid off his debt so that his wife could live on in their home free of worry). Anyone who loves old timey Rhythm 'n' Blues and especially the fantastic Atlantic Records sound - will cry at this release. And isn't that how we should remember a man many feel was the greatest R'n'B and Blues shouter of em all...