Super Session [Bonus Tracks]

( 1 )

Editorial Reviews

All Music Guide - Lindsay Planer
As the Beatles' Sgt. Pepper's Lonely Hearts Club Band 1967 had done a year earlier, Super Session 1968 initially ushered in several new phases in rock & roll's concurrent transformation. In the space of mere months, the soundscape of rock shifted radically from two- and three-minute danceable pop songs to comparatively longer works with more attention to technical and musical subtleties. Enter the unlikely all-star triumvirate of Al Kooper piano/organ/ondioline/vocals/guitars, Mike Bloomfield guitar, and Stephen Stills guitar -- all of whom were concurrently "on hiatus" from their most recent engagements. Kooper had just split after masterminding the definitive and ...
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Editorial Reviews

All Music Guide - Lindsay Planer
As the Beatles' Sgt. Pepper's Lonely Hearts Club Band 1967 had done a year earlier, Super Session 1968 initially ushered in several new phases in rock & roll's concurrent transformation. In the space of mere months, the soundscape of rock shifted radically from two- and three-minute danceable pop songs to comparatively longer works with more attention to technical and musical subtleties. Enter the unlikely all-star triumvirate of Al Kooper piano/organ/ondioline/vocals/guitars, Mike Bloomfield guitar, and Stephen Stills guitar -- all of whom were concurrently "on hiatus" from their most recent engagements. Kooper had just split after masterminding the definitive and groundbreaking Child Is Father of the Man 1968 version of Blood, Sweat & Tears. Bloomfield was fresh from a brief stint with the likewise brass-driven Electric Flag, while Stills was late of Buffalo Springfield and still a few weeks away from a more or less full-time commitment to David Crosby and Graham Nash. Although the trio never actually performed together, the long-player was notable for idiosyncratically featuring one side led by the team of Kooper/Bloomfield and the other by Kooper/Stills. The band is ably fleshed out with the powerful rhythm section of Harvey Brooks bass and Eddie Hoh drums as well as Barry Goldberg electric piano on "Albert's Shuffle" and "Stop." The heavy Chicago blues contingency of Bloomfield, Brooks, and Goldberg provide a perfect outlet for the three Kooper/Bloomfield originals -- the first of which commences the project with the languid and groovy "Albert's Shuffle." The guitarist's thin tone cascades with empathetic fluidity over the propelling rhythms. Kooper's frisky organ solo alternately bops and scats along as he nudges the melody forward. The same can be said of the funky interpretation of "Stop," which had originally been a minor R&B hit for Howard Tate. Curtis Mayfield's "Man's Temptation" is given a brass-fuelled soulful reading that might have worked equally well as a Blood, Sweat & Tears cover. At over nine minutes in spin time, "His Holy Modal Majesty" is a fun trippy waltz and includes one of the most extended jams on the Kooper/Bloomfield side. The track also features the distinct hurdy-gurdy and Eastern-influenced sound of Kooper's small electric keyboard-manipulated ondioline, which has a slightly atonal and reedy timbre much like that of John Coltrane's tenor sax. Because of some physical health issues, Bloomfield was unable to complete the recording sessions and Kooper contacted Stills. Immediately his decidedly West Coast sound -- which alternated from a chiming Rickenbacker intonation to a faux pedal steel -- can be heard on the upbeat version of Bob Dylan's "It Takes a Lot to Laugh, It Takes a Train to Cry." One of the album's highlights is the churning and scintillating cover of "Season of the Witch." There is an undeniable synergy between Kooper and Stills, whose energies seems to aurally drive the other into providing some inspired interaction. Updating the blues standard "You Don't Love Me" allows Stills to sport some heavily amplified and distorted licks, which come off sounding like Jimi Hendrix. This is one of those albums that seems to get better with age and that gets the full reissue treatment every time a new audio format comes out. This is a super session indeed. [In addition to presenting the original program, the 2003 edition features four bonus tracks. In Kooper's "Producer's Notes" essay, he indicates that the remixed readings of "Albert's Shuffle" and "Season of the Witch" are included for those who "have asked for years to hear the tracks as they were originally recorded sans horns." Now both can be heard and enthusiasts can contrast Kooper's decision to augment the tracks. There is also the previously unreleased "Blues for Nothing" -- an outtake from the original May 1968 Super Sessions, as well as "Fat Grey Cloud" -- which is a never-before issued live track from Bloomfield and Kooper at the Fillmore West.]
jazzreview.com
Often imitated but never duplicated, an album of casual yet strangely substantive music
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Product Details

  • Release Date: 4/8/2003
  • Label: Sony
  • UPC: 074646340622
  • Catalog Number: 63406
  • Sales rank: 7,367

Tracks

Disc 1
  1. 1 Albert's Shuffle - Stephen Stills (6:53)
  2. 2 Stop - Stephen Stills (4:18)
  3. 3 Man's Temptation - Stephen Stills (3:24)
  4. 4 His Holy Modal Majesty - Stephen Stills (9:12)
  5. 5 Really - Stephen Stills (5:26)
  6. 6 It Takes a Lot to Laugh, It Takes a Train to Cry - Stephen Stills (3:29)
  7. 7 Season of the Witch - Stephen Stills (11:07)
  8. 8 You Don't Love Me - Stephen Stills (4:09)
  9. 9 Harvey's Tune - Stephen Stills (2:10)
  10. 10 Albert's Shuffle - Stephen Stills (6:58)
  11. 11 Season of the Witch - Stephen Stills (11:07)
  12. 12 Blues for Nothing - Stephen Stills (4:15)
  13. 13 Fat Grey Cloud - Stephen Stills (4:37)
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Album Credits

Performance Credits
Mike Bloomfield Primary Artist, Guitar
Michael Bloomfield Indexed Contributor, Guitar
Al Kooper Organ, Piano, Electric Guitar, Vocals, 12-string Guitar, Ondioline
Barry Goldberg Electric Piano
Harvey Brooks Bass
Fred Catero Overdubs
Roy Halee Overdubs
Fast Eddie Hoh Drums
Stephen Stills Guitar
Technical Credits
Al Kooper Producer, Liner Notes, Horn Arrangements, Art Direction
Michael Thomas Liner Notes
Bob Breault Engineer
Fred Catero overdub engineer
Roy Halee overdub engineer
Don Pulse Engineer
Don Puluse Engineer
Allan Tucker Mastering
David Fricke Liner Notes
Elliott Landy Cover Photo
Joe Scott Horn Arrangements
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Customer Reviews

Average Rating 5
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Sort by: Showing 1 Customer Reviews
  • Anonymous

    Posted October 1, 2010

    You're A Fool If You Don't LIke This

    This has been one of my very favorite albums ever since forever, and as I grow older, pass 50 and re-experience the Sixties through its music (my version of a mid-life crisis?), I am revisiting artists like Al Kooper and Mike Bloomfield in greater detail and finding that they not only withstand the test of time but that there is no diminishment or degradation of the songs' musical beauty or its context.

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Sort by: Showing 1 Customer Reviews