Blodwyn Pig

Blodwyn Pig ‎- The Basement Tapes - 2000 - Hux Records

BLODWYN PIG [MICK ABRAHAMS et al] - The Basement Tapes 1969-1974 (Gonzo 194; UK) THE BASEMENT TAPES contains radio sessions and live material recorded from 1969 to 1974, as well as two bonus tracks recorded in 1996. Basement Tapes buy CD music Previously unreleased BBC recordings from the former Jethro Tull guitarist, recorded 1969-1974. Basement Tapes songs Plus two bonus tracks from 1996. Basement Tapes album for sale Blodwyn Pig includes: Mick Abraham. Blodwyn Pig: Mick Abrahams (vocals, guitar); Jack Lancaster (violin, flute, saxophone); Andrew Pyle, Mike Summerland (bass guitar); Clive Bunker, Graham Walker, Ron Berg (drums). Basement Tapes CD music contains a single disc with 13 songs. "Like a lot of people, I approached Blodwyn Pig by way of Jethro Tull. Mick Abrahams was a 'force to contend with' in the original Tull line-up, and he and Ian Anderson came to loggerheads about the direction the group should take. Abrahams split, but the group he formed was no mere spin-off. Blodwyn Pig was every bit the equal of Jethro Tull. Abrahams was and is a first-rate blues guitarist. His electric guitar stylings are instantly recognizable, and he is also a master of acoustic fingerstyle blues guitar. Sax and flute man Jack Lancaster shared Ian Anderson's fondness for imitating jazzman Roland Kirk. Lancaster even replicated Kirk's trick of playing two horns at the same time. The tracks on Basement Tapes were drawn from BBC sessions that Blodwyn Pig did in 1969, and later in 1974 during an abortive attempt to reform the group ( the '74 edition of the band also includes former Jethro Tull drummer Clive Bunker.) These tunes fully illustrate just how eclectic a group Blodwyn Pig was. They feature guitar/sax passages that wail as hard as King Crimson's "21st Century Schizoid Man", plus examples of Abrahams' off the wall sense of humor (best example: "Mr.Green's Blues"). Blodwyn Pig was as good as any band playing between 1969 and 1971---extremely innovative and exciting. Don't miss this one, or the two classic studio albums, "Ahead Rings Out" and "Getting to This." Five stars!" © http://www.downtownmusicgallery.com/Main/news/Newsletter-2014-05-23.html

As a complete fan of Mick Abrahams it was great to take a casual look at the CD'S available for Bloodwyn Pig and find "The Basement Tapes". Great fidelity througout as well as fine blues rock guitar from Mick! In case you dont know Mick Abrahams was a founding member of Jethro Tull and treat yourself to their first album. Mick's tone is always superb as well as his playing and Tull got gradually worse as Ian Anderson tightened his grip on the band. By the time Tull had released "Aqualung " they were on the way to some kind of weird sing song junk, not heavy riffage! I now know why Mick split...he is 100% Blues and Rock. Several of the Pigs hits are here sometimes twice as the original band doing the numbers in early 1970's then again live in 1974 with a version of the Pig that released no album. Remember to put on the track "Drive Me” and turn it up, and check out Mick wailing away....It was a real pleasure to hear a fine guitarist at what he does best, great blues based rock guitar with a great bottom and an amazing jack Lancaster on Sax! If you dont own any "Blodwyn Pig" be sure to purchase " Ahead Rings Out". That is their first album and a must. It contains a great slide track, "Dear Jill". As I have told you before, buy it now and enjoy! Buy this CD!!! – from ***** "A Pig Makes Good " Blodwyn Pig - The Basement Tapes, November 11, 2003 By & © A Customer © 1996-2014, Amazon.com, Inc. or its affiliates © http://www.amazon.com/review/R2SSRB89L27OUZ/ref=cm_cr_pr_viewpnt#R2SSRB89L27OUZ

Not everybody is as enthusiastic as the Amazon reviewer above about this album. Most of the criticism relates to Mick Abrahams’ “alleged” “sloppy” playing, and not producing his best form on the tracks. Somebody said that Mick Abrahams would have objected to the release of this album. Believe me, this is a very worthwhile release. Most of the tracks were recorded for BBC radio sessions, and they are in no way perfect, either in sound quality or musicianship. Nevertheless, the great Blodwyn Pig were not a prolific recording band and it’s great to see this stuff taken from the vaults and cleaned up. The album features previously unreleased Radio 1 session and live material, recorded between 1969-1974, plus two Mick Abrahams bonus tracks from 1996. Mick Abrahams has never received due credit for his contribution to rock and blues music. He is arguably best remembered for his terrific blues licks on Jethro Tull's debut album, “This Was”, where critics compared him to Eric Clapton. When Mick left Tull he never managed to achieve lasting success as a recording artist, or achieve the world-class fame of his former band mates. He has led various line-ups of his best-known band, Blodwyn Pig, and over the last 25 years or so he has managed to achieve some significant cult status, mainly in England. His laid back, understated, jazz/blues guitar technique is a joy to listen to. Blodwyn Pig was a largely unsung band that made a valuable contribution to the development of progressive rock music. Their unique blend of guitar and horn twin leads set against a backdrop of heavy, prog, blues and jazz packs an almighty punch that may appeal to fans of bands like early Jethro Tull and Colosseum . Blodwyn Pig reformed in 1988 and have recorded some great overlooked albums in recent years. Read more about this great jazz/blues/prog.rock band @ http://www.squirrelmusic.com/ and http://www.allmusic.com/artist/blodwyn-pig-mn0000055174/biography and check this blog for more info on BP. Listen to Mick Abrahams’ Blodwyn Pig’s “Times Have Changed” album [All tracks @ 320 Kbps: File size = 128 Mb]

TRACKS

1 The Modern Alchemist 4:49
2 Mr. Green's Blues 3:49
3 It's Only Love 3:31
4 See My Way 5:56
5 Blues Of A Dunstable Truck Driving Man 2:47
6 Baby Girl 3:53
7 The Leaving Song 4:53
8 I Know 8:54
9 It's Only Love (Live) 3:16
10 See My Way (Live) 6:35
11 Blues Of A Dunstable Truck Driving Man (Live) 2:10
12 Hound Dog 2:20
13 Drive Me 2:43

All tracks composed by Mick Abrahams except Track 1 by Jack Lancaster, Track 2 by Mick Abrahams, Jack Lancaster, & Ron Berg, and Track 12 by Jerry Leiber & Mike Stoller

N.B: This album features previously unreleased Radio 1 session and live material, recorded between 1969-1974, plus two Mick Abrahams bonus tracks from 1996: Tracks 1-2 recorded in session for Top Gear 24.3.69. First transmitted 13.4.69. ℗ BBC 1969: Track 3 recorded in session for Top Gear 7.1.69. First transmitted 13.7.69. ℗ BBC 1969: Tracks 4-7 recorded in session for John Peel 17.6.74. First transmitted 9.7.74. ℗ BBC 1974: Tracks 8-11 recorded for Radio 1 'Live in Concert' 15.8.74. ℗ BBC 1974: Tracks 12-13 recorded 1996 at Black Barn Recording Studio in Ripley, Surrey, UK

MUSICIANS

Mick Abrahams - Guitar, Vocals
Andrew Pyle - Bass on Tracks 1-11
Mike Summerland - Bass on Tracks 12-13
Ron Berg - Drums on Tracks 1-3
Clive Bunker - Drums on Tracks 4-11
Graham Walker - Drums on Tracks 12-13
Jack Lancaster - Saxophone, Flute, Violin on Tracks 1-11

BIO

A quirky detour of late-'60s British progressive/blues rock, Blodwyn Pig was founded by former Jethro Tull guitarist Mick Abrahams, who left Tull after the This Was album. Abrahams was joined by bassist Andy Pyle, drummer Ron Berg, and Jack Lancaster, who gave the outfit their most distinctive colorings via his saxophone and flute. On their two albums, they explored a jazz/blues/progressive style somewhat in the mould of (unsurprisingly) Jethro Tull, but with a lighter feel. They also bore some similarities to John Mayall's jazzy late-'60s versions of the Bluesbreakers, or perhaps Colosseum, but with more eclectic material. Both of their LPs made the British Top Ten, though the players' instrumental skills were handicapped by thin vocals and erratic (though oft-imaginative) material. The group were effectively finished by Abrahams'departure after 1970's Getting to This. They briefly reunited in the mid-'70s, and Abrahams was part of a different lineup that reformed in the late '80s; they have since issued a couple of albums in the 1990s. © Richie Unterberger © 2014 AllMusic, a division of All Media Network, LLC. | All Rights Reserved http://www.allmusic.com/artist/blodwyn-pig-mn0000055174/biography

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Blodwyn Pig was one of the core bands of the underground music scene of the late sixties. Main man Mick Abrahams was involved with several R&B bands including THE HUSTLERS throughout the decade and he even played some gigs with SCREAMING LORD SUTCH. In 1967 he co-founded JETHRO TULL along with Ian Anderson but was then ousted from the band in November of the following year, shortly after the release of their debut album ''This Was''. After leaving JETHRO TULL Abrahams formed BLODWYN PIG, the unusual name apparently coined by a rather stoned friend of the band. The original line-up consisted of Abrahams (guitar, vocals), Jack Lancaster (saxophones, flute, violin), Andy Pyle (bass) and Ron Berg (drums). Pyle had played in Luton blues band McGREGOR'S ENGINE, a band that Abrahams had in fact formed earlier in 1967; it also included future JETHRO TULL and BLODWYN PIG drummer Clive Bunker. BLODWYN PIG had an extensive live activity that included appearances at the Isle of Wight and Reading rock festivals. They also completed two US tours that took in performances at both Fillmores and the LA Forum. After recording two successful albums the dreaded musical differences resulted in Abrahams' departure from the band in September 1970. He was actually replaced by two guitarists; one was Barry Reynolds and the other was former YES guitarist Peter Banks, who went on to form FLASH. The quintet failed to see the year out and only managed three or four gigs. With the arrival of replacement guitarist Larry Wallis (UFO, PINK FAIRIES, MOTORHEAD) the band changed its name to LANCASTER'S BOMBERS (later simply LANCASTER) and toured with YES in 1971. In the meantime Abrahams had formed WOMMETT and THE MICK ABRAHAMS BAND, the latter of which released two guitar-driven rock albums; Jack Lancaster featured on the second of these albums. Despite the fact that this group enjoyed success across Europe it also split due to some less than enthusiastic record company support. BLODWYN PIG then briefly reformed in February 1974 with the aforementioned Clive Bunker on drums, but old differences resulted in another split and a disillusioned Abrahams temporarily withdrew from the music business. The two albums released by the original incarnation of BLODWYN PIG, ''Ahead Rings Out'' (1969) and ''Getting To This'' (1970), were a fusion of heavy progressive blues and jazz, with Jack Lancaster's brass and woodwind providing most of the distinctive jazz colourings. Speaking about the debut album on his website, Abrahams asserts that Lancaster ''brought a mixture of hard hybrid jazz-rock to the album.'' Lancaster was influenced, as was Ian Anderson, by American jazz multi-instrumentalist Rahsaan Roland Kirk. Lancaster often played two horns simultaneously in the manner of his idol, and when combined with his liberal use of overdubs the overall effect sounded like a brass section playing on the albums. ''Ahead Rings Out'', with its iconic cover art, is generally regarded as the jazzier, more progressive of the two albums. However ''Getting To This'' is perhaps funkier and includes a multi-part track that really showcases Lancaster's musicianship. All Music describes their music as ''a stellar concoction of gritty yet flamboyant blues-rock and open-ended jazz'', and in spite of being a bit rough around the edges several tracks on these two albums would be quite at home on early JETHRO TULL albums. BLODWYN PIG has been something of an on-off concern over the years but largely in response to the enthusiasm of fans Abrahams revived the band with a different line-up in 1987. This new version of the band went on to release several albums during the nineties. Lancaster and Bunker formed the eclectic progressive band AVIATOR in 1978, and Lancaster has also worked as a record producer, composer for film and television, and session musician/arranger for artists such as Phil Collins, Brian Eno and Vangelis. Pyle and Berg formed the rhythm sections of JUICY LUCY and SAVOY BROWN, and Pyle played with later incarnations of THE KINKS and WISHBONE ASH. Abrahams himself has continued to release solo albums, while the rift with Ian Anderson has now healed and the pair have successfully collaborated on several projects. BLODWYN PIG was one of the largely unsung bands that have nonetheless made a valuable contribution to the development of progressive rock music. Their unique blend of guitar and horn twin leads set against a backdrop of heavy, prog, blues and jazz packs an almighty punch that should appeal to fans of early JETHRO TULL and COLOSSEUM. © Chris / seventhsojourn © Prog Archives, All rights reserved http://www.progarchives.com/artist.asp?id=6289

Robben Ford

Robben Ford - Sunrise - 1999 - Avenue Jazz

Joseph F. Laredo writes in the liner notes, ""Sunrise" is the perfect title track for this collection of live performances by Robben Ford, because these early recordings capture his special wizardry at a point in time when the music world was just beginning to sit up and take notice. The elements of jazz and rock-influenced fusion that flavor his burly, blues-based guitar style were there from the beginning, and it is this versatility that has allowed him to thrive in so many different settings over the course of an enduring and influential career. Ford's light has always shone brightest as leader of his own combos, particularly in live settings, where there is a palpable energy that invaribly brings out his best work. The title track, with its religious and mystical overtones, and "Miss Miss" are two Robben Ford originals that make for riveting listening." "Sunrise" includes three instrumental tracks, "Oh Gee", "Eighty One" (with Ford on sax!) and "Miss Miss". The legendary Jimmy Witherspoon provides guest vocals on two tracks. © 1996-2013 Guitar Nine All Rights Reserved http://www.guitar9.com/sunrise.html

It's ironic that some of the people who swear up and down that they don't like jazz will get into Robben Ford, whose career has as much to do with jazz as it does with blues, pop, soul and rock. Though Ford was never a "jazz snob," his jazz credentials are quite solid. Jazz, blues and rock are all primary ingredients of Sunrise, a CD that was released in 1999 and contains live performances at Los Angeles and London venues in 1972. Back then, the singer/guitarist was in his early twenties and hadn't yet become famous, but those who were hip to Ford knew that he was a unique young talent who had considerable promise. This unpredictable and highly enjoyable collection ranges from the hardcore instrumental jazz of Miles Davis' "Eighty One" (which finds Ford playing the sax) and jazz-rock fusion of "Miss Miss" to spirited performances of Willie Dixon's "Little Red Rooster" and Peter Chatman's "Every Day I Have the Blues." The latter finds Ford performing a vocal duet with blues singer Jimmy Witherspoon, who is the only vocalist on "Ain't Nobody's Business." The late Witherspoon thought the world of Ford, and it's easy to see why they got along so well -- like Ford, Witherspoon was an eclectic, unpredictable artist who held jazz and the blues in equally high regard. Whether you're into jazz, blues or rock - or all of the above - Sunrise is a CD to savour. © Alex Henderson © 2013 AllMusic, a division of All Media Network, LLC. | All Rights Reserved http://www.allmusic.com/album/sunrise-mw0000047995

"Sunrise is aptly named, for this 1972 recording captures Robben Ford's stinging blues guitar at the dawn of his career. It contains the hallmarks of Ford's now long-familiar style: non-stop solos of brisk funk logic; clean and exquisitely formed lines; and a monster groove. There's also quite a bit of vocal work on this one: by Ford himself on Willie Dixon's "Red Rooster," Miles Davis' "Eighty One," and Ford's own "Sunrise." The one and only Jimmy Witherspoon shows up too on "Ain't Nobody's Business" and, with Ford, on "Every Day I Have the Blues." The key word on this Ford outing is businesslike. Pulling no punches, taking no detours, making no excuses, Ford confronts these numbers head on and extracts from them the maximum of blues feeling. In the liner notes he says, "I have a tendency toward simple music, but it has to be a real, authentic, artistic statement, and it's never done without complete sincerity." Evidence to the truth of his statement is all over this disc: on his impassioned vocal on "Red Rooster"; on his otherworldly tenor sax solo on "Eighty One" (played with spare and ringing force); and on the inimitable sparring matches with Witherspoon. Most of all it's in his guitar solos, which with overpowering speed and power match and exceed the emotional intensity of a hundred solos from the shallow Hendrix imitators who never learned that often less is more. Ford knows, and knows when to deliver more and when to deliver less with unerring precision. Don't miss this one”. © Robert Spencer writing in allaboutjazz on August 1, 1999 © http://www.allaboutjazz.com/php/article.php id=4072#.UmlPN_lwqqg

Robben Ford’s “Sunrise” album contains eight tracks recorded live in 1972 at the Ash Grove, Hollywood, California; The Golden Bear, Huntington Beach, California; and The Marquee Club, London, England, clubs noted at that time for introducing promising new artists to the music scene. Although Robben’s music encompasses jazz, fusion, blues and rock, the tracks here are mostly a blend of electric blues and jazz fusion, despite most of the songs being originally recorded by blues artists. Robben plays saxophone as well as guitar on the album, and the late Jimmy Witherspoon sings lead vocals on Track 4 and with Robben on Track 8. Even before he was 20 years old, Robben knew all there was to know about the blues pentatonic scale. The late Jimmy Witherspoon once described Robben Ford as "The greatest guitarist in the world". Hundreds of artists have been granted that title, but in the case of Robben Ford, it is easy to see why Mr. Witherspoon made that comment. Musician magazine named him as one of the "100 Greatest Guitarists of the 20th Century." Not bad considering the number of guitarists who have played over that period of time! He is most definitely one of the most talented guitarists of the the 21st century. Robben’s list of credits and achievements is breathtaking. Although he has been playing since the early ‘70’s, and played with almost everybody of any stature in the music business, he may be best known as a founding member of the great jazz rock/fusion band, The Yellowjackets. “Sunrise” is a great early Robben Ford album. Over 40 years later, Robben is even better and the music scene needs a good shot of this kind of music. The album is HR by A.O.O.F.C. Listen to Robben’s jazz fusion “Schizophonic” album and his great blues album, “Handful of Blues”. Support real music [All tracks @ 320 Kbps: File size = 139 Mb]

TRACKS / COMPOSERS

1 Oh Gee - Matthew Gee 6:31
2 Red Rooster - Willie Dixon 4:25
3 Eighty One - Miles Davis, Ron Carter 8:08
4 Ain't Nobody's Business - Jimmy Witherspoon, C. Williams, G.R. Prince, P. Granger 3:50
5 Sunrise - Robben Ford 11:28
6 Blue & Lonesome - Little Walter Jacobs 8:23
7 Miss Miss - Robben Ford 8:58
8 Everyday I Have the Blues - P. Chatman 5:26

MUSICIANS

Robben Ford - Guitar, Saxophone, Vocals
Stan Poplin - Bass, Guitar
Paul Nagle - Keyboards
Jim Baum - Drums
Jimmy Witherspoon - Lead Vocal on Track 4: Lead Vocals with Robben Ford on Track 8

SHORT BIO

Robben Ford has had a diverse career. He taught himself guitar when he was 13 and considered his first influence to be Mike Bloomfield. At 18 he moved to San Francisco to form the Charles Ford Band (named after his father, who was also a guitarist) and was soon hired to play with Charlie Musselwhite for nine months. In 1971, the Charles Ford Blues Band was re-formed and recorded for Arhoolie in early 1972. Ford played with Jimmy Witherspoon (1972-1973), the L.A. Express with Tom Scott (1974), George Harrison, and Joni Mitchell. In 1977 he was a founding member of the Yellowjackets, which he stayed with until 1983, simultaneously having a solo career and working as a session guitarist. In 1986, Ford toured with Miles Davis and had two separate periods (1985 and 1987) with Sadao Watanabe, but he really seemed to find himself in 1992 when he returned to his roots: the blues. Ford formed a new group, the Blue Line, and subsequently recorded a couple of blues-rock dates for Stretch that are among the finest of his career. In 1999, he released Sunrise on Rhino and Supernatural on Blue Thumb. Ford signed to the Concord Jazz label in 2002 and released Blue Moon that same year, followed by Keep on Running in 2003 and Truth in 2007. That same year, he was a billed special guest on Larry Carlton's Live in Tokyo. He followed this with the predominantly live Soul on Ten in 2009. In 2013, Ford began his label association with Provogue, and issued the studio album Bringing It Back Home, comprised mostly of blues and R&B covers played by an all-star band. © Scott Yanow © 2013 AllMusic, a division of All Media Network, LLC. | All Rights Reserved

Linda Hoyle

Linda Hoyle - Pieces Of Me - 1971 - Vertigo

Formerly lead vocalist with the short lived but superb progressive jazz rock act Affinity, Linda started her all too short solo career in 1971. "Pieces Of Me" was a superb demonstration of Linda's powerful vocal style. On this great album, Linda exhibited her grasp of a wide range of material, with covers of Laura Nyro's "Lonely Women" and Nina Simone's "Backlash Blues". "Pieces Of Me" is a wonderful album of blues, soul, R&B, and jazz rock, and includes some great musicians like Chris Spedding, and Soft Machine's John Marshall , and Karl Jenkins Linda renounced live performances after she married Pete King, ex- musical director to the famous saxophonist, Ronnie Scott. She now teaches Art Therapy at the University of Western Ontario, Canada, and occasionally sings with Juno nominee guitarist Oliver Whitehead.” A gifted vocalist and songwriter, what a pity "Pieces Of Me" is her only official solo album. Affinity's "If You Live" album, is well worth hearing.

TRACKS / COMPOSERS

1. Backlash Blues - N Simone
2. Paper Tulips - L Hoyle / K Jenkins
3. Black Crow - L Hoyle / K Jenkins
4. For My Darling - L Hoyle / K Jenkins
5. Pieces Of Me - L Hoyle / K Jenkins
6. Lonely Woman - L Nyro
7. Hymn To Valerie Solanas - L Hoyle / K Jenkins
8. Ballad Of Marty Mole - L Hoyle / K Jenkins
9. Journey's End - L Hoyle / K Jenkins
10. Morning For One - L Hoyle / K Jenkins
11. Barrel House Music - M Bailey

MUSICIANS

Linda Hoyle : vocals (Affinity)
Chris Spedding : guitars
Jeff Clyne : bass (Nucleus, Isotope)
John Marshall : drums / percussion (Soft Machine)
Karl Jenkins : piano / oboe (Soft Machine)

REVIEW

It probably isn't surprising to learn that Hoyle's solo debut, cut following the final dissolution of Affinity in 1971, does not deviate too far from that band's jazz-rock modus operandi. However, in seeking to trim the instrumental fat from Affinity's sometimes gruelling work-outs, and concentrate the attention on the songs (and lyrics) themselves, it rises far above its role model, to showcase Hoyle as a far more exciting figure than her footnotes in history would have you believe. Reminiscent in places of the best of Julie Driscoll's late 1960s work - a role model that Hoyle was singularly well-placed to succeed - Pieces Of Me likewise borrows from several of Driscoll's own influences. The Nina Simone and Laura Nyro songbooks both contribute to the proceedings, with the latter's "Lonely Woman" standing among the best tracks on the entire album. But Hoyle's own work, largely written in tandem with keyboard player Karl Jenkins, is equally powerful, with the eerie "Hymn To Valerie Solanis" (titled for, but never mentioning the woman who shot Andy Warhol), and the regretful "Journey's End" ranking among the other highlights. The intriguing "Ballad Of Marty Mole", meanwhile, reads like a cross between Bob Dylan and Beatrix Potter, and could well give children nightmares for days. © Dave Thompson, allmusic.com

Edgar Winter

Edgar Winter - Entrance - 1970 - Epic

The great US blues rocker Edgar Winter's career was arguably, at it's best in the early '70's with his solo work and collaborations with brother Johnny. The pairs' early compositions were wonderful blends of R&B, rock, jazz, and soul. The later albums of Edgar, and Johnny, with White Trash, The Edgar Winter Group, and Roadwork were more pure rock orientated, had far less less jazz/soul influences, and appealed more to rock audiences. and nothing wrong with that. The 1976 "Edgar Winter and Johnny Winter Live" is a cracking album full of great Rock'N'Roll covers, and The Edgar Winter Group's 1972 "They Only Come Out at Night" album is one of the great rock albums of the early seventies. But to get back to "Entrance", the album is essentialy a demonstration of Edgar Winter's jazz leanings. A brilliant album of wonderful songwriting and superb musicianship. There is great organ work from Edgar, and great horns from Brooks Tillotson, Ray Alonge, and Earl Chapin. If you are not familiar with the more laid back, "gentler" side of Edgar Winter, you will love this album, which is HR by A.O.O.F.C. Buy his "Jazzin' the Blues" album, and give his great " Live in Japan" album a hearing. and check out his great "Winter Blues" album @ EW/WBLUES For more music of this type, listen to the Ten Years After "Cricklewood Green" album

TRACKS / COMPOSERS

01. Winter's Dream Entrance - E.Winter/J.Winter
02. Where Have You Gone - E.Winter/J.Winter
03. Rise to Fall - E.Winter/J.Winter
04. Fire and Ice - E.Winter/J.Winter
05. Hung Up - E.Winter/J.Winter
06. Back in the Blues - E.Winter
07. Re-entrance - E.Winter/J.Winter
08. Tobacco Road - Loudermilk
09. Jump Right Out - E.Winter/J.Winter
10. Peace Pipe - E.Winter
11. A Different Game - E.Winter/J.Winter
12. Jimmy's Gospel - E.Winter

MUSICIANS

Edgar Winter - Organ, Piano, Keyboards, Saxophone, Sax (Alto), Vocals
Johnny Winter - Guitar, Harmonica, Vocals
Randal Dolanon - Guitar
Gene Kurtz,Tommy Shannon - Bass
John Turner, Jimmy Gillen - Drums
Brooks Tillotson, Ray Alonge, Earl Chapin - Horns
Russell Savkus, Gene Cahn, Ralph Oxman, Paul Gershman, Emanuel Green - Strings

REVIEWS

This album is not what you expect. Edgar is Johnny Winter's brother and organ/piano player—yet this album is definitely not blues or rock 'n roll. The closest classification that fits is free-form jazz—but even that, while explaining the musical framework, doesn't take into account Edgar's distinctive vocal style. He sounds like Mose Allison on some cuts ("Back in the Blues") but on most of the album Edgar's frenetic, high-pitched vocal style is all his own and very effective with the bebop-type lyrics (authored by the Winters) that most of the cu's contain. The album is divided into two sections. The first side, entitled "Winter's Dream," features seven cuts that slide into and out of each other nicely and work effectively as a musical statement. Highlights are Edgar's vocal work-out on "Where Have You Gone," his sax solo on the extended "Fire and Ice" segment and brother Johnny's harp-playing on "Back in the Blues." While tight and together, this side does suffer from an occasional excess of strings and horns, that in many cases don't add a thing to what is, or could be, happening without them. But, in most cases, Edgar prevails. The second side opens with the most exciting version of that old war-horse "Tobacco Road" I've heard in a long while. Johnny plays guitar on this one and Edgar sings with more fervor than I believed possible, besides playing sax and organ. Two tour-de-force jazz-shaded cuts on this side really pull things around. "Peace Pipe" opens with an "Eleanor Rigby" type organ riff on top of a scat vocal and then drives along with theme changes that eventually come back to a scat vocal/Rigby-ish close. The other jazz cut, entitled "Jimmy's Gospel," features a demonstration of just how well Edgar can play alto sax. This instrumental is a mellow yet forthright explosion that is the essence of this album, even though it comes last. Had his brother not been such an overnight music phenomena, Edgar would probably never have had the opportunity to assemble an album. And, even though this one is a little overdone in spots, one hopes that another is forthcoming soon. (RS 65) © GARY VON TERSCH, © 2009 Rolling Stone

Edgar Winter came out of the chute kicking with this remarkable record filled with jazz, blues and a little old-fashioned rock & roll. The record follows an established theme throughout its first side, stringing the songs together without breaks, highlighted by dreamy keyboard and sax work, plus Winter's smooth vocalizations. But jazz isn't the only thing Edgar brings to the party. His first recorded version of the old J.P. Loudermilk tune "Tobacco Road" has a few nice punches in it (although the live version with White Trash a few years later would prove the definitive one). "Jimmy's Gospel" plays on his early church influences, while "Jump Right Out" is the predecessor of half a dozen "jump up and dance" numbers Winter would pepper his records with in years to come. © Michael B. Smith, allmusic.com


BIO

Although he's often skirted the edges of blues music, at heart, saxophonist, keyboardist and composer Edgar Winter is a blues musician. Raised in Beaumont, TX, the younger brother of ukulele player and guitarist Johnny Winter, Edgar Winter has always pushed himself in new directions, synthesizing the rock, blues and jazz melodies he hears in his head. As a consequence, his fan base may not be what it could have been, had he made a conscious effort -- like his brother Johnny -- to stay in a blues-rock mold over the years. He's one musician who's never been afraid to venture into multiple musical arenas, often times, within the space of one album, as in his debut, Entrance (1970 Columbia Records). Edgar Winter, the second son of John and Edwina Winter, was born December 28, 1946 in Beaumont, TX, and much of the credit for Edgar and Johnny's early musical awareness must go to the brothers' parents, who have been a constant source of encouragement throughout their respective musical careers. The boys' father sang in a barbershop quartet, in their church choir, and played saxophone in a jazz group. Edgar and Johnny, who's three years older, began performing together as teens, playing local watering holes like Tom's Fish Camp before they were old enough to drink. The pair's early R&B and blues groups included Johnny and the Jammers, the Crystaliers and the Black Plague. In high school, Edgar became fascinated with the saxophone stylings of Julian "Cannonball" Adderley and Hank Crawford, and he began playing alto sax in earnest. As a pre-teen, he had played ukulele, like his older brother. But by the time he was of college age, Edgar had become competent on keyboards, bass, guitar and drums. Edgar was signed to Epic Records in 1970 after performing on his brother's Second Winter album. He recorded Entrance, his debut, which featured himself on most of the instruments. After radio success accompanying his brother on Johnny Winter And, he formed a large horn ensemble called White Trash. Although it was a short-lived group which broke up in mid-'72, Winter assembled another group to record two more albums for Epic Records, White Trash and Roadwork. Winter's single, "Keep Playing That Rock 'n' Roll," reached number 70 on the U.S. rock radio charts, and the album Roadwork hit number 23 on the album charts. By the summer of 1972, through constant touring, (and a ready willingness to do interviews, unlike his older brother), Winter formed the Edgar Winter Group in the summer of 1972. In January, 1973, Epic released They Only Come Out at Night, produced by guitarist Rick Derringer, which reached number three in the U.S. This album had Winter's most famous song, "Frankenstein," which reached number one in the U.S. in May of 1973. Later that year, "Free Ride" from the same album reached number 14. Although he's never matched that kind of commercial radio success again, Winter has continued to tour and record at a prolific pace. He relocated from New York City to Beverly Hills in 1989 to pursue movie score work, which he's had some success with, most notably with a slightly reworked version of "Frankenstein" for the movie Wayne's World II. Although his early-'70s albums like Entrance, White Trash, They Only Come Out at Night and Shock Treatment are bluesier affairs than some of his later albums, there are blues tunes like "Big City Woman" on one of his 1990s releases, Not a Kid Anymore (1994), on the Intersound label, and 1999's Winter Blues was almost wholly devoted to the idiom. A good introduction to Winter for those who weren't around in the early '70s is The Edgar Winter Collection (1993) on Rhino Records. © Richard Skelly, All Music Guide