2017 release from the veteran singer/songwriter. Jack Tempchin and Glenn Frey were friends for a long time before either became world-famous, Jack as a hit songwriter and Glenn as an Eagle. It's a friendship first sparked back in 1972 when Frey, then a member of the duo Longbranch Pennywhistle with J.D. Souther, spent a San Diego night at Jack's big house and candle factory, a beloved hippie crash pad. Two years later at his friend Jackson Browne's L.A. home, Jack played Glenn a new song he'd written about a waitress in El Centro called "Peaceful Easy Feeling."
For FLEISCH almost nothing is sacred: these sharks from Köln bite virtually every kind of flesh, be it Pink Floyd's most dramatic sequences, cool jazz improvisations or spiritual revelations of contemporary neo-romantics and metaphysicians.
Hubert Sumlin arguably did his best work during the 23 years he was Howlin' Wolf's guitar player, and his ragged, angular guitar style was a big part of Wolf's rough-and-ready sound. The perfect sideman, Sumlin was by all accounts somewhat shy and reticent about taking center stage, and Healing Feeling, his second album for Black Top Records, much like his first, Hubert Sumlin's Blues Party, is really more of an all-star blues jam than it is a fully realized project. Recorded May 5 and 6, 1989, at Southlake Recording Studios in Louisiana, with two additional tracks coming from a live show at Tipitina's in New Orleans earlier in the day on May 5, the sessions were once again organized by guitarist Ronnie Earl, whose band the Broadcasters is used on most of the cuts. The vocal duties were shared by James "Thunderbird" Davis and Darrell Nulisch, with Sumlin singing on "Come Back Little Girl," "Honey Dumplins," and the set closer, "Blues for Henry," all of which gain poignancy because of Sumlin's somewhat fragile, whispered vocal approach. A clear highlight is Sumlin's solo electric guitar version of "Down the Dusty Road," which is focused, clear, and intimate.
Features the high-fidelity SHM-CD format (compatible with standard CD player) and the latest 24bit 192kHz remastering. A brilliantly bubbling session from Hammond genius John Patton – and a set that serves as a real link between the gutbucket soul of his early years, and some of the fresher phrasing he was beginning to explore at Blue Note! Patton's lines on the keys are a wonderful thing to behold (and behear!) – as they're both rhythmic, but extremely fluid and exploratory – more conceived around some of the new ideas on tenor at the time, and pushing forward roughly into the same territory as Larry Young – but with more of Patton's rootsy soul still intact.