LP Vinyl, John Mayall JAZZ BLUES FUSION, original 1972, VERY GOOD+ (VG+)
€
20
$
23
Favourite Auctions
To save auctions to your favourites, please login
If you don't have an account, please register
Description
LP Platten Vinyl ,
John Mayall, JAZZ BLUES FUSION,
Sonstige 1972, POLYDOR 2435103 super Media Condition Sehr gut, Very Good + (VG+) Cover Gut+
John Mayall has had a long history of Brit Blues and skirted the edges of jazz many times. On this album he brings the two genres together with a great lineup of performers: Mayall: harmonica, guitar and piano Blue Mitchell: Trumpet Clifford Solomon and Ernie Watts: Sax Ron Selico: Percussion Freddy Robinson: Guitar and the best for last...Larry Taylor: Bass.
This is a real gem. It is nearly impossible to agree about favorite recordings in the long career of an artist who maintains a creative arc. It is what stands out at different times that can create some consensus. What was done that was new, fresh, unique, and made you sit up and listen closer? Jazz Blues Fusion is one of these albums. Listening to the instrumentation of some of these songs without knowing it is a John Mayall band first - well you would not guess who it was. Considering it was 1972 and a live recording, it makes it more special. Earlier on, Bare Wires stands alone. So does this one. I plead guilty to being a bassist. Taylor is the best in my book and he demonstrates it on this album. Along with Ron Selico they provide an unshakable foundation for the rest of the performers. Taylor's adaptability to many different genres is demonstrated here as he and Mayall slide from the traditional I-IV-V blues patterns to almost free-form jazz. Each track has its own "personality" as is the case with most of Mayall's albums. Country Road starts with a blues format that combines the British and Chicago styles. Mess Around moves a little closer to R&B and reminds me of Junior Wells Messin' With the Kid. Good Times Boogie's awesome bass line and guitar solo jump right into a jazz format. Change Your Ways has a watermelon flavor; Dry Throat starts out as a slow blues piece but the horns add a definite jazz sound. Mayall blows his brains out with Exercise in C for Harmonica with harp and "mouth percussion" that made Room to Move so interesting and Taylor's bass solo shows off his generally under-rated virtuosity in a pure jazz piece. Finally, Got to be This Way begins with Mayall's signature style of the blues, then adds a jazz component with the horn, guitar and bass solos.
Considering that this album was recorded in 1972, it amazes me with the "maturity" of the music it contains. If you're a traditional 12-bar blues fan, you might not enjoy it as much as some of Mayall's other albums. But if you enjoy great music and performance by some of the best non-mainstream musicians in these genres, then you'll probably love it as much as I do.
price rating
