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RUMAH MINIMALIS CLUSTER UBUD BEKASI UTARA: bootlegs

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Senin, 21 Mei 2018


Delaney & Bonnie with The Allman Brothers & King Curtis “A&R Recording Studios FM 1971″ recorded 1971 released  2015 US Country Rock,Blues Rock,Jazz,Soul,Gospel (Bootleg)
full spotify
https://open.spotify.com/album/1h7ZGmzsPwixGpQ0f0je9l


This (71 minutes) set is from 1971 and the sound is very decent considering the era and the conditions. There’s a few sonic glitches along the way but the music comes shining through nicely. The booklet has a very short essay on the concert and the music along with a couple of b&w photos of the band. Is this the best place to hear D&B? Probably not. But if their music is your thing, and if you can find this set at a decent price you should probably buy it. Be aware there’s some talk between songs that some fans may not like. But the comments mostly add to the atmosphere of the concert. The whole thing has a relaxed feel–like friends getting together to sing and play some old favorites. 

A few highlights. After some ads from concert sponsor Singer, the band begins an acoustic set with Robert Johnson’s "Come On In My Kitchen”, with Delaney & Bonnie (D&B) on vocals and Duane Allman on slide guitar for a nice easy version of this great tune. Basically the first half of this concert is acoustic based which is fine because the front porch style feel of the vocals along with some fine playing make this pretty cool if you’re a D&B fan. Similarly “Goin’ Down The Road Feeling Bad” is another great version of this well known song. There’s a jarring tape glitch for a couple of seconds but once you know it’s there you pass over it and listen to the tune. “Poor Elijah” is another fine performance with a down home gospel feel that ends seemingly because the players just felt like it. Sam Clayton played the conga drums along with Delaney on guitar/vocals, Bonnie on vocals and Allman on slide guitar on this acoustic set. 

After the acoustic song “The Ghetto” there’s a lengthy (6 minutes) announcement before the band comes back for the electric set. Hearing this long musical pause once is enough for atmospheric purposes–Delaney especially sounds very relaxed.. Members of this band (but not all) include D&B, members of Little Feat, Duane Allman on guitar, Gregg Allman on piano, and King Curtis on tenor sax. 

Beginning with “Livin’ On The Open Road” this is reminiscent of the D&B and Friends band albums. The band has tightened up some which helps the music. “Better Relations” is a nice up tempo performance with slide guitar and horn fills and some good vocals from D&B. “The Love Of My Man” slows things down a bit with Bonnie on lead vocals with some nice slide guitar fills from Allman along with another guitarist. Curtis’ tenor sax has some fills that help this tune’s soulfulness. After a short “chat” the band get into the blues with a lengthy (7 minutes) “12 Bar Blues (Don’t Want Me Around)”, with Delaney on lead vocal. King Curtis gets a good solo in that really adds to this tune with more horns in the background comping away. Duane Allman comes in for a solo with some laid back slide guitar sounding like you’d hope. At one point the band lays out letting Allman do his thing. This is one of the best performances here. 

Another 2+ minutes “chat” and then the band ends things with a jam on “Only You Know & I Know” which stretches out for 18 minutes. This is one of those times you wish you were sitting in the audience. D&B blend their voices that’s reminiscent (if you’re a D&B fan) of past performances, and all the while the whole band (including some fine percussion work and a drum solo) works out behind them. Allman gets another chance to play some slide guitar here and there along with a nice organ solo–not Gregg Allman–who gets in a piano solo later on, and Curtis’ always great tenor sax blowing. Sitting in the audience must’ve been quite something listening to all the great musicians on this long, good time jam. 

Is this some long lost treasure? Well, maybe not. Is this the first place to hear D&B? No. Or the Allman brothers? No. But as a curiosity from that period when D&B were making some good records, and had a band made up of some of the best musicians of the era, this is worth adding to your D&B shelf to pull out once in a while. The loose, jammy, come-together feel is pretty cool. It’s an example of that whole period when musicians came together to play and have some fun playing some favorite tunes. Not essential, but at a good price–for deep D&B/Allman fans–there’s some nice moments…..by Stuart Jefferson…..~


There’s a whole lot to like, and a little not to like. Of the 71 minutes and 15 tracks, there are only 9 songs due to all the stage banter. The music, though, is phenomenal. The first half is all acoustic, which is a real treat. I’ve never heard Duane Allman play so much acoustic guitar, and his slide really shines, especially on “Poor Elijah” (a tribute to Robert Johnson). The electric section is even better. Greg Allman joins the full Delaney & Bonnie band on piano (they already had a Hammond organist), and King Curtis sits in spectacularly on sax. While the stage banter is, at times, interesting (Delaney’s hype for the upcoming Concert for Bangladesh), I wish they would have saved the room for more songs. The DJ promises an hour-plus electric set, but if they played that long, only 5 songs made the album. While some of the detail are a bit puzzling, it does not detract from the overall effect. It’s some of the best music I’ve purchased in quite some time….by… Misterian….~


- Bonnie Bramlett - vocals 
- Delaney Bramlett - guitar, vocals 
- Duane Allman - slide guitar 
- Greg Allman - piano, vocals 
- King Curtis - saxophone 
- Kenny Gradney - bass 
- Sam Clayton - congas 
- Joe Johansen - guitar 
- Chuck Morgan - drums 
- Daryl Leonard - trumpet 
- Larry Britt - trombone 
- Jerry Jummonville - saxophone 
- Gordon De Witty - piano, organ

Recorded at A & R Studios, New York City, NY, July 22, 1971 
for a live WPLJ FM Broadcast Duane Allman plays on tracks 2, 4, 6, 7, 9, 10, 11, 13 & 15. 

1. announcer 
2. Come On In My Kitchen 
3. chat 1 
4. Goin’ Down The Road Feeling Bad 
5. chat 2 
6. Poor Elijah 
7. The Ghetto 
8. announcer 
9. Livin’ On The Open Road 
10. Better Relations (= Alone Together) 
11. The Love Of My Man 
12. chat 3 
13. 12 Bar Blues (Don’t Want Me Around) 
14. chat 4 
15. Only You Know & I Know Jam 

Senin, 14 Mei 2018


Matrix Tuesday “Night Jam Sessions” August 4th 1970 & October 21st 1970 - San Francisco, California with John Cipollina, Carlos Santana, Dino Valenti, Jack Casady, Jorma Kaukonen, Nicky Hopkins. US Psych Blues Rock (bootleg)

full vk

https://vk.com/wall312142499_10577


Fans of psychedelia and blues-rock of the 1960’s and 70’s should definitely pay attention to this bootleg. These two performances are rightly called All Star Jam. John Cipollina, guitarist for Quicksilver Messenger Service, brought together his bandmates, musicians involved in Jefferson Airplane, as well as Carlos Santana and Jerry Garcia. 
And a couple of words about the club, where the seiches were held, is the famous The Matrix. At its opening on August 13, 1965, the first public performance of Jefferson Airplane was held (the band’s vocalist, by the way, was a co-owner of this institution). Here, the rock scene of San Francisco was formed. In this former pizzeria on Fillmore Street almost all local bands played, and the artist Victor Moskoso painted his famous psychedelic posters. And this club was a favorite vacation spot for journalist Hunter S. Thompson, author of the novel “Fear and Loathing in Las Vegas.”….~

The Matrix, a renovated former pizza shop, was a nightclub in San Francisco from 1965 to 1972 and was one of the keys to what eventually became known as the “San Francisco Sound” in rock music. Located at 3138 Fillmore Street, The Matrix opened August 13, 1965 showcasing Jefferson Airplane, which singer Marty Balin had put together as the club’s “house band. 

The Matrix was an important place in the formative years of the San Francisco rock music scene, featuring not only rock bands, but several blues artists and blues bands, with an occasional jazz artist thrown in. The Matrix was also a favorite haunt of gonzo journalist Hunter S. Thompson in the late 1960s (see Fear and Loathing in America, c. 2000) and was also mentioned briefly in his book, Fear and Loathing in Las Vegas, during a flashback scene. During this period, Thompson was a contributing editor for the then-new tabloid magazine, Rolling Stone, which was founded in San Francisco in 1967. 

"Matrix Tuesday Night Jam Sessions 8.4 & 10.21 1970, Matrix, SF, Ca., w, Garcia, Santana, Cipollina, Valenti, Hopkins & many others, SBD, is a bootleg of the soundboard recording from 1st gen. reel to reel. 

Reportedly ”… 

This comes straight from the John Cipollina’s collection… a copy of his reel 
and his notes… did not touch the sound or edited anything in the transfer… 

Matrix Tuesday Night Jam Sessions 8.4 & 10.21 1970, Matrix, SF, Ca., w, Garcia, Santana, Cipollina, Valenti, Hopkins & many others, SBD, from 1st gen. reel to reel.“ so it is what it is. 

John Cipollina (August 24, 1943 - May 29, 1989) was a lead guitarist best known for his work with the San Francisco rock band Quicksilver Messenger Service. He pronounced his surname with the Italian "C” (Chipollina). 

Born in Berkeley, California, he attended Tamalpais High School, in Mill Valley, California (as did his brother, Mario Cipollina). He showed great promise as a classical pianist in his youth, but soon switched to the guitar as his primary instrument. Cipollina had a unique guitar sound, mixing solid state and valve amplifiers as early as 1965. He is considered one of the fathers of the San Francisco psychedelic rock sound. 

Throughout his career, Cipollina usually played Gibson SGs, but in the late ‘70s and into the '80s could also be seen playing a Carvin DC150, which was similar to a double-cutaway Les Paul, but with more modern factory installed electronics. 

He played with finger picks, thumb picks, and used a whammy bar extensively which, he explained to Jerry Garcia, was to make up for his weak left (tremolo) hand. Even more unusually, he attached six wurlitzer horns to the top of his distinctive amplifier stack. 

His style was highly melodic and expressive. Cipollina’s classical past no doubt influenced his guitar style, which was miles beyond the usual blues-scale, pentatonic work of many of the other psychedelic-era guitarists. 

Cipollina died on 29 May 1989 at the age of 45 from chronic emphysema. Quicksilver Messenger Service fans paid tribute to him the following month in San Francisco at an all-star concert at the Fillmore Auditorium which featured Nicky Hopkins, David Freiberg, and John’s brother Mario, an original member of Huey Lewis and the News….~



The Matrix, San Francisco, California, August 4th 1970. 

Tracks 

Disc 1 - August 4 
1. Rock Me Baby 1:35 
2. Stormy Weather 14:50 
3. Sunshine Superman Jam 17:32 
4. Santana Jam 10:45 

Disc 2 - October 21 
1. Jam 1 11:13 
2. Jam 2 6:22 
3. Jam 3 13:00 
4. Jam 4

Personnel 

Disc 1                              Disc 2 
Jorma Kaukonen            Jorma Kaukonen 
John Cipollina                 Jack Casady 
Carlos Santana               John Cipollina 
Jack Casady                   Jerry Garcia 
Dino Valenti                     David Freiberg 
Gary Duncan                   Papa John Creach 
Nicky Hopkins                  Nicky Hopkins