Hey, happy Valentine’s Day! Also, welcome back to a new semester of higher education, delicious warm cafeteria food, and plentiful and abundant parking. Historically this time of year sees very few new releases as record companies wait until springtime to issue a big name product.
That’s what music is called now these days; product.
I bet Jimi Hendrix‘ sister Janie Hendrix doesn’t call her brother’s records product, now that she oversees his catalog of recordings. People, Hell & Angels (Legacy), is the latest set of unreleased recordings by the legendary guitarist.
It’s a good album as well. In the past, others have done all kinds of screwy things to Hendrix’s catalog. Once, they actually recorded OVER the other musicians’ instruments that were accompanying Hendrix’s playing.
Not here, not on People, Hell & Angels.
The twelve tracks here were recorded at a time when Hendrix was experimenting with musicians outside his established band The Experience, prior to recording the follow-up to his Electric Ladyland album. Here he’s with drummer Buddy Miles and bassist Billy Cox, as well as Stephen Stills and saxophonist Lonnie Youngblood, among others.
What I really appreciate and respect that Janie has done is release the tracks as her brother left them. True, there is editing but nothing that takes away from the original intent of the song’s structure or performance.
Standouts include a robust “Earth Blues” which opens the album. Just Jimi, Miles and Cox recorded it before the formation of Band Of Gypsys; it shows the funkier side that Hendrix was contemplating. “Somewhere” is from the legendary sessions with Stills on bass, whose own upcoming Carry On box set will also contain material from these sessions.
Other really strong tracks include “Hey Gypsy Boy,” “Easy Blues,” as well as early takes of “Izabella” and “Crash Landing.” Also noteworthy is a great studio version of the classic “Hear My Train A Comin'” which was never officially released during his lifetime. Again Miles and Cox give Hendrix the musical freedom to move around and explore on this blues gem.
People, Hell & Angels is a great, worthy and welcome release.
While there might not be many new efforts coming out until later in the year, one very worthwhile release is here and it’s a stunner. Jose James’ fourth release No Beginning No End (Blue Note) is a bit different than his previous efforts.
Merging jazz and hip-hop is a tricky endeavor but he nails it here. James is more a jazz vocalist than hip-hop artist but musically the album features some hip-hop overtures.
First thing you notice here though is James’ stunning baritone; it’s a rich vocal that he has full control, range and command. Previously he really leaned on his jazz roots as a vocalist but he no longer wanted to be pigeonholed into just one musical genre.
So here he’s enlisted the likes of Pino Palladino and Brian Bender as co-producers to give the album its musical swagger. That, along with the fact that Jones can write, makes this a pretty good album to start the year with.
Good ones include first single “Trouble,” which has the best bass line since Digital Underground’s “Humpty Dance,” “Vanguard” with guest Robert Glasper playing Fender Rhodes’ “It’s All Over Your Body,” the album’s title track, as well as the Emily King penned “Come To My Door,” my favorite track from the album.
Ben Harper is a singer/songwriting guitarist who has been kicking around since before his debut album, Welcome To The Cruel World, in 1994. His style of rock/blues/soul/folk music crosses many demographics, be it with the Innocent Criminals or Relentless 7.
His latest is Get Up! (Stax), a collaboration with harpist Charlie Musselwhite.
Musselwhite is considered the best blues harmonica player working today and this project carries great anticipation among blues enthusiasts. For me though, the album is lukewarm, almost teasing us on how good it should be.
I’m not trying to be mean here but Harper, whose heart is in the right place, is not the bluesy-est guy around. Without question he’s a talented guy who can sing, play guitar and all that, but attempting the blues needs that special intangible. If you don’t have it, that doesn’t bode well if you’re gonna attempt to make a blues record.
Musselwhite has that intangible. He was born with it, shows it off on his many albums and in concert.
Part of the problem could be the album’s backing band, Jesse Ingalls on bass and drummer Jordan Richardson, two mainstays of Harper’s touring band. Get Harper out of his comfort zone. Here he is sounding very close to mailing it in.
Bottom line: It takes too much effort listening to the clinkers to get to gems like “I’m In I’m Out And I’m Gone” and “She Got Kick.” It’s great that an artist of Harper’s stature has given a project like this his attention. Sadly though the inconsistencies on Get Up! make it a disappointment.
Ben Harper – Get Up! (Stax)
Printed Version (MATC Times)
