At first you might think "Can these tracks really have come from the same session that produced A Night in Tunisia?" That’s the claim, so you'd be expecting the same level of raw intensity, the same Van Gelder generated echoey backdrop and the same sense that this was a “cutting session” for the ages.
A more pleasant pairing of musical icons you’re not likely to hear and the backing by The Oscar Peterson Trio (Ray Brown on bass, Herb Ellis on guitar plus Buddy Rich on drums) completes the setting. Add a superb monophonic recording and a literally astonishing 45rpm re-mastering that just about brings them all back to life in your listening room and you have something truly special that’s clearly stood the test of (a long!) time.
The ‘60s played host to three significant, culture shifting music festivals. The first was the Newport Folk Festival where, in the decade’s early years, folk, blues and country blended to produce a beautiful noise that the boomer generation eventually embraced.
Q: You presented the SMiLEtracks to the Beach Boys when they returned from the tour. I seem to recall, with the exception of Dennis, there seemed to be some real hesitancy from band mates to really get involved singing to these instrumentals. Mike Love did not like the stuff presented.
A: No he didn’t.
Q And some other band members weren’t super thrilled, either.
Editor's Note: While this article is at least 10 years old, to my knowledge it still offers one of the most comprehensive and effective record cleaning regimens ever published. Nitty Gritty's 'First' cleaning fluid, mentioned in the piece, is no longer available. While it was extremely effective, it was environmentally unfriendly and had to be taken off the market. In addition, many new, non-isopropyl based cleaning fluids (alcohol is still used in most of them, just not isopropyl, which is said to dry up vinyl plasticizers) are now available. Even if you don't follow the regimen precisely, the principles are worth noting.
Editor’s note: When contemporary roots rockers My Morning Jacket stopped by New Orleans’ Preservation Hall for an unplugged midnight show that served as a prelude to MMJ’s spring tour with the Preservation Hall Jazz Band as opening act, Rolling Stone made due note of the event in its May 27th issue with feature coverage.
The MMJ gig is one of many changes happening at the world-renowned French Quarter home to New Orleans jazz, all part of an historic attempt to forge a new identity as the Hall approaches its 50th anniversary and looks forward to a new life in the 21st century.Our Man in New Orleans, Roger Hahn, has the full story.