GarciaLive Volume Ten documents the Jerry Garcia Band's May 20, 1990 performance at the Hilo Civic Auditorium in Hawaii. In this relaxed setting, it's no wonder that the music from this show shines so brightly both in Garcia's strong vocals and guitar playing but also the joyful setlist spanning some of Jerry's favorite corners of music Dylan, Motown, Reggae, and Rock & Roll. Spurred on by the ever-steady rhythm section of Dave Kemper and John Kahn, complete with the celestial sounds of Melvin Seals' organ and background vocals of Gloria Jones and Jacklyn LaBranch.
Nina Simone recorded seven albums for the Philips label between 1964 and 1966. It was the period in her career in which her reputation was cemented as a world-class artist, and one in which she gained fame for her contributions to the civil rights movement as well. Despite the fact that she recorded great albums both before and after her years with Philips (most notably with RCA), her Philips period is easily her most enigmatic. Among her Philips recordings are her live label debut and six studio recordings featuring wildly varying instrumentation, arrangements, and contents. The box contains all seven LPs on four CDs, and includes one bonus track.
Sandwiched between two Grateful Dead tours in early 1978, Jerry Garcia (guitar/vocals) wasted no time in assembling the concurrent incarnation of the Jerry Garcia Band (JGB) for a two-month coast-to-coast excursion. The combo included Garcia, fellow Grateful Dead members Keith Godchaux (keyboards) and wife Donna Jean Godchaux (vocals), plus Maria Maldaur (vocals), John Kahn (bass), and Buzz Buchanan (drums). This two-disc package contains the early and late shows from Palm Sunday, March 18 at the Warner Theatre in Washington, D.C. The JGB are hitting on all cylinders, as if this were Garcia's primary focus, rather than a side project.
Pioneer of jazz and electronic music, the virtuoso drummer Philippe Pipon Garcia (Truffaz, Don Cherry, Cosmic Connections, Paolo Fesu …) offers us a new musical journey between timeless swing and resolutely avant-garde arrangements tinged with electronics. For this new album Back to the Future, Pipon Garcia is surrounded by bass player Thibaud Soulas and performer Sir Jean whose legendary flow has marked the main groups of dub and afro-electro of the last twenty years, Meï Teï Shô to the Grass People, from Ezekiel to Zenzile via Brain Damage.
Nina Simone Sings the Blues, issued in 1967, was her RCA label debut, and was a brave departure from the material she had been recording for Phillips. Indeed, her final album for that label, High Priestess of Soul, featured the singer, pianist, and songwriter fronting a virtual orchestra. Here, Simone is backed by a pair of guitarists (Eric Gale and Rudy Stevenson), bassist (Bob Bushnell), drummer (Bernard "Pretty" Purdie), organist (Ernie Hayes), and harmonica player who doubled on saxophone (Buddy Lucas). Simone handled the piano chores. The song selection is key here. Because for all intents and purposes this is perhaps the rawest record Simone ever cut. It opens with the sultry, nocturnal, slow-burning original "Do I Move You," which doesn't beg the question but demands an answer: "Do I move you?/Are you willin'?/Do I groove you?/Is it thrillin'?/Do I soothe you?/Tell the truth now?/Do I move you?/Are you loose now?/The answer better be yeah…It pleases me…." As the guitarists slip and slide around her husky vocal, a harmonica wails in the space between, and Simone's piano is the authority, hard and purposely slow.