Musique illimitée
Écoutez cet album en haute-qualité dès maintenant dans nos applications
Démarrer ma période d'essai et lancer l'écoute de cet albumProfitez de cet album sur les apps Qobuz grâce à votre abonnement
SouscrireProfitez de cet album sur les apps Qobuz grâce à votre abonnement
Téléchargement digital
Téléchargez cet album dans la qualité de votre choix
Langue disponible : anglais
Vanguard may have spelled his name wrong (he prefers Charlie or Charles), but the word was out as soon as this solo debut was released: here was a harpist every bit as authentic, as emotional, and in some ways as adventuresome, as Paul Butterfield. Similarly leading a Chicago band with a veteran black rhythm section (Fred Below on drums, Bob Anderson on bass) and rock-influenced soloists (keyboardist Barry Goldberg, guitarist Harvey Mandel), Musselwhite played with a depth that belied his age -- only 22 when this was cut! His gruff vocals were considerably more affected than they would become later (clearer, more relaxed), but his renditions of "Help Me," "Early in the Morning," and his own "Strange Land" stand the test of time. He let his harmonica speak even more authoritatively on instrumentals like "39th and Indiana" (essentially "It Hurts Me Too" sans lyrics) and "Cha Cha the Blues," and his version of jazz arranger Duke Pearson's gospel-tinged "Cristo Redemptor" has become his signature song -- associated with Musselwhite probably more so than with trumpeter Donald Byrd, who originally recorded the song for Blue Note. Goldberg is in fine form (particularly on organ), but Mandel's snakey, stuttering style really stands out -- notably on "Help Me," his quirky original "4 P.M.," and "Chicken Shack," where he truly makes you think your record is skipping.
© Dan Forte /TiVo
Vous êtes actuellement en train d’écouter des extraits.
Écoutez plus de 100 millions de titres avec votre abonnement illimité.
Écoutez cette playlist et plus de 100 millions de titres avec votre abonnement illimité.
À partir de 12,49€/mois
Unknown, Composer - Charlie Musselwhite, MainArtist
(C) 2006 Vanguard ℗ 1967 Vanguard Records, a Welk Music Group Company
Unknown, Composer - Charlie Musselwhite, MainArtist
(C) 2006 Vanguard ℗ 1967 Vanguard Records, a Welk Music Group Company
Unknown, Composer - Charlie Musselwhite, MainArtist
(C) 2006 Vanguard ℗ 1967 Vanguard Records, a Welk Music Group Company
Unknown, Composer - Charlie Musselwhite, MainArtist
(C) 2006 Vanguard ℗ 1967 Vanguard Records, a Welk Music Group Company
Unknown, Composer - Charlie Musselwhite, MainArtist
(C) 2006 Vanguard ℗ 1967 Vanguard Records, a Welk Music Group Company
Unknown, Composer - Charlie Musselwhite, MainArtist
(C) 2006 Vanguard ℗ 1967 Vanguard Records, a Welk Music Group Company
Charlie Musselwhite, Composer, MainArtist
(C) 2006 Vanguard ℗ 1967 Vanguard Records, a Welk Music Group Company
Unknown, Composer - Charlie Musselwhite, MainArtist
(C) 2006 Vanguard ℗ 1967 Vanguard Records, a Welk Music Group Company
Unknown, Composer - Charlie Musselwhite, MainArtist
(C) 2006 Vanguard ℗ 1967 Vanguard Records, a Welk Music Group Company
Unknown, Composer - Charlie Musselwhite, MainArtist
(C) 2006 Vanguard ℗ 1967 Vanguard Records, a Welk Music Group Company
Unknown, Composer - Charlie Musselwhite, MainArtist
(C) 2006 Vanguard ℗ 1967 Vanguard Records, a Welk Music Group Company
Unknown, Composer - Charlie Musselwhite, MainArtist
(C) 2006 Vanguard ℗ 1967 Vanguard Records, a Welk Music Group Company
Chronique
Vanguard may have spelled his name wrong (he prefers Charlie or Charles), but the word was out as soon as this solo debut was released: here was a harpist every bit as authentic, as emotional, and in some ways as adventuresome, as Paul Butterfield. Similarly leading a Chicago band with a veteran black rhythm section (Fred Below on drums, Bob Anderson on bass) and rock-influenced soloists (keyboardist Barry Goldberg, guitarist Harvey Mandel), Musselwhite played with a depth that belied his age -- only 22 when this was cut! His gruff vocals were considerably more affected than they would become later (clearer, more relaxed), but his renditions of "Help Me," "Early in the Morning," and his own "Strange Land" stand the test of time. He let his harmonica speak even more authoritatively on instrumentals like "39th and Indiana" (essentially "It Hurts Me Too" sans lyrics) and "Cha Cha the Blues," and his version of jazz arranger Duke Pearson's gospel-tinged "Cristo Redemptor" has become his signature song -- associated with Musselwhite probably more so than with trumpeter Donald Byrd, who originally recorded the song for Blue Note. Goldberg is in fine form (particularly on organ), but Mandel's snakey, stuttering style really stands out -- notably on "Help Me," his quirky original "4 P.M.," and "Chicken Shack," where he truly makes you think your record is skipping.
© Dan Forte /TiVo
À propos
- 1 disque(s) - 12 piste(s)
- Durée totale : 00:45:41
- Artistes principaux : Charlie Musselwhite
- Compositeur : Various Composers
- Label : Vanguard Records
- Genre : Blues/Country/Folk Blues
© 2006 Vanguard Records, a Welk Music Group Company ℗ 2006 Vanguard Records, a Welk Music Group Company
Améliorer les informations de l'albumPourquoi acheter sur Qobuz ?
-
Streamez ou téléchargez votre musique
Achetez un album ou une piste à l’unité. Ou écoutez tout notre catalogue en illimité avec nos abonnements de streaming en haute qualité.
-
Zéro DRM
Les fichiers téléchargés vous appartiennent, sans aucune limite d’utilisation. Vous pouvez les télécharger autant de fois que vous souhaitez.
-
Choisissez le format qui vous convient
Vous disposez d’un large choix de formats pour télécharger vos achats (FLAC, ALAC, WAV, AIFF...) en fonction de vos besoins.
-
Écoutez vos achats dans nos applications
Téléchargez les applications Qobuz pour smartphones, tablettes et ordinateurs, et écoutez vos achats partout avec vous.