RCA Records – 1970
Neil Merryweather – vocals and bass
Charlie Musselwhite – harmonica and vocals
Barry Goldberg – organ and piano
Lynn Carey – vocals
John Richardson – guitar
Robin Boers – drums
J.J. Velker – organ
Produced by Neil Merryweather and Morey Alexander
Engineers – Peter “Rabbit” Abbott, Richie Schmitt, Rick Ruggier, Dennis Smith, Grover Helsley
Neil Merryweather – vocals and bass
Charlie Musselwhite – harmonica and vocals
Barry Goldberg – organ and piano
Lynn Carey – vocals
John Richardson – guitar
Robin Boers – drums
J.J. Velker – organ
Produced by Neil Merryweather and Morey Alexander
Engineers – Peter “Rabbit” Abbott, Richie Schmitt, Rick Ruggier, Dennis Smith, Grover Helsley
01 Mama Ride02 After While
03 Magic Fool
04 Fast Train
05 My Daddy Was a Jockey
06 Charlotte Brown
07 Run, Run Children
08 Walkin' Shoes
09 Toe Jam
Neil’s manager Morey Alexander received a call from RCA Records asking Neil to put a jam album together like Merryweather’s “Word of Mouth”.
Neil Merryweather, Charlie Musselwhite and Barry Goldberg were reunited again after playing on the Capitol Records album together.
“Merryweather, Richardson & Boers” were the band that jammed with Barry and Charlie. J.J. Velker played on a few tracks.
Neil brought Lynn Carey to the sessions as a guest artist.
The reunion occurred at RCA Studios on Ivar Avenue, thus the name “Ivar Avenue Reunion”.
http://www.theneilmerryweather.com/
Review
The record-consuming public of the '70s was
enthusiastic enough about jam sessions to have been offered all kinds of products such as this album, the contents of which beg the question of just what is a jam session, anyway? In this case, the liner notes hint at a casual get-together of various friends, with the cast of characters extending well beyond the confines of the four names listed under the album title. The music these individuals come up with is more like the type of song material rock artists put on a formal album. There is really not much jamming, other than a concluding group improvisation given the title of "Toe Jam," an unappetizing decision seeing how it is preceded by "Walkin' Shoes" and "Run, Run Children" before that. This hint of an obsession with sweaty feet is the only consistent thing about an album that is simply all over the place, depending on who is taking charge of any given song. Charlie Musselwhite can do a shuffle blues, so he contributes that. Barry Goldberg is a familiar hand at jams, but also co-writes songs with vocalist Lynn Carey that require a flutist and French horn player to augment the group. In the former case, hiring one that plays out of tune is not something that benefits the song at all. On the plus side, certain types of grooves are nailed 
dead-on. The recording aggregation, who collectively pose on the back cover and for the most part do not look like people one would want to invite over for the evening, bite down solidly on an Otis Spann cover entitled "After While." It is the "Smokestack Lightning" groove, with the results actually an improvement over the sound of Musselwhite's own blues recordings. "Fast Train" is a good example of type of joyous but overlong rock-gospel tracks that were popular in the '70s, with solid vocalizing from Carey. ~ Eugene Chadbourne, All Music Guide
The record-consuming public of the '70s was
enthusiastic enough about jam sessions to have been offered all kinds of products such as this album, the contents of which beg the question of just what is a jam session, anyway? In this case, the liner notes hint at a casual get-together of various friends, with the cast of characters extending well beyond the confines of the four names listed under the album title. The music these individuals come up with is more like the type of song material rock artists put on a formal album. There is really not much jamming, other than a concluding group improvisation given the title of "Toe Jam," an unappetizing decision seeing how it is preceded by "Walkin' Shoes" and "Run, Run Children" before that. This hint of an obsession with sweaty feet is the only consistent thing about an album that is simply all over the place, depending on who is taking charge of any given song. Charlie Musselwhite can do a shuffle blues, so he contributes that. Barry Goldberg is a familiar hand at jams, but also co-writes songs with vocalist Lynn Carey that require a flutist and French horn player to augment the group. In the former case, hiring one that plays out of tune is not something that benefits the song at all. On the plus side, certain types of grooves are nailed 
dead-on. The recording aggregation, who collectively pose on the back cover and for the most part do not look like people one would want to invite over for the evening, bite down solidly on an Otis Spann cover entitled "After While." It is the "Smokestack Lightning" groove, with the results actually an improvement over the sound of Musselwhite's own blues recordings. "Fast Train" is a good example of type of joyous but overlong rock-gospel tracks that were popular in the '70s, with solid vocalizing from Carey. ~ Eugene Chadbourne, All Music GuideNeil on the Island of Corfu, Greece at the 60' s
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1 σχόλια:
thank you very musch for this gem!!!! peter
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