Jimmy Vivino - Blues Class

The Paramus Kids listen intently to Dr ZB's Blues lessons

Please join us as we look in on Professor ZB addressing the Sons & Daughters of Paramus..........

Professor ZB: "We'll begin our class today discussing some recent history, " Soul of a Man - Al Kooper Live."

Son of Paramus Mark: "Are you showing slides today Professor ZB?"

Professor ZB: "Actually, we are Mark, but no fooling around like the last time when the lights are out. Now please pay attention. And put away that beanie, those pluggos and that stack of quarters.

In early 1994, in celebration of his 50th birthday, Al Kooper performed live for three nights at the Bottom Line in New York City with three different bands, two of which were major influences on rock and blues music.

The double-CD set contains the highlights from those three nights of incredible music. Al Kooper leads The Blues Project, Blood Sweat & Tears (Renamed "Child is Father to the Man" due to legal reasons for this album) and his latest band, The Rekooperators.

Many live albums leave much to be desired, either because of poor sound quality or because the musicians can't deal with the rigors of live performance. But the recordings on this set are tighter, hotter and more powerful than most of the originals.

All of Jimmy Vivino's fans should note that although Steve Katz appeared at the live sessions both as rhythm guitarist of the Blues Project and lead guitarist of Blood, Sweat & Tears, he elected not to appear on the recording. So Jimmy overdubbed his parts in the studio in addition to his role as guitarist for the Rekooperators. As a result, Jimmy's masterful guitar playing is heard on virtually every track on the record.

Daughter of Paramus Kelly: "YAYE JIMMY! HE'S THE JIMMYMAN! AH SWOOOON!"

(Thunderous applause from the Sons & Daughters of Paramus)

Dr. ZB:"Thank you Kelly, but next time please raise your hand to add a comment. Now let's get back to the recording. It starts with an incredibly hot arrangement of Somethin' Going On. Jimmy's first solo is played so aggressively, it almost sounds like a mistake - as if he thought he was playing later in the song. And it only gets hotter from there.

It's followed by a new arrangement of one of the Blues Project's biggest hits, I Can't Keep From Cryin' Sometimes. Although Jerry Douglas plays most of the guitar work on this recording, Jimmy aficionados will note that Catherine Russell, who frequently appeared with Jimmy at Manny's Car Wash in New York City, sings backup vocals on the recording.

Other standouts on the first disc are Flute Thing, Don't Tell Me, Two Trains Runnin', Heartbeat, and the Randy Newman song, Just One Smile, in which Jimmy plays the piano."

Daughter of Paramus Lorie: "That JimmyMan sure can do it all!"

(More applause in the classroom!)

Dr. ZB: "Let's move on to disc two, which starts with the Blood, Sweat and Tears song, I Can't Quit Her, which features another Vivino guitar solo."

Daughter of Paramus Kelly: "Dr. ZB, I LOVE that song! It's TRES FABBUU baaabeh."

All the Daughters of Paramus in unison: "I LOVE IT TOO!"

Dr. ZB: "Jimmy can also be heard singing background vocals on the Lynard Skynard song, Made in the Shade. Also featured on this track is Johnnie Johnson (Chuck Berry's piano player) and John Sebastian of the Lovin' Spoonful.

Jimmy's masterful tribute to Mike Bloomfield can be heard on Albert's Shuffle, originally recorded for the Supersession LP, which has recently been remastered and expanded. And the record closes with a medley of You Can't Always Get What You Want, the Stones song in which Al played French horn on the original recording, and Season of the Witch, the Donovan song that Al Kooper and Steven Stills recorded for the Supersession LP.

Sons & Daughters of Paramus, it doesn't get much better than this. If you have any interest in Jimmy's music at all, this is a must have recording. I know the majority of you have already purchased this CD and like it, but to those of you who haven't, search for it and buy it because it's now been deleted. You'll also soon be able to purchase this CD from the Al Kooper web site. Does anyone have any questions?"

Daughter of Paramus Darcy: "In discussing Al Kooper's SOAM, you mentioned that BS&T and the Blues Project were major influences on rock and blues. Can you discuss more about this?

Dr. ZB: "Good point. Let's talk about that. Please take out your Paramus #2 pencils and get ready to take notes. We'll first discuss Child Is Father To The Man.

Child Is Father To The Man - Blood, Sweat & Tears (1968)

In retrospect, it doesn't seem like adding horns to a band in 1968 should have been considered to be a big deal. After all, virtually every Motown and Stax-Volt soul record had a horn section. But at the time, it didn't seem like it was possible to add horns (and a string section!) to a rock group and not wind up sounding like The Supremes. But Al Kooper created a ground-breaking recording by adding horns more in the style of Maynard Ferguson and Stan Kenton, throwing in some gospel flourishes, picking some not well-known songs by Randy Newman, Harry Nillson and Carole King, writing a few of his own best songs, and hiring some great players (Randy Brecker, ex-Zappa player Jim Fielder and Fred Lipsius among them.) Also check out Valerie Simpson (later of Ashford & Simpson) on background vocals. Unfortunately,the band's big success did not come until the second album, after Al had left the band. However, this first album remains the much more interesting document.

Some of the standoutsinclude: I Love You More Than You'll Ever Know, Just One Smile, I Can't Quit Her, (Yes I already know this is one of your favorites!) and Something's Going On

Now class, let's move on to discussing The Blues Project. Please continue to take notes. There will be a quiz on this.

Live at the Cafe Au Go Go - The Blues Project (1965)

This extraordinary (but raw by modern standards) recording, still holds up well after an incredible 35 years. While the Beatles were recording happy pop such as Help, the Blues Project was integrating hard electric blues and the beginning of folk rock, progressive rock and psychedelia. They're ignored by modern radio, largely because they never had a big top-40 hit, a reflection of the fact that they were before their time. They were also before the changes that created FM Progressive Rock radio that gave rise to the careers of Jimi Hendrix and Cream, among others.

Yes Mark, do you have a question?"

Mark: "I'd just like to say I was three years old when this record came out."

(Giggling throughout the classroom.)

Professor ZB: "Thank you for sharing that important fact with us Mark. And haven't I told you never to discuss age in front of me.

The Paramus Kids pass notes to each other during class

Now to continue, Danny Kalb's extraordinary guitar playing and Al Kooper's mastery of the Farfisa organ were revolutionary compared to the top-40 that was popular at that time.

Projections - The Blues Project (1966)

This studio album defined "Progressive Rock" in its day. Every garage band in existence played their own version of Wake Me, Shake Me. Two Trains Running, sung by guitarist Danny Kalb, turned Muddy Water's version inside out and gave it extraordinary power. And Flute Thing demonstrated how a white Jewish blues band could also play jazz and get away with it.

(Most tracks from Live....and all of the tracks from Projectionsare also available on: Anthology: The Blues Project (1997) )

Supersession (1968) reissued (2003) (with Mike Bloomfield and Steven Stills)

Essentially, this was the first "Super Group." If you want to hear Jimmy's primary influences, listen to this album. Standouts: Bloomfield's guitar on Albert's Shuffle, later recreated by Jimmy on Rekooperation and on Soul of A Man and an early Steven Stills on Donovan's Season of the Witch. It's worth getting just to get the photo of a young, skinny Steven Stills!

The Live Adventures of Mike Bloomfield and Al Kooper (1969)

Recorded just over 30 years ago, this raw live recording again features some great guitar solos by Mike Bloomfield as well as some great guest performances.
Highlights: Bloomfield singing and playing on Ray Charles' I Wonder Who and Mary Ann; the psychedelic Her Holy Modal Highness; a very young Carlos Santana guesting on Sonny Boy Williamson (a new version of which might be showing up on the next Rekooperators CD, if Al ever decides to release one); a pretty funky version with Al in good vocal form on Traffic's Dear Mr. Fantasy and Bloomfield once again on Albert King's Don't Throw Your Love On Me So Strong.

And finally, many of you have told me how much you like the Butterfield Blues Band, so let's take a trip way back to 1965, yes when Son of Paramus Mark was only three and the only songs you could hear on the radio were top-40.

Now let's see how much you remember about the Butterfield Blues Band.

The Butterfield Blues Band (1965)

This band also had the misfortune of releasing great records before the advent of FM radio stations that would play their music. This represents Chicago Blues as reinvented by young, white lovers of electric rock and provided a path for young white kids to discover what Muddy Waters, Albert King, et al were all about, although the masses would not pay attention untilthe advent of Cream.

Michael Bloomfield's precise playing and bending of the strings on his Les Paul are still unmatched today. I can guarantee you that Jimmy wore this record out!

Paul Butterfield's soulful singing and amazing harp renditions complete the sound.
Standouts: Shake Your Money Maker, Blues With A Feeling, and Our Love Is Drifting.

East-West(1966)

By this second album, the influence of the drug culture was already being felt. It combined blues, jazz and eastern influences and was one of the first records to feature really long solos and long cuts (the title track clocking in at 13:10!)
Highlights: I Got A Mind to Give Up Living, Work Song, and East-West. Note that the first guitar solo on the title track is not by Bloomfield, but by an under-appreciated Elvin Bishop. This was Bloomfield's final effort with the band before forming The Electric Flag.

The Resurrection of Pigboy Crabshaw (1968)

Butterfield once again changed his sound by adding horns, including Alto Sax player David Sanborn in his earliest recorded work. Pigboy Crabshaw referred to Elvin Bishop being promoted to lead guitarist after Bloomfield's departure. This album featured a much higher level of production and a more cohesive sound, but no individual standout instrumental performances.
Highlights: One More Heartache, a reworking of the Marvin Gaye recording which was co-written by Smokey Robinson; Driftin'and Driftin', previously recorded by Junior Parker; a solid version of Born Under A Bad Sign, written by Booker T. Jones (of Booker T and the MGs) and also recorded by Albert King and Cream, among others; and Drivin' Wheel, featuring a smooth vocal by bass player Bugsy Maugh.

Please note that many of these Butterfield tracks as well as some from subsequent albums only recently released on CD are also available on Anthology: Best of the Butterfield Blues Band, which I know most of you already have.

The Anthology contains seven tracks recorded before the first official release album, including an early version of Born In Chicago. It contains another seven tracks from the first LP, including all those mentioned above as well as five tracks from East-West. Unfortunately, it contains only two tracks from Resurrection:One More Heartache and Double Trouble. Also included are some tracks from the three later Butterfield Blues Band Lps: In My Own Dream, Keep On Moving and Sometimes I Feel Like Dying.
Highlights include Get Yourself Together, Walkin' By Myself and two live tracks recorded in Los Angeles: Everything's Gonna Be Alright and Driftin' & Driftin'.

Save money each week to buy your blues CD's

Dr. ZB instructs a Son of Paramus how to save money each week so that he will be able to buy many blues CDs."

Okay Class, it's time to play "Six Degrees of Jimmy Vivino." Are you ready?

Jimmy was a big fan of Mike Bloomfield. Bloomfield was in the early Butterfield Blues Band, so we listen to that. Bloomfield also played with Al Kooper on Supersession. Jimmy was also a fan of Al Kooper in both The Blues Project and Blood, Sweat & Tears. Jimmy's guitar replaced Steve Katz' parts in the Blues Project and BS&T songs on Soul of a Man. And now Jimmy plays with Al Kooper in the Rekooperators where he sometimes performs one of Kooper/Bloomfield's best known numbers, Albert's Shuffle. Any questions?

Okay, now here's your homework assignment:

Question 1:One of the original members of the Rekooperators had a special relationship to Mike Bloomfield. Who was it and what was the relationship?

Question 2: (This is a math question.) What is the special number of such great importance to the ancient Egyptians? It can be calculated by dividing Al Kooper's height while wearing boots, by Jimmy's height while wearing blue suede shoes and multiplying the length of a Hammond keyboard divided by Pi and subtracting the length of Catherine Russell's longest dreadlock.

Class dismissed!