Fillmore East: The Lost Concert Tapes 12/13/68 [Live]

Editorial Reviews
Amazon.com
The live attempts at recreating the seminal jam chemistry of Super Session were hit-and-miss affairs, and this one, previously unreleased, has its fair share of off-key and off-target tunes. The rhythm section is erratic, the repertoire--ranging from Simon & Garfunkel's "59th Street Bridge Song (Feelin' Groovy)" to an Elvis-flavored "That's All Right Mama"--is a bit odd, and co-leader Al Kooper is competent but rarely inspired. Guitarist Michael Bloomfield, however, is uniformly brilliant and his graceful blues virtuosity is by itself well worth the price of admission. Bloomfield and the group are joined on B.B. King's "It's My Own Fault" by a then-unknown Johnny Winter and things get really interesting. For nearly 11 minutes Winter and Bloomfield dive deep into the blues with Winter astounding the audience with his vocals and lightning licks on a song that had long been a staple of his live shows in Texas. The remainder of the album lacks similar energy and excitement, but Bloomfield's guitar work keeps it listenable. Overall, The Live Adventures of Mike Bloomfield & Al Kooper, recorded several months earlier, provides a better look at the band's concert sound but it does so without Winter. --Michael Point

Album Description
The complete smash album featuring Kooper, Stills and Bloomfield at Fillmore East December 13th, 1968, here reissued & remastered with liner notes by Al Kooper. Columbia/Legacy. 2003.

Tracks:

Introductions
One Way Out
Mike Bloomfield's Introduction Of Johnny Winter
It's My Own Fault
59th Street Bridge Song (Feelin' Groovy)
(Please) Tell Me Partner
That's All Right Mama
Together Till The End Of Time
Don't Throw Your Love On Me So Strong
Season Of The Witch

Amazon.com

The live attempts at recreating the seminal jam chemistry of Super Session were hit-and-miss affairs, and this one, previously unreleased, has its fair share of off-key and off-target tunes. The rhythm section is erratic, the repertoire--ranging from Simon & Garfunkel's "59th Street Bridge Song (Feelin' Groovy)" to an Elvis-flavored "That's All Right Mama"--is a bit odd, and co-leader Al Kooper is competent but rarely inspired. Guitarist Michael Bloomfield, however, is uniformly brilliant and his graceful blues virtuosity is by itself well worth the price of admission. Bloomfield and the group are joined on B.B. King's "It's My Own Fault" by a then-unknown Johnny Winter and things get really interesting. For nearly 11 minutes Winter and Bloomfield dive deep into the blues with Winter astounding the audience with his vocals and lightning licks on a song that had long been a staple of his live shows in Texas. The remainder of the album lacks similar energy and excitement, but Bloomfield's guitar work keeps it listenable. Overall, The Live Adventures of Mike Bloomfield & Al Kooper, recorded several months earlier, provides a better look at the band's concert sound but it does so without Winter. --Michael Point

Album Description

The complete smash album featuring Kooper, Stills and Bloomfield at Fillmore East December 13th, 1968, here reissued & remastered with liner notes by Al Kooper. Columbia/Legacy. 2003.

Customer Reviews:

al kooper, michael bloomfield .......2007-03-21

super session i already had many years ago and it is great but lost concert at fillmore is out of this world . i cant get enough of it . all cds arrived quickly and i love doing business that way . hassle free .

A very mix bag with one exception........2007-02-17

There is a reason why this album took 30 years to reach the outside world. The majority of the album is not that good. However it does have one hugh thing going for it, Track 4- "It's my own fault". The reason this track stands out is that introduced, at least at this time, a unknown quitarist to the world. The next day he was awarded a recording contract. His name is Johnny Winters. He was the high point of this album. If you are a fan of the Winters brother, this should be added to your collection.

As for the rest of the album, Overall the sound quiality was clean and good. Better then most live albums coming out of this period. The problem was the players. The bassist and drummer was all over the place and never together. Al Kooper keyboards was almost non existant. Bloomfield had some great licks, however not enought to save this album. If you are a fan of Kooper/Bloomfield and have the Filmore West live and the Super Session CD, then this one will round out the trio. If you just getting started, go with the studio version.

caricias de guitarra que todavia lastiman la indiferencia............2006-11-07

testimonio unico de una noche en donde la guitarra de bloomfield justifica la leyenda del gran guitarrista blanco....... todo lo demas no cuenta...creeme, el sonido de esa guitarra es unico, te persigue donde vayas..no importa la banda, el baterista que se pierde, los vocales que no lucen, algunos temas flojos...no importa, la guitarra esta ahi, tejiendo aullidos en el aire de esa noche que magicamente esta a nuestra disposicion a traves de esta edicion imperdible.

Bloomfield's finest moments.......2006-11-06

Michael Bloomfield is perhaps, next to Johnny Winter, the greatest white blues guitarist ever. This CD showcases his ability to play and shake notes like no other could. I have listened to blues for over 35 years, but when I heard this CD, I said "Wow, this is incredible" This Cd will not disappoint anyone, it reflects Michael Bloomfield at his best!

Kinda like driving an Aston Martin with a flat tire!.......2006-06-15

The "drummer" (more like "The Anti-Drummer") on this is Johnny Cresci. He is maddeningly lacking in even basic garage band ability, and literally has no idea what a 6/8 blues meter is. How he landed on the same stage with these legends may be the musical mystery of all time. For me, Mr. "Clueless" Cresci makes it nearly impossible to enjoy the brilliant performances going on despite his anti-rhythmic upchucking.....kinda like driving an Aston Martin with a flat tire! I have tried to get beyond Cresci's chops for over a year of listening now, and I simply can't do it. If you're a musician, his playing will make you extremely agitated. I'm gonna have to trade this in, and go on listening to Live Adventures like I have for the past 37 years. This would have been much better with the drum tracks totally muted on the 6/8 numbers.

Granted, this is an historically significant release, but I think it should have stayed in the vault, or released with Johnny Cresci having been digitally removed or replaced.

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