Hubert Wolf

This is arguably the first musically indispensable album that Hubert Sumlin has done since Howlin' Wolf died some 23 years ago. That isn't to say that he hasn't done some good albums before this, just that I Know You has a degree of urgency, coupled with remarkable ease, that makes it a real delight. The result is a record that compares very favorably with Wolf's London Sessions record as a mix of old and new. Sumlin will never sound like Wolf as a singer, but he can't help sounding like him in every other way, since it was Wolf's guitar on practically every cut after 1954; but he does his best with a limited voice and a hot guitar to deliver some superb electric blues.

Hubert Sumlin - I Know You (1998)
Blues | MP3 320 Kbps | 124 MB
Publisher: Acoustech

This is arguably the first musically indispensable album that Hubert Sumlin has done since Howlin' Wolf died some 23 years ago. That isn't to say that he hasn't done some good albums before this, just that I Know You has a degree of urgency, coupled with remarkable ease, that makes it a real delight. The result is a record that compares very favorably with Wolf's London Sessions record as a mix of old and new. Sumlin will never sound like Wolf as a singer, but he can't help sounding like him in every other way, since it was Wolf's guitar on practically every cut after 1954; but he does his best with a limited voice and a hot guitar to deliver some superb electric blues. Whether he's acknowledging Elmore James, Jimmy Reed, or John Lee Hooker, or paying tribute to Wolf himself ("How Many More Years," in a killer interpretation), Sumlin sounds like he's having great fun grinding and crunching away on his instrument. He even turns in a surprisingly strong vocal and guitar performance on a familiar piece of subdued blues, "That's Why I'm Gonna Leave You." There is a little dross here — Sumlin doesn't do all that well stepping into John Lee Hooker territory; but generally, I Know You is a record that should please any fan of the Wolf or Sumlin (or, for that matter, James or Reed), with two tracks, "I'm Not Your Clown" and "Smokestack" (based on guess which song), indispensable to fans of hot blues guitar. Playing with him are Sam Lay (drums) and Carrie Bell (harp), with Jimmy D. Lane on second guitar and David Krull at the piano and organ.

Hubert Sumlin was Howlin' Wolf's guitar player for 23 years, and his jagged, desperate, and angular guitar playing was a big part of Wolf's rough-and-tumble sound. This album was recorded in October 1986 at Newbury Sound in Boston, 11 years after Wolf's death, and although Sumlin had headlined some European albums, it was to be his debut solo album in the U.S. The sessions were initiated and put together by guitarist Ronnie Earl, who arranged for the presence of an all-star band, and brought in Mighty Sam McClain to handle most of the vocals, since Sumlin was notoriously reticent about occupying center stage. The result was really more of a jam session than anything else, and Sumlin doesn't really assert himself on any of these tracks, although his hesitant, soft, and fragile vocal on "How Can You Leave Me, Little Girl?" gives the song a real poignancy that manages to overcome the banal lyrics…

This is arguably the first musically indispensable album that Hubert Sumlin has done since Howlin' Wolf died some 23 years ago. That isn't to say that he hasn't done some good albums before this, just that I Know You has a degree of urgency, coupled with remarkable ease, that makes it a real delight. The result is a record that compares very favorably with Wolf's London Sessions record as a mix of old and new. Sumlin will never sound like Wolf as a singer, but he can't help sounding like him in every other way, since it was Wolf's guitar on practically every cut after 1954…..

Hubert Sumlin arguably did his best work during the 23 years he was Howlin' Wolf's guitar player, and his ragged, angular guitar style was a big part of Wolf's rough-and-ready sound. The perfect sideman, Sumlin was by all accounts somewhat shy and reticent about taking center stage, and Healing Feeling, his second album for Black Top Records, much like his first, Hubert Sumlin's Blues Party, is really more of an all-star blues jam than it is a fully realized project. Recorded May 5 and 6, 1989, at Southlake Recording Studios in Louisiana, with two additional tracks coming from a live show at Tipitina's in New Orleans earlier in the day on May 5, the sessions were once again organized by guitarist Ronnie Earl, whose band the Broadcasters is used on most of the cuts. The vocal duties were shared by James "Thunderbird" Davis and Darrell Nulisch, with Sumlin singing on "Come Back Little Girl," "Honey Dumplins," and the set closer, "Blues for Henry," all of which gain poignancy because of Sumlin's somewhat fragile, whispered vocal approach. A clear highlight is Sumlin's solo electric guitar version of "Down the Dusty Road," which is focused, clear, and intimate. The sound of the album is a little thicker and punchier than Blues Party, but once again Sumlin pulls off the difficult task of sounding like a sideman on his own album project, which is a shame, since when he does step forward, things really start to take on a distinct character. The two Black Top albums (this one was originally released in 1990) are really like blues jam holding patterns recorded when Sumlin was still trying to figure out how to make the transition from ace sideman to revered bandleader. Both suffer a bit from not having a truly assertive Sumlin on board.

Hubert Sumlin arguably did his best work during the 23 years he was Howlin' Wolf's guitar player, and his ragged, angular guitar style was a big part of Wolf's rough-and-ready sound. The perfect sideman, Sumlin was by all accounts somewhat shy and reticent about taking center stage, and Healing Feeling, his second album for Black Top Records, much like his first, Hubert Sumlin's Blues Party, is really more of an all-star blues jam than it is a fully realized project. Recorded May 5 and 6, 1989, at Southlake Recording Studios in Louisiana, with two additional tracks coming from a live show at Tipitina's in New Orleans earlier in the day on May 5, the sessions were once again organized by guitarist Ronnie Earl, whose band the Broadcasters is used on most of the cuts. The vocal duties were shared by James "Thunderbird" Davis and Darrell Nulisch, with Sumlin singing on "Come Back Little Girl," "Honey Dumplins," and the set closer, "Blues for Henry," all of which gain poignancy because of Sumlin's somewhat fragile, whispered vocal approach. A clear highlight is Sumlin's solo electric guitar version of "Down the Dusty Road," which is focused, clear, and intimate.

Howlin' Wolf - Live In Europe (1964) {Music Avenue Expanded Re-issue 250192 rel 2007}
EAC rip (secure mode) | FLAC (tracks)+CUE+LOG -> 354 Mb | MP3 @320 -> 175 Mb
Full Artwork @ 300 dpi (png) -> 90 Mb | 5% repair rar
© 1964, 2007 Music Avenue (Europe) | 250192
Blues / Electric Chicago Blues / Regional Blues

Of the myriad circulating live Wolf albums of dubious fidelity and legality, this is the best of the bunch, both from an audio standpoint and the pronouncement in the booklet that royalties were indeed being paid to Wolf's widow. This is Wolf's portion of the show as part of the traveling American Folk Blues entourage, the first festival type presentation of the whole blues spectrum to invade Europe. This 1964 tour is the one that brought the real thing to locales where he had previously been only a name on a phonograph record, and the romantic notions projected into the sound that record gave off.

This seventh volume in the series 'Fritz Wunderlich – The SWR Recordings' focuses on the singer's legacy of lieder, which he began performing early in his career. Wunderlich's performance of Schumann's Dichterliebe, recorded live at the 1965 Schwetzingen Festival, was considered by the singer himself to be one of his best interpretations ever. The pianist was Hubert Giesen, one of the most distinguished accompanists of his era. He worked closely with Wunderlich, who was already an international star at the time. This compilation provides a unique overview of Wunderlich's lieder performances – from the start of his career until his tragic and untimely death.