The Live Adventures of Mike Bloomfield and Al Kooper

   When in July 1968 was released Super Session album being an outcome of joint project by Mike Bloomfield, Al Kooper and Stephen Stills, it became immediately the success. Shortly it occurred to be the precise indication of the direction toward the new era in rock music. The idea of connecting folk blues with improvised instrumental music and psychedelic rock was revolutionary and in next months it was implemented by many artists with different results. On the wave of artistic and commercial success of Super Session album, Mike Bloomfield and Al Kooper played with the band series of concerts at the Fillmore West. Live recorded during September 26 to 28, 1968 material was released as double album next year.
The title of double LP life recording, The Live Adventures of Mike Bloomfield and Al Kooper shows the story of how it was created. The title adventures are main subjects in narration on how album was recorded. With Al Kooper playing organ, ondioline (second solo in Dear Mr. Fantasy), piano and singing, Mike Bloomfield playing guitar and singing, there were two more band members John Kahn playing bass guitar and Skip Prokop on drums. In concert performances some more musicians were engaged like Elvin Bishop and Carlos Santana on guitars. Those two were listed on album cover. But it is unclear what kind of appearance made Steve Miller and Dave Brown. What can be interesting for trivia chasers, second song on side three, called Sonny Boy Williamson is Carlos Santana’s recording debut. 

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

   In linear notes Al Kooper explained lineup changes. When after first two days of insomnia Mike Bloomfield was taken to hospital, “in an amazingly short time Elvin Bishop, Carlos Santana, Steve Miller and Dave Brown had volunteered their services and had arrived at the Fillmore”. In effect three days of San Francisco performances become the document of music seen in wide cultural aspect. Producers made it CBS feature product with cover painting by great Norman Rockwell. In 1969 Rockwell was already recognized painter, illustrator and the master of Americana, raising his voice in public discourse towards political and social issues. Wikipedia author states CBS Art Director, John Berg grab the painting to hang it on the wall, but later sold it against the Kooper’s will.
   Program of double record set is both nice artistic exposure and documentary of the project. Songs and themes iconic for the music of late sixties, like Green Onions by Booker T. Jones or Sonny Boy Williamson by Jack Bruce and Paul Jones, This gave the firm base for jamming in a new way.  Base for soloing was rather folk blues and jazz than rock and roll expressions. The same rules applied to vocals where rough style expression was more important than singing skills. In best part of recorded material this album is pith and marrow for spirit of the sixties and a foundation of modern blues-rock style. Four stars for its perfection and spirit.

Bloomfield / Kooper / Stills – Super Session

   One of all time legends of blues and psychedelic rock of late sixties is Super Session album recorded for Columbia in 1968 by Al Kooper and musicians he hired especially for this occasion. He did this with Mike Bloomfield, born in Chicago, one of greatest masters of blues guitar for two decades before his premature death at the age of 37 in 1981 and Steve Stills, born in Dallas blues and folk guitarist and singer, well known for his work with Buffalo Springfield, group Crosby, Stills, Nash & Young and numerous  performances. It’s interesting Bloomfield and Stills didn’t meet in studio while recording this album.

   The history of Super Session is one and only. In spring 1968 Kooper proposed Bloomfield to record together. They knew each other from sessions to Bob Dylan’s Highway 61 Revisited and some other projects. Kooper always was under great impression of Bloomfield playing. This was the period Bloomfield’s band Electric Flag was breaking-up and guitarist was tired of endless quarrels, rivalry and ready to draw out from the group he created himself. He agreed to have joint session with Kooper who earlier left Blood, Sweet & Tears, just after their debut album. In may 1968 Al Kooper, working this time for Columbia, appointed studio for two day session. He picked also two members of Electric Flag, pianist Barry Goldberg and bass player Harvey Brooks. Quintet was completed by well known session drummer Eddie Hoh. First day they recorded five songs, but morning of the second day, when all came to the studio, Bloomfield didn’t show up. Looking for substitution Kooper called Steve Stills whom he also highly esteemed. May 6, 1968 in Long Beach Arena Stills gave final concert with his group Buffalo Springfield and was in moment of changing plans.

Bloomfield / Kooper / Stills – Super Session (1968)

   First day quintet led by Al Kooper and Mike Bloomfield recorded five tracks for A side, mostly straight 12-bar blues like opening the session Albert’s Shuffle, a classic Chicago style blues credited both Kooper and Bloomfield. After few minutes of guitar exposition, we have great organ solo ended with some dialogs with guitar. Stop written by Jerry Ragovoy and Mort Shuman, is once again instrumental blues with two leaders’ improvisations. Men’s Temptation by Curtis Mayfield is rather soul than blues. Sung by Al Kooper it gives some rest in the middle of blues jam. First day of the session were recorded also His Holy Modal Majesty, which is rare example of psychedelic blues and classical electric blues Really – both compositions by Bloomfield and Kooper.
   While first side of the Super Session album is blues, the B side is more rock and folk rock. Electric version of It Takes A Lot to Laugh, It Takes A Train to Cry, remains about Dylan controversial appearance in Newport Folk Festival with Al Kooper and Mike Bloomfield in supporting band. Highest point of second day session was Donovan’s Season of the Witch, 11 minutes song with extended vocal and instrumental improvisations by Al Kooper. Willie Cobb’s You Don’t Love Me is distorted psychedelic blues that few years earlier could be seen as scandalous. In the Harvey’s Tune a kind of short epilogue, composed by Hervey Brooks saxophone melody with horn section sounds clear and remains emotionally closer to jazz than to any other genre. Horn section was arranged by Al Kooper and recorded later to make sound of the album more reach and to meet actual trends in blues band sound.