The term “super
group” was popular at the end of the 60’s. Cream started it back in
1966. But it was Al Kooper’s “Super Session”-album that really opened
that can of sardines. The album was recorded at a time when the key
players were “between jobs”. Al Kooper had left Blood, Sweat & Tears
right after their debut LP. Mike Bloomfield, whom Kooper had worked
with in 1965 (on Bob Dylan’s “Highway 61 Revisited”-album and on his
infamous performance at the Newport festival) was leaving the Electric
Flag. And Stephen Stills’ career had stopped mid air as it was game
over for Buffalo Springfield.
Kooper had no
intentions to start a permanent group. “Super Session” was intended as
an experiment, and it was to be created around the powerful blues guitar
playing of Bloomfield. Kooper wanted it to be fresh and unpredictable,
just turn on the groove, let Bloomfield fly and see what happens. An
album of jamming. That was the only plan. Bloomfield said OK, so
Kooper booked a studio for two days and hired some musicians, two of
Bloomfield’s colleagues from Electric Flag plus drummer Eddie Hoh.
On the first day
this line-up recorded what was to become the album’s first side. Five
extraordinary instrumentals – all anchored in the electric blues, but
with the odd glance towards jazz. A fusion that both Kooper and
Bloomfield were familiar with from the bands they recently had been
involved in. Bloomfield’s guitar rules on these tracks, but there’s
also some phenomenal dialogues evolving between guitar and keyboards.
And behind them the sterling rhythm section is cooking, transcending
most of what you could hear in 1968.
On the second day
everything went wrong. Bloomfield simply didn’t show up. That left a
highly frustrated Kooper with two choices, postpone the whole thing, or
find a replacement at that very instant. In desperation he called
Stephen Stills. Stills, bless him, agreed to help his friend out, and
thus the album could be completed.
The second side
contains recordings from day two. Kooper had to re-adjust of course.
Stephen Stills was no slacker on guitar, but no way could he fill
Bloomfield’s shoes. His musical background differed too, he had very
little in common with Electric Flag.
Kooper’s plan B
put himself up as vocalist. He decided they’d do cover versions of
familiar songs, but keep the element of jamming. This was simply done
by starting the song, do a couple of verses, clear the space for
improvisations, and then return to the song at the end. This way they
didn’t risk ending up in blind alleys. They always knew where they were
heading: For the redemption of that last refrain. This worked
especially well on the 11 minute “Season Of The Witch”.
Although the
Bloomfield-side is the most impressive and satisfying of the two,
“Season Of The Witch” is clearly the album’s outstanding track. This
Donovan song from 1966 with its hypnotic time pattern and minimalistic
melody, absolutely begs to be covered. In addition to the “Super
Session”-version there were just as successful, but very different
versions available from both Vanilla Fudge and Julie Driscoll at the
time.
In September 1968
Kooper tried to put the Bloomfield part of the show up on a live stage,
at the Fillmore West. It went well on the first night, but then
Bloomfield did his disappearing act again. Kooper was not amused of
course, but he managed to get excellent replacements in Carlos Santana
and Elvis Bishop. Tracks from the concerts were compiled for the double
album “The Live Adventures Of Mike Bloomfield And Al Kooper”, released
in 1969. I recommend that set as well. It is just as good, and on some
tracks even better.
Released:
July 22, 1968
Contents on “Super
Session”:
(Side 1):
Albert’s Shuffle/Stop/Man’s Temptation/His Holy Modal Majesty/Really/
(Side 2): It Takes A Lot to Laugh, It Takes A Train to Cry/Season of
the Witch/You Don’t Love Me/Harvey’s Tune
Produced by:
Al Kooper
Personnel on
“Super Session”:
Al Kooper —
vocals, piano, organ, ondioline, electric guitar, twelve-string guitar
Mike Bloomfield —
guitars on side one, reissue tracks 10, 12, 13
Stephen Stills —
guitars on side two, reissue track 11
Barry Goldberg —
electric piano on “Albert’s Shuffle” and “Stop”
Harvey Brooks —
bass
Eddie Hoh — drums,
percussion
Contents on “The
Live Adventures Of Mike Bloomfield And Al Kooper”:
Opening Speech/The
59th Street Bridge Song (Feelin’ Groovy)/I Wonder Who/Her Holy Modal
Highness/The Weight/Mary Ann/Together ‘Til the End of Time/That’s All
Right/Green Onions/Opening Speech/Sonny Boy Williamson/No More Lonely
Nights/Dear Mr. Fantasy/Don’t Throw Your Love on Me So
Strong/Finale-Refugee
Personnel on “The
Live Adventures Of Mike Bloomfield And Al Kooper”:
Al Kooper – Organ,
Ondioline, Piano (overdub as Roosevelt Gook on “Together ‘Til the End of
Time”)
Mike Bloomfield –
guitar
John Kahn – bass
guitar
Skip Prokop –
drums
Carlos Santana –
guitar
Elvin Bishop –
guitar
