KING CURTIS
''LIVE AT FILLMORE WEST''
1971
43:39
1/Memphis Soul Stew
Curtis Ousley/7:30
2/A Whiter Shade of Pale
Gary Brooker / Keith Reid/5:15
3/Whole Lotta Love
John Bonham / Willie Dixon / John Paul Jones / Jimmy Page / Robert Plant/2:10
4/I Stand Accused
Jerry Butler / William Butler/6:17
5/Them Changes
Buddy Miles/6:52
6/Ode to Billie Joe
Bobbie Gentry/3:12
7/Mr. Bojangles
Jerry Jeff Walker/4:23
8/Signed, Sealed, Delivered I'm Yours
Lee Garrett / Stevie Wonder / Syreeta Wright/2:30
9/Soul Serenade
King Curtis / Luther Dixon/5:30
Lou Collins /Sax (Tenor)
Cornell Dupree /Guest Artist, Guitar
Jack Hale /Trombone
Roger Hopps /Trumpet
Wayne Jackson /Trumpet
Jerry Jemmott /Bass (Electric), Guitar (Bass)
King Curtis /Producer, Sax (Alto), Sax (Tenor), Saxophone, Vocals
Andrew Love /Sax (Tenor)
The Memphis Horns /Guest Artist
Jimmy Mitchell /Sax (Baritone)
Pancho Morales /Congas
Billy Preston /Guest Artist, Organ
Bernard "Pretty" Purdie /Drums, Guest Artist
Truman Thomas /Piano (Electric)
REVIEW
by Jim Smith
Recorded in front of an enthusiastic audience and released just one week before Curtis' murder in 1971, Live at Fillmore West is a brilliant confirmation of the saxophonist's place in popular music. Backed up by Atlantic's top session men, as well as Billy Preston and the Memphis Horns, Curtis rips through some of the biggest hits of the day, transforming them into showcases for his soulful playing and the group's outstanding rhythmic interplay. Beautiful renditions of "A Whiter Shade of Pale" and "I Stand Accused" are highlights, but it's full-throttle rockers like "Changes" and "Memphis Soul Stew" that comprise the heart of the album. Curtis occasionally gets lost in the mix, but it doesn't matter; with so much great music going on, you probably won't notice.
BIOGRAPHY
by Bob Porter
King Curtis was the last of the great R&B tenor sax giants. He came to prominence in the mid-'50s as a session musician in New York, recording, at one time or another, for most East Coast R&B labels. A long association with Atlantic/Atco began in 1958, especially on recordings by the Coasters. He recorded singles for many small labels in the '50s -- his own Atco sessions (1958-1959), then Prestige/New Jazz and Prestige/TruSound for jazz and R&B albums (1960-1961). Curtis also had a number one R&B single with "Soul Twist" on Enjoy Records (1962). He was signed by Capitol (1963-1964), where he cut mostly singles, including "Soul Serenade." Returning to Atlantic in 1965, he remained there for the rest of his life. He had solid R&B single success with "Memphis Soul Stew" and "Ode to Billie Joe" (1967). Beginning in 1967, Curtis started to take a more active studio role at Atlantic, leading and contracting sessions for other artists, producing with Jerry Wexler, and later on his own. He also became the leader of Aretha Franklin's backing unit, the Kingpins. He compiled several albums of singles during this period. All aspects of his career were in full swing at the time he was murdered in 1971.
''LIVE AT FILLMORE WEST''
1971
43:39
1/Memphis Soul Stew
Curtis Ousley/7:30
2/A Whiter Shade of Pale
Gary Brooker / Keith Reid/5:15
3/Whole Lotta Love
John Bonham / Willie Dixon / John Paul Jones / Jimmy Page / Robert Plant/2:10
4/I Stand Accused
Jerry Butler / William Butler/6:17
5/Them Changes
Buddy Miles/6:52
6/Ode to Billie Joe
Bobbie Gentry/3:12
7/Mr. Bojangles
Jerry Jeff Walker/4:23
8/Signed, Sealed, Delivered I'm Yours
Lee Garrett / Stevie Wonder / Syreeta Wright/2:30
9/Soul Serenade
King Curtis / Luther Dixon/5:30
Lou Collins /Sax (Tenor)
Cornell Dupree /Guest Artist, Guitar
Jack Hale /Trombone
Roger Hopps /Trumpet
Wayne Jackson /Trumpet
Jerry Jemmott /Bass (Electric), Guitar (Bass)
King Curtis /Producer, Sax (Alto), Sax (Tenor), Saxophone, Vocals
Andrew Love /Sax (Tenor)
The Memphis Horns /Guest Artist
Jimmy Mitchell /Sax (Baritone)
Pancho Morales /Congas
Billy Preston /Guest Artist, Organ
Bernard "Pretty" Purdie /Drums, Guest Artist
Truman Thomas /Piano (Electric)
REVIEW
by Jim Smith
Recorded in front of an enthusiastic audience and released just one week before Curtis' murder in 1971, Live at Fillmore West is a brilliant confirmation of the saxophonist's place in popular music. Backed up by Atlantic's top session men, as well as Billy Preston and the Memphis Horns, Curtis rips through some of the biggest hits of the day, transforming them into showcases for his soulful playing and the group's outstanding rhythmic interplay. Beautiful renditions of "A Whiter Shade of Pale" and "I Stand Accused" are highlights, but it's full-throttle rockers like "Changes" and "Memphis Soul Stew" that comprise the heart of the album. Curtis occasionally gets lost in the mix, but it doesn't matter; with so much great music going on, you probably won't notice.
BIOGRAPHY
by Bob Porter
King Curtis was the last of the great R&B tenor sax giants. He came to prominence in the mid-'50s as a session musician in New York, recording, at one time or another, for most East Coast R&B labels. A long association with Atlantic/Atco began in 1958, especially on recordings by the Coasters. He recorded singles for many small labels in the '50s -- his own Atco sessions (1958-1959), then Prestige/New Jazz and Prestige/TruSound for jazz and R&B albums (1960-1961). Curtis also had a number one R&B single with "Soul Twist" on Enjoy Records (1962). He was signed by Capitol (1963-1964), where he cut mostly singles, including "Soul Serenade." Returning to Atlantic in 1965, he remained there for the rest of his life. He had solid R&B single success with "Memphis Soul Stew" and "Ode to Billie Joe" (1967). Beginning in 1967, Curtis started to take a more active studio role at Atlantic, leading and contracting sessions for other artists, producing with Jerry Wexler, and later on his own. He also became the leader of Aretha Franklin's backing unit, the Kingpins. He compiled several albums of singles during this period. All aspects of his career were in full swing at the time he was murdered in 1971.
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