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Super Session
 
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Super Session

Mike Bloomfield with Al Kooper & Stephen Stills
7 April 2003 | Format: MP3

£7.49 (VAT included if applicable)
Buy the CD album for £5.91 and get the MP3 version for FREE. Does not apply to gift orders.
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Song Title Artist
Time
Popularity  
30
1
6:53
30
2
4:18
30
3
3:24
30
4
9:12
30
5
5:26
30
6
3:29
30
7
11:07
30
8
4:09
30
9
2:07
30
10
6:58
30
11
11:08
30
12
4:15
30
13
4:38

Product details

  • Original Release Date: 28 Mar. 2003
  • Release Date: 28 Mar. 2003
  • Label: Columbia
  • Record Company Required Metadata: Music file metadata contains unique purchase identifier. Learn more.
  • Total Length: 1:17:04
  • Genres:
  • ASIN: B001I5KRZ4
  • Average Customer Review: 4.5 out of 5 stars  See all reviews (22 customer reviews)
  • Amazon Bestsellers Rank: 43,137 in Albums (See Top 100 in Albums)

Customer Reviews

4.5 out of 5 stars
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Most Helpful Customer Reviews

12 of 12 people found the following review helpful By R. F. Stevens HALL OF FAMETOP 50 REVIEWER on 23 Feb. 2011
Format: Audio CD Verified Purchase
I bought the original LP when it came out in 1968, and I was playing it only a few weeks ago when someone asked "Why not get a CD of that?" I was delighted to find this CD with the four extra tracks, two of which (10, 12) are variants on Albert's Shuffle.

I think jayhikkss has written the most comprehensive Az review on this CD, any more and the sleeve notes of Michael Thomas' original and David Fricke's Rolling Stone article, and Al Kooper's foreword would be redundant. And I tend to agree with jayhikkss' analysis if not the conclusion; myself I think it is still squeezes into five stars. It is such a good album that I think everyone should have at least listened to it once, and many of us children of the '60s will already have a copy.

For the record, I prefer the original versions with horns, finding the sans-horns versions (tracks 10, 11) a bit lacking; Kooper was right. The 'Blues for Nothing' bonus track is really 'Albert's Shuffle' done differently - Bloomfield brilliantly exploring fresh flights of fancy, and well worthy of inclusion. 'Fat Grey Cloud' does fit better with 'The Live Adventures of Mike Bloomfield and Al Kooper tracks which have a different feel to Supersession.

Happy memories always return when I listen to this.
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8 of 9 people found the following review helpful By Og Oggilby VINE VOICE on 31 Mar. 2007
Format: Audio CD Verified Purchase
The 'Super Session' album used to be a bit of a last resort of the musical scoundrel. Endless jamming, lots of tedious noodling, not a lot of great music. However, this album is the one that set the bar so high that it was difficult to top. Guitarist Michael Bloomfield had already established himself as a top guitar banana with the Butterfield Blues Band, but his playing is right out of the top drawer here. The instrumental take of Howard Tate's soul stomper 'Stop' is a belter, awash with razor-edged guitar licks. Kooper isn't the world's greatest singer, but what he does, he does well, and his keyboard work and arrangements are imaginative and colourful. When he ropes in Stephen Stills for a couple of tracks, it just gets better. Highly recommended.
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Format: Audio CD
Personally I think the 'super session' is a very strong Bloomfield/Kooper and Kooper/Still collaboration. It's a great mix of bluesy-jazzy-rock songs. The recording sessions dates from 1968, but still haven't lost their power. When it was issued as the 'Supper Session' LP the A-side was the Bloomfield/Kooper session and the B-side was the Kooper/Stills sessions.

Mike Bloomfield is at his peak of his performance. Extremely powerfull playing, especially in the instrumental "Stop". I'm not a guitar player, but I can actualy hear Bloomfield his power in his playing. The songs only last 4:19. The Rolling Stone review form 1968 is included and explains some of Bloomfields playing: "(...) But in "Really" and "Stop" there is a wide-open cheer and confidence in Bloomfield's tone - a clean, sharp peal descended from the three Kings (B.B., Albert and Freddie) - and his meaty glide from note to note." I think these lines sums up very well Bloomfield his playing. The nine minutes instrumental "His holy modal Majesty" is a freeform blues-jazz collaboration in optima forma by all band members.

The B-side is different. Stills was hastily recruted because Bloomfield didn't show up the next day. Stills his approach is less bluesy and less jazzy, but still it has the blues and the jazzy feeling. During these sessions they chose to play three covers instead of playing in free-form to see where their jamsession would take them.

Both sides have horns included at some of the songs. I like that very much, because to me it gives the record a complete touch.

Personal note; I first started to listen to this record as a teenager. My dad owned the LP and I was discovering the music from the British Blues Boom from the second part of the sixties.
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17 of 21 people found the following review helpful By K. E. Fay on 6 Oct. 2003
Format: Audio CD
I was 18 and musically naive when this album was first released. A friend of mine had bought it and played it to me and I was hooked on white boys blues. Since that day, I've bought and worn out 5 copies. This latest reincarnation is the best yet. The extra tracks range from excellent to awful but who cares. Albert's Shuffle is even better without the horns, Season of the Witch better with. Track 12 was omitted from the original, quite rightly, it's terrible! Track 13 is beautiful, worth buying the album for this one alone. If you already own it, buy it again. If you don't, what are you waiting for? The album sounds just as good today as it did all those years ago.
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1 of 1 people found the following review helpful By Mr. Christopher M. Child on 2 Jun. 2014
Format: Audio CD Verified Purchase
This is classy stuff -timeless. Notes carefully chosen and sublimely played. Would like the new box set but its a bit pricey
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Perhaps the squalid nature of his decline has consigned Bloomfield to the footnotes of recent blues history; or maybe he was just less charismatic than Hendrix, Clapton, Guy, Beck or Page. But he was a fine player. These super sessions (from the era obsessed with the supergroup) and quite relaxed; but contain some fine and tasteful playing.
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The names of the artists say it all. This takes me way back, probably more than I care to remember, when music was felt and not manufactured. Love it. If you liked late 60's free music, you'll love this.
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