Coffee, Confusion and Jim Morrison: The Forgotten History of Hip Coffee Houses and Beatnik Poets in the Nation’s Capital

Cafe Rienzi, opened by painter David Grossblatt, was one of the first coffee shops in New York. Located on MacDougal Street, 1957.

“The Beat Generation emerged in the 1950s as a bohemian-fueled movement of visionary literary heroes, passionate poets and colorful, off-beat characters whose very lives were driven by an emotional quest for experience and an insatiable thirst for spontaneous poetry, unrestrained sex, bebop jazz, marijuana (which they called ‘tea’), impulsive travel and esoteric philosophy. Two main camps of the Beat Generation emerged in the United States as their presence permeated mainstream American culture: a New York contingency comprised of such luminaries as Jack Kerouac, John Clellon Holmes, William Burroughs, Gregory Corso, Allen Ginsberg, and Herbert Huncke; and a West Coast faction whose ranks included Lawrence Ferlinghetti, Michael McClure, Gary Snyder, Philip Whalen, and Lew Welch. The creative power of these literary pioneers inspired devoted followings of like-minded writers and artists in hip coffee houses across the nation, with a particularly intense scene materializing in Washington, DC, where a venue known as ‘Coffee ‘n’ Confusion’ became the focal point for the city’s ‘beatnik’ contingency and is noted today for having been the site of the very first public performance of rock and roll legend Jim Morrison, who as a teenager gave an original poetry recital on the dank coffee house’s cramped, makeshift stage. … While Jack Kerouac’s first novel The Town and the City was not widely read, his second effort in 1957, On the Road, was credited for announcing, in effect, a new consciousness. It was a major event in the annals of Beat Generation literature and fostered a special magic with its undirected raw energy, prose-poetry, and larger-than-life protagonists ‘Sal Paradise’ (Jack Kerouac himself) and ‘Dean Moriarty’ (Neal Cassady – a major prototype hipster figure in both the Beat Generation culture of the 1950s and the hippie movement of the 1960s), who zoomed back-and-forth around the country in search of thrills and experiences. As Beat Generation consciousness expanded during the late 1950s, San Francisco Chronicle reporter Herb Caen noted in his April 2, 1958 column (‘Pocketful of Notes’) that Look Magazine had hosted a party in a North Beach house for fifty ‘beatniks’ in preparation for a forthcoming article on the subject. It marked the first time the term ‘beatnik’ had ever appeared in print and quickly became the moniker bestowed upon those who ingratiated themselves into the Beat Generation world. The beatnik image was shaped by a wave of books and articles that projected images of shaggy, bearded, beret-topped, bongo-playing, marijuana-smoking men and sullen, straight-haired, black-dressed women. …”
Washington Art
Poems in Street, Coffeehouse, and Print—The Mid-1960s
Coffeehouses: Folk Music, Culture, and Counterculture
Coffee and Bob Kaufman, Poet of the People

Lew Welch, Gary Snyder, and Philip Whalen before the Freeway reading in 1963.
Posted in Allen Ginsberg, Books, Burroughs, Counterculture, Hippie, Jack Kerouac, LSD, Marijuana, Poetry | Tagged , , , , , , , , | Leave a comment

Shirley Chisholm: ‘They will remember a 100-pound woman’

“The tiny glittering black woman stood utterly at attention. She wore a suit of stiff brocade that fitted her shoulders so snugly it gave her a faintly military air. There was, in fact, something about her that suggested the Salvation Army. Perhaps it was only her stiff shoulders, or perhaps also her frequent references to the Lord. Then, too, she had a way of drawing herself up even straighter and stiffer in her moments of intensity, looking then totally charged with inspiration, a small quivering ramrod of righteousness. ‘I’m here to tell you tonight, yes, I dare to say I’m going to run for the Presidency of the United States of America!’ she uttered at the climactic center of her speech. When she said the word ‘dare,’ she fairly squinted with indignation, and, propelled along now by her own anger, she told her audience she was out to prove to the public ‘that other kinds of people can steer the ship of state besides the white men … Regardless of the outcome,’ she continued, more slowly now for emphasis, ‘they will have to remember that a little 100-pound woman, Shirley Chisholm, shook things up!’ The small and hyper-tense black Congresswoman from Brooklyn was speaking to some 1300 of her supporters in a ballroom of the Americana Hotel three weeks ago. The occasion was the first fund-raising dinner for her Presidential campaign, and she had drawn to it just about everyone of importance in Brooklyn and Manhattan politics, including John Lindsay. A night of glory for her, the dinner raised some $60,000 and demonstrated her considerable drawing power in this city. But before another week was out, her still unofficial candidacy would appear to be shaking up Shirley Chisholm every bit as much as it was shaking up the male politicians she so longed to unnerve. For she went at the end of the week to a conference of black elected officials at Washington’s Sheraton-Park Hotel, where she was made to feel only barely welcome. The few female politicians in attendance did react warmly to her, but the black male congressmen, who appeared to be calling all the shots, were almost openly contemptuous of her. Thursday evening (November 18) a cocktail party for the visiting black politicians was held in a large room in the Rayburn building on Capitol Hill. It was a gathering of black celebrities, who, like their white counterparts at such affairs, basked in the smiles of pretty girls, looked around to see who else of importance was present, and generally gave off that ineffable air of people who have made it and know it. Success seems to break down all philosophical barriers at Washington cocktail parties, and on this evening, at least, success had gathered in the same room black men as disparately oriented as the Nixon and Kennedy officials who showed up at the first Kennedy Center party. …”
Voice (December 2, 1971)
W – Shirley Chisholm
Smithsonian – ‘Unbought And Unbossed’: When a Black Woman Ran for the White House (Video)
NPR: A Look Back On Shirley Chisholm’s Historic 1968 House Victory (Audio)
YouTube: Shirley Chisholm’s Story As The First Black Woman To Run For President

Posted in Documentary | Tagged | 1 Comment

The Great Art Behind Hunter S. Thompson’s Run for Sheriff

Hunter S. Thompson giving his concession speech at Hotel Jerome.

“If you’re going to curate an exhibition of vintage artwork related to the unorthodox and self-described gonzo journalist Hunter S. Thompson, prepare for the process itself to become a bit, well, gonzo. Daniel Joseph Watkins learned this lesson the hard way. He had to figure out how to move ‘Freak Power,’ an exhibition featuring the visually striking campaign posters designed for Thompson’s 1970 run for county sheriff in Colorado, from his Aspen-based gallery to Poster House in Manhattan, where it’s open through Aug. 15. The posters, designed and silk-screened by the artist Thomas W. Benton, a close friend of Thompson’s and a fellow Californian turned Aspen activist, fused gut-punch electioneering (‘Sell Aspen or Save It’) with visceral imagery (a clenched fist set against a sheriff’s badge). Surviving samples in pristine condition now sell for upward of $25,000. But that price tag pales in comparison to owners’ intense emotional attachment. ‘It would have been much easier to borrow a Warhol or a Rothko from some of these people,’ laughed Watkins. ‘Unfortunately, later in his life, Benton became consumed with a drug habit and had been trading and selling his artwork to several drug dealers,’ he continued. One of those figures was willing to loan out several key Benton pieces. But he made it clear that if anything happened to them, filing an insurance claim would be the least of Watkins’s problems. A suitably warned Watkins felt there was ultimately one person he could entrust to ship the posters east: himself. So last month he loaded up a U-Haul with the contents of the exhibition and personally drove it the 30 hours and nearly 2,000 miles to Poster House’s front doors. ‘At night, I slept in the back of the truck with the artwork. I had a little bed there with a heated electric blanket. And I had a club,’ he recalled matter-of-factly. ‘I had a friend following me in another car in case anything went wrong, and we would pull over to sleep in various Walmart parking lots.’ … In addition to three dozen Benton posters, this show includes kinetic ink-splattered drawings by Ralph Steadman, whose illustrations accompanied many of Thompson’s articles; campaign trail photographs by the Aspen photojournalists David Hiser and Bob Krueger; and issues of The Aspen Wall Poster, a broadsheet newspaper designed by Benton and written by Thompson. …”
NY Times
Freak Power: The Ballot or the Bomb (Video)
W – Freak Power: The Ballot or the Bomb

A campaign worker for Thompson in Aspen on Election Day.
Posted in Gonzo journalism, Hippie, Hunter S. Thompson, Marijuana, Movie | Tagged , , , , | Leave a comment

John Wesley Harding – Bob Dylan (1967)

John Wesley Harding is the eighth studio album by American singer-songwriter Bob Dylan, released on December 27, 1967, by Columbia Records. Produced by Bob Johnston, the album marked Dylan’s return to semi-acoustic instrumentation and folk-influenced songwriting after three albums of lyrically abstract, blues-indebted rock music. John Wesley Harding shares many stylistic threads with, and was recorded around the same time as, the prolific series of home recording sessions with The Band, partly released in 1975 as The Basement Tapes, and released in complete form in 2014 as The Bootleg Series Vol. 11: The Basement Tapes Complete. … ‘All Along the Watchtower‘ became one of his most popular songs after Jimi Hendrix‘s rendition was released in the autumn of 1968. … Dylan went to work on John Wesley Harding in the fall of 1967.  During that time, he stockpiled a large number of recordings, including many new compositions. … Those sessions took place in the autumn of 1967, requiring less than twelve hours over three stints in the studio. Dylan was once again recording with a band, but the instrumentation was very sparse. … Most of the songs on John Wesley Harding have pared-down lyrics. Though the style remains evocative, continuing Dylan’s use of bold imagery and the extravagant surreality that seemed to flow in a stream-of-consciousness fashion has been tamed into something earthier and more to the point. … According to Allen Ginsberg, Dylan had talked to him about his new approach, telling him ‘he was writing shorter lines, with every line meaning something. He wasn’t just making up a line to go with a rhyme anymore; each line had to advance the story, bring the song forward. And from that time came some of his strong laconic ballads like ‘The Ballad of Frankie Lee and Judas Priest.’ There was no wasted language, no wasted breath. All the imagery was to be functional rather than ornamental.’ This mirrors Dylan’s increased interest in painting at the time. Each song creates profound images i.e. ‘two riders were approaching’, and each song is concise, complete, yet leaving room for interpretation. Even the song structures are rigid as most of them adhere to a similar three-verse model, although much of the beat patterns throughout the measures were time-shifted, that is, units of three and five beats were employed over the four beat structure. The dark, religious tones that appeared during the Basement Tapes sessions also continue through these songs, manifesting in language from the King James Bible. In The Bible in the Lyrics of Bob Dylan, Bert Cartwright cites more than sixty biblical allusions over the course of the thirty-eight and a half minute album, with as many as fifteen in ‘The Ballad of Frankie Lee and Judas Priest’ alone. An Old Testament morality also colors most of the songs’ characters. …”
“Searching For A Gem” International Album Releases (Regular) – John Wesley Harding
Are The Beatles Faces Hidden On The Cover Of A John Wesley Harding Album?
vimeo: John Wesley Harding 35:51
YouTube: The Story Of Travelin’ Thru, 1967 – 1969 7:18, Tell Me That It Isn’t True (Take 2), I Pity The Poor Immigrant (Take 4)
YouTube: The Jimi Hendrix Experience – All Along The Watchtower (Official Audio)

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How It Got That Way by Peter Schjeldahl (1966)

“Most shows that are ‘about’ something are boring even when the works in them are interesting. Such exhibitions usually are the bright ideas of museum functionaries who see it as their duty to educate or otherwise to molest the public. Of late the favored ‘thematic content’ has been all Art History, and the criterion of selection generally has been somebody’s notion of ‘significance.’ The typical catalogue piece is quick to establish the art’s pedigree above all else, perhaps excepting its novelty. The current paradigm demands that a work be at once fairly old and very new. It’s a crazy situation. What makes it crazier is the docile way the new historicism lies down with the equally modish rage for identification of Cultural Phenomena. A presumed Development in the arts is seen as ipso facto a commentary on and an expression of the times (and how is YOUR sensibility coming along?), often before the paint on it is dry. Thus is the barn door flung open to the popular phrase-twirlers and it’s every man for himself. The slick magazines invented Pop five years ago and have mostly succeeded (with the help of general disarray and hysteria in critical ranks) in keeping obscure the essential differences between Batman posters and the great and good art of Warhol, Lichtenstein, et al. The same hackers have maintained the Myth of Op first promulgated by the publicists of the Museum of Modern Art, that is, the myth that Op actually exists as a discrete motive in art, against tons of evidence to the contrary. All this is bound to make discourse on historical point and order seem a little unreal, though in fact it makes such discourse a prerogative of just anybody. After all, everyone should be concerned with his times, n’est-ce pas? and the current conviction that art is a fail-safe barometer to the times makes art and the artist seem public utilities. Naturally, people who have imbibed this mythic hash but still (as ever) know nothing about art tend to get a bit uneasy. This is where the shows ‘about’ things come in — instant short courses in one or another Right Idea about what’s happening (or about what has been or was or will be happening), in which the student need never so much as admit his ignorance: He has the perfect alibi of having come to a museum to look at paintings. But what, meanwhile, has happened to those paintings? Mainly, a grid has been dropped between the work and the viewer automatically selecting and enforcing the Insight that has been concocted for his edification. Witness the Modern’s Turner show (a kind of apotheosis), ‘Illusion and Reality’ — Everyman an Art Historian — ‘Look, ma, imitations of abstractions!’ It should perhaps be possible to ignore the pedagogy and just to look at the works, but it’s easy to prefer the museum’s superb snack bar to the effort. …”
W – Peter Schjeldahl

Posted in Happenings, Poetry | Tagged , | Leave a comment



Spacewar! is a space combat video game developed in 1962 by Steve Russell in collaboration with Martin Graetz, Wayne Wiitanen, Bob Saunders, Steve Piner, and others. It was written for the newly installed DEC PDP-1 minicomputer at the Massachusetts Institute of Technology. After its initial creation, Spacewar! was expanded further by other students and employees of universities in the area, including Dan Edwards and Peter Samson. It was also spread to many of the few dozen installations of the PDP-1 computer, making Spacewar! the first known video game to be played at multiple computer installations. The game features two spaceships, ‘the needle’ and ‘the wedge’, engaged in a dogfight while maneuvering in the gravity well of a star. Both ships are controlled by human players. Each ship has limited weaponry and fuel for maneuvering, and the ships remain in motion even when the player is not accelerating. Flying near the star to provide a gravity assist was a common tactic. Ships are destroyed when they collide with a torpedo, the star, or each other. At any time, the player can engage a hyperspace feature to move to a new and random location on the screen, though in some versions each use has an increasing chance of destroying the ship instead. The game was initially controlled with switches on the PDP-1, though Bob Saunders built an early gamepad to reduce the difficulty and awkwardness of controlling the game. Spacewar! is one of the most important and influential games in the early history of video games. It was extremely popular in the small programming community in the 1960s and the public domain code was widely ported and recreated at other computer systems at the time, especially after computer systems with monitors became more widespread towards the end of the decade. It has also been recreated in more modern programming languages for PDP-1 emulators. … Spacewar! was extremely popular in the small programming community in the 1960s and was widely recreated on other minicomputer and mainframe computers of the time before migrating to early microcomputer systems in the 1970s. …”
SPACEWAR: Fanatic Life and Symbolic Death Among the Computer Bums by Stewart Brand
NY Times: A Dinosaur Gallery for Video Games
The History of Spacewar: The First Computer Game
YouTube: Lyle Bickley explains the PDP-1 (and we play the original Spacewar!) 22:23

Spacewar Gameplay
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The Black Panther Party: A Graphic Novel History

“Fred Hampton was the 21-year-old chief of staff and national spokesperson for the Black Panther Party when, on the morning of Dec. 4, 1969, Chicago police broke into his apartment and murdered him. Hampton was considered a charismatic danger by the Chicago PD and the FBI, a successful organizer whose leadership of the militant group constituted a threat to society. He had to go. For author David Walker, Fred Hampton’s murder 50 years ago was not ancient history, but a totally relevant story he had to write about. ‘Fred Hampton was a story I wanted to tell so badly, but to tell that story without contextualizing it would be a mistake,’ says Walker, who, along with illustrator Marcus Anderson, is the creative force behind The Black Panther Party, a beautifully conceived and sobering graphic novel tracing the history of this doomed, but influential, group. … The Black Panther Party for Self-Defense was founded in 1966 in Oakland, California by Huey Newton and Bobby Seale (‘For Self-Defense’ was dropped from the name two years later). Inspired by the Black Power movement and the racism and brutality of the local police department, the group became famous for its militancy, sartorial style (black berets and leather jackets), weaponry, and a 10-point program that called for everything from decent housing and full employment to an end to police brutality and the release of all Black men from jail. The Panthers also became known for their numerous ‘survival programs,’ which included free breakfast for kids, health clinics, schooling, and a sickle cell testing program. At one point the Panthers had more than 60 chapters nationwide, and influenced similar groups geared towards Chicanos, Puerto Ricans, and Native Americans, as well as organizations in countries including Great Britain, Australia, and India. … Not surprisingly, an organization of militant young Blacks soon caught the attention of the police and J. Edgar Hoover’s FBI, whose COINTELPRO program set out to destroy the Panthers and other civil rights groups through a series of covert and illegal acts. That, plus the destructive behavior of some of the Panthers (Newton became a drug abuser) and personality dynamics causing friction involving some of the group’s leaders, led to the Party’s ultimate destruction—by 1977, it was a shell of its former self. But the legend of the Panthers as take-no-prisoners activists standing up for the Black community has remained, which is one reason why both Anderson and Walker were excited about the Panther project. …”
Graphic Novel Shows How the Black Panthers Foreshadowed the BLM Era
A New Graphic Novel Shows the History of the Black Panther Party
NY Times: Can a Comic Book Contain the Drama and Heat of Activism?

Posted in Angela Davis, Black Power, Bobby Seale, Books, Chicano, CIA, Cuban Revolution, Eldridge Cleaver, Huey P. Newton | Tagged , , , , , , , | 1 Comment

Cinematic History and Its Defining Moments: 1961-1971

John Huston’s ‘The Misfits’ (1961)

“As technology and storytelling evolved, the second half of the twentieth century brought forth a plethora of iconic films that changed the way we see and understand cinema today. Directors of a previous generation delivered their last masterpieces, bowing out gracefully as the new generation emerged with daring new concepts. Young actors we worship today as legends were only just getting started, and from 1961 until 1971, many of their performances made cinematic history. … John Huston’s ‘The Misfits’ (1961) is a heart-breaking work of art, showing us Marilyn Monroe like never before. Her Roslyn ends up running into the desolate flatlands, a raw animal howl bursting from her throat and cutting through our souls as the line is blurred between the character and the real woman—it all comes spilling out: the foster homes, the sexual abuse, the divorces, the beatings, the miscarriages, the drugs… Two years later, Ms Monroe would be found dead. I see this particular scene as a foreshadowing of her epitaph, in a way. ‘The Misfits’ is also her last movie and her legacy, a condemnation of the public who kept staring but could never really see how capable an actress she truly was. … Luchino Visconti’s ‘The Leopard’ (1963) is but one example that showcases the visionary director’s ability to express complex ideas through visual imagery. While it apparently focuses on the patriarchal figure of Prince Fabrizio Salina, eloquently portrayed by Burt Lancaster, the film is more concerned with the changes of Italian society when power is passed from the older generation to the younger. The main representatives of the latter are Salina’s nephew, Tancredi Falconeri (Alain Delon) and Tancredi’s wife-to-be (Claudia Cardinale), whom we see embracing during the party sequence through the film’s final hour. In one astonishing shot, a distant view of them kissing is suddenly invaded by the line of dancers—the contrast between joy and the drabness of conformity gives this scene and the film itself a type of melancholy that is a staple of Visconti’s work. … In November 1968, the Motion Picture Association of America enacted its rating system as a response to the constantly eroding strictures of the old Hollywood Production Code from the 1930s. Despite being looser than its predecessor, the MPAA rating system (G, PG, PG-13, R, and NC-17) was viciously called out by Kirby Dick in his 2006 documentary, ‘This Film Is Not Yet Rated’. His claims focused on the lack of transparency in the board’s decision-making process, along with the fact that it was more hostile to explicit sexual content than extreme violence, stigmatizing gay sex more severely than heterosexual coupling. …”
The Cinematic Journal

Luchino Visconti ‘The Leopard’ (1963)
Posted in Movie | Tagged | 1 Comment

Harry Smith: The Beat Artist Who Rescued Paper Planes from the Streets of NYC

“Every kid appreciates the improbable heights of a well-crafted paper airplane, but rare are the adults who take notice. Prolific 20th-century polymath Harry Smith, who’s best known for his experimental filmmaking but also dabbled in painting, anthropology, music, and the occult, picked up every paper airplane he saw on the streets of Manhattan from 1961 to 1983. Only 251 survive from the Beat artist’s collection. All were crisply photographed by Jason Fulford for Paper Airplanes: The Collections of Harry Smith, Catalogue Raisonné, Volume Iedited by John Klacsmann and Andrew Lampert and out now from J&L Books and Anthology Film Archives. Volume II of the Smith catalogue raisonnés focuses on his string figures, and future volumes will chronicle his collections of Ukrainian Easter eggs, gourds, Seminole textiles, tarot cards, and other ephemera. These incredible collections come from a man who lived mainly in hotel rooms, always surrounded by cardboard box towers of curios. It’s believed that Smith shipped the paper airplane boxes to the Smithsonian Air and Space Museum in 1984, seven years before he died. They were later rediscovered in the 1990s. In 2013, they were bequeathed to the Getty Research Institute, where they rejoined fellow collections from the Harry Smith Archives. All this to say that the little planes have had quite a journey since they were haphazardly folded from homework, a Betty Crocker cookbook, a Heineken label, an anti-war rally flyer, receipts, and a Max’s Kansas City menu. Some bear footprints from their time on the street, others seem completely impossible to fly. They vary from sharp triangles to sleek jetliner forms. Each has Smith’s pencil markings noting when and where he found the plane — nearly all in Manhattan, south of Central Park, including one in the lobby of his periodic home the Chelsea Hotel, on June 14, 1967. Others were made for Smith by friends and acquaintances with annotations like ‘Kenneth Lea […] learned in Memphis – used until 5th Grade – 3-4-62.’ Smith ‘was interested in the changes in their morphology over the years, with some plane designs disappearing and then mysteriously reappearing years later,’ says his friend William Breeze in the book. M. Henry Jones relates an account of Smith’s obsessive collecting habits. …”
WIRED: Beautiful Beatnik-Era Paper Planes From the Streets of NYC
John Klacsmann & Andrew Lampert on Harry Smith, ‘Paper Airplanes’ & ‘String Figures’
W – Harry Smith
amazon: Paper Airplanes: The Collections of Harry Smith: Catalogue Raisonné, Volume I, String Figures: The Collections of Harry Smith: Catalogue Raisonné, Volume II

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Mike Bloomfield, Al Kooper & Stills – Super Session (1968), The Live Adventures of Mike Bloomfield and Al Kooper (1968), Fillmore East: The Lost Concert Tapes (1968)

Super Session is an album by Al Kooper, with guitarists Mike Bloomfield on the first half and Stephen Stills on the second half of the album. Released by Columbia Records in 1968, it peaked at number 12 on the Billboard 200, and has been certified a gold record by the RIAA, spending 37 weeks on the charts. Al Kooper and Mike Bloomfield had previously worked together on the sessions for the ground-breaking classic Highway 61 Revisited by Bob Dylan, as well as playing in support of his controversial appearance at the Newport Folk Festival in July 1965. Kooper had recently left Blood, Sweat & Tears after recording their debut album with them, and was now working as an A&R man for Columbia. Bloomfield was about to leave Electric Flag, and at relative loose ends. Kooper telephoned Bloomfield to see if he was free to come down to the studio and jam; Bloomfield agreed, leaving Kooper to handle the arrangements.  Kooper booked two days of studio time in May 1968, and recruited keyboardist Barry Goldberg and bassist Harvey Brooks, both members of the Electric Flag, along with well-known session drummer ‘Fast’ Eddie Hoh. On the first day, the quintet recorded a group of mostly blues-based instrumental tracks, including a modal excursion ‘His Holy Modal Majesty’, a tribute to the late John Coltrane that was also reminiscent of ‘East-West’ from the second Butterfield Blues Band album. On the second day, with the tapes ready to roll, Bloomfield did not show up. Needing to have something to show for the second day of sessions, to sit in for Bloomfield, Kooper hastily called upon Stephen Stills, also in the process of leaving his band Buffalo Springfield. Regrouping behind Stills, Kooper’s session men cut mostly vocal tracks, including ‘It Takes a Lot to Laugh, It Takes a Train to Cry‘ from Highway 61 and a lengthy and atmospheric take of ‘Season of the Witch‘ by Donovan. Harvey Brooks’s closing tune ‘Harvey’s Tune’ includes overdubbed horns added while the album was being mixed. … Along with the stereo version, Super Session was released as a 4-channel quadraphonic version in the 1970s. The quadraphonic version was released on SQ matrix encoded vinyl and discrete 8-track cartridge tape. On April 8, 2003, Legacy Records reissued the album on compact disc with four bonus tracks, including both an outtake and a live track with Bloomfield, and two with the horn overdubs mixed out. In the early 2000s, it was intended that it would be remixed for the new 5.1 channel version to be released on SACD. …”
W – Super Session, Discogs
W – The Live Adventures of Mike Bloomfield and Al Kooper, Discogs
Fillmore East: The Lost Concert Tapes – Discogs
amazon: Super Session, The Live Adventures of Mike Bloomfield and Al Kooper, Fillmore East: The Lost Concert Tapes 12/13/68
YouTube: Super Session 50:24, The Live Adventures of Mike Bloomfield & Al Kooper 1:25:56, Fillmore East: The Lost Concert Tapes 12/13/68

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