Some Good Prog Woodstock Performances - Progressive Rock Music Forum

I wasn't born in the time of Woodstock, even in it's later incarnations. Do you more experienced proggians have more examples of some good performances by prog bands?

I know for one that Traffic in '94 was particularly good.

http://fryingpanmedia.com

^Didn't Jethro Tull play at one? I may be mistaken, I'm not that familiar with what bands have played Woodstock.

What?

"It just has none of the qualities of your work that I find interesting. Abandon [?] it." - Eno

http://www.progarchives.com/artist.asp?id=3022

Blood, Sweat & Tears was/is a Jazz-Rock band formed in New York in 1967, and one of the early examples of the genre that would be known as "Brass Rock" and sharing their hierarchy of the genre with CHICAGO TRANSIT AUTHORITY (later CHICAGO), both being prime examples along with their UK competitor IF.
The original incarnation of the band was lead by AL KOOPER (for just one album), JIM FIELDER (of Zappa's Mothers Of Invention fame), FRED LIPSIUS, JERRY WEISS, STEVE KATZ, DICK HALLIGAN, BOBBY COLOMBY, COREY GARRISON and RANDY BRECKER. Both AL KOOPER and STEVE KATZ had already worked together on The Blues Project, and Al Kooper got out of the band due to his desire to add horns and the frustration caused by the denial fromthe rest of his former band mates, only taking Steve with him.
They started by playing gigs at the Cafe Au Go Go, all of which were well received by the audience due to the innovating sound of brass with rock, jazz and psychedelia. The band at that moment was just integrated by Kooper, Katz, Colomby and Fielder; they were playing some of Al's first songs. Then the nucleus remained after thoughts of going separate ways, while bringing to the personnel trumpeters Randy Brecker and Jerry Weiss, saxophonist Fred Lipsius and trombonist Dick Halligan. The difference between BS & T and many R&B bands/artists lied in the use of the brass arrangements: whilst in R&B the brass simply served as decoration, BS & T used the brass with complex arrangements and solo spots.
They recorded their debut album by 1968 called "Child Is Father To The Man", which was proven a success. However, Colomby and Katz disliked Al Kooper's vocal style and they asked him to concentrate more on the organ. Kooper, disliking the way they were trying to dominate the band, quitted to become a record producer. Randy Brecker also departed to work with Horace Silver along with his brother Michael, and eventually they both co-formed the band Dreams. Kooper's last gig with BS & T was at the Garrick Theatre, in New York.
Colomby and Katz carried on with the support of Columbia Records. Jerry Weiss also left sometime later to form the band Ambergris. JERRY HYMAN, CHUCK WINFIELD and LOU SOLOFF were then called to the lineup to fill the blanks, and Dick Halligan was placed on organ. After some tryouts with Stephen Stills and Laura Nyro, Canadian DAVID CLAYTON-THOMAS was suggested by folk singer Judy Collins to her friends Colomby and Katz, and after seeing him perform they decided to recruit him. The new 9-piece recorded the self-title album "Blood, Sweat & Tears", produced by James William Guercio, and consisted mostly of covers like Brenda Holloways' "You've Made Me So Very Happy" and Laura Nyro's "And When I Die"; but without losing some progressive flavour with their own "Blues-Part II" and the variations of the Eric Satie piece "Trois Gymnopédies". Still, the album was a big commercial success and won a grammy as "Album Of The Year" and "Best Performance By a Male Vocalist". They also played at various Jazz and Rock festivals and performed at the first day of the Woodstock festival (it is interesting to know that their set couldn't be filmed entirely because of contractual reasons).
The group was asked by the U.S State Department to do a tour on East Europe, by means of giving a bit of American flavour to the youth in that part of the world. The results were disastrous, and the audience at the Romanian concert were repressed by police officers. The benefit proposed to the band was to grant Clayton-Thomas a green card.
The second album was recorded and released on June of 1970, called "Blood, Sweat and Tears 3"; as it was a very anticipated release, the album rose to the top of the U.S charts very quickly. Again, the album would be a collection of covers, like Carole King's "Hi-De-Ho", Steve Winwood's "40,000 Headmen" (the same Winwood of Traffic's fame) and Joe Cocker's "Somethin' Coming On". It received mixed reviews however, presumably influenced by the Eastern Europe incident. On November of that year they also had the chance to play with a symphonic ensemble in New Orleans.
In January 1971 they began recording they fourth album in San Francisco, called "Blood, Sweat and Tears 4". For the album Jerry Hyman was replaced by DAVE GARBERON and DON HECKMAN was called to co-produce. This time they had more compositions of their own, including Halligan/Clayton-Thomas' "Redemption" (with guest MICHAEL SMITH on congas) Halligan's "Lisa, Listen To Me" and Clayton-Thomas' "Go Down Gamblin'"; they also recorded a version of Al Kooper's "John The Baptist (Holy John)". They also became the first rock band to play in Las Vegas, at the expense of some of their fans disdain (their rockier fans).
The last concert with David and Fred Lipsius was on Dec. 27, 1971 in Anaheim, California. Due to discrepancies in the members' musical ambitions, they split up. Sax legend JOE HENDERSON (who didn't stay long enough to participate in studio sessions) was asked to fill Fred Lipsius' spot and after a while Joe was replaced by LOU MARINI. Dick Halligan was replaced by LARRY WILLIS and GEORG WADENIUS filled the guitar spot. Their album "New Blood" marked a change in sound, venturing on more jazzy grounds; an example of this is the cover of Herbie Hancock's "Maiden Voyage". The single "So Long Dixie" was also released and reached #44 in the charts. Guitarist STEFAN GROSSMAN (who played with Steve Katz on Even Dozen Jug Band) featured as guest in the european part of the New Blood tour
The next album, "No Sweat" (1973), was recorded without Dick Halligan (who was replaced by LARRY WILLIS); Steve Katz retired from active playing at the same time to work as a producer. Chuck Winfield also left, and was replaced by Tom Malone. This resulted in the album being recorded with a nine-piece band. Two track off the album were released as singles: "Roller Coaster" and "Save The Ship". After some touring there were even more personnel changes; this turn is for Jim Fielder, Lew Soloff, Lou Marin and Tom Malone (RON MCCLURE, BILL TILLMAN, TONY KLATKA and JERRY LACROIX came in); Jerry LaCroix, former member of the Edgar Winter Group, also sings, but Jerry Fisher still has the lead vocal position.
In July 1974 "Mirror Image" was released, the third album from the post-Clayton-Thomas period. "Tell Me That I'm Wrong" was released as a single. Jerry LaCroix did not feel comfortable within the band, and the style was admittedly not of his likings; so his vocal duties were filled by one LUTHER KENT, who sang together with JERRY FISHER. Bobby Colomby and band manager Fred Heller were also planning the return of Clayton-Thomas to the band. Eventually Luther Kent, Jerry Fisher and Clayton-Thomas sang together on a show. After all that, Jerry and Luther left.
With Clayton-Thomas' return, the band produced two more albums for Columbia Records: "New City" and "More Than Ever". Then the last original member of the band, Bobby Colomby, left the band in 1976; due to this album's lack of commercial success, Columbia drops the band and later it's signed for ABC Records. In November they record "Brand New Day", and that was the Swan Song for that version of BS&T, after saxophonist GREGORY HERBERT (who joined them on the 1978 Europe tour) died of a cocaine overdose.
David Clayton-Thomas formed a band in 1980 consisting of Canadian musicians. It was initially called "Canada", but after management pressures he changed the name to Blood, Sweat & Tears to have a worldwide recognition.They signed to Avenue Records subsidiary label LAX [MCA Records], and with producer and arranger JERRY GOLDSTEIN they recorded the album Nuclear Blues, with a more jazz-funk sound. The band disbanded again after an Australian tour.
David decided to pursue his solo career again, touring with a new band. There were complications as in some shows his band was booked as "Blood, Sweat & Tears" and David Clayton didn't have legal rights for the name. So he negotiated with Bobby Colomby for the license of the band's name. For the next years he would be booked as "Blood, Sweat & Tears (featuring David Clayton-Thomas)". He was allowed to tour with that name, but Colomby said it wouldn't apply for recordings.
In 1994 Al Kooper got together with members of the original band and played gigs under the name "Child Is Father To The Man" (since the rights to the original name were reserved to Colomby). The shows were released on a double CD called "Soul Of A Man: Al Kooper Live" and included the performances of "Your Days Are Numbered" and "I Can't Quit Her". That same year, David Clayton recorded an album with his Blood, Sweat & Tears horn section at that time and Hungarian drummer and compose Leslie Mandoki, called "People" (which also featured figures like IAN ANDERSON, AL DI MEOLA and MICHAEL BRECKER). Three years later they recorded and released "People In Room No. 8" and in 2002 David recorded tracks for the third Mandoki album called "Soulmates".
In 2004 David-Clayton announced that he would again pursue a solo career (without the Blood, Sweat & Tears name); that the band is no more and that he wishes to take a break from the road to engage in creative projects.

== Jesus 'Chus' Brea ==

Edited by Svetonio - August 19 2015 at 06:55

Hi,

Woodstock, for me, is not about progressive anything at all, and never has been. Even though there are a couple of groups that fit our definitions, in general, the whole Woodstock thing was a massive validation of the behemoth that the rock music business had become that a lot of Americans still didn't know, and a lot of radio stations in America still didn't play it!

The hardest and saddest part of it, is that some of the things that best represented what I would call the artistic side of things (and Dean posted a good one!), rather than the fame side of things, were just about all dismissed, and in my book, this kinda brought everything down to a pop song for the old AM radio (in America - slightly different in Europe/England) and its top ten, and not the new FM radio that helped bring these live and longer cuts and feelings to the foreground! AM radio would not touch most of those pieces of music, except a couple of hit songs!

In the end, Woodstock is nothing, but a snapshot of one of the saddest parts of my generation ... the beginning of the mememe bs, and the lack of consideration or care for what the whole thing is about ... and there is no better document on that, and editorial than watching Jimi play the national anthem .. in front of garbage ... because that is how many Americans treat their music and their arts at the end of the day! Go back home and listen to their top ten C&W station! And you should have seen how many of the Prom witches at West High in Madison thought that Jimi was the worst musician ever! And probably because he was black, too!

Edited by moshkito - August 29 2015 at 16:58

Music is not just for listening ... it is for LIVING ... you got to feel it to know what's it about! Not being told!
www.pedrosena.com

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aglasshouse Members Profile Send Private Message Find Members Posts Add to Buddy List Reviewer page Forum Senior Member Joined: August 27 2014 Location: riding the MOAB Status: Offline Points: 1505	Topic: Some Good Prog Woodstock Performances Posted: August 15 2015 at 21:37
	I wasn't born in the time of Woodstock, even in it's later incarnations. Do you more experienced proggians have more examples of some good performances by prog bands? I know for one that Traffic in '94 was particularly good.
	http://fryingpanmedia.com

micky Members Profile Send Private Message Find Members Posts Add to Buddy List Reviewer page Special Collaborator Honorary Collaborator Joined: October 02 2005 Location: . Status: Offline Points: 46833	Posted: August 15 2015 at 23:37
	other than Traffic at one of those later Woodstocks.. I really can't think of any other 'prog groups' that played. More than a few related..like the Airplane... even a couple perhaps added here in non-traditional prog categories.. Santana being the obvious and famous one of that group.
	The Pedro and Micky Experience - When one no longer requires psychotropics to trip

Pastmaster Members Profile Send Private Message Find Members Posts Add to Buddy List Reviewer page Forum Senior Member Joined: January 23 2015 Location: Spiderwood Farm Status: Offline Points: 1774	Posted: August 15 2015 at 23:51
	^Didn't Jethro Tull play at one? I may be mistaken, I'm not that familiar with what bands have played Woodstock.

micky Members Profile Send Private Message Find Members Posts Add to Buddy List Reviewer page Special Collaborator Honorary Collaborator Joined: October 02 2005 Location: . Status: Offline Points: 46833	Posted: August 15 2015 at 23:58
	I don't so.. definitely not the 69 version.. perhaps they did one of the 90's one.. but that was MTV orientated I doubt Tull would have spotlighted. Traffic was mainly for Winwood who was still at that point a fairly big commercial attraction to the MTV kiddies that those later Woodstocks were geared towards.
	The Pedro and Micky Experience - When one no longer requires psychotropics to trip

Rednight Members Profile Send Private Message Find Members Posts Add to Buddy List Reviewer page Forum Senior Member Joined: January 18 2014 Location: Mar Vista, CA Status: Offline Points: 4807	Posted: August 18 2015 at 14:52
	What?
	"It just has none of the qualities of your work that I find interesting. Abandon [?] it." - Eno

SteveG Members Profile Send Private Message Find Members Posts Add to Buddy List Reviewer page Forum Senior Member Joined: April 11 2014 Location: Kyiv In Spirit Status: Offline Points: 20609	Posted: August 18 2015 at 15:06
	Saw this guy in '69 while tripping on acid. He was awesome!

Svetonio Members Profile Send Private Message Find Members Posts Add to Buddy List Reviewer page Forum Senior Member Joined: September 20 2010 Location: Serbia Status: Offline Points: 10213	Posted: August 18 2015 at 16:59


Dean Members Profile Send Private Message Find Members Posts Add to Buddy List Reviewer page Special Collaborator Retired Admin and Amateur Layabout Joined: May 13 2007 Location: Europe Status: Offline Points: 37575	Posted: August 19 2015 at 04:18

	What?

Svetonio Members Profile Send Private Message Find Members Posts Add to Buddy List Reviewer page Forum Senior Member Joined: September 20 2010 Location: Serbia Status: Offline Points: 10213	Posted: August 19 2015 at 06:38
	http://www.progarchives.com/artist.asp?id=3022 Blood, Sweat & Tears was/is a Jazz-Rock band formed in New York in 1967, and one of the early examples of the genre that would be known as "Brass Rock" and sharing their hierarchy of the genre with CHICAGO TRANSIT AUTHORITY (later CHICAGO), both being prime examples along with their UK competitor IF. The original incarnation of the band was lead by AL KOOPER (for just one album), JIM FIELDER (of Zappa's Mothers Of Invention fame), FRED LIPSIUS, JERRY WEISS, STEVE KATZ, DICK HALLIGAN, BOBBY COLOMBY, COREY GARRISON and RANDY BRECKER. Both AL KOOPER and STEVE KATZ had already worked together on The Blues Project, and Al Kooper got out of the band due to his desire to add horns and the frustration caused by the denial fromthe rest of his former band mates, only taking Steve with him. They started by playing gigs at the Cafe Au Go Go, all of which were well received by the audience due to the innovating sound of brass with rock, jazz and psychedelia. The band at that moment was just integrated by Kooper, Katz, Colomby and Fielder; they were playing some of Al's first songs. Then the nucleus remained after thoughts of going separate ways, while bringing to the personnel trumpeters Randy Brecker and Jerry Weiss, saxophonist Fred Lipsius and trombonist Dick Halligan. The difference between BS & T and many R&B bands/artists lied in the use of the brass arrangements: whilst in R&B the brass simply served as decoration, BS & T used the brass with complex arrangements and solo spots. They recorded their debut album by 1968 called "Child Is Father To The Man", which was proven a success. However, Colomby and Katz disliked Al Kooper's vocal style and they asked him to concentrate more on the organ. Kooper, disliking the way they were trying to dominate the band, quitted to become a record producer. Randy Brecker also departed to work with Horace Silver along with his brother Michael, and eventually they both co-formed the band Dreams. Kooper's last gig with BS & T was at the Garrick Theatre, in New York. Colomby and Katz carried on with the support of Columbia Records. Jerry Weiss also left sometime later to form the band Ambergris. JERRY HYMAN, CHUCK WINFIELD and LOU SOLOFF were then called to the lineup to fill the blanks, and Dick Halligan was placed on organ. After some tryouts with Stephen Stills and Laura Nyro, Canadian DAVID CLAYTON-THOMAS was suggested by folk singer Judy Collins to her friends Colomby and Katz, and after seeing him perform they decided to recruit him. The new 9-piece recorded the self-title album "Blood, Sweat & Tears", produced by James William Guercio, and consisted mostly of covers like Brenda Holloways' "You've Made Me So Very Happy" and Laura Nyro's "And When I Die"; but without losing some progressive flavour with their own "Blues-Part II" and the variations of the Eric Satie piece "Trois Gymnopédies". Still, the album was a big commercial success and won a grammy as "Album Of The Year" and "Best Performance By a Male Vocalist". They also played at various Jazz and Rock festivals and performed at the first day of the Woodstock festival (it is interesting to know that their set couldn't be filmed entirely because of contractual reasons). The group was asked by the U.S State Department to do a tour on East Europe, by means of giving a bit of American flavour to the youth in that part of the world. The results were disastrous, and the audience at the Romanian concert were repressed by police officers. The benefit proposed to the band was to grant Clayton-Thomas a green card. The second album was recorded and released on June of 1970, called "Blood, Sweat and Tears 3"; as it was a very anticipated release, the album rose to the top of the U.S charts very quickly. Again, the album would be a collection of covers, like Carole King's "Hi-De-Ho", Steve Winwood's "40,000 Headmen" (the same Winwood of Traffic's fame) and Joe Cocker's "Somethin' Coming On". It received mixed reviews however, presumably influenced by the Eastern Europe incident. On November of that year they also had the chance to play with a symphonic ensemble in New Orleans. In January 1971 they began recording they fourth album in San Francisco, called "Blood, Sweat and Tears 4". For the album Jerry Hyman was replaced by DAVE GARBERON and DON HECKMAN was called to co-produce. This time they had more compositions of their own, including Halligan/Clayton-Thomas' "Redemption" (with guest MICHAEL SMITH on congas) Halligan's "Lisa, Listen To Me" and Clayton-Thomas' "Go Down Gamblin'"; they also recorded a version of Al Kooper's "John The Baptist (Holy John)". They also became the first rock band to play in Las Vegas, at the expense of some of their fans disdain (their rockier fans). The last concert with David and Fred Lipsius was on Dec. 27, 1971 in Anaheim, California. Due to discrepancies in the members' musical ambitions, they split up. Sax legend JOE HENDERSON (who didn't stay long enough to participate in studio sessions) was asked to fill Fred Lipsius' spot and after a while Joe was replaced by LOU MARINI. Dick Halligan was replaced by LARRY WILLIS and GEORG WADENIUS filled the guitar spot. Their album "New Blood" marked a change in sound, venturing on more jazzy grounds; an example of this is the cover of Herbie Hancock's "Maiden Voyage". The single "So Long Dixie" was also released and reached #44 in the charts. Guitarist STEFAN GROSSMAN (who played with Steve Katz on Even Dozen Jug Band) featured as guest in the european part of the New Blood tour The next album, "No Sweat" (1973), was recorded without Dick Halligan (who was replaced by LARRY WILLIS); Steve Katz retired from active playing at the same time to work as a producer. Chuck Winfield also left, and was replaced by Tom Malone. This resulted in the album being recorded with a nine-piece band. Two track off the album were released as singles: "Roller Coaster" and "Save The Ship". After some touring there were even more personnel changes; this turn is for Jim Fielder, Lew Soloff, Lou Marin and Tom Malone (RON MCCLURE, BILL TILLMAN, TONY KLATKA and JERRY LACROIX came in); Jerry LaCroix, former member of the Edgar Winter Group, also sings, but Jerry Fisher still has the lead vocal position. In July 1974 "Mirror Image" was released, the third album from the post-Clayton-Thomas period. "Tell Me That I'm Wrong" was released as a single. Jerry LaCroix did not feel comfortable within the band, and the style was admittedly not of his likings; so his vocal duties were filled by one LUTHER KENT, who sang together with JERRY FISHER. Bobby Colomby and band manager Fred Heller were also planning the return of Clayton-Thomas to the band. Eventually Luther Kent, Jerry Fisher and Clayton-Thomas sang together on a show. After all that, Jerry and Luther left. With Clayton-Thomas' return, the band produced two more albums for Columbia Records: "New City" and "More Than Ever". Then the last original member of the band, Bobby Colomby, left the band in 1976; due to this album's lack of commercial success, Columbia drops the band and later it's signed for ABC Records. In November they record "Brand New Day", and that was the Swan Song for that version of BS&T, after saxophonist GREGORY HERBERT (who joined them on the 1978 Europe tour) died of a cocaine overdose. David Clayton-Thomas formed a band in 1980 consisting of Canadian musicians. It was initially called "Canada", but after management pressures he changed the name to Blood, Sweat & Tears to have a worldwide recognition.They signed to Avenue Records subsidiary label LAX [MCA Records], and with producer and arranger JERRY GOLDSTEIN they recorded the album Nuclear Blues, with a more jazz-funk sound. The band disbanded again after an Australian tour. David decided to pursue his solo career again, touring with a new band. There were complications as in some shows his band was booked as "Blood, Sweat & Tears" and David Clayton didn't have legal rights for the name. So he negotiated with Bobby Colomby for the license of the band's name. For the next years he would be booked as "Blood, Sweat & Tears (featuring David Clayton-Thomas)". He was allowed to tour with that name, but Colomby said it wouldn't apply for recordings. In 1994 Al Kooper got together with members of the original band and played gigs under the name "Child Is Father To The Man" (since the rights to the original name were reserved to Colomby). The shows were released on a double CD called "Soul Of A Man: Al Kooper Live" and included the performances of "Your Days Are Numbered" and "I Can't Quit Her". That same year, David Clayton recorded an album with his Blood, Sweat & Tears horn section at that time and Hungarian drummer and compose Leslie Mandoki, called "People" (which also featured figures like IAN ANDERSON, AL DI MEOLA and MICHAEL BRECKER). Three years later they recorded and released "People In Room No. 8" and in 2002 David recorded tracks for the third Mandoki album called "Soulmates". In 2004 David-Clayton announced that he would again pursue a solo career (without the Blood, Sweat & Tears name); that the band is no more and that he wishes to take a break from the road to engage in creative projects. == Jesus 'Chus' Brea == Edited by Svetonio - August 19 2015 at 06:55

Tom Ozric Members Profile Send Private Message Find Members Posts Add to Buddy List Reviewer page Prog Reviewer Joined: September 03 2005 Location: Olympus Mons Status: Offline Points: 15921	Posted: August 28 2015 at 00:45
	Jefferson Airplane's 'Eskimo Blue Day'

moshkito Members Profile Send Private Message Find Members Posts Add to Buddy List Reviewer page Forum Senior Member Joined: January 04 2007 Location: Grok City Status: Offline Points: 17524	Posted: August 29 2015 at 16:50
	Hi, Woodstock, for me, is not about progressive anything at all, and never has been. Even though there are a couple of groups that fit our definitions, in general, the whole Woodstock thing was a massive validation of the behemoth that the rock music business had become that a lot of Americans still didn't know, and a lot of radio stations in America still didn't play it! The hardest and saddest part of it, is that some of the things that best represented what I would call the artistic side of things (and Dean posted a good one!), rather than the fame side of things, were just about all dismissed, and in my book, this kinda brought everything down to a pop song for the old AM radio (in America - slightly different in Europe/England) and its top ten, and not the new FM radio that helped bring these live and longer cuts and feelings to the foreground! AM radio would not touch most of those pieces of music, except a couple of hit songs! In the end, Woodstock is nothing, but a snapshot of one of the saddest parts of my generation ... the beginning of the mememe bs, and the lack of consideration or care for what the whole thing is about ... and there is no better document on that, and editorial than watching Jimi play the national anthem .. in front of garbage ... because that is how many Americans treat their music and their arts at the end of the day! Go back home and listen to their top ten C&W station! And you should have seen how many of the Prom witches at West High in Madison thought that Jimi was the worst musician ever! And probably because he was black, too! Edited by moshkito - August 29 2015 at 16:58
	Music is not just for listening ... it is for LIVING ... you got to feel it to know what's it about! Not being told! www.pedrosena.com