Albums That Deserve Another Listen

King Curtis & Champion Jack Dupree - Blues At Montreux (Atlantic SD 1637)

Although King Curtis got top billing on this live LP, originally released by Atlantic in 1973, it is in reality a Champion Jack Dupree album. Jack was in fine form at his Montreux Jazz Festival appearance on June 17, 1971, delivering strong vocals and outstanding piano playing superbly supported by Curtis, Dupree, Jemmott and Jackson. A thoroughly enjoyable album that deserves another listen.

Tracklist:

01. Junker's Blues 08:04

02. Sneaky Pete 06:15

03. Everything's Gonna Be Alright 05:26

04. Get With It 03:31

05. Poor Boy Blues 09:24

06. I'm Having Fun 05:18

Credits:

Champion Jack Dupree - Piano, Vocals  

King Curtis - Tenor Saxophone, Alto Saxophone 

Cornell Dupree - Guitar 

Jerry Jemmott - Bass  

Oliver Jackson - Drums   

Recorded live at the Montreux Jazz Festival, Montreux, Switzerland on June 17, 1971.

Reviews:

This live set from the 1971 Montreux Jazz Festival was co-led by tenor saxophonist King Curtis, who tragically would be killed three months later, and veteran blues pianist/vocalist Champion Jack Dupree. With guitarist Cornell Dupree, bassist Jerry Jemmott and drummer Oliver Jackson laying down the foundation, Curtis and Dupree find a great deal of common musical ground. Dupree has quite a few witty vocals, particularly the classic "Junker's Blues", while taking choruses of irregular length that keep his sidemen continually guessing. Curtis' distinctive tenor is also heard from, making one truly regret that this was his final recording.

One of the last albums that King Curtis ever recorded, and an unusual session of mostly blues-based material, recorded at the Montreux Jazz Festival in 1971 with Champion Jack Dupree. In a way, the setting really unlocks some of Dupree's more jazz-oriented modes, in a group that features Curtis on tenor and alto, Jack on piano and vocals, and rhythm from Cornell Dupree on guitar, Jerry Jemmott on bass, and Oliver Jackson on drums. Things start out rootsy, but really take off as the record moves on, and the setting actually gives Curtis a chance to stretch out a lot more than most of his previous recordings for Atlantic.

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