Composer and versatile musician, Alan Kooper in 1970 is truly a star in the musical firmament. Already a member of The Blues Project and Blood, Sweat & Tears, he has lent his services to many of the greatest figures in rock and blues, including Bob Dylan, The Jimi Hendrix Experience, The Who, Taj Mahal, and The Rolling Stones, among others. In 1968, he also linked his name with Steve Stills (Buffalo Springfield, CS&N, CSN&Y) and especially Mike Bloomfield (Paul Butterfield Blues Band, The Electric Flag) in the successful project known as "Super Session". Following the success of the album, Al organized a short tour captured in the magnificent double LP "The Live Adventures Of M.B. & A.K.", later augmented by the subsequent release of "The Fillmore Lost Concert Tapes" (2003). Not satisfied, the keyboardist combined forces with the little-known guitarist Shuggie Otis, the fifteen-year-old son of the more famous Johnny Otis, to record the second chapter of the "Super Session" series.
Divided into two parts, the album is an excellent compendium of soul, gospel, and blues: the first half, "The Songs", features Al Kooper in the spotlight as a keyboardist, pianist, and singer, with performances that almost overshadow a more reserved Shuggie Otis. It begins with "Bury My Body", a long fiery gospel signed by Kooper himself and characterized by the relentless work of sessionmen Wells Kelly on drums and Stu Woods on bass, followed by the only instrumental of the first part of the album, the "Double Or Nothing" by Booker T. & The MG's, interpreted with a decidedly soulful approach by the band. The following "One Room Country Shack" is a somewhat clichéd blues, while the concluding "Lookin' For A Home" is a soul ballad highlighted by the vocal performance of the leader and a spectacular six-string interpretation by Otis.
The second side, titled "The Blues", consists of a trio of blues jams where never trivial virtuosity is accompanied by the pronounced melodic sense of the musicians: here emerges the figure of the very young Shuggie Otis (only on his second LP) true protagonist of the session. Among two highly inspired "traditional" blues stands out "Shuggie's Old Time dee-di-lee-di-leet-deet Slide Boogie" where the two protagonists recreate the atmosphere of old piano-slide guitar duets recorded on 78s.
Shuggie Otis will release a handful of albums of his own (including "Here Comes Shuggie Otis") before rejecting a call from the Rolling Stones in '75 and being relegated to the role of sessionman; Al Kooper, for his part, will become a successful producer reducing record releases to a trickle from '73 onwards, without giving up concerts.
Overshadowed by the much more famous predecessor, "Al Kooper Introduces Shuggie Otis" is a delightful album that introduces the general public to the talent of the very young guitarist (perhaps here in his best performance captured on record) and confirms at very high levels one of the greatest interpreters of the keyboard and Hammond organ in particular, who over the years has created an unmistakable sound comparable only to a cascade of notes.
If you appreciated "Super Session", don't miss this album.
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