Exquisite

I had forgotten over the years just how wonderful this album was, so I was thrilled to find it here at Amazon! Granted, it's not the heavy black vinyl with the faded dog earred cover, but this one fits in my car stereo, makes the commute miles fly by and sounds even better then it did long ago! Thanks!

Classic Album Stands the Test of Time

"Super Session" still sounds fresh and exciting after 35 years. What makes the album great is the guitar playing -- Mike Bloomfield for the first half, and Steven Stills for the rest. Al Kooper's keyboards and vocals supply the continuity in sound. Bloomfield's playing is among his best recorded work. He sounds like a jazzy B.B. King with his precise, melodic solos. "Stop" and "His Holy Modal Majesty" are highlights, but all his songs are excellent. Stills' playing on this album has been underrated by critics. "Season of the Witch" displays some of his richest playing. Kooper and colleagues' arrangements are inventive and effective, with their rockin' version of "It Takes a Lot to Laugh" a stand-out. The additional tracks on this version of the CD do not really add to quality of the original, but they do provide some insights into the process of producing the music. For example, after listening to "Season of the Witch" without horns, one is likely to conclude that Kooper did a great job in including them in the original album. Overall, this is an excellent album, revealing Bloomfield at a high point in his playing (sadly, drugs and other demons would trouble him until his premature death in 1981). Stills' fine guitar playing is also a revelation. And Kooper never had a finer hour on record.

eternal love affair

I think the real reason behind writing reviews like this lies in the hope that you will be able to convince some person(s) out there that something is missing form their life unless they get to hear this music. I don't think I can get any more eloquent on the brilliance of these musicians than any other reviewer here; the only words of praise in addition are for Harvey Brook's bass playing which is both beautiful, inventive and absolutely essential in tying together the Bloomfield and the Stills parts. It feels like they are somehow sailing along on the same river of bass, although they have very different playing styles. (Must mention too Stills' wah-wah playing at the end of "Season of the witch", the most "lyrical" use of this effect I have heard to this day).