Hearty hosannas aplenty have been heaped upon Super Session (1968) and deservedly so. It was the watershed slab that elevated rock musicianship to that of the hallowed jazz elites, in addition to serving as an everlasting showcase for the late, great Michael Bloomfield. Oft overlooked is the masterful work of bassist Harvey Brooks. His earthy warm Fender tone, his fluid swing fueled phrasing, his nimble articulation and inventive voice-leading, his groove inflected supportive pocket and melodic playing to my ears, stands among the greatest performances ever waxed by any bass player in a rock format.
Dig Harvey’s impeccable upright inspired approach on “Harvey’s Tune!” http://bit.ly/2lQ3W87 Sure, sure Bloomfield, Al Kooper, Stephen Stills, Barry Goldberg, and Eddie Hoh were already accomplished players at this point in their careers, yet Mr. Brooks made them sound even better. In fact, from Dylan to Miles and miles beyond, Harvey served as a vital catalyst in the bass chair with every artist he worked with.
As I have huffed and puffed in Huff Post, http://bit.ly/2hOLzO3 Harvey Brooks deserves recognition for his immeasurable contributions to the art-form that is rock ‘n roll and popular music in all its variants including folk, jazz, and blues.