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"Soul Serenade" is a jazz instrumental written by King Curtis (Curtis Ousley) and Luther Dixon. Curtis played the lead on a B-flat saxello , a version of the alto sax . [ 2 ] The song was released on Curtis' 1964 album "Soul Serenade".
A trumpeter and bandleader in his own right, Mitchell released a number of popular singles for Hi Records as an artist in the 1960s, including "Soul Serenade." [3] It peaked at number 43 in the UK Singles Chart in April 1968. [4] Through the 1980s, Mitchell ran his own independent record label, Waylo Records. [3]
Aretha Franklin's Live at Fillmore West album was a huge hit, he had contributed to two tracks on John Lennon's album, Imagine, recorded the theme to the television show Soul Train and had made a highly acclaimed performance at the Montreux Jazz Festival with Champion Jack Dupree. It was in this climate that the album was released in August 1971.
"Memphis Soul Stew" is a song by American saxophonist and bandleader King Curtis (1934–1971). The track is a narrative that describes the Memphis Soul sound in terms of a cooking recipe, with each instrument introduced by Curtis. This includes "fatback drums", "a pinch of organ" and "a half-pint of horns".
Allman went on to honor Curtis by interweaving a medley of "Soul Serenade" into the band's rendition of "You Don't Love Me", first in a show at the Academy of Music on East 14th Street in Manhattan on August 15, [19] and later during a live in-studio recording at A&R Studios in Manhattan on August 26, recorded for posterity and released on LP ...
Soul Serenade is the name of several songs and albums produced by different artists, including: Soul Serenade (Derek Trucks album), a 2003 album by The Derek Trucks Band; Soul Serenade (Gloria Lynne album), 1965; Soul Serenade, a 2000 album by Gospellers "Soul Serenade" (King Curtis song), a 1968 jazz song by King Curtis
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On Jambands.com, Larson Sutton said, "The nine-song program was inspired work, showcasing the conflagration of six musicians focused as one... The A&R show, presumably taped in droves by home stereos, was widely bootlegged, and in the following decades considered quite a treasure of both performance and historical context.