If Aretha's performances at the Filmore dispelled any doubts that soul could play to rock audiences, then a huge credit is due to her band, led by King Curtis. Besides providing an amazing backing to Aretha's vocals, he and his Kingpins served as her opening act. King Curtis Live at the Filmore West is a testament to the power inherent in the unspoken vocabulary of instrumental music.
Here, he augments the Kingpins with special guests Billy Preston and the legendary Memphis Horns. The resultant album is extraordinary, to put it mildly. Culled from the three nights' performances, the tracks are nothing short of exhilarating. King Curtis was the greatest of rock and roll's saxmen, and he aptly demonstrates his talents here. From the classic "Soul Serenade" to his rendition of Procol Harem's "Whiter Shade of Pale," his tenor sax phrasings never falter. Even on "Whole Lotta Lovin" (an obvious choice for the flower child crowd) , his instrument takes on a voice of its own.
There is an unintentional melancholy to this album. I mentioned at the beginning of this piece that King Curtis played as if there was no tomorrow. Sadly, for him there were very few tomorrows after this performance. King Curtis was stabbed to death five months later. His legend lives on.
Aretha Live at Filmore West and King Curtis Live at the Filmore West are two albums that beautifully document a time when rock and soul were finally coming to grips that they shared the same lineage. The music that would follow relishes in that new-found identity to this day.
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