Look, if your idea of “jazz-rock” fun is David Clayton Thomas’ edition of “Blood Sweat and Tears, I’m not going to try to change your mind, but if you want the real jazz-rock and psych star of that era, you need to hear this ridiculously neglected Spirit album originally issued on Epic in the fall of 1970 that Sundazed has smartly resurrected.

This extraordinary document recorded by Young during a two night stand at small club on the University of Michigan campus in Ann Arbor back in November of 1968 is about as intimate and revealing a performance as you’re likely to find in the singer’s catalog.

For some reason, this album became a Top 10 hit in America, but the Brits knew better and stayed away. Recorded live at a Toronto rock festival during which Lennon had fallen ill, the album features the Plastic Ono Band of Lennon, Yoko Ono, Eric Clapton, Klaus Voorman (bass and cover artist for Revolver) and Yes drummer Alan White doing a blah set of covers the Beatles had done better (“Money,” “Blue Suede Shoes,” and Dizzy Miss Lizzy,” plus “Yer Blues”) along with two new Lennon tunes, “Cold Turkey” and “Give Peace a Chance,” the hit single that drove album sales.

The proliferation of Blue Note reissues on double vinyl, SACD and most recently XRCD has led to the inevitable negative reaction with some people complaining that the label’s mythological status is overblown.

Of course not every Blue Note is historical or significant or even worth hearing. The label had its share of dross you can be sure and even some of the good sessions sound predictable and formulaic with the passage of time.

This set, recorded May 1959 in Paris during a Jazz at the Philharmonic tour finds Sonny Stitt on the Oscar Peterson guest list mostly playing alto with some tenor thrown in for good measure.

Peterson, producer Norman Granz and the recording engineer rightly treat Stitt as an honored guest, giving him the right channel and a reverb bath extending well into the phantom center channel. The balance also tilts in Sonny’s favor: he’s far louder than Peterson left of center or drummer Ed Thigpen right of center and catching some of the reverb, or the great Ray Brown centered in the mix.

Mac “Dr. John” Rebenack’s soulful plea for the resurrection of his beloved New Orleans comes on funky and optimistic on the opener “Keep on Goin’,” but on the next tune, “Time For A Change,” with Eric Clapton, Rebenack’s showing a little fed-upedness with lines like “Stop the money made at the cost of life.”

By the third song, “Promises, Promises,” a sloppy but spirited gospel tinged duet with Willie Nelson, which opens with the line “The road to the White House is paved with lies,” you get the idea that “Heckuva job Brownie” didn’t sit well with the Doc.